By Tracy Letts
This darkish comedy happens in a seedy inn room outdoor Oklahoma urban, the place Agnes, a drug-addled cocktail waitress, is hiding from her ex-con ex-husband. Her lesbian biker good friend R.C. introduces her to Peter, a good-looking drifter who should be an AWOL Gulf warfare veteran. They quickly commence a dating that happens virtually fullyyt in the more and more claustrophobic confines of her hotel room. Peter starts off to rant concerning the conflict in Iraq, UFOs, the Oklahoma urban bombings, cult suicides, after which mystery executive test on infantrymen, of which he believes he's a sufferer. His delusions infect Agnes and the stress mounts as mysterious strangers look at their door, earlier occasions hang-out them at each flip and they're attacked by means of actual insects. Tracy Letts's story of affection, paranoia, and executive conspiracy is a thought-provoking psycho-thriller that combines terror and laughter at a fever pitch.
Set in a seedy Oklahoma urban inn room, the play facilities at the assembly among Agnes, a divorced waitress with a passion for cocaine and isolation, and Peter, a soft-spoken Gulf battle drifter brought to her through her lesbian buddy, R.C. Agnes remains at a resort in hopes of warding off her bodily abusive ex-husband, Jerry, who was once simply published from criminal. at the start, she we could Peter sleep platonically on her ground, yet now not lengthy after she promotes him to the mattress. concerns turn into extra complex as Jerry eagerly returns to the girl he likes to beat her up, waiting for to renew their dating. On most sensible of that, there s a hidden computer virus infestation challenge that has either Agnes and Peter facing scathing welts and festering sores which has Peter believing this can be the results of experiments carried out on him in the course of his remain at a military health center. Their fears quickly amplify to paranoia, conspiracy theories and twisted mental causes.
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Additional info for Bug: A Play
Perspective is at first hard to capture in this painting, given that the line of sight leads not to the visual centre of the work, but dramatically across to the left, where the most remote depth of the picture, the green lawn and pinkish wall that are all that can be glimpsed of the garden, forms a single, narrow vertical stripe that leads at once upwards into the pale blue strip of sky and outwards along the grass. At the same time, the angle of the wall that protrudes furthest into the viewer’s space occupies nearly the far right of the canvas, demarcating the borderline of shadow and light and opening a large stretch of white to pink vertical bands of colour that are almost entirely devoid of visual ‘information’ except for the meticulously depicted slots in the door frame.
Those deep marks to show. Samuel Beckett, ‘For Avigdor Arikha’ 1 Beckett’s relationships with painters were, throughout his life, both intense and aesthetically fruitful. His extended relationships with Jack B. Yeats and with Bram Van Velde have been fairly extensively documented, but his longest-lasting friendship with an artist is peculiarly less well understood. Beckett and Avigdor Arikha met in a Paris cafe in 1956, after Arikha had attended a performance of Waiting for Godot with friends. Their friendship lasted until Beckett’s death in 1989 and turned, according to Arikha’s wife, Anne Atik, around their mutual interest in art, music and literature, and occasional collaborations in the theatre or on artists’ books.
Even James Knowlson, the biographer who is always most authoritative regarding Beckett’s knowledge of painting, records no definitive viewing by Beckett of any painting by Caravaggio before his trip to Malta in November 1971, where he saw The Beheading of St. John the Baptist (1607–8). 42 It is difficult to imagine that he did not attend the Louvre show which so excited Arikha, or that he would never have seen the Doubting Thomas in Potsdam during his German itinerary, or the Death of the Virgin in the Louvre, however difficult of access other major paintings of Caravaggio’s may have been.
Bug: A Play by Tracy Letts