The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected

by Edwin Wong

READERS' FAVORITE BOOK AWARDS WINNERCIPA EVVY BOOK AWARDS WINNERNATIONAL INDIE EXCELLENCE AWARDS WINNER WHEN YOU LEAST EXPECT IT, BIRNAM WOOD COMES TO DUNSINANE HILL

The Risk Theatre Model of Tragedy presents a profoundly original theory of drama that speaks to modern audiences living in an increasingly volatile world driven by artificial intelligence, gene editing, globalization, and mutual assured destruction ideologies. Tragedy, according to risk theatre, puts us face to face with the unexpected implications of our actions by simulating the profound impact of highly improbable events.

In this book, classicist Edwin Wong shows how tragedy imitates heroes, by taking inordinate risks, trigger devastating low-probability, high-consequence outcomes. Such a theatre forces audiences to ask themselves a most timely question---what happens when the perfect bet goes wrong?

Not only does Wong reinterpret classic tragedies from Aeschylus to O'Neill through the risk theatre lens, he also invites dramatists to create tomorrow's theatre. As the world becomes increasingly unpredictable, the most compelling dramas will be high-stakes tragedies that dramatize the unintended consequences of today's risk takers who are taking us past the point of no return.

Genres: Theatre, Writing, Nonfiction

259 pages, Kindle Edition

Published February 11, 2019

About the author

Edwin Wong has been dubbed “an Aristotle for the 21st century” (David Konstan, NYU) and "independent and provocative" (Robert C. Evans, AUM) for exploring the intersection between risk and theatre. He has published two books (The Risk Theatre Model of Tragedy / When Life Gives You Risk, Make Risk Theatre) and over a dozen essays on this topic. In 2022, he was one of three international academics to receive the Ben Jonson Discoveries Award for his work on Shakespeare’s Hamlet. In 2018, he founded the Risk Theatre Modern Tragedy Playwriting Competition, the world's largest competition for the writing of tragedy (risktheatre.com). Wong has talked at venues from the Kennedy Center and the University of Coimbra to conferences hosted by the National New Play Network, Canadian Association of Theatre Research, Society of Classical Studies, and Classical Association of the Middle West and South. He was educated at Brown University and is on Twitter @TheoryOfTragedy. He lives in Victoria, Canada and blogs at melpomeneswork.com.

Reviews

[Cavak · Rating 4 out of 5]

Anyone who has taken a story writing or screenplay class in America has likely come across The Hero With a Thousand Faces at some point. If not the exact book itself, then another author has often either borrowed quotes or elements of Campbell's classic hero's journey. Some teachers consider it inseparable to modern cinema and media; it's just about everywhere.

But if Campbell's ideas cause resistance—which is becoming a trend nowadays, in my personal experience at least—Wong's smooth model may be a wiser introduction. Campbell's form may get learners lost in the message, the process, and the terminology for understanding a work. Wong's methodology encourages a focused structure for a character's thought processes throughout the story. It's through establishing their personal risks and the consequences of their actions that there can be a real momentum. For me, and I'm sure others, that is the best-if-felt heart. Makes a story beat and dance with life.

Sure, Wong arranges his processes for the tragedy genre in mind, so there are certain constraints that may not apply. Like a fateful mishap tripping the heroes' supposed victory and leading to a death may not be appropriate for a children's book. But I believe most of Wong's proposed techniques can be used for anything that has a story. I'd recommend this for anyone who wants to write or needs a refresher on character building, not just in the theater world too. Useful framing device if you're feeling stuck.

The Risk Theatre Model of Tragedy is a nimble read. If I were to criticize the writing, it's close to a dry textbook with cohesive examples. Depending on the type of reader you are, that might mean a fascinating analysis or a snore fest. Several popular Shakespearean examples too, so that might not be up your alley to reread if you've already read so much of Shakespeare.

For me though, I enjoyed the overall experience and I learned something. If I lived in LA, I'd be up to seeing it in person too. Maybe someday, eh?

I received the book for free through Goodreads Giveaways.

[READER VIEWS · Rating 5 out of 5]

Reviewed by Paige Lovitt for Reader Views (06/19)

In “The Risk Theatre Model of Tragedy,” author Edwin Wong brings tragedy into the 21st century. Tragedy imitates reality. Yet in our modern times, tragedy no longer has the same impact that it used to have.

The last great tragedies were written a very long time ago. To help tragedy make a comeback, the author developed the risk theatre model of tragedy. This working model is to contain original material, while still having roots from tradition. Traditional material might include material from the fifth century Athens, the English Renaissance, or the German Romantics. The author believes that “risk” is central to the idea of tragedy.

Risk Theater supports the idea that every drama act in a tragedy is a gambling act based upon risk. While restoring tragedy to an art in our modern times, current issues must be considered. Incorporating science and technology into tragedies greatly increases the opportunities for something to go horribly wrong. The author refers to this as low-probability, high-consequence risk. There is a thrill that comes from taking such risks. The audience loves a good thrill!

I found “The Risk Theatre Model of Tragedy,” to be well written and very thought provoking. Edwin Wong has done an excellent job of educating readers on the historical aspects of not only tragedies, but drama in general. Readers will gain a great understanding of the structure, philosophy and poetics of tragedy. In explaining Wong’s risk theatre model, readers will learn how to tie the past aspects of drama into the present. This will enable to do a comparison of the past to the present. The author gives great examples of tragedies to support his information. Readers will then be able to incorporate this knowledge into how modern tragedies should be written using this model. A bibliography is also available in the back of the book. In addition to supporting the information presented, this list can also be used as a great resource if a reader chooses to go more in depth. The index will also make it easier to locate information in the book.

I think that “The Risk Theatre Model of Tragedy,” by Edwin Wong will be enjoyed by both writers and people who enjoy great drama. For myself, I enjoyed being able to read it a few days before I am to travel to Los Angeles to see a play. Personally, I feel what I learned while reading this will give me a greater perspective on the play. I will be able to view it with more depth. I think that this book would be a great resource for critical thinking courses such as a class on analytical reading.

[Conchita Serri · Rating 5 out of 5]

I had to re-read the "The Risk Theatre Model of Tragedy" by Edwin Wong. It was too good. It is a delight to recreate the possible scenarios exposed by the author in a very original thematic treatment of theater that invites further discussion and analysis. It is also a compendium of high academic and cogent discourse, a complete high level 'theory' on how to model and perform stage plays. He couples it with almost a 'how-to' reference guide on how to produce compelling theater by presenting the reader with an exhaustive analysis and classification of different facets of prior stage productions, from the Greek classics to modern times’ productions. The book is chock’full of insights and intriguing revelations. Edwin draws a narrative comparing and contrasting different elements of risk and relates these to modern audiences. The author's vast breadth of knowledge, drawing upon his years of experience as a theatre critic and forward thinker in the performing arts world has crafted together a robust tome with incredible completeness and complexity - which should be on every aspiring playwright's desk. I can anticipate a wave of theater academics referencing this book in their class syllabus.

[Charlie · Rating 5 out of 5]

If you love literature--theater, film, novels, history, biography, opera, whatever--you need to read this extraordinary work.

Wong presents a new theory of tragedy, which contrasts those of Aristotle, Hegel, Nietzsche, and others. The classic theory, outlined by Aristotle, states that the hero has a "tragic flaw" that causes him or her to make a "tragic mistake." But Wong argues that the hero might not in fact make a mistake; instead he or she makes a calculated risk that backfires.

Wong's approach is especially pertinent to the modern condition. For most of history, the consequences of decisions were for the most part local. Today, even minor decisions can have global repercussions. Also, we live in the age of science, where calculation of odds has become commonplace. many bemoan that this calculation takes the heart and soul out of life. The Age of the Algorithm can, in fact, suck the agency out of even the most strong-willed people.

All the more reason for Wong's brilliant thesis.

If you're an avid reader (which I assume is the case, since you're on Goodreads) or a writer, read this book. It's sometimes dense and filled with examples from ancient literature unfamiliar to many moderns. No matter. Read it--twice. You will never read another work of literature the same way.

(To read my Q&A with the author, go to theelementsofwriting.com/wong.)

[David Duncan · Rating 5 out of 5]

I have just finished reading Edwin Wong's 'The Risk Theatre Model of Tragedy 'and, although I was initially skeptical of his bold claim of an original theory of tragic drama, I was intrigued at the prospect of reading about this classicist's main belief. As I turned the pages his theory grew on me and I found myself both convinced and gripped by this new perspective on tragedy. His low- probability, high-consequence outcome theory does indeed resonate with the risk takers of today and I thoroughly recommend this scholarly work to anyone interested in both theatrical and real life tragedy based on risk. As the author himself writes, 'A working model of tragedy that is both original and rooted in tradition.'

A remarkable book in every way. A must for every serious dramatist to read, ponder over and act upon.

[Mike Routliffe · Rating 5 out of 5]

Tragedy scholar Edwin Wong has combined the elements of entertainment, hard work and the gamble into his kiln of language.

Adding the fire of his mind he has shaped a solid and aesthetically pleasing framework for the aspiring playwright or master dramatic wordsmith.

Wongs' Risk Theatre is a well thought out and flexible structure built with the intention of reviving tragic theatre of the past using modern allegories and scenarios. With his unique model, he poses that nothing worth anything can be gained without considerable risk.

On top of offering us his work, Wong has laid down his own wager, betting that someone risking it all by writing their own play and offering it up for the world to see, can win a considerable prize.

This book is well worth the read. Wongs' powers of persuasion will convince you that he did not use necromancy but only a shovel, a compass and a pen to lead us back to an art that was not dead, but waiting for the right moment to resurface.

[Kendra · Rating 2 out of 5]

The idea the author promotes in this book is that dramatic tragedy always involves bets: Macbeth bets that killing Duncan will lead to Macbeths’s political ascension, for example. But while the theory is an interesting and potentially valuable one, the author never engages with the enormous body of existing scholarship on the tragedy or dramatic form. His lack of desire or ability to propose his theory in dialogue with theory is a serious failing of the book, and as such I can’t recommend it. This is a shame, because if the author ha chandler the topic using a more scholarly approach, his ideas could be taken far more seriously and as part of the ongoing conversation in theater studies about form, motivation, and other things.

[Debbie · Rating 3 out of 5]

I just finished reading The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected by Edwin Wong. The author introduces Wong's theory of Risk Theatre which is his updating of classical tragedy. Wong emphasizes that his main character usually has a lot at stake, be it his crown, position as a god or a military general. His risk is great but the rewards are even greater. The tragic cycle is complete when the hero goes all in or bets it all in order to achieve his goal. This book would make an excellent theatre text.

[Donald Connolly · Rating 5 out of 5]

I've been dealing with theatre actively and academically for many years, and the idea of "tragedy" was wrapped in the mystique of motivations and nobility and flaws that put it out of reach for me as a playwright. This book strips away the mystique and makes the form available to me. Seeing risk as the fulcrum of the action clears my head and lets me see contemporary situations and conflicts in the light of risk and potential tragedy. Especially meaningful to me is the concept of 3 Forms of Tragedy. That supports a variety of plot lines which helps me see more clearly what I have already written, and guides me in what might come. There are not many pages in th book which are without my underlines, or with "stars" in the margin.

[Link Oberon · Rating 4 out of 5]

I was dubious at first of how useful and applicable this book would be, but having finished it (and quickly) I can say that Wong’s theory of risk theatre makes a lot of sense! I can definitely see myself applying his principles to my own play writing in the future.

[ange · Rating 2 out of 5]

Some great ideas here – you couldn't accuse Wong of unoriginal thought. I liked the idea of tragedy as speculative examination of existential opportunity cost, which explains the irrevocable nature of tragic action. Tragedy often gets at the heart of life's "big questions" and Wong, like his hero Nietzsche, is convinced of its humanist value. The heroes lay it all on the line, and confronted with a hostile universe of chaotic forces turned unanimously against them, learn the value of their aspirations. They learn through loss its precious cost. This is compelling: neither fully didactic (one recalls Hegel's classroom of equal and opposite moral forces) or aesthetic (Wong allows tragedy several "tempos" in contrast to Aristotle's strict unities.)

However, this Friesens published book would have benefitted from an editor. Wong's prose, while not lacking personality, becomes redundant with the formulaic listing of examples. I couldn't say how many times we are told Macbeth wagered the milk of human kindness. The extensive quotations are not always meaningful additions to his argument, and could be reduced. Melpomene is invoked with the reverence of a groupie.

But the book is more seriously hampered by its confused perspective. Labelled a classicist's treatise on tragedy, Wong (of Brown University pedigree) brings more econ 101 lingo than classical scholarship to the table. "There is no free lunch," Wong reminds us time and time again, passionate as a freshly declared business major. Part instruction manual, part pop-economics aesthetic manifesto, this is Tragedonomics for the Aspiring Playwright.

Wong's superficial treatment of classical material is evident in his depiction of the Iliad, a tragic scenario in which Achilles's withdrawal from the battlefield becomes an ethical stance against the monetization of life, and his return a statement on the potency of friendship. Had Achilles accepted Agamemnon's gifts, writes Wong, he would have sold his life, rendering it equivalent to the cauldrons and horses and brides promised him. His eventual return, enraged and grieving, is supposedly another transactional event that declares the value of life equivalent to that of friendship.

"Friendship" is all Wong can extrapolate from Achilles' choice. For what is at stake is not nemesis, the righteous indignation felt on Patroklos' behalf, or the philia that has Achilles duty bound. Wong deals only in generic life and generic friendship, deprived of the social context of antiquity. There is no acknowledgement of that other good, kleos and kudos, fame and glory in battle. This is to say nothing of the fact that, within the Iliad's hexameters, Achilles doesn't actually die; the transaction never narratively takes place, let alone on Wong's terms.

Such rhetorical flattening also does away with the Iliad's themes of ransom, a theme one might find relevant to Wong's theory of bets and wagers. What of Hector promising ransom on his knees before Achilles, struggling to speak through the spear in his throat? What of Priam's ransom of Hector's body, kissing Achilles' murdering palms? Wong has little to say on death, and how it might be valued. What about Antigone, apple of Hegel's eye, who spoke of death as profit (kerdos), who got her wish to die for her cause?

Tragedonomics postulates a felicific calculus that forever adds up to negative felicity. Implicit is the assumption that one's personal well-being ("life," whatever is lost to suffering) is the only variable worth measuring. Tragedy is life affirming, says Wong, imagining his risk theatre as "the greatest show on earth" to console the masses with the plights of the fortunate. But any consolation depends on who constitutes the masses, and who the tragic heroes are, beyond Wong's proud/idealistic aristocrat archetype. Russian theatre emerged in the mid-18th century as a place where tensions between the nobility and monarchy were negotiated through art; Greek tragedies played an essential civic role in sacrificial festivals. What's in it for us? "You're not alone," says Wong. Just as he avoids discussing the social context of tragic action in the Iliad, Wong avoids elaborating on the social function of modern tragedy in favor of a pseudo-economic lesson on risk.

If Wong has taken the economics pill, it is a very specific drug. It was Nassim Taleb's book that first got him thinking about risk, and Taleb's influence is everywhere in Wong's pages, even uncited; the abrupt analogy involving California wildfires is pure Taleb, as is the phrase "tight coupling" ("...what I call tight coupling," Wong writes, p. 204, displaying unusual restraint in footnote usage). Risk theatre is constructed according to a standard neoclassical model (externalities at equilibrium, price soaring to unprecedented heights on the perfectly inelastic supply of life), but Taleb's skepticism of economic modeling is not lost on Wong, whose enthusiasm for models comes with a caveat. "Tragedy is a tool where we model life to arrive at a higher understanding of life... if tragedy gets it right," he hedges.

It is not a serious hypothetical. For Wong, tragedy does get it right, because all tragedy verifies is risk. He gestures at Wall Street's assortment of financial crises. Ecce: art imitates life. Case closed. Is that all tragedy is about, proof of risk, and consolation for its casualties?

Even if we accept this view, there are significant blindspots. For example, Wong describes comedy as an open system of order, in contrast to tragedy, a closed system of chaos. He cites the second law of thermodynamics: comedy creates complexity and abundance; tragedy dies an entropic death of scarcity. Wait. Complexity? That sounds remarkably topical to modern life, a landscape more socially and operationally complex than Shakespeare or Sophocles could have imagined. Wong has noted in his most Taleb-inflected paragraphs that increased interdependence (tight coupling) lends itself to tragic consequences. Yet he appears oblivious to the implications this has for comedy, insisting that tragedy is the all-important domain of risk, and comedy’s open systems only produce such harmless stuff as snowflakes.

In fact, Wong seems to understand an “open system” as a free lunch paradise where matter can be spontaneously generated, and a “closed system” as our humdrum reality where it is not. That’s right: there are apparently no opportunity costs in Wong’s open system. This misunderstanding persists despite identifying tragedy’s closed system with the modern economy, which is largely an open system due to financial globalization, its vulnerability to risk heightened by institutional complexity. It doesn’t take a genius to spot the contradiction. Because Wong casts comedy and tragedy as irreconcilable opposites, then assumes a closed system out of the risk-prone economy, his definitions become slippery: open systems have opportunity costs when it comes to the stock market (a potent tragic symbol for Wong), but do not when it comes to comedy. Thus Wong wants to have his cake and eat it too, a feat only possible in his version of comedy.

Says Wong, "tragedy itself is a model of life." It provides a "higher understanding" of life if it "gets it right." And yet life, experienced as a human actor, is an open system. Thermodynamic equilibrium is only reached in death. Even economically, reality’s complex and fluctuating markets are at odds with tragedonomics’ perfect single-variable neoclassicism. By myopically fixating on risk as the common sliver in the Venn diagram, Wong turns a blind eye to the fact that tragedy, as a model of life, can only be an inaccurate one.

In tragedy, the arrow of time can’t be reversed, Wong correctly points out. But in life, neither can it be stopped. Tragedy is a snapshot in time, the crash before the recovery, the grief before the moving on. Tragedy is not a verifiable model; it is art, and its power lies in its artifice, its definitive curtain which, unlike life, promises no tomorrow. To use Wong’s Taleb-esque terminology, tragedy as an ex-ante art cannot be equated to life as we know it, which is neither ex-ante or ex-post. Life is experienced in the present moment, holding both the consequences of past risk, and the possibility of further risk.

Beyond the incoherence of his theorizing, Wong leaves sizable gaps in the literature he diverges from. He inaugurates himself as Nietzsche’s successor in his genealogy of tragedy theorists, omitting thinkers like Schopenhauer whom young Friedrich admired so much, and neglecting to engage with existing scholarship on the contentious relationship between modernity and tragedy. Questions of risk and complexity would do well here: as the world became more interconnected, not only do catastrophes have outsized consequences, mass media allows risk-driven misfortune to penetrate our consciousness every day. Are we too fatigued from real-world tragedy to enjoy it on the stage?

But Wong, who believes the 21st century is tragedy’s perfect match, does not devote pagespace to why tragedy, in its theatrical and traditional forms, might have withdrawn from the spotlight. He takes great care to distinguish tragedy from dissimilar subjects like history and philosophy, while conspicuously silent on epic (quick: is epic an open or closed system?), tragicomedy (“tragedy, by definition, rejects comedy,” declares Wong, with the confidence of someone who has never heard of soap operas), and the cinema, where tragedy may still be said to live (Requiem for a Dream, for example). Instead Wong has taken the much discussed concept of fate and chance, repackaged it as risk, and devoted himself to his muse of stock markets.

I don’t wish to be harsh. Although it fails to satiate, the risk theatre model provides much food for thought, best enjoyed as a dramaturgical guide rather than a piece of theory. Anticipate the former, and you will find great utility and insight. Anticipate the latter, and you may be like me: intrigued but ultimately disappointed.

[Billy Buttons · Rating 5 out of 5]

This book was entered in The Wishing Shelf Book Awards. This is what our readers thought:
Title: The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected
Author: Edwin Wong

Star Rating: 4.5 Stars
Number of Readers: 17
Stats
Editing: 8/10
Writing Style: 7/10
Content: 9/10
Cover: 10/10
Of the 17 readers:
14 would read another book by this author.
17 thought the cover was good or excellent.
11 felt it was easy to follow.
14 would recommend this story to another reader to try.
Of all the readers, 12 felt the author’s strongest skill was ‘subject knowledge’.
Of all the readers, 5 felt the author’s strongest skill was ‘writing style’.
15 felt the pacing was good or excellent.
14 thought the author understood the readership and what they wanted.

Readers’ Comments
‘Theatre analyzed in terms of risk! What a very clever way of looking at things. This author seems to be a very smart fellow. Intriguing.’ Male reader, aged 72
‘What I loved the most about this was how original it was. I read a lot of theatre-related books and this was totally different. The writing is concise and the author’s knowledge of the subject is apparent on every page.’ Female reader, aged 52
‘An interesting, thought-provoking look at classical theatre and risk and how modern theatre must find a way of relating to the modern audience. Although it’s rather wordy and a little re-reading was often in order, it was still a gripping read.’ Female reader, aged 61
‘A cleverly worked out theory on risk/tragedy in theatre and how the audience can connect to it.’ Male reader, aged 52

To Sum It Up:
‘A thought-provoking look at tragedy in theatre. A FINALIST and highly recommended.’ The Wishing Shelf Book Awards

[Eugene Melino · Rating 5 out of 5]

Edwin Wong challenges those who would dismiss tragedy as the irrelevant relic of dead white guys. In The Risk Theatre Model of Tragedy, he shows playwrights and theatre audiences how tragedy speaks truth to our high-risk times, when our superpowers teeter on the brink of mutually assured nuclear destruction, our civilizations face human-made environmental collapse, and our democracies dabble in authoritarianism.

Wong doesn’t offer yet another obscure literary theory, though he has the heavy literary background to do so (he holds BA in Greek and Roman studies from the University of Victoria and an MA in classics from Brown University). Instead, he takes the novel approach of applying risk theory to modernize our understanding of tragedy. His risk model gives new life to classics ranging from Oedipus Rex to Doctor Faustus to Macbeth to Mourning Becomes Electra. Yet, he doesn’t dismiss or even contradict Aristotle, whose Poetics introduced many playwrights to the rudiments of dramatic form. Looking at tragedy from the perspective or risk gives the twenty-first century playwright a more practical framework than Aristotle’s thin volume could ever offer. At the same time, it provides a political, social and even mathematical context that outclasses the often hackneyed advice given by garden variety how-to-write-a-play manuals.

Most interestingly, The Risk Theatre Model of Tragedy demonstrates how free-will and fate exist together as realities in the human experience. In all great tragedies, ancient and modern, these two contradictory forces battle it out in the flesh. And audiences, ancient and modern, can’t avert their eyes from such high stakes and often bloody spectacles.

[Tai Joe · Rating 5 out of 5]

The Risk Theatre Model of Tragedy is classicist Edwin Wong's excellent study of the tragic theatre form. It is a passionate and erudite book that shows how tragedies are structured and work and why tragedy should occupy a preeminent place in any society.
The author utilizes the terminology of economics to make a more compelling case for the contemporary readers and artists. Providing succinct examples every step of the way from his deep knowledge of tragic theatre from the ancient Greeks to the recent times he analyses the premises of the tragic heroes' dilemmas, the settings, the social and political background, how the tragic hero are shaped and how their downfall affect their societies and the viewers' hearts.
The Risk Theatre Model of Tragedy is a rare book that takes on the nature and structure of tragedy head on. Somehow theatres in the U.S., and all over the world, have ceded the place of eminence to musical theatre. The theatre people don't talk about tragedy any more. If tragedies or tragic heroes don't take on the great struggles human souls are waging in our hearts who would be willing to face off against the existential dilemmas we struggle with and find out what would be truly worthwhile to stake our lives on?
The Risk Theatre Model of Tragedy is a compellingly argued book about the central importance of tragedy in our lives. It would benefit any writer who is engaged in writing on serious subjects. And it would make an excellent choice for required reading for playwriting and advanced theatre classes.
T. Y. Joe, Ph.D., playwright

[Patricia Goldstone]

An original and invigorating read, with the provocative thesis that the gods of modern economics have replaced those of antiquity. Wong’s insights into the mechanics of tragedy-writing
provide a valuable counterpoint to more conventional schools of dramaturgy. I don’t necessarily agree with his contention that history always looks to the past, but found his discussion of writing history v. writing tragedy opened up new paths of thought.

[Vishesh Abeyratne · Rating 5 out of 5]

Move over Aristotle, Hegel, and Nietzsche. This is a new, dynamic, and exciting theory of tragedy that engages with the primary force that drives all of our lives to varying degrees: chance. Applying his models to the work of dramatists from Aeschylus to Shakespeare to Ibsen to O'Neill, Wong constructs an entirely convincing model of tragedy that is set in motion whenever we make plans or place bets. Every playwright or screenwriter should have this on their shelves.

[Steve Romagnoli · Rating 5 out of 5]

A most excellent and original work regarding tragedy from the perspective of risks and consequences and how it intersects and reflects within our rapidly evolving world. A book of insights that will be invaluable to theatre goers, writers, directors, actors or as an engaging college text. Highly recommended!

[Bill Alliston · Rating 4 out of 5]

Won this book through Goodreads. Not relevant to me but I passed it on to an actor friend who stated the material was "invaluable and relatable" to his profession. Thanks to the author, Edwin Wong, for offering a free copy through Goodreads.

[Ronald Kaehler · Rating 5 out of 5]

A thoroughly safe engaging and brilliantly insightful work. Edwin Wong’s innovative deep dive into the workings of tragedy is a must-read for any playwright looking to excel in this great genre of dramatic art.

[Gabriel · Rating 3 out of 5]

Interesting and perceptive approach to analysing and understanding tragedy theatre. Let down by an entirely uninteresting section on money and exchange

[Bruce · Rating 5 out of 5]

Excellent... somewhat of a modernised poetics (Aristotle)....recommend to thespian, philosopher, literary oriented, and lay....

[Robin Rowland · Rating 4 out of 5]

Innovative 21st century look at bringing classic tragedy (Greek and Elizabethan mainly) into the modern Chaotic universe.