Drama

Faust Foutu

Robert Duncan

Faust Foutu (Faust Screwed) is a satire featuring a mid-20th-century Faust as a bourgeois artist “suffering” for his art. It was first performed by poets and painters in San Francisco in 1955. The book includes drawings by the poet made to accompany the printed text.

“In the early fifties…

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Robert Duncan

Faust Foutu (Faust Screwed) is a satire featuring a mid-20th-century Faust as a bourgeois artist “suffering” for his art. It was first performed by poets and painters in San Francisco in 1955. The book includes drawings by the poet made to accompany the printed text.

“In the early fifties the art of painting was at the cutting edge (Clyfford Still, Pollock, Rothko) — it’s not surprising that this “screwed” Faust is a painter or that a public reading and performance of the piece should have taken place at San Francisco’s most intensely avant garde art gallery, the Six Gallery. It’s no surprise either that the actors in the presentation, seated at a long table on a little dais, should be friends, actors, experimental film-makers, poets, painters, and playwrights. Poet Jack Spicer leaned towards the audience at moments with intensity and almost boyish innocence of expression and near harshness of diction. Larry Jordan, the film-maker, had been encouraged by Duncan to just sing loudly and naturally letting his untrained voice carry Faust’s songs. Painter, and life-friend of Duncan’s, Jess Collins, spoke his lines with immense clarity and irony. The play was being tested on the ear, there was no acting-out as Duncan did in his solo performances, this was to be heard—and, listen, it’s still sounding.” -Michael McClure

Robert Duncan’s “comic masque” Faust Foutu was first performed in 1955 and published in a small edition in 1960 with drawings by the poet, reproduced here in a trade edition.


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Once Five Years Pass

Federico Garcia Lorca

This is the first English Language edition of the late plays of Lorca, bilingual with celebrated translations, here in paperback for the first time…

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Federico Garcia Lorca

This is the first English Language edition of the late plays of Lorca, bilingual with celebrated translations, here in paperback for the first time. This is the definitive Spanish (as well as English) text of plays which the great Spanish playwright and poet regarded as his most important contribution to the theater. Once Five Years Pass, weaving the influences of modernist theater, the silent film, and commedia dell’arte, has been praised for its power and vitality, and for creating a new species of dream play. Also included are four newly translated, dramatic works from the same period: Buster Keaton’s Rise, The Maiden, The Sailor and the Student, Chimera, and For This Trip to the Moon (a film script). This edition also includes fifteen original drawings by Lorca.



Operas & Plays

Stein considered this her definitive statement for the opera and the theater, yet, incredibly, Operas and Plays has remained out of print for half a century and has become so rare that even scholars read it in Xerox…

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Gertrude Stein

Stein considered this her definitive statement for the opera and the theater, yet, incredibly, Operas and Plays has remained out of print for half a century and has become so rare that even scholars read it in Xerox. Now reprinted for the first time since she published it herself in Paris (Plain Editions, 1932), Operas & Plays contains the most important of Gertrude Stein’s extraordinary contribution to the literature of opera and theater. One of America’s most influential writers—and most famous expatriates – she represents the fusion of modernism and postmodernism in these “word plays.” This book contains twenty different pieces virtually all of which have been out of print for decades. It includes the original version of the opera “Four Saints in Three Acts” (1927), set by Virgil Thompson, as well as “A Lyrical Opera Made by Two” (1928), “Saints and Singing” (1922), “Reread Another” (1921), “The Five Georges” (1931), and two movie treatments, among others.


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Reverberation Machines

Richard Foreman

One of the most original minds ever to grace the American theater, Richard Foreman is one of the few artists today whose inimitable style of presentation has retained its authentic status and momentum within the spirited trajectories of the avant-garde…

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Richard Foreman

One of the most original minds ever to grace the American theater, Richard Foreman is one of the few artists today whose inimitable style of presentation has retained its authentic status and momentum within the spirited trajectories of the avant-garde. Foreman describes his own work as a “polyphonic theater in which all elements work to fragment each other so that the spectator is relatively free from empathy and identification and instead may savor the full ‘playfulness’ of theatrical elements, even though the subject matter of these plays is anguished and aggressive in the extreme. My goal has always been to transcend very ‘painful’ material with the dance of manic theatricality.”


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Rushes of Tulsa, The (and Other Plays)

These four plays by Sidney Goldfarb are politically astute and savagely funny, though remarkably compassionate, like a stew cooked up by the Marx Brothers, Groucho and Karl, after years of Zen Meditation….

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These four plays by Sidney Goldfarb are politically astute and savagely funny, though remarkably compassionate, like a stew cooked up by the Marx Brothers, Groucho and Karl, after years of Zen Meditation. Pursued by the forces of murder and exploitation, ordinary people struggle just to stay alive. The path to liberation is through the human body, at once the arena of conflict and the locus of healing in a culture torn by menace and mayhem. This is a Theater of Incarnation. It is also a Theater of Celebration. Startling invention in language and structure turn palpable horrors into unexpected forms of transcendence. To the discerning ear these plays are actually poetry disguised as theater. Goldfarb ranks among the indispensable experimental poet/playwrights of his generation.

Praise for the plays:

“A play [“The Rushes of Tulsa”] of this hallucinatory intensity should require a doctor’s prescription. Sidney Goldfarb mixes cattle ranching, the international drug trade, cabalistic massage, urban Indians, incest, God and global capitalism, into a lyrical, hilarious, and ultimately heartbreaking masterpiece.” – Richard Halpern, author of Norman Rockwell: The Underside of Innocence and Shakespeare Among the Moderns

“In this strange world desiccation alternates with drowning as the only possible states for living matter; dryness becomes associated with maleness, water with women. The play [“Orange Grove”] evokes a frightening place where, without knowing it, ordinary folks are in over their heads. Goldfarb’s landscape seethes with myth and metaphor. This is Sam Shepard on acid.” – Alisa Solomon, The Village Voice

“‘Hot Lunch Apostles’ is a devastating play – a breakthrough work. Using powerful gutter poetry, playwright Sidney Goldfarb wrenches whorehouse slang into memorable images of disgust and despair. In a funny kind of way, he has come up with a dramatic equation that explains the birth of Christianity as a vital ideology. A life of emptiness and degradation demands redemption.” -Dan Isaac, Other Stages

“The words are just beautiful in Sidney Goldfarb’s version of the compact and lyrical tale [“Pedro Pramo”] told by Juan Rulfo about a mysterious Mexican village and its strange inhabitants. It respects the stark poetry in the novel’s picaresque narrative, about a young man who strikes out in search of his father and uncovers the secret history of the man and of all who knew him.” – Marilyn Stasio, New York Post


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