Mahinerator + the Barbarians

Auteur

Jerry Lieblich (they/them) plays in the borderlands between theater, poetry, and music. Their work experiments with language as a way to explore unexpected textures of consciousness and attention. Their plays include Mahinerator (The Tank), The Barbarians (Harvard University, La Mama (upcoming)), D Deb Debbie Deborah (Clubbed Thumb – Critic’s Pick: NY Times, TimeOut NY), Tongue Depressor (The Public Theatre / Brooklyn College), Nostalgia is a Mild Form of Grief (developed with Playwrights Horizons, Vineyard Theater, Page 73), Ghost Stories (Cloud City - Critic’s Pick: TimeOut NY), Your Hair Looked Great (Abrons Arts Center), and A Discourse on the Method… (Ensemble Studio Theatre), and Everything for Dawn (Experiments in Opera). Their poetry has appeared in Foglifter, Second Factory, TAB, Grist, SOLAR, Pomona Valley Review, Cold Mountain Review, and Works and Days. Jerry has held residencies at MacDowell, MassMoCA, Blue Mountain Center, Millay Arts, NACL, SPACE on Ryder Farm, and UCROSS, the Edward F. Albee Foundation, and Yiddishkayt. They have received a EST/Sloan Commission, the Himan Brown Creative Writing Award (twice), and a Martha Boschen Porter Fund grant from the Berkshire Taconic Community Foundation. They are an alum of the Soho Rep Writer/Director Lab, Page 73's I-73 Writer's Group, and Pipeline Theater’s Playlab group. BA: Yale, Philosophy; MFA: Brooklyn College (Mac Wellman and Erin Courtney, chief instigators). thirdear.nyc

Texte du rabat

A composer of language’s skewed longings, Jerry Lieblich torques and tickles our grammars, taking these jangly, tangling systems as occasions for probing the political structures through which we participate in our and others’ demise. This volume collects Mahinerator and The Barbarians. In Mahinerator, an ambitious bureaucrat, speaking in a quasi-English pseudolect, tells his greatliest life story; a story of the banalation of the evilwise, of vacuumic compressulated ecocide. The Barbarians is a loggorheic encyclopedic rambunctious gollywompus of a play concerning speech acts, political power, fractal geometry, eusociality, theater, nonsense, aircraft carriers, cell phone networks, Bifröst, “My Heart Will Go On,” semiotics, pyramids, and picturesque American normalcy.