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Overview
This is Don DeLillo's second play, and it is funny, sharp, and deep-reaching. Its characters tend to have needs and desires shaped by the forces of broadcast technology.
This is the way we talk to each other today. This is the way we tell each other things, in public, before listening millions, that we don't dare to say privately.
Nothing is allowed to be unseen. Nothing remains unsaid. And everything melts repeatedly into something else, as if driven by the finger on the TV remote.
This is also a play that makes obsessive poetry out of the language of routine airline announcements and the flow of endless information.
Valparaiso has been performed by the American Repertory Theatre in Cambridge, Massachusetts, and by the Steppenwolf Theatre Company in Chicago.
Product Details
ISBN-13: | 9780684865683 |
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Publisher: | Scribner |
Publication date: | 06/13/2000 |
Pages: | 112 |
Product dimensions: | 5.00(w) x 8.00(h) x 0.30(d) |
About the Author
Hometown:
Westchester County, New YorkDate of Birth:
November 20, 1936Place of Birth:
New York CityEducation:
Fordham University, 1958Read an Excerpt
From Act One
Michael Majeski
Livia Majeski
Delfina Treadwell
Teddy Hodell
The Interviewers
The Camera Crew
The Chorus
Two actors, one male, one female, play all the Interviewers in Act One.
The three members of the Camera Crew double as Chorus.
Act One
Living room of the Majeski house. A large uncluttered space, bare-walled except for a large TV set in a wall unit upstage. The room is largely achromatic but not stylishly so. It is a representation of a living room, more or less anyone's.
In several scenes a sector of this playing area functions as office space or as interview space in a broadcast studio.
Scene 1
The living room in half-light. Livia sits on an exercise bike, facing downstage. She looks into the middle distance, pedaling steadily.
Lights slowly down.
There is a deep pulse of image and sound. A videotape is projected on the back wall and adjacent furniture. It shows a single image, a high-angle shot of a man in a tightly confined space. There is a plastic bag on his head, fastened about the neck. He is seated, a forearm braced against the wall to either side of him. The plastic is thick and frosted, obscuring the man's features.
The tape is crude and marked by visual static. A digital display is inset in a lower corner of the tape. It records the hour and minute, the fleeting seconds and tenths of seconds.
Livia rides her bike, visible in the flickering light.
After the tape has run for twelve seconds, there is an interval of agitation caused either by an unsteady camera or some larger disturbance.
The sound throughout is intense and electronic, a synthesized roaring wind.
Slowly the man on the tape raises his head toward the camera. The shaking becomes more pronounced and the tape abruptly ends.
The projection lasts twenty seconds. Livia is barely visible, pedaling. Then darkness.
Copyright © 1999 by Don DeLillo