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A Woman and three Spirit Women talk about life before the war separated them from their former friends, neighbors and family. A poetic work meant to incorporate movement and dance and music.
A Woman and three Spirit Women talk about life before the war separated them from their former friends, neighbors and family. A poetic work meant to incorporate movement and dance and music.
Characters
Woman
Spirit Woman One
Spirit Woman Two
Spirit Woman Three
NOTE: If you wish to add more performers that is possible with permission as is the deletion of some of the repetitions in the text. This is a fluid piece.
Time Present
Setting An empty space
Authors Note:
When the direction is given to use "Language" before dialogue for the SPIRIT WOMEN, the playwright suggests the use of foreign languages in place of the English text to denote the universality of the themes of the price of war on families, communities and lovers. The languages should be varied but should reflect a variety of sounds as well as language groups. Also, there should be a great deal of emphasis on motion, dance and movement while choreographing the text. (Dance companies are encouraged to adapt this for performance. The playwright continues to be interested in working with text and movement and encourages inquiries.) The specific choice of music and other sound or rhythms and dance or movement style is up to the discretion of each production.
History
1997 Big Damn Deal Productions, Phoenix (AZ)
1996 Total Theatre, Columbus (OH)
Woman
Spirit Woman One
Spirit Woman Two
Spirit Woman Three
NOTE: If you wish to add more performers that is possible with permission as is the deletion of some of the repetitions in the text. This is a fluid piece.
Time Present
Setting An empty space
Authors Note:
When the direction is given to use "Language" before dialogue for the SPIRIT WOMEN, the playwright suggests the use of foreign languages in place of the English text to denote the universality of the themes of the price of war on families, communities and lovers. The languages should be varied but should reflect a variety of sounds as well as language groups. Also, there should be a great deal of emphasis on motion, dance and movement while choreographing the text. (Dance companies are encouraged to adapt this for performance. The playwright continues to be interested in working with text and movement and encourages inquiries.) The specific choice of music and other sound or rhythms and dance or movement style is up to the discretion of each production.
History
1997 Big Damn Deal Productions, Phoenix (AZ)
1996 Total Theatre, Columbus (OH)
Before the War – Sandra Perlman – © ALL RIGHTS RESERVED REPRODUCTION WITHOUT SPECIFIC WRITTEN PERMISSION PROHIBITED
Caution: This script is provided for reading purposes only. Professionals and amateurs are hereby warned that [TITLE OF PLAY] is subject to royalty. It is fully protected under the laws of the United States of America, the British Empire, including the Dominion of Canada, and all other countries of the Copyright Union. All rights, including but not limited to professional, amateur, film, radio, and all other media (including use on the worldwide web) and the rights of translation into foreign languages are strictly reserved; and any unauthorized use of the material may subject the user to any and all applicable civil and criminal penalties.
Caution: This script is provided for reading purposes only. Professionals and amateurs are hereby warned that [TITLE OF PLAY] is subject to royalty. It is fully protected under the laws of the United States of America, the British Empire, including the Dominion of Canada, and all other countries of the Copyright Union. All rights, including but not limited to professional, amateur, film, radio, and all other media (including use on the worldwide web) and the rights of translation into foreign languages are strictly reserved; and any unauthorized use of the material may subject the user to any and all applicable civil and criminal penalties.
Before the War | Sandra Perlman