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Physical Poetry

Physical Poetry PHYSICAL POETRY David Grieg in conversation with Caridad Svich D avid Greig’s play The American Pilot received its U.S. premiere December 2006 at Manhattan Theatre Club, in New York City, under Lynne Meadow’s direction. Although Greig is a top-drawer talent in his native Scotland and across Europe, his work has only recently been finding its way to American shores. Of the same generation as Mark Ravenhill, Sarah Kane, Phyllis Nagy, and Anthony Neilson, Greig’s work is both of and apart from the 1990s UK new brutalist writing movement—“of ” because his work shares with Ravenhill and Kane’s a formalist, classicist concern with the effects of violence on society and individuals, and “apart” because his dramas tend to focus outward instead of inward. His plays avoid the “bed-sit” and instead stretch across open spaces and different countries. Greig’s plays are often epic in scope and historical in nature, whether the emphasis is on recent or ancient history. Carving his stories with great detail and depth of vision, Greig writes primarily tales of individuals struggling with the burdens and regrets of memory. His central figures—usually men, and usually loners—are possessed by a desire to remake history (their own or their http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

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Publisher
MIT Press
Copyright
© 2007 David Grieg
Subject
Interview
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj.2007.29.2.51
Publisher site
See Article on Publisher Site

Abstract

PHYSICAL POETRY David Grieg in conversation with Caridad Svich D avid Greig’s play The American Pilot received its U.S. premiere December 2006 at Manhattan Theatre Club, in New York City, under Lynne Meadow’s direction. Although Greig is a top-drawer talent in his native Scotland and across Europe, his work has only recently been finding its way to American shores. Of the same generation as Mark Ravenhill, Sarah Kane, Phyllis Nagy, and Anthony Neilson, Greig’s work is both of and apart from the 1990s UK new brutalist writing movement—“of ” because his work shares with Ravenhill and Kane’s a formalist, classicist concern with the effects of violence on society and individuals, and “apart” because his dramas tend to focus outward instead of inward. His plays avoid the “bed-sit” and instead stretch across open spaces and different countries. Greig’s plays are often epic in scope and historical in nature, whether the emphasis is on recent or ancient history. Carving his stories with great detail and depth of vision, Greig writes primarily tales of individuals struggling with the burdens and regrets of memory. His central figures—usually men, and usually loners—are possessed by a desire to remake history (their own or their

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2007

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