Shopping and F***ing

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It made me think a lot about the difference between want and need. We’re living in a selfish age and we’re all falling victim to the belief that “I’ll be happy when ...”. I’ll be happy when I get those trainers and that boyfriend and that amount of money in my bank account and that postcode and that number of likes on Facebook. We’re chasing the want but not fully knowing what we need. And that can so easily get ugly because of all the things you might do in the pursuit of happiness. October-5 November 2016 – Lyric Hammersmith. Directed by Sean Holmes. Alphabetically, this production starred Alex Arnold as Robbie, Ashley McGuire as Brian, David Moorst as Gary, Sam Spruell as Mark and Sophie Wu as Lulu.

Po jeho dráme Faust (is dead) som k nemu pociťovala určitý odpor - je to tenučká kniha, no trpela som pri nej. Ravenhill kritizuje krutosť systému, nastavuje zrkadlo konzumnej spoločnosti - robí presne to, čo si predstavíte v modernej literatúre, keď sa povie, že autor je rebel, anarchista a chce šokovať všetko a všetkých. Možno by som označila Ravenhilla za divadelného Palahniuka - lebo nikto iný, kto kritizuje spoločnosť s drsným humorom a jeho scenérie sú temné, chladné a až tak nepríjemne známe, mi momentálne nenapadá. Benim kişiliğimi bir yönü var-kişiliğimin bağımlı hale gelen kısmı. Kendimi, başkalarıyla olan ilişkilerim bağlamında tanımlama eğilimim var. Anlıyorsun ya, kendimi tanımlayamıyorum. Bu yüzden, bundan kaçınmak için, kendimi tanımaktan kaçınmak için, başkalarına bağlanıyorum. Ki bu potansiyel olarak oldukça yıkıcı. Benim için yıkıcı"A: Mark Ravenhill Pf: 1996, London Pb: 1996 G: Drama in 14 scenes S: A flat, interview room, bedsit, pub, hospital, and department store, London, 1990s C: 4m, 1f This 20th-anniversary revival — all glorious flash, videos and music — works hard to distract us from the fact that the play is an old-fashioned flat-share drama featuring a group of friends, all of whom have been named after members of the 1990s Cool Brit boy band Take That. So there’s the idealistic stoner Robbie, the junkie Mark and the ever-enterprising Lulu. The plot shows how, in a series of rapid scenes, their attempts at self-improvement come under threat. Mark books into a clinic to cure his addiction, but is thrown out. On the streets, he finds Gary, a teenage rentboy. Meanwhile, Lulu’s attempt to get a job involves stripping off for middle-aged Brian, who tests her by giving her a bag of Ecstasy to sell. Cue dance scenes. And then some telephone sex. The story climaxes when Mark brings the damaged and self-destructive Gary home to meet Lulu and Robbie. We have reached that time of our social evolution when we have to press pause on our busy schedules and have a moment to think about what being a human actually means nowadays. Do our wealth and expensive things make us better people, or is it the compassion we have for others? Is the value of money more important than the value of a human being? Are modern relationships built solely on pursuit of personal interests and overwhelming desire to satisfy personal needs? Can a real relationship actually flourish in the midst of a decaying, wretched, hollow world, run by hypocrisy and vice? We suddenly find ourselves on the verge between what we think is right and what society tells us to be right. Thus we continually lose the grip of our own identity and understandings. Examining the depths of such social, political and intimate dimensions, the play ends with a prophecy of the future. It is not a happy ending. It is a dark and depressing assumption that our world will continue its devastating downfall, if humankind continues to praise the destructive equivalence: money = happiness. Happiness this way! Work Cited Aspects of consumerism and sexuality rampant in popular culture recur throughout the play: drugs, shoplifting, phone sex, prostitution, anal sex and oral sex in the London department store Harvey Nichols.

Ocr tesseract 5.0.0-alpha-20201231-10-g1236 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 1.0000 Ocr_module_version 0.0.12 Ocr_parameters -l eng Old_pallet IA-WL-0000129 Openlibrary_edition On the other hand, The New York Times favors the ‘it doesn’t exist’ formula. It has prudishly renamed the play Shopping and …. Everyone does it, no one will name it! The Times doesn’t even give it an asterisk or two. Three little dots must suffice. “How was it for you, my darling?”“That was the greatest three little dots I ever had in my life!” LH: It’s important to see the play in the context of all the fantastic new work that was coming out in the Nineties from people like Mark, Sarah Kane, Joe Penhall and Martin McDonagh. It was an extraordinarily fertile time for playwriting – and the audiences for these writers were very young, or at least becoming much more mixed. MR: What was it like for my career? Almost entirely positive, I think. The only thing was that people did have slightly weird expectations of me, that I was one of those characters. Even though I’ve dutifully done 20 years of appearing on Radio 4 and writing articles for The Guardian, there’s still an expectation that I will be a heroin addict. People are very disappointed by people who are educated; they’d rather a playwright hadn’t read anything. Sensing Others through Dancing Bodies as Data: Review of Sense Datum by UBIN DANCE 26th November 2023Are all Ravenhill's plays like that? I'm still processing how I feel about it. Great concept, shabby execution. I actually appreciate how the play plays on the whole consumerist society, and how relationships are manoeuvred in a neoliberalist culture/society. It's smart enough but not mind-blowing. Surely, it can be done better. It reminds me of Tracey Emin's 'My Bed' (1998). It's a brilliant concept, but not much effort innit? And personally I'm just someone who appreciates effort is all. Intimacy at a price … Sam Spruell (Mark) and Sophie Wu (Lulu). Photograph: Tristram Kenton/The Guardian Beginning 4 February 1998 International Tour [1] – starring Ashley Artus, Stephen Beresford, Charlie Condou, Karina Fernandez and Ian Redford. Consumerism is set to be the invisible power which makes the world go round and money is its fuel. As a result, all moral codes and ethical values are being obliterated. Love, intimacy, beauty the most sacred virtues are denied and replaced by the mere lust for money and power. The pursuit of happiness is transformed into the pursuit of cash. In scene fourteen, Brian remembers a story from his childhood when his father had asked him what the first words in the Bible were. He recounts his father telling him “Son, the first few words in the Bible are… get the money first. Get. The Money. First.”

Playwright Mark Ravenhill was educated at Bristol University where he studied English and Drama, and worked for the Soho Poly in London. I was reminded of something someone once said to me: capitalism needs shame in the same way that politics needs fear. It made me think about the primal, human need to be part of the tribe. Shame is the fear that you’re not worthy of love and connection. Capitalism is preying on that idea – buy this and you’ll feel good, wear this and you’ll feel good. It fuels that sense of shame that we’re not already enough. It’s so dangerous on a worldwide level.Každopádne - Ravenhill je pre mňa cool dramatik (to je teraz vtip, lebo on a Sarah Kane sú priekopníkmi písania drámy, kt. sa volá cool dráma hehe) Postavy majú veľkú sexuálnu slobodu, filozofia ich života sa krúti okolo sexu, lásky, drog, okolo slobody a peňazí, sú poznačené kapitalizmom a chcú stále viac a viac. The acting was adequate but at times looked a little amateurish. I particularly liked the character Lulu ( Kate Ashfield), she is the flatmate of Robbie and the character Brian ( Robin Soans), a weird drug pusher. Ravenhill’s play is both distinctly of its time, in the way it skewered the bleakness of Thatcher’s legacy on a generation of youngsters, and yet also prophetic. It neatly reflects the anxieties and monetary obsessions of youngsters living in a post-financial crash world where you are what you own; where even intimacy comes at a terrible price or must be avoided at all costs; and where loneliness is corrosive. “Are there any feelings left?” muses Mark on his odyssey in which he tries to reduce everything to a transaction only to discover that love gets in the way.