| The first excerpt represents the past or something you must release, and is drawn from 1984 by George Orwell: This time Winston was startled into self-forgetfulness.
'YOU here!' he said.
Parsons gave Winston a glance in which there was neither interest nor
surprise, but only misery. He began walking jerkily up and down, evidently
unable to keep still. Each time he straightened his pudgy knees it was
apparent that they were trembling. His eyes had a wide-open, staring look,
as though he could not prevent himself from gazing at something in the
middle distance.
'What are you in for?' said Winston.
'Thoughtcrime!' said Parsons, almost blubbering. The tone of his voice
implied at once a complete admission of his guilt and a sort of incredulous
1984 |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Memories and Portraits by Robert Louis Stevenson: scenes and characters: what fable would not? Such passages as:
"Scene 6. The Hermitage. Night set scene. Place back of scene 1,
No. 2, at back of stage and hermitage, Fig. 2, out of set piece, R.
H. in a slanting direction" - such passages, I say, though very
practical, are hardly to be called good reading. Indeed, as
literature, these dramas did not much appeal to me. I forget the
very outline of the plots. Of THE BLIND BOY, beyond the fact that
he was a most injured prince and once, I think, abducted, I know
nothing. And THE OLD OAK CHEST, what was it all about? that
proscript (1st dress), that prodigious number of banditti, that old
woman with the broom, and the magnificent kitchen in the third act
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The third excerpt represents the future or something you must embrace, and is drawn from Damaged Goods by Upton Sinclair: while. I have to thank M. Brieux for his kind permission to make
the attempt, and for the cordial spirit which he has manifested.
Upton Sinclair
PRESS COMMENTS ON THE PLAY
DAMAGED GOODS was first presented in America at a Friday matinee
on March 14th, 1913, in the Fulton Theater, New York, before
members of the Sociological Fund. Immediately it was acclaimed
by public press and pulpit as the greatest contribution ever made
by the Stage to the cause of humanity. Mr. Richard Bennett, the
producer, who had the courage to present the play, with the aid
of his co-workers, in the face of most savage criticism from the
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