By Edward Albee
One among Edward Albee's so much celebrated works, A gentle Balance premiered on Broadway in 1966 and received the Pulitzer Prize for Drama in 1967, the 1st of 3 he has bought for his paintings. The play revolves round filthy rich middle-aged couple Agnes and Tobias, who've their complacency shattered while their longtime acquaintances Harry and Edna look at their doorstep. Claiming an encroaching, anonymous "fear" has compelled them from their very own domestic, those acquaintances deliver a firestorm of doubt, recrimination and finally solace, scary the "delicate balance" of Agnes and Tobias's household.
In fresh years, A smooth Balance has loved many and new lovely revivals, working now, together with a Broadway creation in 1996, which received the Tony Award for top Revival, and one other on the Alameida Theatre in London in 2011.
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Extra info for A Delicate Balance
They remain purely scenic, a quirky visual idea tossed into the mix with 50 SCOTT T. CUMMINGS postmodern non-chalance, offering silent and mysterious commentary, puckishly inviting and defying interpretation at the same time. In its weight, color, and sculptural detail, the standard classic bust carved out of white marble argues for the nobility and the individuality of its subject. The proliferation of this image ad nauseum in miniature replicas (some in garish colors) turns it into an object of mass production, reduces it to a pathetic souvenir, something fake.
In French and also in modern dress. 1 McBride (1988, 59): “Célimène’s private hotel…is a micro-court within a macro-court”. 2 Paul Bénichou (1948) has most persuasively argued for viewing Molière as sympathetic towards courtly life and values; I would suggest, however, that though Molière was near the court, he was not fully of the court; and that his view and acceptance of that life comes with some irony.
But when I played Arnolphe one evening, Cléante the next day, Mr. Dimanche, the third, Oronte, the fourth, and when then the cycle started again with The School for Wives— because it was done in this order, following the chronology of Molière’s writing—I was regenerated by the diversity of the other roles. I mean that it was not the same concentration of mind, the same physical exertion. So, when I was approaching the role of Arnolphe again, I was recharged and ready to invest myself entirely into this character—and it was the same feeling as far as my other three roles were concerned.