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Disgraced: A Play, by Ayad Akhtar
PDF Download Disgraced: A Play, by Ayad Akhtar
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Review
"The best play I saw last year.... [a] quick-witted and shattering drama.... DISGRACED rubs all kinds of unexpected raw spots with intelligence and humor." ---Linda Winer, Newsday"A sparkling and combustible contemporary drama.... Ayad Akhtar's one-act play deftly mixes the political and personal, exploring race, freedom of speech, political correctness, even the essence of Islam and Judaism. The insidery references to the Hamptons and Bucks County, Pennsylvania, and art critic Jerry Saltz are just enough to make audience members feel smart.... Akhtar...has lots to say about America and the world today. He says it all compellingly, and none of it is comforting." ---Philip Boroff, Bloomberg Businessweek"Compelling... DISGRACED raises and toys with provocative and nuanced ideas." ---Jesse Oxfeld, New York Observer"A continuously engaging, vitally engaged play about thorny questions of identity and religion in the contemporary world.... In dialogue that bristles with wit and intelligence, Mr. Akhtar...puts contemporary attitudes toward religion under a microscope, revealing how tenuous self-image can be for people born into one way of being who have embraced another.... Everyone has been told that politics and religion are two subjects that should be off limits at social gatherings. But watching Mr. Akhtar's characters rip into these forbidden topics, there's no arguing that they make for ear-tickling good theater." ---Charles Isherwood, New York Times "[A] blistering social drama about the racial prejudices that secretly persist in progressive cultural circles." ---Marilyn Stasio, Variety"Terrific.... DISGRACED...unfolds with speed, energy and crackling wit.... The evening will come to a shocking end, but before that, there is the sparkling conversation, expertly rendered on the page by Akhtar.... Talk of 9/11, of Israel and Iran, of terrorism and airport security, all evokes uncomfortable truths. Add a liberal flow of alcohol and a couple of major secrets suddenly revealed, and you've got yourself one dangerous dinner party..... In the end, one can debate what the message of the play really is. Is it that we cannot escape our roots, or perhaps simply that we don't ever really know who we are, deep down, until something forces us to confront it? Whatever it is, when you finally hear the word 'disgraced' in the words of one of these characters, you will no doubt feel a chill down your spine." ---Jocelyn Noveck, AP"Offers an engaging snapshot of the challenge for upwardly mobile Islamic Americans in the post-9/11 age." ---Thom Geier, Entertainment Weekly"Akhtar digs deep to confront uncomfortable truths about the ways we look at race, culture, class, religion, and sex in this bracingly adult, unflinching drama... [He] writes incisive, often quite funny dialogue and creates vivid characters, managing to cover a lot of ground in a mere four scenes and 80 minutes. Akhtar doesn't offer any solutions to the thorny issues he presents so effectively. What he does is require us to engage them, and that's a very good and necessary thing." ---Erik Haagensen, Backstage.com "DISGRACED stands among recent marks of an increasing and welcome phenomenon: the arrival of South Asian and Middle Eastern Americans as presences in our theater's dramatis personae, matching their presence in our daily life. Like all such phenomena, it carries a double significance. An achievement and a sign of recognition for those it represents, for the rest of us it constitutes the theatrical equivalent of getting to know the new neighbors-something we had better do if we plan to survive as a civil society." ---Michael Feingold, The Village Voice"Skillfully adopts the well-worn dramatic device of the imploding dinner party to scratch beneath the surface of multicultural harmony.... Smart, spiky entertainment.... A stimulating, sobering work from a distinctive new American playwright."―David Rooney, Hollywood Reporter
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About the Author
Ayad Akhtar is a screenwriter, playwright, actor, and novelist. He is the author of the novel American Dervish and was nominated for a 2006 Independent Spirit Award for best screenplay for the film The War Within. Disgraced was produced at New York's Lincoln Center Theater in 2012 and was awarded the 2013 Pulitzer Prize for Drama. Akhtar lives in New York City.
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Product details
Paperback: 112 pages
Publisher: Back Bay Books; 1 edition (September 10, 2013)
Language: English
ISBN-10: 9780316324465
ISBN-13: 978-0316324465
ASIN: 0316324469
Product Dimensions:
5.5 x 0.4 x 8.2 inches
Shipping Weight: 4.2 ounces (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
96 customer reviews
Amazon Best Sellers Rank:
#54,222 in Books (See Top 100 in Books)
Ayad Akhtar is a genius. It's atypical for a writer of novels to write a brilliant play (2012 Pulitzer for drama) that works both on the page and on the stage. "Disgraced" is an intense and powerful study of America. Many will claim that this play is about Islamaphobia, and we'll talk about that, but another, perhaps deeper, element of "Disgraced" is what it means to live with nationalism in a country made entirely of immigrants. We meet the cast-all of whom are privileged "succesful" people whose ancestors come from very underprivileged circumstance. Emily is a WASP whohas been "American" for generations, going back perhaps to the 17th Century. Any trace of the old country was bled from her family many generations ago. Fuerthermore she's a white girl whose mother is a racist, feeling strongly that America is white, European descent and as such Emily has an open mind but there's much she doesn't understand. Her failure to understand creates the catalyst that destroys everyone. Sadly, she'll never understand. She's married to Amir, a man born in America but raised by parents who escaped India after part of it became Pakistan. Amir changed his last name so that he could fit into the high finance law firm in which he's on a partner track. He is no longer Muslim, his American accent is flawless and he wants to keep a safe distance from all things Islam. Last night a waiter saw him as a potential terrorist which upset Emily enough to ask him to pose for her newest painting. He presents himself at Airport Security rather than waiting for racial profiling. He recounts an incident as a child when his mother's hatred for Jews affects him. His nephew, Abe, comes to ask him to speak at the trial for an imam charged as a terrorist. Abe too has changed his name and is "Americanized" though born in the Middle East, by mid play he's changed back. Issac is a Jewish American art dealer who will give Emily her first show and they celebrate over dinner. He's a powerful man in the art world and not by coincidence his black wife will get the partnership at Amir's law firm because Amir's prescence at the imam's trial makes The New York Times. During the meal they revert to their roots and centuries of conflict boil to the surface. The play does look at Islamaphobia as it's inevitable. The Taliban's goal to return to the purity of the Qaran (or Koran) IS a major topic in post Nine-Eleven New York and a carefully unspoken topic in mixed company. But what's most pronouned is how much of our roots we must relinquish in order to be American. The denouement is what happens when too much is relinquished and what occurs rivals anything Edward Albee ever wrote. This is a great read. As with all plays you must design and stage them in your head and that is when we see the purity and truth; that is when the play comes to life and we purchase Akhtar's novel and try to find a production of "Disgraced" playing near-by. Easier done, since this play has been produced in regional theatres all over the United States and England. This script includes an important forward regarding play reading and an interview with the playwright.
Absolute deserved winner of the 2013 Pulitzer Prize for drama.This is a 90 minute, 4 scene (1 act) play that has 5 characters that range in age from 22 to 40. They are of black, white, Jewish and Muslim backgrounds and they all currently live in New York. Questions of work, culture, love, loyalty and traditions are all discussed and exposed.The pace of the play is excellent. There are no dead scenes or digressive moments - every word is important and impactful. The dialogue is incredible - there are moments of tenderness and humor, as well as those that will enrage some readers and make most think deeply.Mr. Akhtar wrote an excellent essay "On Reading Plays" that appears at the beginning of this edition. He does an outstanding job explaining how reading a play is different from watching it (this is not a new sentiment, but he writes about it exquisitely).Upon finishing the play this evening, I got on the internet and started looking for where it is playing. It is currently playing in Boston, about 250 miles from my house. I will drive up next week to see it.
Really makes you think. While the whole play pretty much takes place around dinnertime, it really does move fast. Great diversity. You have a white artist who seems to date men and use their ethnicities as her muse for her paintings, her husband who is an Islamic man who despises his religion and even changed his name to something Indian to hide his heritage, his partner at the law firm who is a black woman, and her husband who is a Jewish art collector who is thinking about picking up one of the first woman's works. And they have a bit of a history. Really raises some questions about religion, and some people might be upset with the ending but it was very thought-provoking. Definitely something I'd like to see on stage. Plus, Ted Mosby plays the Jewish art collector on stage for this play, so it's fun to imagine!
Perhaps the best play you will ever read. Without too many spoilers, there are a lot of post-modern themes incorporated. The story is very fast paced, but still manages to touch on issues of race, socio-economic discrimination and profiling, territorial disputes, the dynamics of a master and slave. I was introduced to it for a class reading, and I am so grateful to have read it.*Note: the author uses (Beat) throughout the play. This is like a stage direction denoting a small pause. Interpret as any dramatic pause in other plays or movies, where the character delivers a line and pauses before continuing.
From the interview of Akhtar at the end of the book:"The play begins with a Western consciousness representing a Muslim subject. The play ends with the Muslim subject observing the fruits of that representation.... I do believe personally that the Muslim world has got to fully account for the image the West has of it and move on. To the extent that we continue to try to define ourselves by saying, 'We are *not* what you say about us,' we're still allowing someone else to have the dominant voice in the discourse."
Though far from a perfect play, it's still one of the most exciting blasts of fresh air for the American theatre in years. Avoiding the dead ends of whimsy, meta self referential inside jokes, cuteness, and "magical realism", which is what most young playwrights coming out of the MFA industrial complex are taught, Akhtar has real issues to probe and he gets right to it. BTW, if you have not listened to the interview with him on the American Theatre podcast OFFSCRIPT, head over there right now! A whip smart writer.
Wow, this is a must-read! The play really gets into that ambivalent space where MANY Muslims live, but we are NOT represented in mainstream media. It's funny, smart, controversial, & VERY thought-provoking!
This play was so powerful. The audience was stunned and we had a very deep, very lively conversation in the theatre afterwards. I ordered the play because I missed some of the dialogue.
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