Other Plays by Robert Auletta
Auletta, Robert (American playwright and teacher, March 5, 1940-____), "Stops,"
a __-minute drama in English, set in _____, 1973,
© 1973 by Robert Auletta
• in Playwrights for Tomorrow, edited by Arthur H. Ballet (Minneapolis, Minnesota, U.S.A.: University of Minnesota Press, 1973), 195 pp., ISBN 0816606943, containing plays by: Kenneth Bernard, Lance Lee, W.E.R. La Farge in collaboration with the Firehouse Theater Company, Robert Auletta and Hal Lynch;
• also, in Plays in One Act, edited by Daniel Halpern (anthologist, editor, gourmet, poet, 1945-____) (Hopewell, New Jersey: The Ecco Press, 1991), distributed by W.W. Norton & Co., ISBN 0-88001-305-2;
• also in Antaeus: Plays in One Act, No. 66, edited by Daniel Halpern (Spring 1991), ISBN 0-88001-268-4, containing Lynne Alvarez’ "On Sundays,", a fantasy drama, 1m1f + m or f non-speaking beast; Amiri Baraka’s "Jack Pot Melting: A Commercial," a comedy, 2m2f; Christopher Durang’s "Naomi in the Living Room," a drama, 1m2f; Richard Ford’s "American Tropical," a drama, 1m2f; Maria Irene Fornes’ "Springtime," a drama, 1m2f; A. R. Gurney, Jr.’s "The Problem," a comedy, 1m1f; David Hare’s "The Bay at Nice," a drama, 2m2f; Václav Havel’s "Protest," a drama, 2m; Beth Henley’s "Am I Blue," a comedy, 1m2f + 2m and 2f extras; Gert Hofmann "Our Man in Madras," a comedy, 1m1f; Tina Howe’s "Teeth," a comedy, 1m1f + voice of radio announcer; Adrienne Kennedy’s "She Talks to Beethoven," a drama, 1m1f + frequent voices; Harry Kondoleon "Linda Her,"an absurdist comedy, 1m3f, 1f is girl; Arthur Kopit’s "Success," a comedy, 1m2f; Romulus Linney’s "Can Can," a comedy-drama, 1m3f; David Mamet’s "A Life with No Joy in It," a drama, 1m1f; Grace Mckinney's "Chicks," a comedy, 1f; Cassandra Medley’s "Waking Women," a drama, 1f; Arthur Miller’s "The Last Yankee," a drama, 2m; Joyce Carol Oates’ "Tone Clusters," a tragicomedy, 1m1f + m voice; James Purdy’s "Heatstroke," a drama, 1m1f; Sam Shepard’s "Excerpts from Slave of the Camera," a drama, 1m; Perry Souchuk’s "The Pleasure of Detachment," a drama, 1m2f; Tom Stoppard and Clive Exton "The Boundary," a comedy, 2m1f + voices; Andrew Vachss’ "Placebo: A Monologue," a drama, 1m; Wendy Wasserstein’s "Tender Offer," a drama, 1m1f; Tennessee Williams’ "The Chalky White Substance," a drama, 2m; August Wilson’s "Testimonies: Four Monologues," a drama, 1m or 2m; and Lanford Wilson’s "The Moonshot Tape," a drama, 1f);
• also, in Playwrights for Tomorrow, edited by A. H. Ballet, vol. 10 (Minneapolis, Minnesota, U.S.A.: University of Minnesota Press, 1973-1975), ISBN 0-8166-0693-5, LCCN 66-19124, containing "The Unknown Chinaman," by K. Bernard; "Fox, Hound and Huntress," by L. Lee; "Escape by Balloon," by W. E. R. LaFarge in collaboration with the Firehouse Theatre Company; "Stops," by Robert Auletta; "3 Miles to Play," by H. Lynch;
• script/rights available from source listed in Halpern anthology;
• contact Robert Auletta, 484 West 43 Street, Apartment 26C, New York, New York 10036, U.S.A., telephone 212-967-2437.
• Cited in Play Index 1973-1977: An Index to 3,848 Plays, edited by Estelle A. Fidel (New York: The H. W. Wilson Company, 1978), ISSN 0554-3037, LCCN 64-1054, p. 14.
• Also, cited in Play Index 1988-1992: An Index to 4,397 Plays, 542 pp., edited by Juliette Yaakov (____-____) and John Greenfield (____-____) (New York: The H. W. Wilson Company, 1988), ISSN 0554-3037, LCCN 64-1054, 542 pp.
_____ (m), _____; _____ (m), _____; _____ (f), _____; _____ (f), _____.
"Woman recalls her life, particularly her relationship with her mother and her sexual experiences."—Fidell, 14, and Yaakov and Greenfield, p. 19.
• Premiered at Yale School of Drama, New Haven, Connecticut, 1983.
• "I keep wrestling with America. You can't walk a step without running into dramatic material. None of us will ever set to the bottom of it, but the attempt has to be made. Journalism can only go so far. Dramatic fiction has the edge over it all, I believe, including movies and novels. The theatre today commands a special perspective on reality. Only the stage can address itself to the multi-dimensional ebb and flow of images that constitute our present day 'realism.' America is a dramatist's dream--if only he is careful not to lose himself amidst the hallucinations of its constantly shifting landscape. England has produced some very good play-wrights lately--full of seriousness and style--but they lack the Whitmanesque poetry and tragedy of our best work. If only we could overcome our hyperactive commercialism; if only our regional theatres could regain some of the purity and purpose that first inspired them; if only our most conservative playwrights were not continually encouraged at the expense of the innovators; if only our actors were offered alternatives to 'making it' other than movies and T.V. ... Still and all, the audiences are out there waiting for the living word, the inspired action, that image of America that offers both pain and pleasure in quick succession.”—Robert Auletta Biography (1940-), http://www.filmreference.com/film/40/Robert-Auletta.html, accessed February 10, 2008.
• Some scripts of Robert Auletta are downloadable from the Web through Broadway Play Publishing, Inc, 56 E 81st St., New York, New York 10028-0202, U.S.A., http://www.broadwayplaypubl.com/index.html, accessed August 19, 2002.
family, daughter-mother relationship, reminiscence, sexual experience.