It is not just one of the woman's most well-known plays, but La Musica, which was written in 1965 has endured even today, frequent performances of the performance are still put on, is still a welcomed addition to any movie theater. The play tells the story of Michel and Anne-Marie, 2 people who're returning to a little French town 4 years after their relationship ended. They return to the town exactly where they once lived and also to a hotel exactly where they had many times together in, to dissect exactly what occurred. Here’s a rundown of some of the utmost composing on this interesting play.
In the Evening Standard, Fiona Mountford writes that the manufacturing she saw is ‘spare and striped back to afford additional weight as to what continues to be unsaid’. The construction is handled by Jeff James and is extremely stylish. Mountford is a big fan of the format of the generation and in specific notes just how it looks, with 2 big monitors offering close ups of the actors faces. This is specially prominent.
Bruno Wang has created an in depth post about the play. He covers how the play ‘raises the problem of how often the anxiety about abandonment exhibits into handle and punishment’ it’s a remarkably nuanced look at the classic play that's really worth a read to any person. It’s both available as well as being an excellent piece of professional movie theater criticism
Paul Taylor covers the performance in an prolonged piece for the Independent. He calls the performance a ‘rarely performed two-hander that dissects the end of a relationship and like much of Duras’ work is spare and stripped right back to afford extra heft to just what remains to be unspoken.’ This production in Hampsted theatre has both the authentic performance performed and the second. Taylor prefers the play but eventually he drops somewhat level he states ‘the dramatist fails to inspire regard for or interest in the suffering’.
Lyn Gardner has composed an introduction to a version of the performance within the Young Vic. She claims the production has tones of Noel Coward’s Private Lives and Jean-Paul Sartre’s Huis Clos. Within this review Gardner is not totally amazed with all the generation, she states that the writing is old today and hinders the normally entirely contemporary setting. ‘Duras’ writing is really elliptical, so self-consciously doomy and lyrical, that people get little sense of persona as well as an extra of feeling in a translation that shows its age.’ She gives praise towards the two actors in the play enjoy, Emily Barclay and Sam Troughton who both are ‘admirably restrained and always watchable’. This is a wonderful piece that takes a thorough look at this intriguing performance.