Notepad
The notepad is empty.
The basket is empty.
Free shipping possible
Free shipping possible
Please wait - the print view of the page is being prepared.
The print dialogue opens as soon as the page has been completely loaded.
If the print preview is incomplete, please close it and select "Print again".

Product description

Antler steps out of her front door and throws her phone to the ground. She stamps on it. Then she climbs the tallest tree in the park. She doesn't want to be found, not by anyone.Over the course of one autumnal evening, seven teenagers' lives intertwine as they make their way through the park. And everything that seemed normal becomes extraordinary.A play about protest, power and protecting yourself, Remote was commissioned as part of the 2015 National Theatre Connections Festival and proved enormously popular with youth theatres and college companies across the UK.
Read more

Details

Additional ISBN/GTIN9781780016511
Product TypeE-book
BindingE-book
FormatEPUB
FormatReflowable
Publication townLondon
Publication countryUnited Kingdom
Publishing date01/08/2015
LanguageEnglish
File size1085427 Bytes
Article no.7616937
CatalogsVC
Data source no.1068367
Product groupBU152
More details

Ratings

Recommendations for similar products

Was passiert, wenn ein 78-jähriger Mann nach dem Tode seiner Frau nicht mehr leben möchte? Der Mann ist weder krank noch depressiv, sondern einfach lebensmüde - er hat keine Freude mehr an seinem Leben.
Soll ein Arzt ihm dabei helfen und ihm ein Medikament, das ihn tötet, verschreiben? Oder soll der Arzt das ablehnen und damit riskieren, dass der Mann vom Balkon springt? Dieses birgt wiederum die Gefahr, dass der Suizid misslingt und der Patient paralysiert zurückbleibt.
Darf man selbst über sein Leben bestimmen?

GOTT
Ferdinand von Schirach
Ein Theaterstück

Der Ethikrat kommt zusammen und soll klären, ob Herr Gärtner mithilfe seiner Ärztin Suizid begehen darf.
Anwesend ist die Ärztin des Betroffenen, sein Rechtsanwalt, eine Rechtssachverständige sowie ein medizinischer und ein theologischer Sachverständiger.
Argumente dafür und dagegen werden aufgeführt, am Ende soll das Publikum entscheiden, ob Herr Gärtner das Medikament bekommt oder nicht.

Wie immer lässt Ferdinand von Schirach mich zum Fähnchen im Wind werden. In dem einen Moment denke ich: Na klar darf er über sein Leben entscheiden! Doch in der nächsten Sekunde kippe ich schon wieder um, genau in dem Moment, wo eine Frau sterben will, weil sie vor sechs Jahren, mit 25, bei einem Unfall ein Kind totgefahren hat. Sie konnte nichts dafür. Alle haben mir verziehen, aber ich selbst kann mir nicht verzeihen. (S. 106) Nein, natürlich darf diese Frau sich nicht umbringen!
Ferdinand von Schirach ist ein Meister der Erzählkunst, man wird in die Geschichte eingesogen und kann sich dem sensiblen und hochemotionalen Thema nicht entziehen.
Ein wunderbares Buch zum Diskutieren, hervorragend auch für die Oberstufe im Ethikunterricht geeignet.
Ein schmales Buch, das schnell gelesen ist und lange nachwirken wird.

Am Ende bleibt die Frage: Darf man Gott spielen?
5/ 5
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.

Author

Stef Smith studied Drama and Theatre Arts at Queen Margaret University in Edinburgh.

She wrote the text for the critically acclaimed play RoadKill (Edinburgh Festival 2010, 2011). The show won a number of awards including a Fringe First, a Herald Angel and the Amnesty International Freedom of Expression Award. In 2012, RoadKill transferred to Theatre Royal Stratford East and subsequently won the Olivier Award for Outstanding Achievement in an Affiliate Theatre and then toured to Paris, Chicago and New York.

Stef Smith's previous work for young people includes Grey Matter (Lemon Tree, Aberdeen).

Other credits include: And the Beat Goes On (Random Accomplice/Perth Horsecross Theatres & Scottish tour); CURED (Glasgay!); Smoke (and Mirrors) (Theatre Uncut); Woman of the Year (Òran Mór); The Silence of Bees, Falling/Flying (The Tron, Glasgow) and Tea and Symmetry (BBC Radio Drama Scotland).

Stef Smith has also been on attachment with the National Theatre of Scotland, an invited residency at the Banff Centre in Canada and under commission from the Royal Court in London. Her play Swallow received its world premiere at the Traverse Theatre in Edinburgh in 2015.

Subjects