By Colman Domingo
Electronic ISBN: 9781783195572
In 2010, Domingo's self-penned play A Boy and His Soul premiered Off-Broadway on the winery Theater, for which he gained GLAAD Award: extraordinary manhattan Theater: Broadway & Off–Broadway and a Lucille Lortel Award for notable Solo express. He was once additionally nominated for a Drama table Award and a Drama League Award.
Where do you get SOUL? From staring at your mom and dad promote the home you grew up in? From learning the relations mystery approximately your loopy cousin? Or from the early life files present in your parents’ basement? From Stevie, Aretha, Marvin, Chaka, Barry, Gladys…and Colman. Propelled by way of the beat of vintage soul, soft R&B and disco, this is often the soundtrack of a boy’s coming of age in 70s and 80s Philadelphia.
A Boy and His Soul used to be the recipient of the Lucille Lortel Award top Solo exhibit, GLAAD Media Award top Play On or Off Broadway and the ITBA top Solo convey awards.
"A blazingly charismatic performer." manhattan Times
"Personal, poignant and pungent… [an] evocative, relocating piece a couple of guy who reveals himself and a wide a part of his id via music." The Stage
"A attractive and smooth one-man show." day-by-day Telegraph
"Its sprinkling of sharp observations coupled with a heartfelt love for the song makes A Boy and His Soul not easy to resist." What's On Stage
"The characters created by way of Domingo… are so vibrant, so likeable, so easily but vividly embodied… it truly is tricky to resist." reliable London Theatre
"Leaves you yelping for more." Observer
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Vettori was more interested in specific philological questions, less in substantiating any previously held theory of poetry, than Robortello and Maggi had been; this often brought him closer to the conceptions of the original. He correctly, for example, considered purgation as the "end" of tragedy, though he admitted other emotions than pity and terror to bring it about. His ^'Antonfrancesco Grazzini, Commedie (Florence, 1859), 5. , 173. 43 Theories of the Theatre than that of his predecessors, but his emphasis on the feelings and the belief of the audience places him still clearly in tone less didactic is the rhetorical tradition.
The goal of comedy is a sort of social equilibrium. Comedy ridicules the "plunderer and evil-doer and pestilent fellow" and "for the rest settles all into decorum. Thus tragedy dissolves life, while comedy founds it firmly, and renders it solid. "^ 'Quoted in Lane Cooper, Introduction, in An Aristotelian Theory of Comedy (New York, 1922), 86. 31 — Theories of the Theatre In the West, the Carolingian period (eighth to tenth centuries) produced a flowering of poetry and of critical commentary on classical and Clhrisiian literature.
97. ^"Dedicatory letter to Sidonia, Dec. 25, 1583, quoted in Weinberg, History, 2:936. 51 — Theories of the Theatre end of poetry was perhaps the most widely held critical and the need still strongly felt to answer the objections of Plato. Yet some of the outstanding critics of the period rejected even this, with Castelvetro emphasizing pleasure, Scaliger imitation, and Riccoboni plot over any utility as the — position, because of both the rhetorical tradition — moral concern. Moreover, there were direct challenges to classic authority, anticipating certain key arguments of the romantics.