Κι απ'την άλλη ,βεβαίως,υπάρχει και η θέση της Εκκλησίας πάνω στην ομοφυλοφιλία. Το Λευϊτικόν,για παράδειγμα ,στη Παλαιά Διαθήκη ,μας λέει βασικά,πως οι ομοφυλόφιλοι πρέπει να θανατώνονται.Επίσης μας λέει,πως να θυσιάσεις κριάρια και ταύρους και μας διδάσκει να μην καθόμαστε σε καρέκλα που έχει κάτσει γυναίκα που είχε περίοδο τις τελευταίες εφτά ημέρες.Μπορείς να συμβουλευτείς ένα τέτοιο βιβλίο σήμερα;
—  Christopher durang , γελώντας άγρια 

anonymous asked:

what should be in your monologue book?

Good question!  

  1. Contemporary comedic
  2. Contemporary dramatic
  3. Classic comedic
  4. Classic dramatic
  5. Shakespeare

Those are the absolutes.  I also think it’s not a bad idea to have, for instance, an American “classic” playwright, like Tennessee Williams in there.  Because if you’ve got your contemporary comedic and it’s Durang, and your contemporary dramatic is Shanley, and your classics are more geared towards restoration or Shakespeare or Greek work, then you’ve got this huge whole in the early-mid 20th century.  The reason we create a book is to have a piece for every situation, so we’re never having to memorize something last minute, so essentially, cover your bases.  Create imaginary auditions in your head, and see if any of your pieces could fit for that audition.  And make sure you don’t have any giant gaping holes in style/time period that could get you in trouble!

ginabck asked:

is chekhov generally considered classical or contemporary?


Hah, he’s often considered be bridge between classic and contemporary. I’d judge it based on what you’re auditioning for–if it was Durang, I’d call it classic and not use it for that kind of audition. But if you were auditioning for Tennessee Williams, I’d consider it contemporary, and I’d consider I somewhat appropriate. (Though I’d definitely opt into an American playwright when auditioning for Williams, but you know…)

1988 Young Playwrights Festival

The 7th Annual Young Playwrights Festival

Sets by: Allen Moyer
Costumes by: Jess Goldstein
Lighting by: Nancy Schertler
Sound by: Lia Vollack
Stage Managers: Stacey Fleischer, Roy Harris, Paul Warren

And the Air Didn’t Answer by Robert Kerr

Directed by: Christopher Durang
Playwright Advisor: Morgan Jenness

Dan Wilson: Robert Sean Leonard
Jennifer: Jill Tasker
Mother: Debra Monk
Renee: Erica Gimpel
Father McLaughlin, Teacher, God, Scout Interviewer: Richard Council
Young Boy, Crusader, Abraham, Producer, Dante, Drunk in Park: Jihmi Kennedy
Crusader, Isaac, Salesman, Alex Trebek, Virgil, Drunk in Park: John Augustine

Seniority by Eric Ziegenhagen

Directed by: Lisa Peterson
Playwright Advisor: Alfred Uhry

Debbie: Bellina Logan
Fiona: Allison Dean
Ian: Jihmi Kennedy

Women and Wallace by Jonathan Marc Sherman

Directed by: Don Scardino
Playwright Advisor: Albert Innaurato

Wallace Kirkman: Josh Hamilton
Mother: Mary Joy
Grandmother: Joan Copeland
Victoria: Dana Behr
Psychiatrist: Debra Monk
Sarah: Bellina Logan
Lili: Jill Tasker
Nina: Joanna Going
Wendy: Erica Gimpel

The Chapman Reading Series


The Boiler Room by Kevin Corrigan

Directed by: Lawrence Sacharow
Playwright Advisor: Wendy Kesselman

there is a better way to write this play

there’s a better way to write this play
it can be said with fewer words
there should be a clever rhyme
there should be an artful dance
there should be audience participation
the theme isn’t universal enough
the dialogue isn’t snappy enough
the play itself isn’t enough
the language is too flourished
the commentary is too vague
the delivery is too polished
there’s a better way to write this play
ooh, another monologue delivered center stage?
who do you think you are, Christopher Durang?
ooh, another brilliant piece of life advice
who do you think you are, Elizabeth Gilbert?
ooh, another joke that’s a thinly veiled insecurity
who do you think you are, David Sedaris?
planning to sing are we?
don’t forget you’re pitchy when you don’t warm up
don’t forget you the tens of thousands of dollars spent to study it
don’t forget there are people who have better voices that have never studied it
planning to write a confessional piece?
don’t forget what’s riding on this
don’t forget you think you’re funny
don’t forget no one wants to hear you air out all your bullshit
there’s a better way to write this play
you need to try harder
are you even trying?
why do you bother trying?
you don’t work hard enough
you call yourself a hard worker?
lots of artists work harder
time is of the essence
you’re running out of time
you’re wasting your time
why aren’t you in LA?
why aren’t you in NY?
why aren’t you somewhere less expensive?
aw, is someone afraid of failure?
aw, is someone afraid of shame?
aw, is someone afraid of every hope, dream, & wish they’ve ever confessed crashing down around them and that they’ll end up crushed & broke and living at home with mom and dad working in food service for the rest of their lives?
at least you’re good at food service.
there’s a better way to write this play.
there’s no better way to write this play because this is the play I wrote
i am the only version of me that exists in this moment
therefore I am always the perfect version of myself for there is no other version except what is here, now, breathing in front of you
this is the play I wrote for you
this is the play I performed for you
this is the play I was for you

–ryan patrick welsh