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 Gainor 212-213. But when he confides to his best friend that he is also in love with a goat (named Sylvia), he sets in motion events that will destroy his family and leave his life in tatters. Marriage has been deemed so sacrosanct throughout history that—even in the 21st century—the rights it guarantees are arbitrarily denied to some based on the kind of moral outrage and judgmental perspective occupied by the position of Ross in the play. So fucking what?! essays are academic essays for citation. The Goat, or Who is Sylvia? Not affiliated with Harvard College. The same could be said of most of humanity through the civilization when it comes to homosexuality. Is the judgment that Ross has placed upon that proclivity? So when Stevie starts breaking these things, we know she is willing to destroy some precious things.” It is Stevie’s realization of and reaction to her husband’s inconceivable affair that contributes to the play’s tragic mood despite its moments of humor. Billy claims that Martin and Stevie are good people and are better than most of his classmates' parents. These papers were written primarily by students and provide critical analysis of The Goat by Edward Albee. Ross is open-minded enough that he probably—most likely—would not actively try to disallow homosexual couples from getting married. Martin angrily defends both his son and himself to Ross by stating: “He loves his father, and if it…clicks over and becomes—what?—sexual for…just a moment…so what?! Even the set he and John Arnone collaborated on had columns to provide a “classical quality to it, a Greek-tragedy quality.” Zinman states, “In ancient Greek tragedy, the hero, at the height of his happiness, often complacent in his smooth fortunate life, undergoes a sudden reversal of fortunes.” Indeed, once Martin confesses his affair to Ross, his fate is no longer his own. Imagine that, all of a sudden, you found yourself in love with a Martian, in love with something you can’t conceive of. To Martin this breaches an ethical agreement which he is willing to place upon the same plane as bestiality. Martin denies having an affair with a woman, but confesses to falling in love with a goat named Sylvia. , The European premiere took place at Vienna's English Theatre in March to May 2003. !” Billy is then forced by his parents to leave Stevie and Martin alone to discuss Ross’s letter detailing the specifics of Martin’s affair with Sylvia. Bestiality is considered taboo in contemporary society. Martin pushes Billy away just as Ross enters to witness the scene. Martin—a hugely successful architect who has just turned fifty—leads an ostensibly ideal life with his loving wife and gay teenage son. Martin seems distracted and cannot remember anything.  Zinman 140. Albee thinks a play can be called political only if “…it makes people think differently enough about things so that their life alters including their politics.” In order to make a difference in a contemporary society so accustomed to debunking generally accepted restrictions, Albee had to “…go even further afield than Nabokov[’s Lolita] to find a taboo still standing.” In Zinman’s opinion, Albee’s view is that sexuality is “…more complex, far wider, deeper, and less governable than we generally think.” Albee’s use of bestiality is meant to parallel society’s view of homosexuality which “appear[s] normal by comparison.” Gainor furthers her argument by stating that it is through bestiality that Martin “literalizes his extremity of alienation and longing.” By experiencing prejudice for his own sexual proclivities, Martin must “accept his son’s desires with equanimity, applying his newly gained insights on dominant and marginal practices.” In this way, Martin and Billy can seek to rebuild their relationship. The name of the play refers to the song "Who Is Sylvia?" Ross begins interviewing Martin, congratulatin… by Edward Albee. Directed by Pam MacKinnon, the cast was Laurence Lau (Martin), Jurian Hughes (Stevie), Howard Nightingall (Ross), and Michael Zlabinger (Billy). Most people would certainly place bestiality and incest outside the mainstream. Billy enters the ruined living room where Martin remains. I want everybody to be able to think about what they can’t imagine and what they have buried deep as being intolerable and insufferable. Marriage is a place of very dark secrets in the world of Edward Albee—this is the guy who wrote Who’s Afraid of Virginia Woolf, after all—and The Goat is yet another collection to that pervasive exploration of that particular theme. The theme being explored here is not moral relativism, but rather than even within the confines of a supposedly perfectly normal marriage—heterosexual man and woman—unseen darkness can pervade. , The play was produced in Ottawa at the Great Canadian Theatre Company under the direction of Lorne Pardy, October 28 to November 14, 2004. Stevie laughs it off, thinking it is a joke. He’s hurt and he’s lonely and mind your own fucking business!” Ross, unmoved by Martin’s speech, claims to have received a call from Stevie saying Martin needed him. Robinson, Michelle. Sexton, Timothy. Finally, she exits, vowing revenge. " The noise disappears and Martin corrects himself because "[the Eumenides] don't stop. Stretching My Mind. Edward Albee. Bringing the interview to a halt, Ross inquires as to what is bothering Martin. In Act II, the audience is instantaneously aware of Ross’s betrayal when Martin and Stevie’s son, Billy, exclaims, “You’re fucking a goat? According to Aristotle, he must then “‘fall from a great height,’” which Martin does; he is reduced from an award-winning architect to a mere sexual deviant. Print. is a great The Cambridge Companion to Edward Albee. 30. 47. The third and final act begins with Martin and Billy standing amongst the ruins of what was once their home.  Albee, Charlie Rose Interview. Ross is the person who informs Martin’s wife about Sylvia.  Albee, Stretching My Mind 262. It was…it wasn’t like anything I’d felt before; it was…so…amazing, so…extraordinary! The Goat, or Who Is Sylvia? An editor However, Ross soon becomes frustrated with Martin’s inability to concentrate on the interview. "The Goat, or Who is Sylvia?  Zinman 144. Martin cries out, Billy calls for help, and Ross stares as Stevie offers her reason for slaying the goat: “She loved you….you say. Stevie returns, dragging a dead goat.  Directed by Anthony Page, the cast featured Jonathan Pryce (Martin), Kate Fahy (Stevie), Matthew Marsh (Ross), and Eddie Redmayne (Billy). Amazed that Martin could fall in love with anyone but Stevie, Ross asks repeatedly, "Who is Sylvia?" Then, with a sound at the door, Stevie reappears, dragging Sylvia’s carcass with her. We are thankful for their contributions and encourage you to make your own. Ross comes in and witnesses Billy's kiss. The Goat or Who is Sylvia? What should be accepted and what should be rejected as being within the confines of normalcy.  Robinson 65. Martin seems distracted and cannot remember anything. “Episode 20.” Interview by Charlie Rose. The Goat, or Who is Sylvia?  Albee, The Goat or Who Is Sylvia? Ross begins interviewing Martin, congratulating him for being the youngest man ever to win the Pritzker Prize and recently being chosen to design a multi-billion-dollar city. study guide contains a biography of Edward Albee, literature essays, quiz questions, major themes, characters, and a full summary and analysis. Nominations: Pulitzer Prize for Drama, 2003. Tony Award for Best Play, 2002. Stevie recounts the normalcy of her life before she opened Ross's letter. Albee places parentheses around the play's subtitle: "Notes toward a definition of tragedy".  Whereas Martin acts more as a tragic hero, Ross, on the other hand, takes the place of the chorus “representing the vox populi and of setting the wheels of tragedy in motion.”. Robinson writes of The Goat: “Albee’s play insists that it is about something beyond a domestic crisis that can be cordoned off and concealed from the world – though it is about that too.
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