Was treibt Wissenschaftler an? Der Konkurrenzkampf, das Bestreben etwas Neues als erster zu entdecken, ist eine wichtige Motivation. Die moralischen Konsequenzen werden in dem Stück "Oxygen" behandelt, in dem es um die Entdeckung von Sauerstoff geht, dem für das Leben auf der Erde wichtigsten Element. Im Zentrum des Stückes stehen chemische und politische Revolutionen sowie der Nobel-Preis, der 2001 zum 100. Mal vergeben wird. Das Stück spielt 1777 und 2001; zur Aufführung werden drei Schauspieler und drei Schauspielerinnen benötigt, die elf Personen darstellen. Die Urauffühung wird im Frühjahr 2001 in San Diego stattfinden, die deutsche Premiere im September. Die weltberühmten Autoren Carl Djerassi und Roald Hoffmann bürgen aufgrund ihrer Erfahrungen als Wissenschaftler - Carl Djerassi ist bekannt als "Vater der Pille" und Roald Hoffmann erhielt 1982 den Nobelpreis für Chemie - und als Schriftsteller - Djerassi schrieb mehrere erfolgreiche Romane, Hoffmann viel beachtete Lyrik - für Kompetenz und Spannung.

This book features a CD of rarely performed music, including a specially commissioned rap by Erik Weiner of Walter Benjamin's "Thesis on the Philosophy of History." Theodor W. Adorno was the prototypical German Jewish non-Jew, Walter Benjamin vacillated between German Jew and Jewish German, Gershom Scholem was a committed Zionist, and Arnold Schönberg converted to Protestantism for professional reasons but later returned to Judaism. Carl Djerassi, himself a refugee from Hitler's Austria, dramatizes a dialogue between these four men in which they discuss fraternity, religious identity, and legacy as well as reveal aspects of their lives-notably their relations with their wives-that many have ignored, underemphasized, or misrepresented. The desire for canonization and the process by which it is obtained are the underlying themes of this dialogue, with emphasis on Paul Klee's Angelus Novus (1920), a canonized work that resonated deeply with Benjamin, Adorno, and Scholem (and for which Djerassi and Gabrielle Seethaler present a revisionist and richly illustrated interpretation). Basing his dialogue on extensive archival research and interviews, Djerassi concludes with a daring speculation on the putative contents of Benjamin's famous briefcase, which disappeared upon his suicide.

”What purpose is served by showing that England's greatest natural philosopher is flawed … like other mortals?” asks one of the characters in Newton's Darkness. “We need unsullied heroes ” But what if the hero is sullied? At stake is an issue that is as germane today as it was 300 years ago: a scientist's ethics must not be divorced from scientific accomplishments. There is probably no other scientist of whom so many biographies and other historical analyses have been published than Isaac Newton — all of them in the standard format of documentary prose because of their didactic purpose to transmit historical information. Newton's Darkness, however, illuminates the darker aspects of Newton's persona through two historically grounded plays dealing with two of the bitterest struggles in the history of science.The name of Isaac Newton appears in virtually every survey of the public's choice for the most important persons of the second millennium. Yet the term “darkness” can be applied to much of Newton's personality. Adjectives that have been used to describe facets of his personality include “remote”, “lonely”, “secretive”, “introverted”, “melancholic”, “humorless”, “puritanical”, “cruel”, “vindictive” and, perhaps worst of all, “unforgiving”. The trait most relevant to the present book is Newton's obsessively competitive nature, which was often out of proportion to the warranted facts, as demonstrated in three of Newton's best-known bitter conflicts: with the physicist Robert Hooke, the astronomer royal John Flamsteed, and a German contemporary of almost equal intellectual prowess, Gottfried Wilhelm Leibniz — the last fight eventually turning into an England vs Continental Europe competition. It is two of these three relentless drawn-out battles that are illuminated in Newton's Darkness in the form of historically grounded drama.After a summary of the historical evidence, the book starts with the Newton-Hooke struggle (Chapter 2), which was conducted mano a mano, and is then followed by little-known aspects of the Newton-Leibniz confrontation (Chapter 3), which was fought largely through surrogates — notably the infamous, anonymous committee of 11 Fellows of the Royal Society.

This book examines the questions "What can science do for the theatre?" and "What can the theatre do for science?" which raise challenges for both theatre professionals and scientists. Unusually, this book deals with plays first and foremost as reading material -- as texts to be read alone or in dramatic readings -- rather than emphasizing performances on the stage. Concrete examples are given to demonstrate the potential pedagogic value of using the dialogic style and plot structure of plays in science, with a special focus on chemistry.Very few books have dealt with the subject of science-in-theatre and virtually none with chemistry-in-theatre. Texts of the author's two recent plays, Insufficiency and Phallacy, are included in their entirety to offer concrete examples of plays dealing with actual (rather than invented) chemistry. Insufficiency represents an example from the field of beer and champagne bubbles, where the topics of academic tenure and fashion in chemistry are analyzed, whereas in Phallacy, a case history of the similarities and differences between science and art is presented for debate.