Plays

Short paper written for Phillips Exeter Academy's Liber Classics Magazine Volume 2: Women. This paper briefly explores how the perceived message of Lysistrata has changed as the cultural context around the play has changed. Edited by Blane Zhu, Pepper Pieroni, Kevin Zhu, and Sophia Cho.

Anti-Nationalism can be defined as a disloyalty to one's own nation and a disregard for the beliefs it upholds, within this definition Nationalism can be seen as a sentiment fervently opposed to imperialism and colonialism. However, this becomes convoluted when held in relation to J.M. Synge's, Playboy of the Western World and in relation to 19 th century Ireland itself.

Hello everyone. I welcome you all to this wonderful play inspired from one of the finest gemstones of O. Henry - The Last Leaf 🌿✨. To be honest, I'm a great fan of O. Henry's twisted ends. As this short story is one of my favourites, I've turned this into a Stage Play. So, trust me you'll have a fun read.

I was born black and female,' Lorraine Hansberry once said. These two identities dominated her life and writings. Rejecting the limits placed on her race and gender, Hansberry employed her writings to investigate what it meant to be a black woman in post-war America. Throughout history, black women suffer various forms of marginalization, discrimination, and oppression. The same is true of their position in literature. Because of the white monopoly of literary writing and production, black women were under represented in the dominant white literary canon. Hence the need to have a distinctive voice of their own. As a literary movement, Womanism tries to give black women that voice. It addresses the triple impact of race, sex, and class on black women. Lorraine Hansberry's A Raisin in the Sun (1959) deals with a number of womanist issues like black man-black woman relationship, gender roles, images of black woman in the 1950s American society, black matriarchy and abortion. It centers around three black women as they rapple with the difficult circumstances they are facing in a largely white racist society.

Theatre in Kolkata was a sudden occurrence. It wasn't a natural, or gradual, evolution of the public form of entertainment that had existed in proximity, which one might consider cultural proximity in a more informal situation, but an adaptation of sorts, that wasn't completely, if at all, intrinsic to the region before the imposition of Modernity through colonial rule. This paper will try to chronicle the history of 19 th century proscenium plays in erstwhile Kolkata and the surroundings, up until, and a little beyond, the establishment and initial success of the Public stage in 1872. Following that, it will try to compare the effect of the proscenium on social standing and how it fared in perpetuity in comparison to other, supposedly more indigenous, forms of art. It shall try to understand the importance of the stage as a modern influence in a societal circumstance that is perhaps not in the same temporal plane, and how that defines the artist and the art of the theatre itself. The history in Kolkata The history of Bengali theatre, defined by the presence of Bengali as the linguistic medium through which the characters communicate began with the intervention of a Russian Indologist, Gerasim Stepanovich Lebedeff. In 1795, he decided to set up a stage for the Bengali audience in order to fill a void which had existed in the form of public entertainment. So he, as an expert in Indian languages, translated two English plays, namely 'The Disguise', and 'Love is the best Doctor', to be presented to a Bengali Audience. He showed the translations to a few language experts trying to gauge the paucity of his translation and claims to have been pleased with the effects it produced on them. Following that, his language trainer Golaknath Das approached him with the suggestion of actually staging it with Bengali actors which he could provide. Following this, he designed and erected a public stage near Dome lane, and advertised in the Calcutta Gazette on 5 th November 1795 and again on 26 th November, the day before the performance. The play was staged the following day to apparently undocumented success, which is hinted at by another advertisement by him, thanking the audience and a declaration of a repeat show. 1

Anne Griswold Tyng (1920-2011), una de las primeras mujeres que estudia en la GSD de Harvard y coautora con Louis I. Kahn del proyecto de la City Tower –entre otras obras–, desarrolla —y patenta en 1949— el proyecto de un pequeño juguete de madera contrachapada cuyas piezas, organizadas en combinaciones diferentes, pueden ensamblarse formando objetos muy diversos. El proyecto, conocido como Tyng Toy, anticipa el pensamiento investigador de su autora sobre la geometría como “principio de la forma” y condensa las inquietudes de la época y el nuevo sueño de la arquitectura americana tras la segunda guerra mundial.
El juguete manifiesta una particular visión del papel del arquitecto como educador social y transformador del medio que le rodea y más allá de la necesidad de reconstrucción que reinaba en los años de posguerra, trasciende los imperativos del momento para hablarnos de otra necesidad paralela y universal: la de reconstruir el universo lúdico, imaginario, educativo y proyectual del ser humano. El pequeño conjunto de cinco piezas de madera, como metáfora simbólica, nos habla de un mundo que es también el nuestro: complejo y ramificado, pedagógico y abierto, y en su planteamiento —sintético e intenso— abarca resonancias universales y profundas.



Anne Griswold Tyng (1920-2011), one of the first women who studied architecture at the GSD in Harvard, and coauthor with Louis I. Kahn of the City Tower Project –among other works–, designed —and patented in 1949— a small plywood toy, which in diverse arrangements can be assembled in many different ways. The project, known as the Tyng Toy, anticipates Tyng’s future thought and research on geometry as “forming principles” and condenses the concerns of the epoch and the new dream of American architecture after World War II.
The toy manifests a particular vision of the architect’s role as social educator and transformer of the environment and, beyond the dominant needs of reconstruction of that time, transcends the imperatives of the moment to speak about a different need, parallel and universal: to rebuild the ludic, imaginary, educative and design universe of the human being. The small five-pieces-set, plywood toy, as a symbolic metaphor, tells us about a realm which is also ours: complex and ramified, pedagogical and opened, and in its approach, synthetic and intense, gathers universal, deep resonances.

‘Theatre’ and ‘playhouse’ are two words often used interchangeably nowadays. In the early modern period, however, each word was known to be different in meaning, intent, and reach. While ‘theatre’ signified a classical space with a visual focus (it had its origins in the Greek verb θεᾶσθαι, ‘to see’), ‘playhouse’ signified a locus of all-purpose entertainment (it can be roughly translated ‘storeplace of fun’). This chapter consequently has two parts: ‘theatre’ and ‘playhouse’. It first considers the elevated, classical, and highly visual credentials of ‘theatre’, asking how that word is used in early modern drama and why the spectators might also be known, collectively, as a ‘theatre’. It then investigates ‘house’+‘play’, exploring how many internal ‘houses’ – tiring house, domestic house, music house, tap house, and house of office – made up the single playhouse space; and asking why the audience there was – and still is – known as ‘the house’. It turns finally to the way ‘play’ stands for a variety of onstage ‘fun’ – swordfights, puppet shows, acrobatic displays, wit-battles – as well as offstage sales of food, drink, books, and ballads, in addition to text. Given that neither ‘theatre’ nor ‘playhouse’ are words that focus on staged ‘drama’, its question, throughout, is what they reveal about the priorities of early modern performance spaces.

Berdasarkan definisinya cinta adalah kata sifat. Huruf C dan N di dalam naskah ini adalah inisial dari dua nama tokoh yang terikat sifat dan menghimpit huruf I atau ideologi sebagai pertentangan diantara keduanya. Hingga akhirnya mereka menemukan gerak konstan, inisiatif perasaan, ketika cinta menjadi kata kerja. Tentunya saat itu mereka sedang bercinta.

Man and Superman is a four-act drama written by George Bernard Shaw in 1903. The series was written in response to a call for Shaw to write a play based on the Don Juan theme. Man and Superman opened at the Royal Court Theatre in London on 23 May 1905, but it omitted the third act. A part of the act, Don Juan in Hell (Act 3, Scene 2), was performed when the drama was staged on 4 June 1907 at the Royal Court. The play was not performed in its entirety until 1915, when the Travelling Repertory Company played it at the Lyceum Theatre, Edinburgh.

Τάσος Αγγελόπουλος | | Neograeca Bohemica | | 20 | | 2020 | | 25-52 | Tasos Angelopoulos: Fragments of Review Plays from essaloniki during the Occupation (1941-1944) from the Archive of Playwright Antonis Kosmatopoulos
The paper contains the publication, for the first time, and the critical examination of four theatre Review numbers by Antonis Kosmatopoulos, which were presented in Thessaloniki during the Nazi Occupation (1941-1944). Through an analysis of their subject patterns and ideological features, it became obvious that the tensions followed by theatre Review's playwrights during the inter-war period, which had been interrupted because of the country's participation in WWII and the theatre's patriotic mobilization, continued during the Occupation, though with some differentiating characteristics.

E-Book: Poor Little Rich Drama
Authors: Eva Kamchevska, Nadica Trajkova, Elena Prendzova, Tea Begovska, Kiril Donchov, Igor Pop Trajkov, Stefan Markovski, Vasil Mihail, Lidija Mitoska-Gjorgjievska, Irma Basheska Ristovska, Mia Kantardzieva.
Introduction by Ulrike Syha
Editor: Ivanka Apostolova Baskar
Publishers: Macedonian Center ITI/PRODUKCIJA
Funded by the Goethe Institute Skopje
Skopje, 2018
ISBN. 978-608-66217-0-4
Link. https://okno.mk/…/Poor%20Little%20Rich%20Drama%20%202018.pd…
Reviews - Рецензии/Distribution-Дистрибуција.https://www.facebook.com/pg/MacedonianCenterofInternationalTheaterInstitute/photos/?tab=album&album_id=2335040933205305

Berdasarkan definisinya cinta adalah kata sifat. Huruf C dan N di dalam naskah ini adalah inisial dari dua nama tokoh yang terikat sifat dan menghimpit huruf I atau ideologi sebagai pertentangan diantara keduanya. Hingga akhirnya mereka menemukan gerak konstan, inisiatif perasaan, ketika cinta menjadi kata kerja. Tentunya saat itu mereka sedang bercinta.

The purpose of this study was to discover the possibilities of professionally staging a Filipino play in London – a feat that has never been done before. This essay details the current status of Asian Theatre and illustrates the presence of Philippine Theatre here in the United Kingdom (UK). It then discusses the challenges and issues involved in staging foreign work in London, before discussing possible solutions to overcome them. The study explores and analyses the experiences of both the director and the performers during the process, correlating these with audience feedback in order to better understand why there is a dearth of Asian and specifically Filipino theatre produced in the UK. It uses a practice as research approach, culminating with a staged reading of the first act of 'Fake', an award winning Filipino Play in English written by Floy Quintos. The project found that there was no fundamental difficulty or difference in staging a Filipino play that it cannot be appreciated by audiences here in the UK. The findings of this research further supports works by Daboo (2018), Dadswell (2009), King (2000), Ley (2011), and Nagata (2010), which concede that there is a need for greater presence and support of Asian arts here in the UK. The next phase of this project is to produce a similar work on a greater scale to verify the sustainability of introducing foreign work to the UK Theatre landscape, and to see if a relatively unknown form will be appeal to theatre makers and encourage interest in investing into emerging material.

This paper aims at enlightening the role played by illustrations in the reading of plays as means to an improved meaning assessment. Looking at the pictures, students are asked to perform, through improvisation, what is depicted in the image. This way, they engage in a mode of embodied reading that drives a new range of clues for constructing textual meaning. Students not only rely on internal processes to elaborate on the text's meaning but attain to bodily experiences to achieve a personal understanding of the plot, thus arguing for the relevance of "embodied cognition" and "embodied pedagogy" as core concepts.

Between 1983 and 1987, three years after Zimbabwe gained independence from Britain, there were disturbances in the Ndebele dominated Matabeleland and Midlands provinces, resulting in the massacre of an estimated 20,000 unarmed civilians by an elite armed unit sent by the newly elected democratic (Shona dominated) government. This has become known as the Gukurahundi. The atrocities ended with the signing of the Unity Accord in 1987; however, the Gukurahundi issue has remained sensitive, due to the official silence on this painful period, which has lasted many decades. Victims and families in this community have been given no closure. This article examines the portrayal of identity/genealogy issues by two stage plays: 1983: Years Before and After and Speak Out! The view that we take is that theatre offers a map of individual and social experience that provides a tapestry of the people’s suffering, pain, concerns, hopes, and aspirations. We observe that the plays under study grapple with issues of identity emanating from the undocumented deaths and disappearances of people during the Gukurahundi, whose effects manifest today in the lives of the survivors and children of victims, through failure to obtain birth certificates and identity documents, and through an identity crisis. We conclude that theatre has provided an avenue for the victims of the Gukurahundi to share their experiences and to protest against their continued marginalisation.

The word Poetomachia is, as defined by Merriam-Webster, " a contest of poets; specifically: a literary quarrel involving a number of Elizabethan dramatists. " That Elizabethan detail is important. What they're saying is that the Western viewpoint controls the whole she-bang. But as the adage goes, " the pen is mightier than the sword, " and for generations, there has been a war of words by playwrights to give the oppressed a voice and to make the world a better place. The Indigenous Voice of Poetomachia is twelve essays and two interviews, exploring various regions of the world where voices in drama and literature have been suppressed. This book was created to fill the gap of post-colonial dramatic theory, as for centuries, the West has told indigenous and third-world cultures who and what they are, dictating their future and demonizing their past. The book spans regions in Africa, Ireland, Japan, and India, exploring readings of plays which are out of the mainstream of the average graduate student or Ph.D. candidate. Some are obscure, but all offer different possibilities for dramatic reading. As the Expert's Note tells us in the beginning, the idea is that the only uncensored truth is for one to write one's own stories. The re-telling of a sample of these stories is one of the goals of this four-part book. Section One of The Indigenous Voice of Poetomachia introduces indigenous theater. These enactments beyond the stage included religious rites, poetic songs, oral storytelling traditions and ancient aboriginal theater. These dramas have all been performed over the ages without much (or any) written text or stage construction, in common community spaces. The book presents the western view of theater as a 16 th Century development, led by Shakespeare and the Christian Passion Plays. They do not discuss the influence of the Ancient Greeks here, still clearly Western and forever relevant. But that would probably be another thousand pages. It is the editors' premise that traditional Indian forms of performance have been repressed by the West and in fact have " centrifugal power " to activate our historical and theoretical imaginations, to understand what performance used to be and its future potential to create intellectual change. The British post-colonial view of what defines art and aesthetics have long ignored, if not erased, much Indian ritualistic drama, such as the celebration of death anniversary of Sufi saints. The first essay explores the British censorship in Bengal. After colonialization, anti-British themes and nationalism began appearing in theater, which has always been a voice for staging resistance and stirring public opinion.

 Este artigo aborda dificuldades de ordem teórico-metodológica na definição de critérios de seleção de fontes para o estudo histórico da língua. A discussão está centrada na utilização de cartas e peças de teatro como fontes e destaca a importância do gênero textual no processo deconstrução de corpora.

DIGITAL PROMOTION (YOUTUBE - 16.10.2020/Friday, 20h): LINK. https://www.youtube.com/watch?v=uYiigmlLf58&feature=youtu.be FEMALE THEATER IN MACEDONIA - YOUNG FEMALE PLAYWRIGHTS AND DRAMATURGS: eBook with Theater Plays by Mia Efremova! - Introductory text by Saso Ognenovski (Theater critic, writer, poet) - DEMIGODS-theater play - ROSEBUD - theater play Producer/Editor: Ivanka Apostolova Baskar Publishers: Macedonian Center ITI/PRODUKCIJA Supported by the Ministry of Culture R.N. Macedonia Introduction text/English Language Editor: Saso Ognenovski Photo credits by Mia Efremova (Goran Nakovski, Gloria Manoilova, Branko Kosteski, Sean Eriksson) Video: Mihailo Apostolov Annual Program: Poor Little Rich Drama-The Rise and Fall of Drama, 2020 2020, eBook: Demigods, Rosebud - Theater Plays by Mia Efremova (Mia Volt) Publisher: Macedonian Center ITI/PRODUKCIJA, Skopje Initiator/Editor/Designer: Ivanka Apostolova Baskar Intro Text by Saso Ognenovski Language Editing: Saso Ognenovski Year: 2020 Language: English Pages: 54 Copies: 500 ISBN 978-608-4912-01-9 Promotional price: 200 MKD (Until 31 October 2020) Plays by Macedonian playwright, author Mia Efremova/Mia Volt (Stip,1994).

Link. https://www.facebook.com/pg/MacedonianCenterofInternationalTheaterInstitute/photos/?tab=album&album_id=4514590761916967

Έξι πρόσωπα σε κατάσταση limbo…Ένα έργο για την επιθυμία, την απώλεια, τις ενοχές.

«Το Angelstate είναι ένα έργο οριακό. Όχι γιατί οι χαρακτήρες του είναι αρχέτυπα μιας εμμονικής ή ακραία απαρνημένης σχέσης με το ανθρώπινο σώμα ή και με την ίδια τη ζωή, όχι γιατί οι σχέσεις τους κινούνται διαρκώς γύρω από την οδύνη, την πειθαρχία και την καταπίεση. Όχι γιατί καταρρίπτουν στερεοτυπικά κατασκευασμένες φυλετικές ταυτότητες. Όχι γιατί το σώμα τους γίνεται ένα πεδίο μάχης ανάμεσα στην ατομική επιθυμία και την επιθυμία του άλλου. Ανάμεσα στην ατομική ελευθερία και την κοινωνική καταπίεση. Ανάμεσα στο σώμα και στην εξαΰλωση του. Ανάμεσα στην επιθυμία για ζωή και  στην επιθυμία θανάτου, αλλά κυρίως γιατί, δραματουργικά, παρότι εξελίσσεται στο παρόν, όλες οι «ζοφερές και ανίερες» πράξεις των ηρώων έχουνε ήδη συμβεί. Εμείς παρακολουθούμε τον απόηχο του τραύματος και της ενοχής, μια μακρά και αργόσυρτη πορεία συμφιλίωσης με το ανεπίστρεπτο.
Το Angelstate είναι ένα έργο προκλητικό. Όχι με την έννοια ότι θέλει να σοκάρει. Αλλά γιατί δε φοβάται να μιλήσει ανοιχτά και να θίξει δημόσια όχι μόνο την κοινωνική καταπίεση της επιθυμίας και το σύμπλεγμα πειθαρχία/αυτό-τιμωρία και ενοχή. Γιατί δεν φοβάται την αμεσότητα. Το Angelstate είναι μια βαθειά ανθρώπινη ιστορία. Μιλάει κατευθείαν μέσα μας.»

Αλέξανδρος Μιχαήλ

"In an imaginary space of expiation, punishment and mainly self-punishment six characters, under strict surveillance, retrace their stories and their ‘sins’ which are all related to the expression of desire. Specifically, the typology of the characters of the play (Bodyguard, Bodybuilder, Anorexic, Dominatrix, the Priest) which makes them paradigramic but not unhistorical, is connected to universal kinds of repression or self-willed control of a bodily desire but also to the expulsion from the assumed normal (body).

The condition within which these characters are placed, angel-state, is an existential condition of «being», which is transformed dramaturgically into an ambiguous, border space of an existential state of suspension (a laboratory-prison cum Purgatory, where the characters of the play act confessionally under the constantly watchful eye of the controlling authorities which historically produce obedient bodies and entrenchment  ).  As a result, these types become dramaturgical beings, reliving their endogenous weaknessess and contradictions (always in connection with a social rule) way beyond the everyday. Angel-state is primarily a situation of coming-into-being/self-realisation, but also of a reconstitution of the boundaries of desire for those willing to perform the transition to a new personal structure (of exoneration and refusal of previous guilt). "
George Sabatakakis, Senior Lecturer, University of Patras, Greece.

The introduction discusses the noh play Hakurakuten in relation to the earlier introduction to and translation of the play by Arthur Waley, the reading of the play by Leo Shingchi Yip, and the concepts of allusion and allusive space advanced by Joseph Pucci. Using Pucci's concepts, I discuss the allusions to literary texts, cultural practices, and historical events and persons in Hakurakuten in a new manner as well as assess the aspects of the play both Waley and Yip overlook and how Waley and Yip's readings fit into an allusive space reading of the play. The translation is based on the version of the play appearing in Itō Masayoshi's annotated volume and incorporates as much as possible the information Itō gives. It contains a translation of the kyōgen interlude , which is important to appreciating the central theme of the play and was left out of the Waley translation. It also contains more footnotes than the earlier Waley translation, notes that point out matters such as puns in language and source material for lines.

This paper on my creative writing process was delivered at the University of Oxford, May 31st 2018, Faculty of Byzantine and Modern Greek. It was in the context of the performance of my play Splinters at Simpkins Lee Theatre, Lady Margaret College.

Os estudos recentes sobre crianças e infâncias no cenário mundial têm apontado para um entendimento das crianças como seres socioculturais e agentes ativos nas produções do mundo que as rodeia, encontrando no brincar possibilidades de releituras de mundos e de ações a partir de perspectivas socioculturais. Este trabalho apresenta uma pesquisa longitudinal realizada em Moçambique, com crianças dos três aos quinze anos de idade, em que a discussão sobre o brincar e a relação com a terapia ocupacional se coloca presente. Objetivo: Compreender o brincar como atividade significativa das crianças e o papel do terapeuta ocupacional enquanto pesquisador. Material e Métodos: Etnografia com pesquisa de campo em Moçambique, na comunidade da Matola A, na comunidade de Mabotine e em Nhandlovo, entre os anos de 2014 e 2018. Resultados: A partir dos dados levantados e analisados, os principais pontos trabalhados envolveram: o brincar e a construção dos brinquedos a partir de material de desuso (descarte); o brincar e a relação com a natureza e as paisagens; imagens do brincar e o uso da fotografia. Os resultados apontam para um caleidoscópio de diversidades e linguagens utilizadas pelas crianças no brincar, compreendido como forma de estar no mundo e a partir de suas relações espaço-temporais. Conclusão: Esta pesquisa contribui para os estudos com crianças e infâncias em terapia ocupacional nos países lusófonos e não somente, englobando a criança ao seus modos de vida e contextos históricos e amplia possibilidades de ações e pesquisa em contextos e perspectivas socioculturais.

According to a fragment of Erinna’s Distaff and Greek Lexica such as Pollux’ Onomasticon, the torti-tortoise (chelichelone) is a play devoted to girls of marriageable age. By examining our sources, it is possible to determine the value of this play which was meant to instruct maids before wedding transitional stage. Beyond any doubt, it is a kind of play with undeniable initiatory undertones. The topic of the tortoise-girl is to be focused within limits of a peculiar condition such as young people before final initiation into adulthood were awaited to embody. We also focus on Modern examples of initiatory play rites drawn from Greek Folklore, such as The Little Helen, The Wolf and the Lamb, The Kneading-Trough, and others destined to  young girls, in order to show the survival of Ancient Greek play culture.

Julius Pollux (2nd century) was a Greek scholar and lexicographer from Naucratis, a Greek colony in Egypt. He is known as the author of the Onomasticon, a Greek dictionary arranged according to subject-matter, in ten books. This dictionnary supplies in passing valuable information for the history of Graeco-Roman plays and games. They are object of many sections such as specifically in 9th book (94-129) and also 6th book devoted to Greek symposium and related plays  (enigmas and kottabos) and also 7th  book as far as concerns gambling (dice and pieces board games). In conclusion, Pollux´ dictionnary is meeting the demands of intellectual class for euglottia, the correct choise of words, in order to master Attic languague. At the same time, this work allows us to know details of Ancient game culture that would otherwise be lost for ever such as principles of plays, age and sex of players, sometimes even nursery rhymes.

of the article Wendy Wasserstein, the famous figure in US drama, was known as an artist and social commentator in her lifetime. I am going to show how this playwright constructed images of women artists in her famous "The Heidi Chronicles" (the 1989 play that brought Pulitzer Prize for the playwright). In this play, the female artist and art historian Heidi Holland incorporates into her lectures reproduction canvases of forgotten women that preserve the artists' identities, creative visions, and skills. Heidi informs her class of the marginalization of female artists and uses her position as an instructor to bring the past into the present, reviving female artists who symbolize women's dream for recognition and inclusion. An in-depth analysis of the female artists' paintings developed by the protagonist reveals curious representations of women finding their voices and authority within themselves through the creative outlet of painting.

This essay discusses the supernatural and religious aspects in the 2016 RSC theatre productions of Hamlet and Doctor Faustus and argues how each performance changes the supernatural aspects from the original texts in order to make them fit a 21st century theme. It was written for a theatre course concerning (Shakespearean) theatre performances in Stratford-upon-Avon.

Though considerations about work and leisure have traditionally been made separately, the distinction between these two worlds has become less clear in recent years and perceptions about how the «worker» is conceived are changing. As the coming together of these two worlds is commonly seen in creative workers, this paper intends to discover more about the problem-solving tools such workers use. The information used in this study was compiled using an ethnographic study carried out for nine months at a graphic design center in Spain. Two of the core pillars that help to explain the modus operandi of the creative professionals who work at the center are the concepts of humour and play. Components traditionally associated with leisure were used as tools in the exercise of their daily profession, resulting in the production of large doses of creativity and resourceful thinking.

״הקריאה במחזות של גינצבורג מאפשרת הצצה לכתיבה קלילה וחופשייה יותר של הסופרת, ובה בעת לארכיטקטוניקה הפנימית של הדמויות שעל גבן בונה גינצבורג את עולם הפרוזה שלה, את המשפחות האומללות-אך-אוהבות שלה.״ טל יחזקאלי על ״איפה הכובע שלי?״, קובץ המחזות של נטליה גינצבורג. https://blog.nli.org.il/mussach-112-prose-critique/