The Ruhls of Relationships: Connecting with Others Through Theatrical Ambiguity
The Ruhls of Relationships: Connecting with Others Through Theatrical Ambiguity aims to bring attention to the enjoyable relationship one should have with theatre that encourages ambiguity and to highlight the joy and connection one can find through plays that encourage unity among audiences. This will be done through an examination of the interpersonal relationships demonstrated in eight of Sarah Ruhl’s major plays: Melancholy Play: a contemporary farce (2002), Eurydice (2003), Late: a cowboy song (2003), The Clean House (2004), Dead Man’s Cell Phone (2007), In the Next Room, or the vibrator play (2009), Stage Kiss (2011), and The Oldest Boy (2014). Through textual examinations and an analysis of professional productions, including a primary account of the world premiere of How to Transcend a Happy Marriage (2017), an exploration of Ruhl’s presence in modern American theatre will determine the significance of and reason behind the popularity of her aesthetic. Ruhl has set herself apart as a successful playwright in contemporary theatre by combining magical realism with light-hearted tragedy, and, in turn, created an inclusive environment within the theatre community that audiences are grasping for.
Table of Contents
The theatre for everyone -- Keep them close to you: families -- Part of the social contract: friendships -- What a strange job: professionals -- Romance, both living and dead -- Epilogue