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Monday July 5, 2010 in Books
John Wilkes Booth assassinated Abraham Lincoln at Ford’s Theatre in Washington D.C. Inside that theatre today, Ranger Powell of the U.S. Parks Service takes crowds of tourists, the curious and the ghoulish through a step-by-step description of the assassination. Underneath the box where Lincoln was shot, he describes the plot of the comedy Lincoln watched that night, Our American Cousin, as being “kind of like the Beverly Hillbillies.”
Scratch the surface of any story and underneath you will ﬁnd layer upon layer of ﬁction masquerading as fact. The play’s main character, Mark Killman—a feared but much admired director—draws inspiration from Abraham Lincoln’s assassination to stage the schizophrenia of America. He hires two actors to play Laurel and Hardy. Both are to re-enact the assassination, while he himself plays the iconic role of Abraham Lincoln as a wax ﬁgure.
The script is frequently self-referential, building on each of these “retakes” with further allusions to itself, telling the same story many times over in different voices from different points of view. Tremblay quite explicitly stages elements of literary theory with this play, including references to Jean Baudrillard’s concept of the simulacra and the “desert of the real,” concepts ﬁrst popularized by the movie The Matrix —the idea that in our post-modern world, the imitator has become more relevant than the imitated, and that the virtual worlds we construct are becoming more “real” to us than the real world.
Absurd, hilarious and haunting, Abraham Lincoln Goes to the Theatre is an unforgettable mystery that asks the question: How can we ever know who we are and what is true when the world we know is shifting beneath us? Its answer is simple: John Wilkes Booth was the ﬁrst American star—the actor who kidnapped reality to transform it into theatre.
ISBN 13: 9780889226494 | ISBN 10: 889226490
5.5 W x 8.5 H x 0.6 D inches | 96 pages
$16.95 CAN / $16.95 US
Backlist | Drama | Bisac: DRA000000
QUOTES OF NOTE
“… explores the wellsprings of psychic and social violence.”
About the ContributorsLarry Tremblay
Larry Tremblay is a writer, director, actor and specialist in Kathakali, an elaborate dance theatre form which he has studied on numerous trips to India. He has published twenty books as a playwright, poet, novelist and essayist. The recent publication of Talking Bodies (Talonbooks, 2001) brought together four of his plays in English translation.Chantal Bilodeau
Chantal Bilodeau is a New York–based playwright and translator originally from Montreal. Her play Sila won first prize in the 2012 Earth Matters on Stage Ecodrama Festival and the 2011 Uprising National Playwriting Competition. She is the recipient of a Jerome Travel and Study Grant and a National Endowment for the Arts Fellowship.
We gratefully acknowledge the financial support of the Canada Council for the Arts; the Government of Canada through the Book Publishing Industry Development Program; and the Province of British Columbia through the British Columbia Arts Council for our publishing activities.