#ophelia-reinterpretation

#ophelia-reinterpretation

Under the ABS challenge system, a team begins each game with two challenges. If a player gets an umpire's call overturned, their team retains the challenge. In effect, this means a team has unlimited challenges until they get two wrong.

Wallace Shawn's new play, What We Did Before Our Moth Days, opens with a provocative monologue about a 25-year-old's relationship with a 13-year-old girl, challenging societal norms.

While being treated for a serious mental breakdown in 1940, Carrington passed her days by filling sketchbooks with art that reimagined the hospital as an 'underworld' inhabited by strange, hybrid beasts.

This is an all-hands-on-deck moment for women across the world, referring to a coordinated, deliberate effort to dismantle the progress toward women's equality. The effects of this growing inequality in the U.S. are magnified for women from marginalized communities, who already face barriers to financial and educational opportunities.

From our millennia-later perspective, it's also remarkable that a culture that didn't count women as citizens - or even, truly, as full people; Aeschylus's Oresteia turns on the divine judgment that a mother isn't really a parent to her child but simply a vessel for the male's seed - created such staggering expressions of female wrath and righteousness on its stages.

What Maggie O'Farrell so brilliantly did, not just with Agnes and Shakespeare's wife, but also with Hamnet, their son, was to bring these people ... and give them status beside this great man. ... [And] give the full landscape of what it is to be a woman.

Seeing this remarkable movie reminded me that we cannot look away from real-life tragedies

Carved on the walls surrounding her sarcophagus were more than 150 ancient Greek poems in which Bilitis recounted her life, from her childhood in Pamphylia in present-day Turkey to her adventures on the islands of Lesbos and Cyprus, where she would eventually come to rest. Heim diligently copied down this treasure trove of poems, which had not seen the light of day for more than two millennia.

So why did people flock to the Pinter to catch it before we all vanished? A clue might be that many of the reviews were written by men who really didn't understand what it is to be a working mother or a child-free actress. She said one male critic had described a female character's lament about her vagina as unrealistic. We need women to write that, she said.

I like to touch people,

The ghost of a previous lover is always a challenge, particularly if you (mistakenly) believe that she's actually dead. This is the unenviable situation for Lily, the protagonist of O'Farrell's second novel, who is swept off her feet by dashing architect Marcus and in short order moves in with him. Lily takes his assurances that her predecessor Sinead is no longer with us to mark a more permanent absence;

, the hit play at Studio 54, is writer and director Robert Ickes' modern - and riveting - version of Sophocles' Oedipus Rex. Since that play was written around 425 B.C., I'm not spilling the beans by telling you it's about the King of Thebes (Oedipus) who unknowingly fulfills his destiny by killing his father and marrying his mother. When he discovers what he has done - what he can never "unsee" - he gouges out his eyes.

We've seen Robert Icke's Oedipus as a political thriller on Broadway last fall, Shayok Misha Chowdhury's revival of the choral Gospel at Colonus at Little Island in the summer (if you missed that, I recommend a tape of the 1985 production on YouTube), and now, Alexander Zeldin's The Other Place at the Shed, a version of Antigone turned into a bourgeois family drama.

The short version: Hannah was married to Andrew, and Anna was married to Ryan. Then Anna and Andrew slept together and both marriages blew up. Then, six years after that, just as Andrew was finishing the manuscript of a novel closely paralleling his breakup, he found out that Hannah had beat him to the punch: Her book about a marriage-destroying affair (subtitled "A Memoir [kind of]") would be published nine months before his.

Spalding Gray used to perform a show called Interviewing the Audience. The celebrated monologist would invite a stranger he had met in the lobby to join him on stage. Through a sequence of innocuous questions, he would get them to open up about their lives. At one performance, a guest broke the audience's hearts by talking about her daughter's murder. At benefit nights, people living with HIV shared their tales. Other times, the anecdotes would be eccentric or amusing.

Tracey Emin is internationally renowned for her coruscatingly confessional art, which for over three decades has chronicled an often tumultuous life in various media, including painting, video, textiles, neon, writing, sculpture and installation. Born in Croydon, London, and raised in the seaside town of Margate, Emin first attracted widespread attention when, as a Turner Prize nominee in 1999, she exhibited the now notorious work My Bed (1998) provoking fierce critical debate on what art could-or should-be.