Lydia Stryk
Lydia Stryk is the author of over a dozen plays including Monte Carlo, The House of Lily, The Glamour House, American Tet, and An Accident produced at, among others, Denver Center Theatre, Steppenwolf Theatre Company, Victory Gardens, the Contemporary American Theatre Festival, Magic Theatre, and in Germany at Schauspiel Essen, Theaterhaus Stuttgart and the English Theater Berlin. She lives between Berlin and New York. www.lydiastryk.com.
And you can’t help concluding that the human exchange is of less interest to German theater practitioners, including the writers—or that the exchange is something very different, taking place between the materials of the stage and the audience. But how to describe this exchange?
As someone who harbors a fascination for doubles and doppelgangers in art and fiction, where I had assumed such figures live, you might imagine my surprise when, in a weak moment of self-Googling, I discovered an entry for my name to which someone else was attached.
By Aurin Squire, Cristina Pippa, Jason Grote, Lonnie Carter, George Hunka, Tommy Smith, John Soltes, Lydia Stryk, Caridad Svich, and Alexis Clements
Harold Pinter was an inspiration—if not a model—for many theater artists working today. What follows is just a small sample of the ways Pinter's work has influenced us all.
It is not unusual for homes in Lower Austria, balanced as they were on the edge of the Iron Curtain through the long cold war, to have bunker-like cellars with thick concrete and steel reinforced doors. In 1978, Joseph Fritzl readily secured permission from the planning board in the town of Amstetten to build his bunker. In fact, he would likely have received a generous subsidy to help him along. The threat of a nuclear war was real. The construction of bunkers was encouraged.
I was born and raised in DeKalb, Illinois, home of barbed wire and some of the richest soil in the whole world.
The best kept secret in this world is violence against women, though it’s not even a secret. It doesn’t have to be.
