By Sheila Callaghan
Comedy / 1m, 2f / uncomplicated Set Ever on account that their college blew up, Moth and stomach have taken to stalking an unlawful net caf? within the hopes o/ f in the future being allowed in. They take specific curiosity in leather-based, a skittish older guy doing study within the caf?. leather-based is a self-proclaimed "freelance pupil" from a international land with a sketchy previous and a sticky mystery. leather-based starts to fall head over heals in love with Moth... yet what approximately stomach? This play explores the consequences of rampant capitalism on a rustic that's ill-prepared for it. "Bold and interesting, we're not those arms is as enjoyable because it is engaging...Rich intimately and whole of humor and pathos." - Oakland Tribune "Swaggering eccentricity...Callaghan takes a lavish dust tub in a damaged language...Ripe apocalyptic slang; at its most sensible, it is racy and unrefined, the type of belongings you may think young ones within the again alleys of a decaying international could sling around." - The Washington publish "The hole among wealthy and terrible yawns so large it aches in Sheila Callaghan's we're not those fingers, yet a lot of the soreness is from laughter. fingers is a comically enticing, subversively penetrating examine the human price of unbridled capitalism on either side of the river...the anger of the play's social imaginative and prescient is in part hid by way of its copious humor, rising extra forcefully after it really is over...Hands bristles with shiny, comedian originality, really in depicting the constraints of its people." - San Francisco Chronicle
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Extra resources for We Are Not These Hands
1). 41 Taplin 89–99, esp. 95. 42 Webster (1948) 25 observes that the obvious comparandum for the ‘Goose-Play’ scene discussed above is Women Celebrating the Thesmophoria after Inlaw has been captured and turned over to the Scythian archer for punishment, in which case the mysterious and seemingly oﬀ-stage Τραγοιδ is most naturally taken as a counterpart of the Aristophanic Euripides. 43 It is thus worth considering whether the apparent great success of Athenian ‘Middle Comedy’ in Sicily and Southern Italy was less the result of the gradual evolution of the genre than a cause of it, as poets began to write with an eye toward the interests of an audience broader than the one that ﬁlled the Theatre of Dionysus on local festival days.
Po. 1448a33–4 (on Chionides as a very early Athenian comic poet). For brief individual biographies of the poets included in this collection, see Appendix III. 44 45 Introduction 17 the remarks at Eq. 522–3 about his eagerness to entertain his audience by ‘plucking his lyre, ﬂapping his wings, playing the Lydian, acting like a gall-insect, and dyeing himself in frog-colours’ (all once again presumably references to the costumes and behaviour of his choruses); but we know from other sources that he wrote two plays entitled Dionysus and another entitled The Female Grass-cutter (Ποα´στρια).
23 His arguments too, however, fail to hold up to close examination; see A16–A17 n. Aeschylus probably met Epicharmus when he visited Sicily, and might easily have brought copies of the plays back to Athens; and the Athenians were in constant commercial, political, and intellectual contact with the West throughout the ﬁfth century. 24 The only other early ﬁfth-century Syracusan literary ﬁgure of whom we have substantial knowledge is Sophron, an author of mimes said by the Suda (σ 893 = test. 1) to have been a contemporary of Euripides (480s–407/6) and the Persian king Xerxes (reigned 486–465).
We Are Not These Hands by Sheila Callaghan