Will Eno – författare

Is laziness the opposite of love? Is the search for the Self for total nobodies? These are questions posed through the prolific pen of Will Eno one of America's leading contemporary playwrights whose talents for playful idiosyncratic language shine through in Gnit. Watch closely as Peter Gnit a funny-enough but so-so specimen of humanity makes a lifetime of bad decisions on the search for his True Self which is disintegrating while he searches. A rollicking and very cautionary tale

WINNER! of the inaugural Horton Foote Award for Most Promising New Play of 2010Middletown is a deeply moving and funny new play exploring the universe of a small American town. As a friendship develops between longtime resident John Dodge and new arrival Mary Swanson the lives of the inhabitants of Middletown intersect in strange and poignant ways in a journey that takes them from the local library to outer space and points between.

"Behold the newest nobody of the funniest century yet. He's almost Christ-like from a distance in terms of height and weight. Listen closely or drift off uncontrollably as he speaks to you directly about the notion of home about the notion of the world. All of it delivered with the authority that is the special province of the unsure and the un-homed which is a word he made up accidentally. The running time if he doesn't die or think of anything else is roughly one hour. Title and Deed

"Is it now? I thought I had more time."These first words in Will Eno's play are spoken by Guy a man who knows like all of us on some level that he is about to die. The play questions why we are here and the journeys that everyone takes to eventually get to the same place. Eno challenges what is worth celebrating in life and what is worth treasuring in this moving and funny play.

A moving mysterious at times hilarious story of a tiny plot of land and some people with grand and incompatible designs on it.

The Underlying Chris is a life-affirming and high-spirited look at how a person comes into their identity and how sometimes it's life's tiniest moments that most profoundly change our lives. In these divided times The Underlying Chris serves as a celebration of our differences our individuality and the many mysterious difficult and beautiful things we share simply by being alive.

"Will Eno is a Samuel Beckett for the Jon Stewart Generation."--The New York Times

“Will Eno is one of the finest younger playwrights I have come across in a number of years. His work is inventive, disciplined and, at the same time, wild and evocative. His ear is splendid and his mind is agile.”—Edward Albee “An original, a maverick wordsmith whose weird, wry dramas gurgle with the grim humor and pain of life. Eno specializes in the connections of the unconnected, the apologetic murmurings of the disengaged.”—Guardian Winner of the 2004 Oppenheimer Award for best New York debut by an American playwright, The Flu Season is a reluctant love story, in spite of itself. Set in a hospital and a theater, it is a play that revels in ambivalence and derives a flailing energy from its doubts whether a love story is ever really a love story. Will Eno has been called “a Samuel Beckett for the Jon Stewart generation” (The New York Times)—he is a playwright with an extraordinary voice and a singular theatrical vision. Also included in this volume are Tragedy: A Tragedy and Intermission.

"A haunting and often fiercely funny meditation on life as a state of permanent exile... The marvel of Mr. Eno’s voice is how naturally it combines a carefully sculptured lyricism with sly, poker-faced humor. Everyday phrases and familiar platitudes—‘Don’t ever change,’ ‘Who knows’—are turned inside out or twisted into blunt, unexpected punch lines punctuating long rhapsodic passages that leave you happily word-drunk." —Charles Isherwood, New York Times on Title and Deed"Title and Deed is daring within its masquerade of the mundane, spectacular within its minimalism and hilarious within its display of po-faced bewilderment. It is a clown play that capers at the edge of the abyss... Eno’s voice is unique; his play is stage poetry of a high order. You can’t see the ideas coming in Title and Deed. When they arrive—tiptoeing in with a quiet yet startling energy—you don’t quite know how they got there. In this tale’s brilliant telling, it is not the narrator who proves unreliable but life itself. The unspoken message of Eno’s smart, bleak musings seems to be: enjoy the nothingness while you can." —John Lahr, New Yorker"Eno is a supreme monologist, using a distinctive, edgy blend of non sequiturs and provisional statements to explore the fragility of our existence... There are a lot of words, but they are always exquisitely chosen... Oh, the Humanity reveals that we are beautiful walking tragedies blinking with absurd optimism into the camera lens of history." —Lyn Gardner, GuardianKnown for his wry humor and deeply moving plays, Will Eno''s "gift for articulating life''s absurd beauty and its no less absurd horrors may be unmatched among writers of his generation" (New York Times). This new volume of the acclaimed playwright''s work includes five short plays about being alive—Behold the Coach, in a Blazer, Uninsured; Ladies and Gentlemen, the Rain; Enter the Spokeswoman, Gently; The Bully Composition; and Oh, the Humanity—as well as Title and Deed, a haunting and severely funny solo rumination on life as everlasting exile.WILL ENO is a fellow of Residency Five at Signature Theatre Company in New York. His play The Open House premiered at Signature in 2014, and received an Obie Award, the Lucille Lortel Award for Best Play, and a Drama Desk Special Award. His play The Realistic Joneses premiered at Yale Repertory Theatre in 2012, and was produced on Broadway in 2014, for which he and the cast received a Drama Desk Special Award. His play Title and Deed premiered at Signature in 2012 and was presented at the Edinburgh Fringe Festival in 2014. Both Title and Deed and The Realistic Joneses were included in the New York Times Best Plays List of 2012. Gnit, an adaption of Ibsen’s Peer Gynt, premiered at Actors Theatre of Louisville in 2013. Middletown, winner of the Horton Foote Prize, premiered at the Vineyard Theatre in New York in 2010, and was then produced at Steppenwolf Theatre Company in Chicago in 2011. Thom Pain (based on nothing) was a finalist for the 2005 Pulitzer Prize and has been translated into many languages. The Flu Season premiered at the Gate Theatre in London in 2003, and later received the Oppenheimer Award for best New York debut production by an American writer. Tragedy: a tragedy premiered at the Gate Theatre in 2001, and was subsequently produced by Berkeley Repertory Theatre in 2008. Mr. Eno lives in Brooklyn with his wife Maria Dizzia and their daughter Albertine.

“The marvel of Mr. Eno’s new version is how closely it tracks the original while also being, at every moment and unmistakably, a Will Eno play. After climbing the craggy peaks of Ibsen’s daunting play, Mr. Eno has brought down from its dizzying heights a surprising crowd-pleasing (if still strange) work.” — Charles Isherwood, New York Times“Gnit is classic Will Eno. By that I mean I was thrilled by it.” — Kris Vire, TimeOut Chicago“If ever a play made me want to be a better person, this is it.” — Bob Fischbach, Omaha World-HeraldPeter Gnit, a funny enough, but so-so specimen of humanity, makes a lifetime of bad decisions on the search for his True Self. This is a rollicking yet cautionary tale about (among other things) how the opposite of love is laziness. Gnit is a faithful, unfaithful and willfully American misreading of Henrik Ibsen’s Peer Gynt (a nineteenth-century Norwegian play), written by Will Eno, who has never been to Norway.Will Eno’s most recent plays include The Open House (Signature Theatre, New York, 2014; Obie Award, Lucille Lortel Award for Best Play) and The Realistic Joneses (Yale Repertory Theatre, New Haven, 2012; Broadway, 2014). His play Middletown received the Horton Foote Prize and Thom Pain (based on nothing) was a finalist for the 2005 Pulitzer Prize. Mr. Eno lives Brooklyn.

"[A] tender, funny, terrific new play. . . . Mr. Eno''s voice, which teases out the poetry in the pedestrian and finds glinting humor in the static that infuses our faltering efforts to communicate, is as distinctive as any American playwright''s today."—The New York Times"Weird and wonderful . . . Eno''s familiar sudden-shifting between profound and playful verbiage is delightfully disarming and sometimes awfully funny."—Variety“Plays as funny and moving, as wonderful and weird as The Realistic Joneses… do not appear often on Broadway. Or ever, really…. Mr. Eno’s voice may be the most singular of his generation, but it’s humane, literate and slyly hilarious…. For all the sadness woven into its fabric, The Realistic Joneses brought me a pleasurable rush virtually unmatched by anything I’ve seen this season.” – The New York Times“As usual, Eno’s dialogue is a marvel of compression and tonal control, trivial chitchat flipping into cosmic profundity with striking ease…. There’s much to savor: the dry but meaningful banter, the joy of humans sharing time and space, battling the darkness with a joke or silence. Life in Enoland isn’t what you’d call realistic—it’s more real than that.” – Time Out New York “[An] elliptical, funny, dark and strangely moving new play…. Eno is a writer with heart and compassion.” – Chicago Tribune“Eno''s first-ever commercial foray ups the creative ante in a Broadway climate that can be resistant to new voices…. [A] very fine play where laughter exists a heartbeat, or heartbreak, away from tears.” – The TelegraphMeet Bob and Jennifer and their new neighbors John and Pony, two suburban couples who have more in common than their identical last names. Boasting the playwright''s quintessential existential quirkiness, this new comedy finds poetry in the banal while humorously exploring our ever-floundering efforts at communication. Listed as one of New York Times''s Best Plays of 2012, The Realistic Joneses received its Broadway premiere in spring 2014, starring Toni Collete, Michael C. Hall, Tracy Letts and Marisa Tomei, and opening to rave reviews.Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include Middletown, The Flu Season, Tragedy: a tragedy, Intermission, and Gnit, an adaptation of Henrik Ibsen''s Peer Gynt. His many awards include the PEN/Laura Pels International Foundation for Theatre Award, the Horton Foote Prize, and the first-ever Marian Seldes/Garson Kanin Fellowship by the Theater Hall of Fame.

“Mr. Eno has established himself as one of the most vital, distinctive voices in the American theater over the past decade. Once encountered, his style is not likely to be forgotten: Wryly humorous and deeply engaged in the odd kinks and quirks of language and its fuzzy relationship to meaning, his plays are also infused with a haunted awareness of, and a sorrowful compassion for, the fundamental solitude of existence.” –New York Times“An anarchic and deliciously clever play.” –Huffington PostThis wildly funny and subversive take on the archetypal family drama is dense with authentic feeling and pain and it ultimately evolves into something haunted and mysterious and grand, even hopeful. The Open House won a Drama Desk Award, the 2014 Obie Award for Playwriting and the 2014 Lucille Lortel Award for Outstanding Play. It was on the Top Ten Plays of 2014 lists of TIME magazine, Time Out New York and the NY Daily News. Will Eno is the author of The Realistic Joneses and Thom Pain (based on nothing) , which was a Pulitzer Prize finalist. Other works include Middletown, The Flu Season, Tragedy: a tragedy, Intermission and Gnit. He is a Residency Five Fellow at Signature Theatre in New York. His many awards include the PEN/Laura Pels Award, the Horton Foote Prize and the first-ever Marian Seldes/Garson Kanin Fellowship by the Theater Hall of Fame.

Will Eno''s latest work is an existential meditation on the way human beings tend to labor through life forgetting to appreciate the smaller things -- moments of laughter, the natural beauty of the world, and especially one other. In Wakey, Wakey, the joyful and moving new play by master of seriocomedy Will Eno, a man in hospice care resolves to spend the remainder of his dwindling days on Earth discovering ways to celebrate his life.

“It’s sad, isn’t it? The dead horse of a life we beat, all the wilder, all the harder the deader it gets. On the other hand, there are some nice shops in the area.”

Thom Pain has come to a certain point in his life. Maybe you have too. His entire existence is ordinary; but that ordinariness is a revelation and a wonder and a curiosity. To him at least. He’d better hope so. It’s all he has (except maybe a dictionary and an old love letter).

Comic and disturbing, this provocative monologue charts one man’s anguished journey from shattered childhood dreams and trauma to the tenuous, if guarded, optimism of adulthood, told in dangerous intimacy by a voice loaded with wry humor and deceptive charm.

Is the search for the Self for total nobodies? Watch closely as Peter Gnit, a funny-enough but so-so specimen of humanity, makes a lifetime of bad decisions, on the search for his True Self, which is disintegrating while he searches.A rollicking and very cautionary tale about, among other things, how the opposite of love is laziness. Gnit is a faithful, unfaithful, and willfully American misreading of Henrik Ibsen’s Peer Gynt, a 19th century Norwegian play which is famous for all the wrong reasons, written by Will Eno, who has never been to Norway.

In The Realistic Joneses, we meet Bob and Jennifer and their new neighbours, John and Pony, two suburban couples who have even more in common thantheir identical homes and their shared last names. As their relationships begin to irrevocably intertwine, the Joneses must decide between their idyllic fantasies and their imperfect realities. This contemporary comedy explores how our joys and sorrows - and how we choose to face them - can come to define our lives.

People have been born into families since people started getting born at all. Playwrights have been trying to write Family Plays for a long time, too. And typically these plays try to answer endlessly complicated questions of blood and duty and inheritance and responsibility. They try to answer the question, "Can things really change?" People have been trying nobly for years and years to have plays solve in two hours what hasn't been solved in many lifetimes. This has to stop. The Open House is an hour and twenty minutes, with no intermission.

Is the search for the Self for total nobodies? Watch closely as Peter Gnit, a funny-enough but so-so specimen of humanity, makes a lifetime of bad decisions, on the search for his True Self, which is disintegrating while he searches.A rollicking and very cautionary tale about, among other things, how the opposite of love is laziness. Gnit is a faithful, unfaithful, and willfully American misreading of Henrik Ibsen's Peer Gynt, a 19th century Norwegian play which is famous for all the wrong reasons, written by Will Eno, who has never been to Norway.

In The Realistic Joneses, we meet Bob and Jennifer and their new neighbours, John and Pony, two suburban couples who have even more in common thantheir identical homes and their shared last names. As their relationships begin to irrevocably intertwine, the Joneses must decide between their idyllic fantasies and their imperfect realities. This contemporary comedy explores how our joys and sorrows - and how we choose to face them - can come to define our lives.

People have been born into families since people started getting born at all. Playwrights have been trying to write Family Plays for a long time, too. And typically these plays try to answer endlessly complicated questions of blood and duty and inheritance and responsibility. They try to answer the question, "Can things really change?" People have been trying nobly for years and years to have plays solve in two hours what hasn't been solved in many lifetimes. This has to stop. The Open House is an hour and twenty minutes, with no intermission.

The Flu SeasonNo one in the middle of being in love ever sat down to write a love story. It's only after the belongings are sorted and the shirts returned that the pencils are sharpened and the notebooks opened. So, in a serious way, love stories are never love stories. Love is their inspiration, yes, but the end of love is the reason for their existence. This is a problem. It proposes anti-journeys where we saw only journeys, directs things toward a new negative we hadn't intended. The Flu Season tries to be a love story, anyway. It has a strategy. The play revels in ambivalence, lives in fits and starts, and derives a flailing energy from its doubts about itself. But these come at a price, which is paid by the characters in the play. A kind of clarity finally comes. In the end, is the end.Intermission“Two couples chat with one another at a play's intermission. From what we have heard, it sounds dreadful, which the cocky Jack points out. But his quibbles give way before Mr. Murray's torrent of memory and invective. He doesn't want to hear stylistic complaints, he wants the boy to recognize the play's attempts at truth. And while Mr. Murray's curmudgeon sneers at audiences' yen for weeping at shows, Mr. Eno then makes us – practically by brute force – cry for him. Mr. Eno's triumph is both canny and deeply touching, a vital look into a theater that actually reminds us what it's for.” The New York SunThe Flu Season was the winner of the 2004 Oppenheimer Award for best debut production.

The sun has set over streets of houses, government buildings and American backyards everywhere. The world is dark. A news team is on the scene. Their report: someone left the lawn sprinklers on; someone's horse is loose; a seashell is lying in the grass; dogs run by. The Governor issues excited statements appealing for calm. It is night-time in the world. Everyone's afraid. Everyone doesn't know if the sun, once down, will ever rise again. But there is a witness, and the witness will speak.

This funny, moving, and thought-provoking new play, written and directed by Lucille Lortel and Obie Award-winner Will Eno, challenges the notion of what really matters and recognizes the importance of life’s simple pleasures. (All of which might sound dreary, but there’s a chance this will be a really good experience.)