Ebook Free A Number, by Caryl Churchill
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A Number, by Caryl Churchill
Ebook Free A Number, by Caryl Churchill
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Review
“A Number confirms Chuchill’s status as the first dramatist of the 21st century. On the face of it, it is human cloning… Like all Churchill’s best plays, A Number deals with both the essentials and the extremities of human experience… The questions of this brilliant, harrowing play asks are almost unanswerable, which is why they must be asked” – Sunday Times“Caryl Churchill’s magnificent new play only last an hour but contains more drama, and more ideas, than most writers manage in a dozen full-length works.” – Daily Telegraph“Caryl Churchill’s never stands still. After the dystopian nightmare of Far Away, she now comes up with a challenging new form of moral inquiry. And the key question she asks in this play is from what the essential core of self derives: from nature or nurture, genetic inheritance or environmental circumstance?” – Guardian“Churchill’s harrowing bioethics fable leaves us with a number of things to chew on.” – Kris Vire, Time Out Chicago“Stunning… A Number, you see, is a gripping dramatic consideration of what happens to autonomous identity in a world where people can be cloned. The invaluable Ms. Churchill has not begun to stop surprising and unbalancing theatergoers. Since the 1970's this British dramatist has produced studies of a world quaking under constant siege in which style somehow always uniquely mirrors content. She has pondered mutations in gender (Cloud Nine) and language (Blue Heart), as well as the seismic disruptions of revolution (Mad Forest), civil war (Far Away) and environmental poisoning (The Skriker). She has now moved on to ponder a threat to the very cornerstone of Western civilization since the Renaissance: the idea of human individuality, a subject she manages to probe in depth in a mere hour of spartan sentences and silences. It is hard to think of another contemporary playwright who combines such economy of means and breadth of imagination.” -- Ben Brantley, New York Times“A Number confirms Chuchill’s status as the first dramatist of the 21st century. On the face of it, it is human cloning… Like all Churchill’s best plays, A Number deals with both the essentials and the extremities of human experience… The questions of this brilliant, harrowing play asks are almost unanswerable, which is why they must be asked†– Sunday Times“Caryl Churchill’s magnificent new play only last an hour but contains more drama, and more ideas, than most writers manage in a dozen full-length works.†– Daily Telegraph“Caryl Churchill’s never stands still. After the dystopian nightmare of Far Away, she now comes up with a challenging new form of moral inquiry. And the key question she asks in this play is from what the essential core of self derives: from nature or nurture, genetic inheritance or environmental circumstance?†– Guardian“Churchill’s harrowing bioethics fable leaves us with a number of things to chew on.†– Kris Vire, Time Out Chicago“Stunning… A Number, you see, is a gripping dramatic consideration of what happens to autonomous identity in a world where people can be cloned. The invaluable Ms. Churchill has not begun to stop surprising and unbalancing theatergoers. Since the 1970's this British dramatist has produced studies of a world quaking under constant siege in which style somehow always uniquely mirrors content. She has pondered mutations in gender (Cloud Nine) and language (Blue Heart), as well as the seismic disruptions of revolution (Mad Forest), civil war (Far Away) and environmental poisoning (The Skriker). She has now moved on to ponder a threat to the very cornerstone of Western civilization since the Renaissance: the idea of human individuality, a subject she manages to probe in depth in a mere hour of spartan sentences and silences. It is hard to think of another contemporary playwright who combines such economy of means and breadth of imagination.†-- Ben Brantley, New York Times
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About the Author
Caryl Churchill (1938-) is probably the most respected woman dramatist in the English-speaking world. She is the author of some twenty plays including Light Shining in Buckinghamshire, Cloud Nine, Top Girls, Serious Money, The Skriker, Blue Heart, Far Away and A Number, seen and admired all over the world. CARYL CHURCHILL's plays include "Cloud Nine" (revived in 2007 to huge acclaim at the Almeida, London), "Top Girls", "Serious Money", "The Skriker", "Blue Heart", "Far Away" and "A Number". Most are published by NHB.
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Product details
Paperback: 64 pages
Publisher: Theatre Communications Group (May 1, 2003)
Language: English
ISBN-10: 1559362251
ISBN-13: 978-1559362252
Product Dimensions:
5.1 x 0.2 x 7.8 inches
Shipping Weight: 4 ounces (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
9 customer reviews
Amazon Best Sellers Rank:
#178,695 in Books (See Top 100 in Books)
Intriguing topic of a person discovering he is a clone and then he tries to locate his brother(s). Once he finds one, he shocks you eith his behavior. As the story unfolds, you get drawn deeper into a web of lies and deceit. I recommend this play/book highly as well as watching the HBO TV adaptation.
What if you discovered you had been cloned? Caryl Churchill offers thought provoking answers in an intense drama.
Good play
Needed it for class, it has worked out fine! Good short play!
This play was amazing and fascinating to read. Going into this for the 2nd time around the play was a lot less confusing and much easier to get an understanding of all of the characters. The play is unique in itself since it reads like a novel and it goes into the themes of finding yourself and even more having that ownership of self and identifying what makes you unique. A number is amazing since Churchill is able to combine theater and science into one while conveying a poetic truth
A haunting play that delves deep into a father-son relationship, except that it isn’t quite what you think it is, because there is the father, Salter, in his sixties, and Bernard (B1), his son, forty, and Bernard (B2), his son, thirty-five, and yet another son Michael Black, also thirty-five.It’s difficult not to give the plot of this very bare but harrowing play away, as Salter talks to each of them in alternating scenes, with inconsistent revisions about the past, as each ‘son’ tries to uncover the reason that there's more than one of them.Under the guise of an SF premise, the play deals with issues of identity, the spurious desire to make a fresh start when things go wrong, and the tragic failure to connect.The dialogue is short and sharp, and the syntax impactful in their truncated incompleteness, showing the characters’ urgency to get their points across to each other, but ultimately being unable to get to the heart of it, and save their rapidly deteriorating relationships.
On a routine visit to hospital, Bernard receives some shocking news: he's been cloned. When he confronts his father, he finds out it's worse: he is just one in an unknown number of genetically identical sons. But is Bernard the original or a copy? Does it matter? And what's going to happen when two other versions come knocking at the door? "A Number" takes the ethical labyrinth of genetic engineering, and the timeless debate over nature versus nurture, and reconstitutes them as a bracing family drama. As Bernard and his "brothers" wrestle with a range of very human responses to the news - shock, anger, horror and delight - their anxious father ducks and weaves, grudgingly revealing their histories and the anguished choices he's made. The play's themes might be borrowed from science fiction and philosophy, but its scale is confrontingly domestic. There are no speeches, no grand pronouncements, no finely honed philosophical dialogues here. It consists almost entirely of the halting, taciturn exchanges that usually pass for conversation between men, especially fathers and sons. This makes the issues real for us. It grounds them in the eternal questions and doubts that hover over every child and every parent who wishes they could cancel their mistakes. "A Number" looks fearlessly at what is often left over when the excitement of new science fades: damaged people. In this case, they must confront not only what's been done to them, but the more terrifying issue of just what they actually are. By extension, it's something we're invited to ponder about ourselves. As one "son" reminds us: "We've got ninety-nine percent the same genes as any other person. We've got ninety percent the same genes as a chimpanzee. We've got thirty percent the same as a lettuce." So what makes me different? What is it that makes me, me? What accounts for that look in the eyes, the set of the shoulders, the scowl or the smile that allows a father to distinguish between his genetically identical sons? We can create life in a petri dish, but do we actually know what it is? It's a chilling question, and one that may well be unanswerable. But as Caryl Churchill shows in this spare, harrowing and above all humane play, those kind of questions are precisely the ones worth asking.
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