This suggestion was confirmed repeatedly in the two critical articles that I read on Drive which focused expressly on the need for a unique form in which to tell the story, necessary to subvert not only Vogel’s own authorial voice, but to ensure that the audience doesn’t come away with a pre-conceived understanding based on the form of the play itself.
As well, there was some mention of the notion that the form of a play is what is important. In the previous essay I discussed that I have been struggling for some time with the shape of a play that I’ve been working on.
I’ll pick up from where I left off with the previous essay, regarding Paula Vogel’s play How I Learned to Drive specifically, I’ll consider some of the techniques that have attracted me to this play and their meaning, as suggested by a few critical articles.
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