Alison,
Thanks for the links. I was startled to learn that Rinde Eckert was one of
the finalists in drama. When I witnessed his early work, the context was
theatrical performance art and the notion of him ever being nominated for a
Pulitzer never entered my mind. I enjoyed visiting his web site
(http://www.rindeeckert.com/) and eventually being led to a sample
from "Slow Fire", his collaboration with a musician I've long admired, Paul
Dresher, at http://www.dresherensemble.org/recordings/rinderecording.html
Nor had I known of his work with Michael Palmer.
Reading my earlier post in the archive, I note that the last sentence got
cut in half and doesn't make sense, so I'll repost. It did reach my Gmail
box intact:
"Stephen, I've never had respect for literary prizes but on occasion I enjoy
imaginatively reading the scenario of the judges' decision-making process.
The power over a lemming-like buying public of the continued repetition
of "Pulitzer Prize winning" or "National Book Awardee" by publicists and
marketers never fails to amaze. A turning point for me occurred when I
received the maximum NEA grant in response to an application identical to
one which had been turned down during the previous reading period. Barry"
On Wed, 18 Apr 2007 09:32:02 +1000, Alison Croggon <[log in to unmask]>
wrote:
>You might find this analysis of how the drama prize was awarded interesting
>http://playgoer.blogspot.com/2007/04/pulitzer-puttering.html
>
>and here's a review of the winning play by TONY critic David Cote. It
>certainly brought him out in hives
>http://www.timeout.com/newyork/Details.do?
page=1&xyurl=xyl://TONYWebArticles1/541/theater_broadway/hole_in_none.xml
>
>All best
>
>A
>--
>Editor, Masthead: http://www.masthead.net.au
>Blog: http://theatrenotes.blogspot.com
>Home page: http://www.alisoncroggon.com
>=========================================================================
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