Will Eno
Список книг автора Will EnoTragedy: A Tragedy
The sun has set over streets of houses, government buildings and American backyards everywhere. The world is dark. A news team is on the scene. Their report: someone left the lawn sprinklers on; someone’s horse is loose; a seashell is lying in the grass; dogs run by. The Governor issues excited statements appealing for calm. It is night-time in the world. Everyone’s afraid. Everyone doesn’t know if the sun, once down, will ever rise again. But there is a witness, and the witness will speak.
The Flu Season & Imtermission
THE FLU SEASON No one in the middle of being in love ever sat down to write a love story. It’s only after the belongings are sorted and the shirts returned that the pencils are sharpened and the notebooks opened. So, in a serious way, love stories are never love stories. Love is their inspiration, yes, but the end of love is the reason for their existence. This is a problem. It proposes antijourneys where we saw only journeys, directs things toward a new negative we hadn’t intended. The Flu Season tries to be a love story, anyway. It has a strategy. The play revels in ambivalence, lives in fi ts and starts, and derives a fl ailing energy from its doubts about itself. But these come at a price, which is paid by the characters in the play. A kind of clarity fi nally comes. In the end, is the end. ' INTERMISSION “Two couples chat with one another at a play’s intermission. From what we have heard, it sounds dreadful, which the cocky Jack points out. But his quibbles give way before Mr. Murray’s torrent of memory and invective. He doesn’t want to hear stylistic complaints, he wants the boy to recognize the play’s attempts at truth. And while Mr. Murray’s curmudgeon sneers at audiences’ yen for weeping at shows, Mr. Eno then makes us – practically by brute force – cry for him. Mr. Eno’s triumph is both canny and deeply touching, a vital look into a theater that actually reminds us what it’s for.” The New York Sun
The Open House
People have been born into families since people started getting born at all. Playwrights have been trying to write Family Plays for a long time, too. And typically these plays try to answer endlessly complicated questions of blood and duty and inheritance and responsibility. They try to answer the question, «Can things really change?» People have been trying nobly for years and years to have plays solve in two hours what hasn't been solved in many lifetimes. This has to stop. The Open House is an hour and twenty minutes, with no intermission.
The Realistic Joneses
Meet Bob and Jennifer and their new neighbours,John and Pony, two suburban couples who have even more in common thantheir identical homes and their shared last names. As their relationships begin to irrevocably intertwine, the Joneses must decidebetween their idyllic fantasies and their imperfect realities. This contemporary comedy explores how our joys and sorrows – and how we choose to face them – can come to define our lives.
Gnit
Is the search for the Self for total nobodies? Watch closely as Peter Gnit, a funny-enough but so-so specimen of humanity, makes a lifetime of bad decisions, on the search for his True Self, which is disintegrating while he searches. A rollicking and very cautionary tale about, among other things, how the opposite of love is laziness.Gnit is a faithful, unfaithful, and willfully American misreading of Henrik Ibsen’s Peer Gynt, a 19th century Norwegian play which is famous for all the wrong reasons, written by Will Eno, who has never been to Norway.
Title and Deed / Oh, the Humanity and other good intentions
"A haunting and often fiercely funny meditation on life as a state of permanent exile… The marvel of Mr. Eno’s voice is how naturally it combines a carefully sculptured lyricism with sly, poker-faced humor. Everyday phrases and familiar platitudes—‘Don’t ever change,’ ‘Who knows’—are turned inside out or twisted into blunt, unexpected punch lines punctuating long rhapsodic passages that leave you happily word-drunk." —Charles Isherwood, New York Times on Title and Deed"Title and Deed is daring within its masquerade of the mundane, spectacular within its minimalism and hilarious within its display of po-faced bewilderment. It is a clown play that capers at the edge of the abyss… Eno’s voice is unique; his play is stage poetry of a high order. You can’t see the ideas coming in Title and Deed. When they arrive—tiptoeing in with a quiet yet startling energy—you don’t quite know how they got there. In this tale’s brilliant telling, it is not the narrator who proves unreliable but life itself. The unspoken message of Eno’s smart, bleak musings seems to be: enjoy the nothingness while you can." —John Lahr, New Yorker"Eno is a supreme monologist, using a distinctive, edgy blend of non sequiturs and provisional statements to explore the fragility of our existence… There are a lot of words, but they are always exquisitely chosen… Oh, the Humanity reveals that we are beautiful walking tragedies blinking with absurd optimism into the camera lens of history." —Lyn Gardner, GuardianKnown for his wry humor and deeply moving plays, Will Eno's «gift for articulating life's absurd beauty and its no less absurd horrors may be unmatched among writers of his generation» (New York Times). This new volume of the acclaimed playwright's work includes five short plays about being alive—Behold the Coach, in a Blazer, Uninsured; Ladies and Gentlemen, the Rain; Enter the Spokeswoman, Gently; The Bully Composition; and Oh, the Humanity—as well as Title and Deed, a haunting and severely funny solo rumination on life as everlasting exile.WILL ENO is a fellow of Residency Five at Signature Theatre Company in New York. His play The Open House premiered at Signature in 2014, and received an Obie Award, the Lucille Lortel Award for Best Play, and a Drama Desk Special Award. His play The Realistic Joneses premiered at Yale Repertory Theatre in 2012, and was produced on Broadway in 2014, for which he and the cast received a Drama Desk Special Award. His play Title and Deed premiered at Signature in 2012 and was presented at the Edinburgh Fringe Festival in 2014. Both Title and Deed and The Realistic Joneses were included in the New York Times Best Plays List of 2012. Gnit, an adaption of Ibsen’s Peer Gynt, premiered at Actors Theatre of Louisville in 2013. Middletown, winner of the Horton Foote Prize, premiered at the Vineyard Theatre in New York in 2010, and was then produced at Steppenwolf Theatre Company in Chicago in 2011. Thom Pain (based on nothing) was a finalist for the 2005 Pulitzer Prize and has been translated into many languages. The Flu Season premiered at the Gate Theatre in London in 2003, and later received the Oppenheimer Award for best New York debut production by an American writer. Tragedy: a tragedy premiered at the Gate Theatre in 2001, and was subsequently produced by Berkeley Repertory Theatre in 2008. Mr. Eno lives in Brooklyn with his wife Maria Dizzia and their daughter Albertine.
Wakey, Wakey (TCG Edition)
Originally premiered Off Broadway at Signature Theatre Company in the spring of 2017<p><p>
Selected as a <i>New York Times</i> Critics’ Pick<p><p>
“A Samuel Beckett for the Jon Stewart generation” – <i>New York Times</i><p><p>
Eno has been honored with the following awards: <p><p>
Pulitzer Prize finalist for <i>Thom Pain (based on nothing) </i> <p>
2012 PEN/Laura Pels International Foundation for Theater Award<p>
2004 Oppenheimer Award for best debut by an American playwright (<i>The Flu Season</i>) <p>
Horton Foote Prize for <i>Middletown</i>