Whos afraid of virginia woolf script pdf

#Whos afraid of virginia woolf script pdf professional

Such a dynamic is strikingly evident in Edward AlbeeвЂ™s masterpiece, WhoвЂ™s Afraid of Virginia Woolf? (1962), the first act of which alerts viewers to its ludic themes through the subtitle вЂњFun and Games.вЂќ The actors undertaking the parts of Martha and George and of their late-night guests, Honey and Nick, must bring to life the antagonism expressed in the protagonistsвЂ™ mutually tormenting games, with these sadomasochistic structures challenging viewers to consider the inherent ambiguity of MarthaвЂ™s and GeorgeвЂ™s relative positions to each other.

#Whos afraid of virginia woolf script pdf professional

Certainly, as a site simultaneously recreational and professional in its ambitions, the theatre multiplies the ludonarrative potential of characters qua players, in that actors must adopt the personae of their roles, with these characters then assuming complementary or contrasting stances toward one another as the plot unfolds.

From this new perspective, ludonarratology allows a clearer eye on the ways in which the theatre encourages its actors, producers, and audiences to engage in the rituals of play. Of the intersection of gaming and literary art, Astrid Ensslin explains that вЂњnarrative, dramatic, and/or poetic techniques are employed in order to explore the affordance and limitations of rules and other ludic structures and processes.вЂќ That is to say, ludic, literary, dramatic, and poetic themes and structures often overlap, with kaleidoscopic refractions of form, structure, and story. The Journal of American Drama and TheatreДЄ relatively new term in the critical lexicon, ludonarratology theorizes the intersection of games and narrative structures in a particularly apt formulation for the theatrical world.