Tag Archives: when life gives you risk make risk theatre

Back Cover Blurb for New Risk Theatre Book – WHEN LIFE GIVES YOU RISK, MAKE RISK THEATRE: THREE TRAGEDIES AND SIX ESSAYS

Starting to put together the second book in the risk theatre series. The book is called: WHEN LIFE GIVES YOU RISK, MAKE RISK THEATRE: THREE TRAGEDIES AND SIX ESSAYS. Coming out 2022. Been playing with back cover blurbs, here’s the latest:

CREATORS, INNOVATORS, AND THEATREMAKERS:
DEFY THE SMALLNESS OF THE STAGE
BY THE GREATNESS OF YOUR DARING …

Not only did Wong’s first book upend tragic literary theory by arguing that risk is the dramatic fulcrum of the action, it launched the world’s largest competition for the writing of tragedy (risktheatre.com). In his second book on the risk theatre theory of tragedy, Wong continues to present his case that chance and probability are two of the most powerful yet least understood forces directing life on and off the stage.

Inside you will find three prize-winning risk theatre tragedies by acclaimed playwrights: In Bloom by Gabriel Jason Dean, The Value by Nicholas Dunn, and Children of Combs & Watch Chains by Emily McClain. From the poppy fields of Afghanistan to the motel rooms and doctors’ offices lining the interstate expressways, they set the stage afire with deeds of daring. These plays will open your eyes to how extraordinary daring triggers extraordinary events.

Six new risk theatre essays round off this volume. In a dazzling display from Aeschylus to Shakespeare and Miller, Wong reinterprets theatre through chance and probability theory. The final essay on Hardy breaks a path forwards: not only does risk crack the novel, it provides the basis of a grand unified theory of drama governing both tragedy and comedy. After risk theatre, you will never look at literature in the same way.

… TOMORROW, WHOEVER SAYS DRAMA WILL SAY RISK

Edwin Wong (1974-) is a classicist and theatre researcher specializing in the impact of the highly improbable. He has been invited to talk about risk theatre at venues from the Kennedy Center and the University of Coimbra in Portugal to international conferences held by the National New Play Network, the Canadian Association of Theatre Research, the Society of Classical Studies, and the Classical Association of the Middle West and South. His last book, The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected is igniting an international arts movement. He was educated at Brown and lives in Victoria, Canada. Follow him on melpomeneswork.com and Twitter @TheoryOfTragedy.

Cover: The Tower © Matt Hughes

– – –

Don’t forget me, I’m Edwin Wong and I do Melpomene’s work
sine memoria nihil

Dear Publisher: Please Publish My Book WHEN LIFE GIVES YOU RISK, MAKE RISK THEATRE

Risk Theatre Performing Arts Book Proposal

Four years ago, seventeen publishers shut the door on my book The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected. After a year of aporia, FriesenPress, the self-publishing arm of the printing behemoth Friesens Corporation, released it. Today, my second book, When Life Gives You Risk, Make Risk Theatre: Three Plays and Five Essays, is coming together. Let’s give the traditional publishers a knock on the door. Maybe the gatekeepers will be more receptive this time. This time, things are different. Before, risk theatre was unknown and untested. Now risk theatre is going from peak to peak. The name of the game is to keep going. Never stop.

Here’s the template of the pitch letter. It’s short (326 words). It gives them a reason to be excited (who doesn’t like a new arts movement?). It builds upon the successes of the previous book (it was a terrific stroke of luck for my little self-published book to get two glowing reviews in peer-reviewed theatre journals). Will it be enough?– Please…

Dear Publisher,

I curate The Risk Theatre Modern Tragedy Playwriting Competition, the world’s largest competition for the writing of tragedy (risktheatre.com). The competition, now in its fourth year, is based on my self-published book: The Risk Theatre Model of Tragedy (2019). It presents a new theory of drama by arguing that downside risk is the dramatic fulcrum of the action in tragedy. Hundreds of playwrights (from sixteen countries, including some former Soviet republics) have entered the competition and the book has sold over 2700 copies. In the last two years, I have been invited to talk about risk theatre at the Kennedy Center, the National New Play Network, Working Title Playwrights (Atlanta), the Society of Classical Studies, the Classical Association of the Middle West and South, Marionet Teatro (Portugal), as well as many universities and theatres. Risk theatre is an exciting and growing twenty-first century arts movement.

To commemorate the fourth year of the playwriting competition, I have put together a compilation called: When Life Gives You Risk, Make Risk Theatre: Three Plays and Five Essays. Three finalist and winning playwrights have agreed to have their plays published. In addition, they will contribute new introductory essays discussing the significance of risk. The second half of the compilation consists of five essays I wrote applying risk theatre to the interpretation of plays from Aeschylus to Arthur Miller as well as to the novel.

Risk theatre is changing the way people look at the dramatic art form of tragedy. Would you be interested in participating in this exciting, bold, and important arts movement by publishing When Life Gives You Risk, Make Risk Theatre: Three Plays and Five Essays?

Attached are reviews of my first book from the peer-reviewed journals Theatre History Studies and NJ Drama Australia Journal. You may also see enthusiastic customer reviews of my first book at Goodreads and Amazon (links below).

Don’t hesitate to ask if you have any questions. I look forward to hearing from you.

All best,

Edwin Wong

https://www.goodreads.com/book/show/43999168-the-risk-theatre-model-of-tragedy

21.02.12theatrehistorystudiesREVIEW
NJ Drama Australia The Risk Theatre Model of Tragedy Gambling Drama and the Unexpected

– – –

Don’t forget me, I’m Edwin Wong and I do Melpomene’s work
sine memoria nihil