Plays by Alan Bowne

页数:0

价格:42.00

isbn号码:9780881451429

具体描述

j From Interview， August 1987， by Kevin Sessums<br > There s a creature known in the South as a feist dog. Little. Scraggly.<br > High-strung. You know where one lives by a backyard full of barks.<br > The thing ll take on a German shepherd--shit， the whole German army--<br > if it thinks its territory is being threatened. But it likes kids too. And it likes<br > the feel of a hand o/! its underbelly.<br > Playwright and screenwriter Alan Bowne， whose work concerns the<br > straggly underbelly ~( life itself， has the friendly tenacity of one of those<br > tight-tailed mutts. "People don t like what I write: Screw era，" he insists<br > a bone of contention clenched fiercely between his teeth. "That just means<br > they don t like my truth. I don t write Long Island theater. I don t write for<br > e o!d guard who ve been brain dama ed ，o-<br > Ith~nte comedies full o ，-~，)~r~.， _ ， g on the plays of Eugene "lv，~ill<br > f ui people and I bounce era off ablacO w<br > t s easy to understand， however， all."<br > how some might wish to avert their eyes<br > from the track marks of humor in Bowne s work. FORTY DEUCE， his first<br > play and later a Paul Morrissey film， concerns a group of male hustlers in a<br > room off Times Square who try to sell a fourteen-year-old to a rich<br > businessman--all the while concealing the fact that the youngster， who Ii~o~<br > naked on the soiled bed throu~ho， t ~. ~l~， !~ ~ from an overdose oi<br > ~rU~. AM6[/ler play， SHARON AND BILLY， is about a brother and sister s<br > guerrilla warfare against their parents in 1950s blue-collar Los Angeles.<br > His next， A SNAKE IN THE VEIN， is scheduled for this fall at Manhattan<br > Class Company and concerns a sage old heroin addict and his young<br > recruit. Bowne s second Morrissey film， Mixed Blood， was about a decadent<br > den mother and her young troop of dope-peddling thieves in New York s<br > Alphabet City， sort of a female Oliver Twisted. Yet another Morrissey<br > movie， Throwback， is currently in production. Starring Sasha Mitchell，<br > a former Calvin Klein jeans model， it takes us on a tour of the new yuppie<br > mafia and the boxing world in the Red Hook section of Brooklyn. But it<br > is Bowne s latest play， BEIRUT， that is the most controversial of his career.<br > Set in the near future， its subject matter is a plague much like AIDS that<br > has caused quarantining and tattooing of its victims. The two heterosexual<br > characters are barely clothed<br > the pus throughout its 59-minute running time， and<br > of sexuality， enticing as well as toxic， oozes from the work s exposed<br >pores. BEIRUT has caused critics to rail. Clive Barnes bellowed against it，<br >Tile Village Voice labeled it " ，，<br > dangerous.<br > "The Village Voice? What s that?" Bowne bellows back. "It s the left-wing<br >National Enquirer. I don t read it. And， to tell you the truth， I don t care what<br >a lisping， rheumy old fart who not only passes out in the middle of plays<br >but also works for a piece of toilet tissue like the New York Post thinks about<br ><br >

用户评价

这本书的语言风格有一种近乎令人窒息的精准度，每一个词汇的选择都像是经过了严密的逻辑推敲，但同时又充满了诗意的流动性。我发现作者在构建场景时，很少使用冗长复杂的从句，而是倾向于使用短促有力、充满画面感的陈述句，这使得阅读的节奏感非常强，读起来有种快步前行的紧迫感。尤其是一些人物对白的设计，简直是教科书级别的范本，那种台词的张力，仿佛能透过纸张感受到角色之间电流的碰撞。它不是那种让人读完后需要大肆思考才能理解的晦涩文学，而是以一种近乎透明的方式，将核心的情感内核直接投射到读者的脑海里。这种清晰的力量，在当代文学中是相当罕见的。我常常读完一个段落，需要停下来，轻轻吁出一口气，回味那种文字切割空气的锋利感。这是一种极其高超的文字驾驭能力，体现了作者对语言的绝对掌控。

这本书的装帧设计简直是一场视觉盛宴，从封面烫金的字体到内页纸张的选择，都透露出一种低调的奢华感。我拿到书时，首先被它沉甸甸的质感所吸引，这绝对不是那种随便翻阅的平装本。作者的排版也极为讲究，留白恰到好处，让文字仿佛有了呼吸的空间。我尤其喜欢扉页上那幅抽象的插画，它似乎在用一种无声的语言预示着接下来文字中的某种情绪张力。装帧上的每一个细节，都像是精心编排的序曲，为接下来的阅读体验设置了一种庄重的仪式感。这本书的装帧本身就是一件艺术品，放在书架上，本身就是一种品味的象征。我甚至舍不得用它来做书签，生怕破坏了它完美的边角。它不仅仅是一本书，更像是一个收藏级的物件，让人在翻开它之前，就已经对书中的内容充满了无限的遐想与敬意。这种对物理形态的极致追求，往往预示着内容本身同样是经过千锤百炼的精品，让人对接下来的阅读充满期待。

故事的结构安排得像一个精密的瑞士钟表，每一个齿轮的咬合都严丝合缝，让人在阅读过程中不断产生“原来如此”的惊叹。我通常习惯于快速浏览情节走向，但这本书却迫使我放慢速度，去留意那些看似不经意的伏笔和对照。作者巧妙地运用了非线性叙事，将时间线打碎重组，但重组后的逻辑链条却比原始时间线更加清晰和深刻地揭示了主题。最让我佩服的是，它在处理多条支线叙事时，并没有让任何一条线索显得多余或拖沓，反而每一条线索都是通往最终高潮不可或缺的路径。这种结构上的野心和执行力，绝对达到了非常高的水准。它不是简单地讲述一个故事，而是在搭建一个复杂的、多维度的情感迷宫，而读者就是那个在其中探寻出口的旅人。这种阅读体验，远远超出了普通的消遣范畴，更像是一场智力与情感的双重探险。

这本书成功地塑造了一批复杂到令人不安的角色群像。这些人物的行为逻辑并非是传统叙事中那种非黑即白的简单化处理，他们的动机深藏于幽微的人性角落，让人既感到熟悉又觉得陌生。我尤其欣赏作者对于角色内心矛盾的刻画，那种外在的沉着与内在的挣扎形成了巨大的反差张力。读到某些段落时，我甚至感觉自己站在一个冷漠的旁观者角度，审视着这些被命运和自身缺陷反复折磨的个体。他们不是为了推动情节而存在的工具，而是活生生的、会犯错、会后悔、会自我欺骗的个体。这种真实感带来的震撼力是持久的，它迫使读者反思自身行为模式，并对人性的复杂性产生更深层次的理解。我甚至在合上书之后，还能清晰地“听见”书中某些角色的低语和叹息，可见其塑造之成功。

整本书弥漫着一种独特的气氛，这种氛围是建立在对特定场景的细致描摹之上的。它似乎并不急于将读者带入一个宏大的世界观，而是聚焦于一些相对封闭、压抑的空间，并通过对光线、声音乃至气味的处理，构建出一种强烈的空间感和心理投射。我能清晰地想象出那些被阴影占据的角落，感受到空气中沉淀的旧日尘埃，这种感官上的沉浸体验是极其出色的。这种对“场所精神”的捕捉，使得故事情节不仅仅是发生在某个地点，而是“被地点所定义”。读完后，那种场景的残影久久不散，仿佛自己刚刚才从那个特定的、充满张力的环境中抽离出来。它用细节编织了一张密不透风的氛围之网，牢牢地将读者的注意力锁在其中，直到最后一页翻过，才算获得真正的“解脱”。