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The Last Days Of Judas Iscariot Script Pdf

'[THE LAST DAYS OF JUDAS ISCARIOT] shares many of the traits that have made Mr. Guirgis a playwright to reckon with in recent years: a fierce and questing mind that refuses to settle for glib answers, a gift for identifying with life's losers and an unforced eloquence that finds the poetry in lowdown street talkMr.

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This book destroyed me. I'm having a really hard time trying to come up with what to write for this review, because I feel like I just got off of an emotional roller-coaster. The play is about the trial of Judas Iscariot for betraying Jesus and whether or not he should go to Heaven or Hell for it. Many are called to the stand, such as Sigmund Freud, Pontius Pilate and Mother Teresa.

I basically laughed my ass off for the first half. Then after that, it was raining on my face. This is one of thos This book destroyed me. I'm having a really hard time trying to come up with what to write for this review, because I feel like I just got off of an emotional roller-coaster. The play is about the trial of Judas Iscariot for betraying Jesus and whether or not he should go to Heaven or Hell for it. Many are called to the stand, such as Sigmund Freud, Pontius Pilate and Mother Teresa. I basically laughed my ass off for the first half.

Then after that, it was raining on my face. This is one of those books that makes you feel something. Even if you don't believe in what this story is about, I believe that the reasonings of these characters and the significance/justification of their presence are enough to move anyone. I have always considered Judas to be the worst of the apostles. Now I'm really not so sure.

Set in a Limbo that resembles a fairly generic earth city, trials are held to determine ascension into heaven or to petition hell-bound placement. The primary action of the play involves the most unusual of cases to be reviewed, that of Judas Iscariot.

Judas's guilt is usually considered a given, but Guirgis has achieved a miraculous thing here: he has explored the actions of those surrounding Jesus's death and has somehow brought doubt regarding his guilt while managing to reinforce faith. Questions bubble up to the surface and very few definitive answers are decided upon. The play is funny and touching and every single character is multifaceted and interesting in some way. Time and culture is skewed to find a new way into biblical figures. I can see how some mind find this process sac-religious but really what it does is provide another access to faith. Before reading this a few of my friends had seen different productions of this play and have told me that it was either unremarkable or overwritten. I strongly disagree with the first of these assessments, and (at least in reading) the second doesn't sound correct either.

This is a big play because it is a big subject, and in order to fully study the questions involved the play has managed to condense quite a bit into an evening. This is one fine play. I don't know if I have ever read anything that discussed a larger amount of interesting and important religious ideas.

What impressed me most, was how every character was so clearly portrayed, I felt like everybody who appeared in the play was complex and interesting, even if they only appeared for two or three pages. I think my favorite character was Satan. He was funny and intriguing. My only objection to the play was the language, which was profane. If I had been able to g This is one fine play. I don't know if I have ever read anything that discussed a larger amount of interesting and important religious ideas.

He was funny and intriguing. My only objection to the play was the language, which was profane. If I had been able to get over that, I would have rated it a five. This play discusses some interesting theological topics, but I don't understand who the target audience is. The heavy and frequent profanity would turn most Christians away, but I'm not sure the topics would be of interest to non-Christians. Also, either there are theological plot holes, or the theology is just above my head. But some things didn't make sense.

I very much enjoyed the first half of the play because I thought it was funny and interesting, but then I got bored during the second h This play discusses some interesting theological topics, but I don't understand who the target audience is. The heavy and frequent profanity would turn most Christians away, but I'm not sure the topics would be of interest to non-Christians. Also, either there are theological plot holes, or the theology is just above my head. But some things didn't make sense. I very much enjoyed the first half of the play because I thought it was funny and interesting, but then I got bored during the second half because it was pretty much the same as the first half. I felt like they were beating a dead horse (the dead horse being Act I). This review has been hidden because it contains spoilers.

To view it, If I had to describe this play in one word, it is YES. Simply because I love it so so much and its beautiful and so intellectual (this is gonna be a long review, so get ready). First, I'll give you some background with my experience with my play (if you want to hear my actual review of this book, you can just skip this part, as this is a theater geek just talking about how they knew the play). For my Acting Study I class, for my first monologue, my teacher recommended doing Henrietta Iscariot's If I had to describe this play in one word, it is YES. Simply because I love it so so much and its beautiful and so intellectual (this is gonna be a long review, so get ready). First, I'll give you some background with my experience with my play (if you want to hear my actual review of this book, you can just skip this part, as this is a theater geek just talking about how they knew the play). For my Acting Study I class, for my first monologue, my teacher recommended doing Henrietta Iscariot's (Judas' mother) monologue- the one that opens the play.

I loved this monologue. It was heavy, it was dark, it was challenging, and was a big stretch for me (me being a fifteen year old at the time). It was actually the best monologue I've done (I've only done like two, so don't get too excited). I didn't read all of the play (I was lazy I the time, I wish I had), but I got the jist of it.

I was really intrigued by the idea, it seemed beautiful. And even though Henrietta had a very small role, I did a lot of character work. So, basically, I was emotionally attached to this play. I loved my character, I loved the idea, so on and so forth. Then, my school's senior theater company decided to do this play for their senior show. It was amazing!

Can't lie, I thought I did better than Henrietta, but I respect that actress' character choices (as little as there were). Anyway, seeing the play inspired me to actually read it through this time- and I don't regret it whatsoever. So here's the actual review now. The Idea YES.

The idea of someone bringing up the question of whether or not Judas should be in hell in purgatory as Harlem is fascinating and intriguing. I loved the mix between classic biblical discussion and coarse language. I loved how Cunningham and El-Fayoumy brought in interesting characters- anyone from Mother Teresa, to Dr. Sigmund Freud,to Pontius Pilate, to Satan himself.

Each character was multi-faceted and you can tell the play writer put a lot of thought into each of them. It was great. The Thing at the End What I'm talking about it this theory that I think the play writer may have created (I don't know a lot about theories like that). When asked why God lets Judas be in Hell when he loves him so much (and surely has the power), Mother Teresa says something along the lines of some people don't want to be saved (and this whole thing about despair- see pages 37-38). That's clear for Judas' case at the end.

He refuses to take Jesus' hand, as he feels like he betrayed him. But then Jesus says (in Hell with Judas), 'Judas- What if I were to tell you that you are not here? That you are with me in my Kingdom even now, and that you have been there since the morning of my Ascension and that you have never left?' Jesus also says (when Satan appears), 'Do you see him?Do you know him? Call unto him. He is not there. Because he does not exist, Judas.

Rather, they must conjure him, and still he is but a vapor blown away by a hummingbird's breath. He is not real.' Finally, when Cunningham interviews Satan a second time, she keeps insisting that he's lieing because he's answering questions like 'Of course God loves me, he made me, etc' (see pages 95-100). Satan seems almost more forgiving.

He's answering like a real believer. All of these things combined make me believe that in this book, there is no actual hell. Satan and hell are illusions to make people behave good. Earlier, someone in the book stated that if the door to heaven was unlocked, 'you wouldn't be half decent, would you?'

(sorry that I can't remember who that was). And when they die, many people believe that they don't deserve salvation. That's why Judas is still in hell. That's why Cunningham and El-Fayoumy are in purgatory- because they don't believe they deserve salvation. And Jesus says that when he ascended into Heaven, Judas was there, and has been there ever since. So perhaps, purgatory and hell are just an illusion and everyone- once they're dead- they actually go to Heaven.

But if they believe they don't deserve it, they don't go. ^That is just what I got from the book. Whether or not that was actually what the play writer was trying to communicate, I don't know. But I like to think it is, and I think that's beautiful, groundbreaking, and amazing. So, if you can handle the coarse language and the mature content, you have a beautiful intellectual book- full of discussions, theories, and love. This is my favorite play, and one of the most beautiful things I've ever read.

I would recommend it to anyone over 15 (because of the mature content). I'm in love with it. I am a young reader, who until a year ago hadn't really read any plays, mostly just novels.

Reading Shakespeare has been interesting, but not quite something I would actively pursue or spend free-time reading. I'd never really considered reading plays, only seeing them performed. Until I embarked on this unexpected spiritual experience in literature.

The only reason I read Judas in the first place was that several members of my favorite theater company are currently involved in a production of th I am a young reader, who until a year ago hadn't really read any plays, mostly just novels. Reading Shakespeare has been interesting, but not quite something I would actively pursue or spend free-time reading. I'd never really considered reading plays, only seeing them performed. Until I embarked on this unexpected spiritual experience in literature. The only reason I read Judas in the first place was that several members of my favorite theater company are currently involved in a production of the play in Chicago and I bought tickets (I will be seeing it in a week and am very excited!). It was recommend that I read it before seeing it.

I bought a copy about 3 months back and have read it at least once a month, purely because I enjoyed it so much. Being a non-religious person, I had an unbiased view on the story. Although I'm sure if I had more knowledge of Christian mythology I would probably be able to enjoy it even more.

At the beginning of my experience reading Judas, I found myself attempting to take and switch sides for awhile before I began to realize that simply observing the events unfold in their entirety was more enjoyable for me. I've never been very good at questioning while I read (I'm sure my teachers hate me for that), but this story created constant ideas and questions in my mind that evolved the more I read.

I'd never had such an experience with any piece of literature before. The seamless flow between humor and dark intensity blew me away, I could be laughing out loud on moment and then a moment later be staring at the page with my mouth hung open, feeling as though I was witnessing a real court case unfold before me. The level of profanity shocked me a bit at first, but that was merely because I didn't expect quite so much of it, but I quickly got used to it and it blended so smoothly with each character's specific way of speaking that it only stood out to me as abundant after I had read finished the play. Guirgis' words on faith in the introduction spoke to me strongest after I had finished reading his play; “It’s not about joining a team or a church or choosing sides or learning a prayer.

It’s not about man‐made concepts of good and evil. It’s not about doing “enough” or “too little.” It’s not about shame and guilt. It’s about You. It’s about the collective Us. Thomas Merton said, “To be a saint means to be myself.” What if that were true? What is it that we need to overcome in order to be truly “Ourselves”? I won’t pretend at all that this play answers that question, but if it provokes the question in you, then please let it.

Because we need you.” Despite what you do or do not believe, faith is something important, and you owe it to yourself to question, think, and discover what those sort of things mean to you. I strongly believe in Mr. Guirgis' message. It's not about what you believe, it's about understanding why, and asking questions and challenging yourself on a spiritual level (whatever spiritual might mean to you). It's something we all need whether we think we do or not. Everyone is different, so not everyone will approach this the same way, but you owe it to yourself as a human being to do so. The Last Days is essentially a running commentary on a variety of Biblical and religious figures, as well as topics and events surrounding the betrayal of Jesus by Judas Iscariot.

It is many times insightful, challenging, and thought-provoking; it raises some excellent questions regarding the motivations behind key players involved in the arrest and execution of Christ, and how we are our own worst enemies - our personal motivations influenced heavily by fear, pain, and selfishness. Since the pla The Last Days is essentially a running commentary on a variety of Biblical and religious figures, as well as topics and events surrounding the betrayal of Jesus by Judas Iscariot. It is many times insightful, challenging, and thought-provoking; it raises some excellent questions regarding the motivations behind key players involved in the arrest and execution of Christ, and how we are our own worst enemies - our personal motivations influenced heavily by fear, pain, and selfishness. Since the play takes the form of a court room drama, the majority of dialogue is presented through the examination and cross-examination of witnesses, including Caiaphas, Pontius Pilate, and Satan. The drama culminates in a conversation between Judas and Jesus that highlights the power inherent in free will; and the choices we make to allow our inner demons of guilt and regret to continue torturing us long after the act that created them.

In the end, we can all identify with Judas Iscariot, because we're all traitors to someone or something, perhaps even ourselves. The point that the play loses stars, for me, is the excessively vulgar 'street vernacular' used by the majority of its characters for no justifiable reason. The content and story are presented well, the ideas intriguing and thought-provoking, without the need for edgy art to heighten the drama.

The play takes place in an anachronistic limbo, yet the dialogue is presented from a modern and distasteful slang, supposedly to make it 'edgy' or 'cool'. Unfortunately, it has just the opposite effect, creating gangster parodies of many of the key figures in this drama and ultimately destroying the credibility of the production to discuss with any level of seriousness, the themes presented. I would not recommend it based purely on the fact that the subject matter, whether the historical trial of Jesus, the emotional and moral anchor of guilt, or spiritual transformation and degradation, can all be explored and contemplated in a great number of other works, stage production or otherwise, and without the excessive swearing and innuendos presented. Could have been great, but marred by the writing. One of those scripts that makes me wish I was still producing plays. Not the sort of thing that my friends at Taproot Theatre or A.D.

Players could mount, because of the language, but theologically profound and deeply faithful. What if a defense attorney in purgatory decided that Judas was deserving of God's mercy and should be liberated from hell? And what if Satan and his minions were just as determined to keep him?

What kind of trial would that be? Who would be the witnesses for the defense an One of those scripts that makes me wish I was still producing plays. Dst File Converter Embroidery Boutique more. Not the sort of thing that my friends at Taproot Theatre or A.D. Players could mount, because of the language, but theologically profound and deeply faithful.

What if a defense attorney in purgatory decided that Judas was deserving of God's mercy and should be liberated from hell? And what if Satan and his minions were just as determined to keep him?

What kind of trial would that be? Who would be the witnesses for the defense and for the prosecution? Where would Jesus of Nazareth line up?

If these questions intrigue you and you are not turned off by the language of the streets, then READ THIS PLAY. Better yet, find somebody with the guts to produce it and support them in doing so. This is a fascinating look at some of the key figures in the gospels and in church history as well as a moving portrait of what despair can do to the best of us.

If anybody out there hears of a production in the Seattle area, let me know, please! I had the chance to see a production of this in Seattle but I unfortunately skipped because I was 'too tired' and honestly it just shows my tendency to gravitate towards laziness and bad decisions.

It got rave reviews and several nominations for the theater awards in Seattle. I hate myself. So, I decided to read it, and I will say it was not exactly what I imagined.

The mixing of both Biblical characters, original characters, and modern pop culture and language created a cocktail that was both of I had the chance to see a production of this in Seattle but I unfortunately skipped because I was 'too tired' and honestly it just shows my tendency to gravitate towards laziness and bad decisions. It got rave reviews and several nominations for the theater awards in Seattle. I hate myself.

So, I decided to read it, and I will say it was not exactly what I imagined. The mixing of both Biblical characters, original characters, and modern pop culture and language created a cocktail that was both often jarring but also funny, unique, and brought the often dated stories into a modern light. I love the depiction of Judas. I love the themes being explored here.

Sometimes I felt like the quirkiness of some of the characters clouded and got in the way of some of the better stuff. The emotional dialogue was by far the best part of the play. Also the inclusion of the stereotypical 'sassy black woman' character: why? Overall, great concept and execution.

In terms of biblical fan-fiction, I think I still like Paradise Lost more. I loved the rumination on salvation that this play accomplishes by using the structure and archetype of the TV crime-procedural drama. Also, Guirgis's facility with character and his dedication to biblical history/systematic theology creates a mash-up of Shavian Philosophical argument with Bill Hicks's insight. The story is ultimately dissatisfying however because its attempt at theodicy rests on the 'Free-will' argument for evil and, in so doing, climaxes with an indictment of the victim as sum I loved the rumination on salvation that this play accomplishes by using the structure and archetype of the TV crime-procedural drama. Also, Guirgis's facility with character and his dedication to biblical history/systematic theology creates a mash-up of Shavian Philosophical argument with Bill Hicks's insight.

The story is ultimately dissatisfying however because its attempt at theodicy rests on the 'Free-will' argument for evil and, in so doing, climaxes with an indictment of the victim as summation to its theme. This seems like a contradiction to the play's Universalist thesis. I did like the ironic use of an average human being as Deus ex Machina but, walked away from the story shaking my head at its faithful rendition of Divine Command morality when something more humane might be revealed. “Right now, I am in Fallujah. I am in Darfur. I am on Sixty-third and Park having dinner with Ellen Barkin and Ron Perelman. Right now, I'm on Lafayette and Astor waiting to hit you up for change so I can get high.

I'm taking a walk through the Rose Garden with George Bush. I'm helping Donald Rumsfeld get a good night's sleep.I was in that cave with Osama, and on that plane with Mohamed Atta.And what I want you to know is that your work has barely begun. And what I want you to trust is the efficacy of divine love if practiced consciously. And what I need you to believe is that if you hate who I love, you do not know me at all. And make no mistake, 'Who I Love' is every last one. I am every last one. People ask of me: Where are you?

Where are you?Verily I ask of you to ask yourself: Where are you? Where are you?” —.