Seelig's work aims to create poetic theatre.[19][20] This involves the concept of "charactor" (combining an actor's onstage persona with their offstage nature), the "prism/gap" (between actor and audience), and ambiguity.[21][22][23] His direction avoids naturalism.[24]
In 2017, Seelig's direction of Smyth/Williams, a dramatic recounting of a verbatim confession of Russell Williams, was criticized by victims' families.[25]
Writing
Beginning with the 2010 publication of Every Day in the Morning (slow),[26] Seelig's writing combines poetic lyricism with concrete poetry.[27] Written largely in the second person, the work uses punctuation to form what has been described as a "continuous concrete-lyric-drop-poem novella".[28][29]
Since 2010, Seelig's plays employ the same drop-poem technique where "words often align vertically, configured spatially."[21] The format has been described by critics as "a musical score,"[27] a "poetry trick,"[30] and "eye hockey."[31] This format allows actors to "pace and emphasize the text" as they see fit.[32][33]
Music
For Ubu Mayor, "a play with music," Seelig wrote eight songs and played piano in the band for the production premiere.[34][35][36] The play has been referred to as an "anti-musical." [37] For Music Music Life Death Music: An Absurdical, Seelig wrote seven songs and played a Fender Rhodes electric piano in the band for the production premiere.[38] The sheet music for both of these plays is included in their print and electronic publications.
Music is foregrounded (rather than being assigned to the background) in Seelig's productions.[39] Music also plays a role in Seelig's "drop-poem novella" Every Day in the Morning (slow), with particular emphasis on minimalist composers such as Steve Reich[31][40]
Essays
"Beckett's Dying Remains: The Process of Playwriting in the 'Ohio Impromptu' Manuscripts."[41]
↑ Kaplan, Jon (2009-11-18). "Talking Masks - NOW Magazine". NOW Toronto. Retrieved 2025-02-21. Riffing on Sophocles' biggest hit, Seelig's new book Talking Masks (subtitled "Oedipussy") uses strident debate and bawdy humour to take on the idea of character. His source material is classical, and his formal concerns are dyed-in-the-wool modernism, but his swagger is old-fashioned postmodern.
↑ Jacob McArthur Mooney, "Sam Is a Person: An Electronic Conversation with Poet and Playwright Adam Seelig," The Walrus Magazine, 18 Feb 2011. Web. Accessed 21 Feb 2011.
↑ "Flexible Impossibilities: On Claude Gauvreau's The Charge of the Expormidable Moose," Rampike Magazine, University of Windsor, Ontario, Vol.22 No.2, 2014, pp.16-19.
↑ "Open Letter - A Canadian Journal of Writing and Theory". publish.uwo.ca. pp.33–53. Retrieved 2025-02-21. With examples touching on other contemporary Canadian poets including Gregory Betts, Alice Burdick, Donato Mancini, David McFadden, Jay MillAr, Angela Rawlings, Mark Truscott, and Rachel Zolf.
↑ Gregory Betts interview by Adam Seelig, Filling Station, Calgary, No.38, 2007, pp.26-9.
↑ "Nerve's Quill: Nerve Squall by Sylvia Legris," Word: Canada's Magazine for Readers + Writers, The Mercury Press, Toronto, Vol.12 Nos.5&6, May/June 2006, p.5.
↑ "A/DRIFT," Review of Lisa Robertson's Rousseau's Boat, Word: Canada's Magazine for Readers + Writers, The Mercury Press, Toronto, Vol.11 Nos.11&12, November/December 2005, p.15-16.
↑ Review of Jordan Scott's Silt, Word: Canada's Magazine for Readers + Writers, The Mercury Press, Toronto, May 2004.
↑ "First Person Plural: The Novel at Play - Adam Seelig Interviews Sean Dixon," Word: Canada's Magazine for Readers + Writers, The Mercury Press, Toronto, Vol.13 Nos.5&6, May/June 2007, pp.8-9.
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