Abstract
Mac Wellman is an award-winning American playwright whose theatre can be daunting to a first-time spectator. Since he thinks of his playFnu Lnu as a “new version of Aeschylus’Eumenides,” the classical play can provide entrance to the contemporary play but with adjustments for the experimental mode of presentation. The Furies, for example, are singing sorceresses, and Orestes is an old anarchist reminiscing about the good old days. There is a quester, however, and a quest that takes him beneath the play’s site to the old, lost city that is the Dionysian flux, the source of imagery that is the basis of poetic theatre’s language (as opposed to the literal language of geezer or naturalistic theatre) and of freedom of choice that is the basis of a political, moral, creative society. The spectator-reader is encouraged to take the journey, for once the obstacles are overcome, the experience is very rewarding.
Similar content being viewed by others
References
Mac Wellman,Fnu Lnu, inCellophane, PAJ Book (Baltimore: Johns Hopkins UP, 2001) 207. Hereafter to be cited parenthetically.
Mac Wellman,Sincerity Forever, inGrove New American Theater, ed. Michael Feingold (New York: Grove, 1993) 99.
Mac Wellman, “Figure of Speech: An Interview with Mac Wellman,” by Marc Robinson,Performing Arts Journal 40 14.1 (1992): 46.
Joseph Campbell,The Hero with a Thousand Faces, Meridian Books (Cleveland: World, 1956) 51–53.
Ibid. 77.
Eric Overmyer,On the Verge, inCollected Plays (Newbury, VT: Smith and Kraus, 1993) 109.
See note 5 above..
Richard Foreman, preface toLava, inUnbalancing Acts, ed. Ken Jordan (New York: Pantheon Books, 1992) 315.
Porter Anderson, “Fidel Castro Slept Here,”American Theatre 12.1 (1995): 8–9.
Author information
Authors and Affiliations
Rights and permissions
About this article
Cite this article
Andreach, R.J. Aeschylus’Eumenides: Providing Entrance to Mac Wellman≿s Theatre. Neohelicon 33, 179–190 (2006). https://doi.org/10.1007/BF02766257
Published:
Issue Date:
DOI: https://doi.org/10.1007/BF02766257