Kamyabi Mask, Ahmad (1999). Les temps de l'attente. Paris: A. Kamyabi Mask. ISBN 978-2-910337-04-9.

The two-act structure emphasises the passing of time. Act II is bleaker than Act I, and Winnie knows it: "To have been what I always am – and so changed from what I was." [1] By Act II she can no longer imagine any relief, and she can no longer pray, as she did at the play's start. Although she still intones the phrase ‘happy day’, it no longer triggers her smile." [30] In June 2021, Trevor Nunn directed Lisa Dwan in a 60th anniversary production at Riverside Studios, London. [55] An excellent dialog going nowhere in particular between two old-timers with a rich history and somewhat unreliable memory. Lots of fun! He's just another poor sap with "a pathological horror of songbirds," and "congenital timidity," who is "morbidly sensitive to the opinion of others..."

A well-conceived and entertaining to watch (not so much to read) balletic arrangement of various combinations and permutations of one to four compulsive pacers tracing a fixed course around a square, each with his or her own percussive musical accompaniment. In 2016, The Yale Repertory Theatre mounted a production with Dianne Wiest as "Winnie" and Jarlath Conroy as "Willie", directed by James Bundy. [50] That production subsequently transferred to Downtown Brooklyn, New York's Theatre for a New Audience with Wiest and Conroy reprising their roles in April & May 2017.

Also author of the short story "Premier amour" which was perhaps intended to complete a quartet begun with "L'Expulse,""Le Calmant," and "La Fin." On April 13, 1998, the French Embassy in Washington, DC, hosted the first staged public reading of Eleutheria as translated by Michael Brodsky and directed by Robert McNamara. [2] The first production of Eleutheria took place in 2005, performed by Naqshineh theatre, as translated by Vahid Rahbani and directed by Vahid Rahbani and Mohammadreza Jouze at the City Theatre of Tehran. Winnie is the eternal optimist— Robert Brustein called her a "hopeful futilitarian" [9]—but the available sources of her optimism are being used up and she has to work harder and harder to keep up her positive front which is already wafer-thin when we first meet her. Her effortful optimism is expressed in her carefully precise, self-correcting refrain, "Oh this is a happy day, this will have been another happy day. After all. So far." [1] Admittedly, I'm not entirely loving these process-plays, but I'll grant they are original and unlike anything I've encountered before.Le Calmant", written 1946, in Nouvelles et Textes pour rien (1955); "The Calmative", Stories and Texts for Nothing (1967)