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“The Time We've All Been Dreaming Of”

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Baldridge, Mary Humphrey (Canadian playwright, 1937-____), “The Time We've All Been Dreaming Of,”

a 12-minute drama in English, set in a study, evening, 2004,


; • © 2004 by Mary Humphrey Baldridge; • in Mary Humphrey Baldridge's Monsters (New York: Cubicle Press, 2004); • script available from Cubicle Press, cubiclepress@greyborders.com. • rights available from Mary Humphrey Baldridge, mhb3454@nyc.rr.com, telephone 212-688-3770. • Cited by Mary Humphrey Baldridge via e-mail, November 24, 2004.

§ Dramatis Personae Shane (m), an actor; Jeffrey (m), an actor.

§ Synopsis “Two actors work on a play about Verlaine and Rimbaud.

§ Comment “Disturbing revelations and results.” • “[Rimbaud]was a brilliant student at a provincial school in Charleville, a town in northeastern France, until the outbreak of the Franco-Prussian war (July 1870), when the boy turned rebel and fled his home. Almost a year of vagabondage followed. He had sent some of his poems to Paul Verlaine, and in 1871 the older poet invited him to Paris. The Parisian literati rejected him as an arrogant and boorish drunk, but he and Verlaine became lovers. Their difficult relationship continued sporadically over two years and was a source of the great spiritual disillusionment that formed the core of A Season in Hell. (It was during this time that Rimbaud wrote "The Spiritual Hunt," a poem that Verlaine called his masterpiece. The manuscript vanished during the pair's chaotic travels.) Soon after the affair ended, Rimbaud abandoned his writing. He had not yet attained the age of 20. In another dramatic transformation he became a trader and gunrunner in Africa. Eighteen years later, . . . he died in Marseille following the amputation of his cancerous right leg.”—Arthur Rimbaud, http://www.levity.com/corduroy/rimbaud.htm, accessed November 28, 2004. • “Paul Verlaine's life style wavered between criminality and naive innocence; he married a young girl in 1870 but after a year fell in love with the young poet Arthur Rimbaud, who was seventeen. With Stéphane Mallarmé and Charles Baudelaire he formed the so-called Decadents. In Verlaine's works two impressions predominate: that only self is important, and that the function of poetry is to preserve moments of extreme sensation and unique impressions. In spite of the 'vagueness' of his poetry, Verlaine showed a careful craftsmanship in his compositions, using simple, musical language. He maintained the outward form of classical poetry, but his work opened the way for free verse.”—Paul Verlaine, http://www.kirjasto.sci.fi/verlaine.htm, accessed November 28, 2004. • “I was born in Edmonton and I'm a graduate of the University of Alberta. However, I've lived most of my adult life in New York, except for eight years in the 1970s when my husband Harold G. Baldridge was A.D. of Theatre Calgary. In 1981, we returned to NYC, where he is Executive Director of The Neighborhood Playhouse School of the Theatre. My son does research and lectures at the new vision centre at Dalhousie University, Halifax; my daughter is an opera singer in Seattle. I have two granddaughters and two grandsons. As for my work: I'm interested in the line between reality and unreality and everything I write is character-driven.”—Playwrights Guild :: Main, http://www.playwrightsguild.com/, accessed July 23, 2004.

§ Themes acting, biography, collaboration, Rimbaud (Arthur Rimbaud, French poet, October 20, 1854-November 10, 1891), script, Verlaine (Paul Verlaine, French poet and leader of the Symbolist movement in poetry, 1844-1896).

See also Mary Humphrey Baldridge's

This Website continues under construction and welcomes new citations and comments.

Page mounted November 28, 2004, and updated December 14, 2004, October 29, 2005, by the Webmaster.

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