![]() ![]() The scorching issues raised by Self Defense defy simple response, but the airtight forces voicing them here are no less complex in their excellence. Yet Self Defense never trivializes the murders, or excuses Wuornos for pulling the trigger. America's double standards on rape and prostitution relegates her seven victims to clinical gristle. Some observers may find that the emphasis on Wuornos vs. Ever Since It Was First Performed In 1949, Death Of A Salesman Has Been Recognized As A Milestone Of The American Theater. The post-feminist volleys carry the courage of Kreitzer's convictions about the convict who motivated them, and land with uncanny artistic aim. Kreitzer finds pertinent substance within her concentrated didactic sights. ![]() Its narrative rails at the skewered society that (inaccurately) dubbed Wuornos 'America's first female serial killer.' The media-driven voyeurism obscured arguments of self-defense raised by an unspeakably abused, profoundly damaged hooker also, that slayings of prostitutes abated during Wuornos' Florida killing spree. A Play Revisits the Making of Death of a Salesman in Mandarin. Self Defense, which concludes Kreitzer's 'Women Who Kill' triptych, pulls no punches. A new Pal Joey at City Center has reimagined the never-quite-satisfying script. ![]() "The West Coast premiere of Carson Kreitzer's 2001 fantasia about executed murderer Aileen Wuornos is stunning, true political theater with a visceral punch. ![]()
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