Inhoudsopgave:
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\u003cp\u003eTheatre doesnât have much relevance anymore. Or so acclaimed playwright Darren OâDonnell tells us. The dynamics of unplanned social interaction, he says, are far more compelling than any play he could produce. So his latest show, \u003ci\u003eA Suicide-Site Guide to the City\u003c/i\u003e, isnât really a show; itâs an interactive chitchat about memory, depression, and 9/11, a dazzling whirl of talking streetcars, pizza and schizophrenia. And itâs hilarious.\u003c/p\u003e \u003cp\u003eOâDonnellâs artistic practice has evolved into âsomething as close to hanging out as you can come and still charge admission.â With his theatre company, Mammalian Diving Reflex, OâDonnell has generated a series of ongoing events that induce interactions between strangers in public; the Talking Creature, Q\u0026A, Home Tours, the Toronto Strategy Meetings and Diplomatic Immunities bring people together in odd configurations, ask revealing questions and prove the generosity,abundance and power of the social sphere.\u003c/p\u003e \u003cp\u003e\u003ci\u003eSocial Acupuncture\u003c/i\u003e includes the full text of \u003ci\u003eA Suicide-Site Guide to the City\u003c/i\u003e and an extensive essay on the waning significance of theatre and the notion of civic engagement and social interaction as an aesthetic.\u003c/p\u003e \u003cp\u003eâNo other playwright working in Toronto right now has OâDonnellâs talent for synthesizing psychosocial, artistic and political random thoughts and reflections into compelling analyses ⦠The world (not to mention the theatre world) could use more of this, if only to get us talking and debating.â\u003c/p\u003e \u003cp\u003eâ \u003ci\u003eThe Globe and Mail\u003c/i\u003e\u003c/p\u003e |
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