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فرازنواخت
دو خانم به ملاقات همدیگر میروند، اما همراه با خود بیرونیشان، خود درونیشان نیز ظاهر شده و به زبان میآید...
«فرازنواخت» نمایشنامهای تکپردهای از آلیس گِرستِنبِرگ (۱۹۷۲-۱۸۸۵)، نویسنده و فعال حقوقزنان آمریکایی است.
رنگ لباس هریت روشن است، یک سبز رشکبرانگیز. همتای او، هتی، لباسی با همان طرح پوشیده، اما رنگ لباسش کمی تیرهتر است. مارگارت یک لباس ارغوانی شیفون پوشیده درحالیکه همتایش یک لباس با همان طرح به رنگ جگری پوشیده و با یک روسری جگری صورتش را پوشانده است. شیفون برای این استفاده شده که تأثیر فرانما بدهد، احتمال این هست که خودهای بدوی و خودهای فرهیخته بتوانند در هم ادغام شوند و به یک زن بدل شوند. خودهای بدوی و فرهیخته هرگز با هم تماس بدنی ندارند، اما سعی میکنند این حس را که تعارض ذهنی دارند حفظ کنند. هریت هرگز هتی را نمیبیند، هرگز با او حرف نمیزند، اما نسبتاً با صدای بلند فکر میکند و به هوا نگاه میکند. اما هتی به هریت نگاه میکند، با اشتیاق حرف میزند و مدام او را تعقیب میکند. همین ماجرا در مورد مارگارت و مگی هم صادق است. صداهای زنهای فرهیخته مصنوعی و پرتعلّل است، صداهای زنهای بدوی عجولتر است و مکث کمتری دارد. وقتی پردهها بالا میرود، هریت در سمت راست میز چای نشسته و خودش را با بساط چای مشغول کرده است.
«فرازنواخت» نمایشنامهای تکپردهای از آلیس گِرستِنبِرگ (۱۹۷۲-۱۸۸۵)، نویسنده و فعال حقوقزنان آمریکایی است.
رنگ لباس هریت روشن است، یک سبز رشکبرانگیز. همتای او، هتی، لباسی با همان طرح پوشیده، اما رنگ لباسش کمی تیرهتر است. مارگارت یک لباس ارغوانی شیفون پوشیده درحالیکه همتایش یک لباس با همان طرح به رنگ جگری پوشیده و با یک روسری جگری صورتش را پوشانده است. شیفون برای این استفاده شده که تأثیر فرانما بدهد، احتمال این هست که خودهای بدوی و خودهای فرهیخته بتوانند در هم ادغام شوند و به یک زن بدل شوند. خودهای بدوی و فرهیخته هرگز با هم تماس بدنی ندارند، اما سعی میکنند این حس را که تعارض ذهنی دارند حفظ کنند. هریت هرگز هتی را نمیبیند، هرگز با او حرف نمیزند، اما نسبتاً با صدای بلند فکر میکند و به هوا نگاه میکند. اما هتی به هریت نگاه میکند، با اشتیاق حرف میزند و مدام او را تعقیب میکند. همین ماجرا در مورد مارگارت و مگی هم صادق است. صداهای زنهای فرهیخته مصنوعی و پرتعلّل است، صداهای زنهای بدوی عجولتر است و مکث کمتری دارد. وقتی پردهها بالا میرود، هریت در سمت راست میز چای نشسته و خودش را با بساط چای مشغول کرده است.
40 pages, Paperback
First published January 1, 1913
35 people want to read
About the author
Alice Gerstenberg
162 books7 followersAlice Erya Gerstenberg (2 August 1885 – 28 July 1972) was an American playwright, actress, and activist best known for her experimental, feminist drama and her involvement with the Little Theatre Movement in Chicago.
Gerstenberg was born in Chicago, Illinois, the only child of Julia and Erich Gerstenberg. Gerstenberg’s grandfather was a founder and member of the Chicago Board of Trade in 1848, a position Gerstenberg’s father inherited later on. Due to this, the Gerstenbergs enjoyed a higher standard of living than most middle-class families in Chicago at the time. Growing up, Gerstenberg had ample travel experiences and social indulgences including commercial theater. She attended a private school in Chicago and later graduated from Bryn Mawr, a women’s college in Pennsylvania, in 1907. After college, she spent some time in New York watching the rehearsals of David Belasco before returning home to Chicago.
After living in New York for a period, Gerstenberg returned to Chicago, where she continued to write plays; became involved with the Little Theatre movement, supported her parents, and exercised a strong feminist dedication to bringing non-commercial theater to new playwrights, children, and Chicagoans. Her previous involvement with the theater during her childhood, the plays she wrote at college, as well as the time spent in New York led her to continue writing plays for the rest of her life, working occasionally as an actress, and maintaining an activist role in the theater. Although the majority of her plays have largely been forgotten, her magnum opus Overtones has continued to be produced since its publication in 1913.
In 1913, Gerstenberg wrote Overtones, a one-act play, her second stage play, and her most frequently performed and printed, which was first produced in November 1915 by the Washington Square Players at the Bandbox Theater in New York. It has been anthologized alongside Susan Glaspell’s Trifles as a textbook case of modern one-act plays by women involved in the little theater movement. The play crystallizes her use of experimental form with a familiar dramatic conflict. The play enjoyed many productions due to its innovative use of the split subject, a technique Eugene O'Neill would later use in his play Strange Interlude. Gerstenberg continued to write many one-act plays early on in her career, many of which were performed by regional or little theaters in and around Chicago. The majority of these plays demonstrate her feminist tendencies – critiquing the social roles and decision which constrained women of the time. Gerstenberg continued to write plays throughout her life, later on publishing several radio plays as well as several commissioned dramatizations of children’s stories.
Gerstenberg’s influence on the theater is not limited to her early experimental forms; she played a crucial role in the foundation and success of several theater companies as well as the Little Theater Movement in Chicago. In 1921, she founded the Junior League Children’s Theater in Chicago; in 1922 she founded the Playwrights Theater; and finally she supported an amateur theater company which was eventually named for her at its foundation in 1955. Her work with these theater companies demonstrates her commitment to making non-commercialized theater available to new playwrights, giving them the opportunity to see their plays produced; regional playwrights, demonstrating an appreciation for Chicago and the Midwest; and finally to children, giving them an early experience with the theater, the opportunities to act, write, and become involved. Furthermore, she hoped that her work would bring Chicagoans to support non-commercial theater. Gerstenberg was one of a handful of women invited to speak at the National Drama Council and National Theatre Conference in 1936, an invited speaker at three A.E.T.A conferences, and won the Chicago Foundation for Literature Award in 1938. Gerstenberg remained involved in the theater th
Gerstenberg was born in Chicago, Illinois, the only child of Julia and Erich Gerstenberg. Gerstenberg’s grandfather was a founder and member of the Chicago Board of Trade in 1848, a position Gerstenberg’s father inherited later on. Due to this, the Gerstenbergs enjoyed a higher standard of living than most middle-class families in Chicago at the time. Growing up, Gerstenberg had ample travel experiences and social indulgences including commercial theater. She attended a private school in Chicago and later graduated from Bryn Mawr, a women’s college in Pennsylvania, in 1907. After college, she spent some time in New York watching the rehearsals of David Belasco before returning home to Chicago.
After living in New York for a period, Gerstenberg returned to Chicago, where she continued to write plays; became involved with the Little Theatre movement, supported her parents, and exercised a strong feminist dedication to bringing non-commercial theater to new playwrights, children, and Chicagoans. Her previous involvement with the theater during her childhood, the plays she wrote at college, as well as the time spent in New York led her to continue writing plays for the rest of her life, working occasionally as an actress, and maintaining an activist role in the theater. Although the majority of her plays have largely been forgotten, her magnum opus Overtones has continued to be produced since its publication in 1913.
In 1913, Gerstenberg wrote Overtones, a one-act play, her second stage play, and her most frequently performed and printed, which was first produced in November 1915 by the Washington Square Players at the Bandbox Theater in New York. It has been anthologized alongside Susan Glaspell’s Trifles as a textbook case of modern one-act plays by women involved in the little theater movement. The play crystallizes her use of experimental form with a familiar dramatic conflict. The play enjoyed many productions due to its innovative use of the split subject, a technique Eugene O'Neill would later use in his play Strange Interlude. Gerstenberg continued to write many one-act plays early on in her career, many of which were performed by regional or little theaters in and around Chicago. The majority of these plays demonstrate her feminist tendencies – critiquing the social roles and decision which constrained women of the time. Gerstenberg continued to write plays throughout her life, later on publishing several radio plays as well as several commissioned dramatizations of children’s stories.
Gerstenberg’s influence on the theater is not limited to her early experimental forms; she played a crucial role in the foundation and success of several theater companies as well as the Little Theater Movement in Chicago. In 1921, she founded the Junior League Children’s Theater in Chicago; in 1922 she founded the Playwrights Theater; and finally she supported an amateur theater company which was eventually named for her at its foundation in 1955. Her work with these theater companies demonstrates her commitment to making non-commercialized theater available to new playwrights, giving them the opportunity to see their plays produced; regional playwrights, demonstrating an appreciation for Chicago and the Midwest; and finally to children, giving them an early experience with the theater, the opportunities to act, write, and become involved. Furthermore, she hoped that her work would bring Chicagoans to support non-commercial theater. Gerstenberg was one of a handful of women invited to speak at the National Drama Council and National Theatre Conference in 1936, an invited speaker at three A.E.T.A conferences, and won the Chicago Foundation for Literature Award in 1938. Gerstenberg remained involved in the theater th
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Displaying 1 - 13 of 13 reviews
February 14, 2020
The Freudian Presence in "Overtones" : A psychoanalytical review.
"Overtones" is one of the earliest plays that embody, physically, hidden sides of human nature. It makes the expressions of mind viewable. Readers, as well as viewers, can see the effect of Freud's psychological theory ideas on the roles of the play. "Overtones" also can be considered a helpful way to have more understanding of this theory in light of what we have in the play, and vice versa.
The division in personality that we have in "Overtones" represents two sides of human nature: The Ego (Harriet and Margaret) and the Id (Hetty and Maggie). Hetty and Maggie try, throughout the whole play, to affect Margaret's and Harriet's reactions and speech. They represent the "Black box" inside the main characters' selves. Readers can observe all the hatred, hostility and envy in the behaviors of the two shadows. However, the real selves of the characters try hardly to control their way of speech, words and behavior in order to look as much cultured as possible. They even try to reach the superego level. This duality shows readers how much the play is affected by some of the most known concepts in Psychology.
Another concept related to Psychology, which can be seen in the play, is Pleasure Principle. According to Freud in "Evolutionary Psychology" Curriculum, humans are pure biological creatures that are born with two kinds of instincts: Life instincts, which are represented mostly in sexual desires, and Death instincts that are represented generally in aggressive desires. Hetty acts as an embodiment of life and death instincts together. She is regretting and blaming her other self about not getting married to John. She's dying to get him in any way possible in order to fulfill her desire, to get pleasure that’s to say. Furthermore, "I will make you and your husband suffer!" is one of the statements that represents her jealous and aggressive attitude toward Margaret, her death instinct in other words. Actually, It's possible to apply Pleasure Principle on other statements in the play which makes the relationship between this principle and "Overtones" clearer.
The idea of hiding the truth from others and not expressing one's self in order not to get hurt emotionally or physically is what Freud calls Repression. Repression is a defensive mechanism that's used to fake reality. All repressed feelings and desires go to the Unconscious. This is what Margaret and Harriet do in order to stay acceptable in each other's eyes. That's why we see the two shadows in a miserable and an unstable condition! They are the representation of all these repressed emotions. For example, Margaret shows that she and her husband are in a good financial condition, while her shadow, Maggie, is starving! But simply she can't admit that because of the need to keep her social image looks good.
Plays like "Overtones" help people to understand themselves better. It's one of the reasons that make the play very significant. It's universal and it'll probably have an effect on any reader or viewer. The German novelist Sally Wicker says "Reading literature gives us the opportunity to learn more about what's hidden inside of us more than reading psychology books", and "Overtones" probably is a mix of them both.
"Overtones" is one of the earliest plays that embody, physically, hidden sides of human nature. It makes the expressions of mind viewable. Readers, as well as viewers, can see the effect of Freud's psychological theory ideas on the roles of the play. "Overtones" also can be considered a helpful way to have more understanding of this theory in light of what we have in the play, and vice versa.
The division in personality that we have in "Overtones" represents two sides of human nature: The Ego (Harriet and Margaret) and the Id (Hetty and Maggie). Hetty and Maggie try, throughout the whole play, to affect Margaret's and Harriet's reactions and speech. They represent the "Black box" inside the main characters' selves. Readers can observe all the hatred, hostility and envy in the behaviors of the two shadows. However, the real selves of the characters try hardly to control their way of speech, words and behavior in order to look as much cultured as possible. They even try to reach the superego level. This duality shows readers how much the play is affected by some of the most known concepts in Psychology.
Another concept related to Psychology, which can be seen in the play, is Pleasure Principle. According to Freud in "Evolutionary Psychology" Curriculum, humans are pure biological creatures that are born with two kinds of instincts: Life instincts, which are represented mostly in sexual desires, and Death instincts that are represented generally in aggressive desires. Hetty acts as an embodiment of life and death instincts together. She is regretting and blaming her other self about not getting married to John. She's dying to get him in any way possible in order to fulfill her desire, to get pleasure that’s to say. Furthermore, "I will make you and your husband suffer!" is one of the statements that represents her jealous and aggressive attitude toward Margaret, her death instinct in other words. Actually, It's possible to apply Pleasure Principle on other statements in the play which makes the relationship between this principle and "Overtones" clearer.
The idea of hiding the truth from others and not expressing one's self in order not to get hurt emotionally or physically is what Freud calls Repression. Repression is a defensive mechanism that's used to fake reality. All repressed feelings and desires go to the Unconscious. This is what Margaret and Harriet do in order to stay acceptable in each other's eyes. That's why we see the two shadows in a miserable and an unstable condition! They are the representation of all these repressed emotions. For example, Margaret shows that she and her husband are in a good financial condition, while her shadow, Maggie, is starving! But simply she can't admit that because of the need to keep her social image looks good.
Plays like "Overtones" help people to understand themselves better. It's one of the reasons that make the play very significant. It's universal and it'll probably have an effect on any reader or viewer. The German novelist Sally Wicker says "Reading literature gives us the opportunity to learn more about what's hidden inside of us more than reading psychology books", and "Overtones" probably is a mix of them both.
This entire review has been hidden because of spoilers.
July 17, 2019
I've only read the 1 act play version of this play but was immediately drawn to it. I ended up directing it for my final in a directing class in college.
I think Gerstenberg was way ahead of her time. I loved seeing the formalities of the Victorian era in conflict with the character's true feelings. I loved seeing the younger selves' anger and regret with the older women, and in contrast, the women's knowledge of what was best for them in life. It is a true battle between "public vs. private self"- a concept very prevelant in society in every era, even today's.
How many times does one bite back their true feelings in a conversation with someone they don't like? How many of us have regrets or wish they could tell their younger selves something to avoid in their future?
This play is still relevant today and that is what I love most about it.
I think Gerstenberg was way ahead of her time. I loved seeing the formalities of the Victorian era in conflict with the character's true feelings. I loved seeing the younger selves' anger and regret with the older women, and in contrast, the women's knowledge of what was best for them in life. It is a true battle between "public vs. private self"- a concept very prevelant in society in every era, even today's.
How many times does one bite back their true feelings in a conversation with someone they don't like? How many of us have regrets or wish they could tell their younger selves something to avoid in their future?
This play is still relevant today and that is what I love most about it.
December 13, 2019
I like this 1 act play a lot. In fact I liked it so much when I acted in it in high school (and was named to the All State Play Cast as a result of my performance) that I chose it and directed it many years later. I found myself as deeply enthralled then as when I was one of the characters on stage. It is considered a 2 character play, but there are 4 people on stage. There is an outer self and an inner self giving subtext and showing true emotions while the two outer self interact with each other in very proper ways. So interesting. I highly recommend it.
July 23, 2018
Would love to see this play live!
March 22, 2020
Brilliant
September 9, 2020
Super fun read with my book club! We talked a lot about the faces we portray to other people vs. what the faces underneath are saying/doing.
December 11, 2020
Gonna maybe try to direct this one 🤞🤔
February 7, 2016
Overtones is a one-act play written by Alice Gerstenberg.It was first published in November 8, 1915 by the Washington Square Players at the Bandbox Theater in New York.This extraordinary play deals with two women Harriet and Margaret who are cultured and refined,while Hetty and Maggie are primitive self of Harriet and Margaret.Harriet and Margaret meet to have tea.Harriest is in love with John who is a painter but marries Charles for his wealth and position.She is very jealous of Margaret who married John.She thinks John has become successful and they are wealthy and envies Margreat but the truth is they are in poverty.Both women speak dishonestly and put each others in airs,while their primitive self Hetty and Maggie fight with each other.The play is well written with witty dialogues and humorous actions.The play demonstrates feminist tendencies, criticizing the social roles and decision which constrains the women.I enjoyed reading the play which made my tummy explode with laughter.This witty and marvelous play which is tactically written is a must read.
July 7, 2022
1 act, Drama, 4f. The perfect one-act play. Not too long, not too short. I was surprised when I found out it was first performed in 1915! I thought it was a play from the 30s!! The Overtones referred to in the title are those of the characters--they each have a hidden self that say what they are really thinking. Even the costumes have been worked out. I really don't know what to say except that I hope sometime to see it performed, or perform in it, or direct it, or something! Such a cool piece.
June 23, 2013
I absolutely loved this play! I'm especially interested in blocks that build up one's personality. Being able to separate a person into two is a really hard job which was done brilliantly in the play. It shows the extent one goes to hide her true desires and shape them to make more 'presentable' to the members of her society. I am currently working on a play that has a woman with a split personality; and I must say that reading Overtones was quite helpful.
May 23, 2012
Although incredibly short, Overtones is a fascinating, usually up-tempo, one-act about two women represented by both their id and ego. It's a lot of fun to watch, read, or produce, and the matter is still relevant today (for the most part).
October 27, 2015
10/10 would recommend. I loved everything happening in it, even though it was so short.
September 4, 2013
4.5 stars
Displaying 1 - 13 of 13 reviews