Understanding Gertrude Stein’s experimental play, Saints And Singing (1922) as a response to Avery Hopwood’s popular sex farces offers critical insight into her experimental method during a prolific period of her playwriting. Hopwood’s sex farces may have reminded Stein of her own romantic melodrama when her first love affair with a woman resulted in the entanglements of a love triangle. Now a mature writer, happily “wedded,” Stein transforms melodramatic themes in her plays into formal questions about the pacing and timing of emotion in theater. I argue that the saints plays Stein wrote in the early 20s constitute an important shift in her experimental playwriting from a relatively static scenic mode of “landscape writing” to a model of dynamic flux.
|Keywords:||Gertrude Stein, Avery Hopwood, Plays, Experimental Theater, Broadway Sex Farce, Landscape Plays, Lesbian Love Triangle, Formalist Innovation, Perceptual Experience|
Assistant Professor, American University, Department of Literature, American University, Washington, D.C., USA
There are currently no reviews of this product.Write a Review