Is it more important for a memoirist to avoid inflicting pain on those close to him or to tell the truth as he remembers it? Is the allure of suicide to be taken on its own terms or treated with the taboo our society generally imposes upon it? Which should sway the thinking person: the less than conclusive evidence for God’s existence and meaning in the universe or the less than conclusive evidence against God and meaning? There is not going to be an objectively final resolution to these problems. Should drama therefore not “go there”? And if it does “go there,” must the dramatist furnish a right answer? Not in my book.
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A Man for All Seasons,
Actors' Equity,
Albert Camus,
Andrew Hinderaker,
Bank Street Theater,
Bertolt Brecht,
Black Box Theater,
C.S. Lewis,
Clive Staples Lewis,
David Bar Katz,
Doubt,
Ellen Burstyn,
Freud's Last Session,
Great White Way,
Independent,
James McMenamin,
John Glover,
John Patrick Shanley,
Labyrinth Theater Company,
Mar St. Germain,
Mark H. Dold,
Martin Rayner,
memoir,
memory play,
miracles,
New World Stages,
Off-Broadway,
Off-Off-Braodway,
Pilgrim's Regress,
Raoundabout Theater Company,
Roundabout Underground New Play Initiative,
Second Vatican Council,
Showcase rules,
Sigmund Freud,
suicide,
Suicide Incorporated,
Surprised by Joy,
Tennessee Williams,
The Abolition of Man,
The Atmosphere of Memory,
The Crucible,
The Future of an Illusion,
Theater District,
Tiny Alice,
Vatican Two,
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Posted on October 29, 2007, 10:07 pm, by Jack L. B. Gohn, under
The Big Picture.
The Big Picture Home Page | Previous Big Picture Column | Next Big Picture Column Intelligent Design Revisited Published in the Maryland Daily Record October 29, 2007 I wrote about Intelligent Design theory here in May of 2004. In that column, I said, in essence, that Intelligent Design (“ID”) seemed good enough science to […]