By Leslie Atkins Durham (auth.)
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Additional info for Women’s Voices on American Stages in the Early Twenty-First Century: Sarah Ruhl and Her Contemporaries
Sample text
Orpheus is unable to keep his end of the bargain. He looks back at Eurydice on their journey, and when he does so, he loses her forever. Ruhl begins her rescripting of the myth by granting her audience a peek into Orpheus and Eurydice’s relationship before their wedding. At points it is charming—as they frolic by the sea at play’s opening—but it is hardly a mythically perfect love. Orpheus is obsessed with creating music. It’s almost always playing in his head, and he seems to revere creation above other human activities.
He turns around, and they must part. But this is not the point of greatest devastation in Ruhl’s tale. Rather than Orpheus’s loss of Eurydice—traditionally just before they come to the end of their journey—the true climax comes with Eurydice’s second loss of her father. When the father assumes he’s lost Eurydice to life and to Orpheus, he mourns by dipping himself in the river of forgetting and resigning himself to oblivion. When Eurydice returns, her string room is gone and her father lies mute on the ground.
It’s okay,’ the social worker says. ’”41 From these first recounted moments, the audience sees that Didion is doing everything in her power to maintain at least the illusion of control. Her reaction to her traumatic loss is not, however, the typically gendered manifestation of sadness. Robyn Fivush and Janine P. Buckner write, What does it mean to be sad? Certainly sadness involves loss. But for females, sadness is a loss of self-in-relation, whereas for males, sadness is a loss of self-incontrol.
