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Parry - Eugenia

Here you can read online Parry - Eugenia full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. City: Wellington, year: 2013;2012, publisher: Victoria University Press, genre: Detective and thriller. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

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Parry Eugenia
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    Eugenia
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    Victoria University Press
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    2013;2012
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    Wellington
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Eugenia: summary, description and annotation

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Set in 1916 and the present, EUGENIA tells the story of Eugenia Martelli, an Italian immigrant at the beginning of the century, who lives as a man and marries a woman without revealing her true gender. Eugenia is a charmer, a con artist, a womaniser and an outsider, who lives life on a dangerous edge. Eugenia is arrested - but is she a cold-blooded criminal or has she been put on trial as a gender offender?

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EUGENIA
Lorae Parry
Eugenia was first performed at Taki Rua Theatre, Wellington, on 19 January 1996, with the following cast:
E UGENIA /G EORGINAMadeline McNamara
V IOLET /I RISLorae Parry
M RS B ASSANI /L ILYGeraldine Brophy
V INCENT /C OOPEREdward Campbell
R UBY /V ICLarissa Matheson
F INN /P UB J OE /
W ALLACE /M URRAYJed Brophy
Director & DramaturgCathy Downes
Set DesignJohn Parker
Lighting DesignHelen Todd
In writing Eugenia, I have created a fiction, yet the play has been inspired by the lives of several women, throughout history and in the present day; women who have crossed the lines of gender and who have lived and loved as men. For many women it was the only way in which they could live their truth, particularly in earlier times, when there was little or no subculture to acknowledge or support a diversity of sexual orientation. For these women, it was a way of entering, undercover, a world of privilege, and yet the price of discovery was extremely high. They were often regarded with fear and suspicion. They were Freuds phallic female with no fixed identity; untameable, uncontrollable. Many paid a high price for living in the only way that was acceptable to them.

This play does not purport to be a factual record of real events or real people. For purposes of dramatisation, characters have been created, names have been changed and incidents have been devised or altered.

Special thanks to Cathy Downes, whose vision and dramaturgical skills were invaluable to the structure and fluidity of the script. Thanks also to Susan Wilson, Gill Boddy, Rosa Iovine, Jean Betts, Playmarket, Jill Livestre, Robyn Sivewright and Jill Hannah. And to all the members of the original cast. I would like to acknowledge the inspiration of Suzanne Falkiners book EugeniaAMan, published by Pan Books, and Donna Minkowitzs article on Brandon Teena, Love Hurts, which appeared in VillageVoice in April 1994.

I also wish to acknowledge the support of a Readers Digest / New Zealand Society of Authors Fellowship at the Stout Research Centre for the study of New Zealand history, society and culture, at Victoria University of Wellington.

Eugenia is set in two time-frames: 1916 and the present. Because the six actors are required to play fourteen characters, it is preferable, for reasons of clarity, to have only one costume for each character. Some of the costume changes require lightning speed from one time-frame to another, so it is also advisable that some basic part of costuming be used in both past and present. The play works most effectively with a minimum of furniture, which can remain onstage throughout and which can be used in both periods. The scenes weave fluidly between past and present and occasionally overlap, so in order to keep the action flowing it is also desirable to keep blackouts to an absolute minimum.

The dances that the students perform should have a beautiful and surreal quality to them, as if they are a link between the two worlds. The contents of Eugenias wooden box should never be revealed to the audience.

1916E UGENIA : an Italian woman who lives as a man
the presentG EORGINA M ATHESON : a deputy principal
1916V IOLET D ONOVAN : an Irish housekeeper
the presentI RIS R OBINSON : a drama teacher
1916R OSA B ASSANI : an Italian landlady
the presentL ILY T HOMPSON : a girl student
1916R UBY B AKER : a Cockney boarder
the presentV ICTORIA S TEVENS : a girl student
1916V INCENT D UGGAN : a Cockney, Violets ex-lover
the presentC OOPER : a principal
1916P UB J OE : a Cockney boarder
F INN : a brickhill foreman
W ALLACE : a detective
the presentM URRAY : a boy student
Note: Italian dialogue is translated in parentheses. You see things and say why, but I dream things
that never were and say why not?
George Bernard Shaw

Italian music is heard. The lights come up on E UGENIA , V IOLET , R UBY , M RS B ASSANI , V INCENT and W ALLACE . All are dressed in 1916 costume.

With the exception of E UGENIA , they all sing vigorouslythe first two verses of an Italian folk song, Bella Ciao. V INCENT and W ALLACE stand to the side. One or both of the men accompany the song on guitar. While they sing, E UGENIA removes her womens clothing and hat. Underneath, she is dressed in a mans suit. She exits while the other women continue to sing. The singing stops and the women speak to each other and to the audience.

The guitar music continues under the womens dialogue. M RS B ASSANI : He was the most beautiful woman I ever know. He knew how a woman liked to be treated. V IOLET : She was the most romantic man I ever knew. M RS B ASSANI : Che buon amore. (Agoodlover.) R UBY : He was a right good lover all right.

V IOLET : He wouldnt be telling a woman to do anything. Hed ask. M RS B ASSANI : He was bella. Cos bella. R UBY : He knew what it felt like to be a woman. An when it come to kissin, Id say hed rate heavenly.

Heavenly plus. He wasnt afraid of gettin his lips wet. The guitar music stops. W ALLACE : He was a very confused young woman. The body was a house divided. A misused mansion.

The dwelling that had been designed for the sacred ceremonies of motherhood became a ribald clubhouse for the mock rites of masculinity. The guitar starts again and they all sing the last two verses of Bella Ciao as the woman dance the tarantella. M RS B ASSANI sweeps up E UGENIA sdiscarded garments as they all dance off.

G EORGINA enters.Sheisrehearsingaspeechofintentionforthepositionofprincipal. G EORGINA : St Benedicts is capable of becoming one of the most progressive independent schools in the country. If I were appointed principal, it would be my priority to restore the excitement of creativity to this establishment. To nurture the individuality and uniqueness of our students. To turn B students into A students, we dont need to wage war on drug abuse and violence.

We dont need crisis intervention. We need preventative medicine. We all know that you can cram your head full of facts and figures till youre blue in the face, but youll forget them all within six weeks of an exam. The challenge is to learn how to learn. We need to understand in ourselves the nature of creative thinking; to impart this to our students; to stimulate their desire and their ability to learn. If I were appointed principal, I would be committed to restoring this school to its former standards of innovation, distinction and academic excellence.

C OOPER enters just before G EORGINA finishes. He claps. C OOPER : Bravo! G EORGINA is embarrassed to realise that Cooper has been watching her. G EORGINA , good humouredly: Cooper! How long have you been spying on me, you sod! C OOPER : Hit them with that and youll have them eating out of your palm. Listen, our new drama teacher has just arrived I RIS

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