Canary is multi-award winning playwright Jonathan Harvey's long-awaited return to the stage: a deeply moving, funny, unflinching, and often magical story about love, honesty and being brave enough to sing out at the top of your voice - with style. In 1960s Liverpool two lovers hide their homosexuality in the closet, then go their separate ways. While pits close and dole queues grow, a couple of runaways find Heaven in 1980s London. And today the paparazzi chase a love story that could tear a family apart. Then a grieving mother gets lost up a mountain, with a vicar for some dubious consolation. With a unique richness of texture and range, Canary combines pathos and humour with a wildly ambitious scope crossing decades through cyclical family histories. The diverse character list includes a primetime TV host, Queen Isabella, Eleanor Rigby, an 'aversion therary' doctor, Mary Whitehouse and striking miners. Skilfully pulling these wide-ranging threads together, Canary provides a social overview of Britain during the last 50 years, with a focus on the struggle against homophobia. Jonathan Harvey's trademark style of warmth, poignancy, humour and imagination is obvious in this epic, Liverpudlian Angels in America for the 21st century.
(From Amazon.com)
Jonathan Harvey was born in Liverpool in 1968. Jonathan has a brother called Timothy. Harvey's first serious attempt as a playwright was in 1987. Fuelled by the attraction of a £1,000 first prize to young writers from the Liverpool Playhouse, the result was The Cherry Blossom Tree, a garish blend of suicide, murder and nuns. This effort won him the National Girobank Young Writer of the Year Award.
Feeling very encouraged, he went on to write Mohair (1988), Wildfire (1992) and Babies (1993), the latter winning him the 'George Devine Award' for that year and The Evening Standard's 'Most Promising Playwright Award' for 1994. In 1993, Harvey, premiered Beautiful Thing, a gay-themed play-turned-movie for which he won the prestigious 'John Whiting Award' the following year. 1995 saw the premiere of Boom Bang-A-Bang, at the Bush Theatre, London, originally directed by Kathy Burke. Harvey cites it as "my most comic play ever, but with some dark bits". Centred around a group of friends gathering to watch the Eurovision Song Contest, the play was a sell-out. That same year, he also premiered Rupert Street Lonely Hearts Club, his "much more sad, serious and dark play".
Guiding Star (1998), is a portrayal of one man's struggle to come to terms with the Hillsborough FA Cup Semi-Final disaster, whilst Hushabye Mountain (1999) deals with a world that has learned to live with AIDS. Out in the Open (2001), is a caustic and funny exploration of love and the limits of friendship.
Television and film works include: West End Girls (Carlton); Love Junkie (BBC); Beautiful Thing (Channel Four/Island World Productions); the 1998 hit/cult comedy series starring Kathy Burke and James Dreyfus, Gimme Gimme Gimme (Tiger Aspect); Murder Most Horrid (BBC); and Coronation Street (ITV).
He also wrote the book for Closer to Heaven, a stage musical with songs and music written by the Pet Shop Boys. Closer to Heaven ran for nine months at the Arts Theatre in London in 2001 and recently ran in Australia in 2005.
In 2003 Harvey heard the singer-actress Abi Roberts perform and was so enchanted he offered to write a solo show especially for her. Taking Charlie was the outcome, staged at the 2004 Edniburgh Festival with Roberts starring, under the direction of Susan Tully. The piece was darkly comic and focused on the destructive nature of an insecure, 30-year old addict.[1]
Harvey is a Patron of London-based HIV charity, The Food Chain and a patron of the London Festival of Contemporary Church Music.
(From WIKIPEDIA)
评分
评分
评分
评分
读完这本书,我最大的感受就是一种被强行拉入到一个极度逼真又略显荒诞的现实场景中的震撼。作者似乎拥有一种魔力,能将日常生活中那些被我们习惯性忽略掉的细枝末节,放大成具有强大戏剧张力的核心冲突点。比如其中对手戏的描写,对话的节奏感把握得极准,那种你来我往的试探、隐藏在客套话下的刀光剑影,读起来让人忍不住屏住呼吸,生怕错过任何一个微妙的停顿或重音。我试着在脑海中“演”出其中的几场戏,发现它的舞台调度感极强,即使没有灯光和音效的辅助,那些画面感也自动在脑海中构建起来,色彩浓烈,动作精准。其中对社会异化现象的探讨,更是触及了当下许多人敏感的神经,它没有给出廉价的答案,而是把问题抛给你,让你自己去面对和反思。这种“不负责任”的叙事方式,恰恰是最负责任的表现,因为它尊重了读者的独立思考能力。
评分我通常对文学作品中的“冷峻”气质不太感冒,总觉得过于理性或疏离感太重会影响情感的代入。然而,这本书却成功地打破了我的偏见。尽管主题严肃,探讨的议题也相当沉重,但作者通过一些不经意的幽默桥段——那种非常黑色、近乎残酷的自嘲——成功地为整体的氛围注入了一丝透气孔。这些笑点并非是为了哗众取宠,它们是人物在极端压力下自我保护机制的一种外化体现,显得真实而富有张力。我个人觉得,这本书最核心的价值在于它对“沉默的力量”的挖掘。许多关键的冲突和转折,并非发生在激烈的争吵中,而是发生在角色之间的“不言而喻”之间。这些留白之处,比任何华丽的对白都更具杀伤力,迫使读者必须主动填补这些信息空缺,从而使阅读过程变成了一场主动的“共创”。
评分从结构上分析,这本书的构建非常精巧,堪称建筑美学在剧本创作中的一个典范。它不像传统剧本那样拥有明确的“高潮”和“落幕”,反而更像是一个不断盘旋上升的螺旋结构,每一个场景都像是螺旋的一个圈,将主题的深度和复杂性不断地向前推进,但又始终保持着一种动态的平衡。读完后我立刻去查阅了作者的创作背景,发现他的跨学科背景似乎对这部作品产生了深远影响,其中对空间感和时间感模糊处理的手法,让人联想到某种实验电影的镜头语言。这本书的精妙之处还在于它对“身份认同”这一永恒主题的重新审视。它没有提供一个固定的答案,而是展示了身份是如何在社会期望、自我认知和外部压力之间不断地被解构和重塑的过程。对于任何一个热衷于探究人性深处,同时又追求形式创新的读者来说,这本书都是一份不可多得的礼物。
评分这本书的语言风格极其多变,这可能是我阅读体验中最令人惊喜的部分。有时候,它的句子像诗歌一样凝练优美,充满了象征主义色彩,读起来需要反复咂摸,才能体会到其中蕴含的哲思;可转瞬间,笔锋一转,又变得极其口语化、充满市井气息,那种粗粝的真实感扑面而来,让人仿佛能闻到舞台上烟雾缭绕的味道。这种风格上的巨大跨度,不仅没有造成阅读上的断裂感,反而像是一张精心编织的挂毯,不同的纹理交织在一起,让作品的层次感异常丰富。我尤其佩服作者在塑造配角方面的功力,即便是戏份不多的龙套角色,也有着清晰而饱满的动机,他们就像精确拧紧的齿轮,推动着主线剧情不可逆转地向前滑行。这本书无疑为现代剧本创作提供了一个新的参照系,证明了文学性与戏剧性是完全可以完美融合的。
评分这本书的封面设计简直是视觉的享受,那种深邃的蓝与跳跃的黄,光影的运用处理得极其巧妙,仿佛在讲述一个关于“警示”与“希望”的隐喻故事。我是在一个阴雨连绵的周末偶然翻到它的,一开始只是被那种强烈的艺术气息吸引,没想到翻开内页,文字的排布和字体选择也如此考究。页边距的处理,留白的艺术,都透露出一种对阅读体验的极致追求。我尤其欣赏作者在处理人物内心独白时的那种克制与爆发力,寥寥数语,却能将人物复杂的情绪刻画得入木三分。虽然我个人对当代戏剧的理解或许还停留在比较表层的阶段,但这本书的书写方式,比如它巧妙地运用了多线叙事结构,让故事在不同的时间轴和空间中穿梭自如,这种叙事上的大胆创新,绝对值得称赞。它不仅仅是一部剧本,更像是一件精心打磨的艺术品,从装帧到文字,每一个细节都散发着作者的匠心。这本书放在书架上,本身就是一道风景,那种沉甸甸的质感,让人感觉到它内在蕴含的重量与深度。
评分保守党果真保守;同性恋权利运动有过一段血泪史。
评分天下真的有免費的午餐嗎?沒有,甚麼都要靠自己去爭取。羨慕沒用,人家的權利又不是天上掉下來的。自重者,人重之。
评分天下真的有免費的午餐嗎?沒有,甚麼都要靠自己去爭取。羨慕沒用,人家的權利又不是天上掉下來的。自重者,人重之。
评分天下真的有免費的午餐嗎?沒有,甚麼都要靠自己去爭取。羨慕沒用,人家的權利又不是天上掉下來的。自重者,人重之。
评分保守党果真保守;同性恋权利运动有过一段血泪史。
本站所有内容均为互联网搜索引擎提供的公开搜索信息,本站不存储任何数据与内容,任何内容与数据均与本站无关,如有需要请联系相关搜索引擎包括但不限于百度,google,bing,sogou 等
© 2026 book.quotespace.org All Rights Reserved. 小美书屋 版权所有