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Enlivened by rum, mutiny, and buried treasure, Treasure Island is the classic pirates' tale, widely regarded as the forerunner of this genre. After discovering a treasure map, young Jim Hawkins sets off to sea as cabin boy aboard the Hispaniola, where he encounters one of the most unforgettable characters in literary history-peg-legged buccaneer Long John Silver, a malicious mutineer and charismatic father figure.
Through studying Volpone's three bastard children - the dwarf, the androgyne and the eunuch ? from the theoretical argument of Freud, Lacan, Derrida and Foucault, this book discusses how Jonson's comedies are built upon the tension between death, castration and nothingness on one hand, and the comic slippage of identities in the city on the other. This study understands Jonson, first and foremost, as a comedy writer, linking his work with modern film comedies such as the Marx Brothers, Woody Allen, Mel Brooks and Monty Python. It is a new approach to Jonsonian studies, responding to the current Marxist-Lacanian studies of literature, film and culture made popular by scholars such as Slavoj Zizek, Alenka Zupancic and Mladen Dolar. While the book pays close attention to the historical context of Jonson's time, it brings him to the twenty-first century by discussing early modern comedies with modern critical theories and film.
This book presents new and overarching perspectives on the relationship between theatre and public from the Henrician Reformation through the interregnum to the Restoration, combining vivid case studies with discussion of theatre's continued importance in shaping the early modern public. Considered from the vantage point of theatre, the early modern public becomes visible as an unruly agent of political change, a force that authorities both feared and appealed to, and one that proved ultimately beyond control. It was through theatrical strategies that rulers and their opposition addressed the early modern public, and in turn it was theatre's public potential that shaped the development of the stage during the revolutionary years of the seventeenth century. In this volume, Katrin Beushausen examines sources including irreverent satirical pamphlets, regal spectacles, anti-theatrical polemic and visions of state theatres, casting new light on the development of the early modern public and theatre.
The most extenisve new collection in this field published in more than three decades, English Renaissance Drama: A Norton Anthology surveys the astonishing, and astonishingly varied, dramatic works written and performed in Elizabethan and Jacobean England. Popular in their own time, the 27 plays included here—by Christopher Marlowe, Ben Jonson, John Webster, Thomas Middleton, among many others—reveal why these playwrights' achievements, like Shakespeare's, deserve reading, teaching, and performing afresh in our time. Edited by a team of exceptional scholars and teachers, this anthology opens an extraordinary tradition in drama to new readers and audiences.
Timur Khan--to give Tamburlaine his original name--was long perceived in the west as a ruthless conqueror. Christopher Marlowe's play, TAMBURLAINE THE GREAT, achieved great success on the Elizabethan stage. However, four centuries later, we have seen the vindication of the great Khan--who is revered as a heroic figure in the newly liberated from the USSR state of Uzbekistan.
"Studying Shakespeare's Contemporaries" is an accessible guide to the non-Shakespearian drama of Renaissance England that can be read as complete subject overview or used as an indexed reference resource.
A masterpiece of eighteenth-century Japanese puppet theater, Yoshitsune and the Thousand Cherry Trees is an action-packed play set in the aftermath of the twelfth-century Genji-Heike wars. It follows the adventures of the military commander, Yoshitsune, as he tries to avoid capture by his jealous older brother and loyal henchmen. The drama, written by a trio of playwrights, popularizes Japan's martial past for urban Edo audiences. It was banned only once in its long history, for a period after World War II, because occupying American forces feared its nationalizing power. In this expert translation by Stanleigh H. Jones Jr., readers learn why Yoshitsune and the Thousand Cherry Trees became one of the most influential plays in the repertoires of both kabuki and bunraku puppet theater. He opens with an introduction detailing the historical background, production history, and major features of the bunraku genre, and then pairs his translation of the play with helpful resources for students and scholars. Emphasizing text and performance, Jones's translation underlines not only the play's skillful appropriation of traditional forms but also its brilliant development of dramatic technique.
To several generations, Noel Coward was the very personification of wit, glamor, and elegance. There seemed to be nothing he couldn't do, and - as Philip Hoare shows in this definitive biography - he seems to have tried it all. The most remarkable thing, however, was that whatever it was that Coward undertook, it was done with supreme style and class. Coward was a master playwright: consider 'Blithe Spirit', 'Private Lives, and 'Design for Living'; the composer/lyricist of songs such as "Mad Dogs and Englishmen, " "If Love Were All, " and "Mad About the Boy, " from musicals and operettas such as 'Bitter Sweet', 'Conversation Piece', and 'High Spirits'; he was a filmmaker: 'Cavalcade', 'In Which We Serve', and Brief Encounter'; a novelist and diarist: "Pomp and Circumstance," "Present Indicative"; and a talented actor and performer. In researching the book, Philip Hoare traveled far and wide, and interviewed dozens of Coward's surviving contemporaries - friends, as well as enemies. Most significant, however, was the cooperation he received from the Coward Estate. Given unprecedented access to the private papers and correspondence of Coward and of members of his family, as well as his many compatriots and numerous lovers, Hoare has produced what has been hailed widely as "the definitive book" about Noel Coward. One especially noteworthy aspect to Hoare's treatment of Coward's life is the fact that this book is the first to deal openly with Coward's homosexuality. It was, of course, a reality in his life, but despite the fact that it imbued his work, it was a subject Coward remained, to his death, wary of discussing publicly. But while Hoare deals frankly with the subject, he neveroversteps the bounds of discretion and good taste. The result of all Philip Hoare's meticulous research and careful assessment is a biography that is both wideranging and intimate, a record of the public profile and private life of one of the 20th century's most celebrated - and still controversial - figures.
Theater requires artifice, justice demands truth. Are these demands as irreconcilable as the pejorative term "show trials" suggests? After the Second World War, canonical directors and playwrights sought to claim a new public role for theater by restaging the era's great trials as shows. The Nuremberg trials, the Eichmann trial, and the Auschwitz trials were all performed multiple times, first in courts and then in theaters. Does justice require both courtrooms and stages? In Staged, Minou Arjomand draws on a rich archive of postwar German and American rehearsals and performances to reveal how theater can become a place for forms of storytelling and judgment that are inadmissible in a court of law but indispensable for public life. She unveils the affinities between dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and philosophers such as Hannah Arendt and Walter Benjamin, showing how they responded to the rise of fascism with a new politics of performance. Linking performance with theories of aesthetics, history, and politics, Arjomand argues that it is not subject matter that makes theater political but rather the act of judging a performance in the company of others. Staged weaves together theater history and political philosophy into a powerful and timely case for the importance of theaters as public institutions.
This volume completes the publication of all the surviving theatrical documents in the Archivo de Secretariia of the Madrid Municipal Archives from the period of the corrales de comedias. The volume covers the last quarter-century of the life of Madrid's playhouses, the Corral de la Cruz and the Corral del Priincipe, beginning in 1719, at the point when the long-standing system of leasing the playhouses to private businessmen finally gave way to direct municipal adminstration of the theatre business, and ending when the old corrales are finally demolished and replaced by modern coliseos (proscenium theatres), the Cruz in 1736-1737 and the Priincipe in 1744-1745. The documentation from this period is especially rich and varied, offering us a detailed picture of theatrical life in the Spanish capital in a period of transition.
`Emer O'Sullivan has made an indispensable contribution to Wildean literature ... Compelling, informative and fascinating' Stephen Fry Oscar Wilde's father - scientist, surgeon, archaeologist, writer - was one of the most eminent men of his generation. His mother - poet, journalist, translator - hosted an influential salon at 1 Merrion Square. Together they were one of Victorian Ireland's most dazzling and enlightened couples. When, in 1864, Sir William Wilde was accused of sexually assaulting a female patient, it sent shock waves through Dublin society. After his death some ten years later, Jane attempted to re-establish the family in London, where Oscar burst irrepressibly upon the scene, only to fall in a trial as public as his father's. A remarkable and perceptive account, The Fall of the House of Wilde is a major repositioning of our first modern celebrity, a man whose fall from grace marked the end of fin de siecle decadence.
Fully annotated student edition of a modern classic Oh What a Lovely War is a theatrical chronicle of the First World War, told through the songs and documents of the period. First performed by Joan Littlewood's Theatre Workshop at the Theatre Royal, Stratford East, London in 1963, it received the acclaim of London audiences and critics. It won the Grand Prix of the Theatre des Nations festival in Paris that year and has gone on to become a classic of the modern theatre. In 1969 a film version was made which extended the play's popular success. The play is now on the standard reading list of schools and universities around the UK and was revived by the Royal National Theatre in 1998.
From the Left Bank chronicles the intimate, behind-the-scenes encounters of an American Francophile and the stars of the French Avant Garde theater and literary worlds. It reflects the author's extensive, first-hand experience of the modern French theater and with those artists who wrote and staged the work that has revolutionized the way we think of theater. The book contains a distillation of Bishop's best original writings on such pivotal figures as Jean Cocteau, Jean-Louis Barrault, Eugne Ionesco, Jean Genet, Jean-Paul Sartre, Samuel Beckett, and Albert Camus in theater and Claude Simon, Robert Pinget, Philippe Sollers, and Alain Robbe-Grillet in fiction. Bishop knew these creative artists personally, and his insightful analyses provide an informative, entertaining insider's look at the development and workings of the French Avant Garde.
A New Companion to Renaissance Drama provides an invaluable summary of past and present scholarship surrounding the most popular and influential literary form of its time. Original interpretations from leading scholars set the scene for important paths of future inquiry. * A colorful, comprehensive and interdisciplinary overview of the material conditions of Renaissance plays, England's most important dramatic period * Contributors are both established and emerging scholars, with many leading international figures in the discipline * Offers a unique approach by organizing the chapters by cultural context, theatre history, genre studies, theoretical applications, and material studies * Chapters address newest departures and future directions for Renaissance drama scholarship * Arthur Kinney is a world-renowned figure in the field
This book presents a comprehensive account of features of Latin that emerge from dialogue: commands and requests, command softeners and strengtheners, statement hedges, interruptions, attention-getters, greetings and closings. In analyzing these features, Peter Barrios-Lech employs a quantitative method and draws on all the data from Roman comedy and the fragments of Latin drama. In the first three parts, on commands and requests, particles, attention-getters and interruptions, the driving questions are firstly - what leads the speaker to choose one form over another? And secondly - how do the playwrights use these features to characterize on the linguistic level? Part IV analyzes dialogues among equals and slave speech, and employs data-driven analyses to show how speakers enact roles and construct relationships with each other through conversation. The book will be important to all scholars of Latin, and especially to scholars of Roman drama.
* Casts new light on how Chekhovs plays can be interpreted and enacted * The author explores all the prime components of Chekhov's theatrical technique: text construction, themes and ideas, scenes, dialogue, plot, and interaction between verbal and nonverbal elements * A rigorous and comprehensive treatment of the many aspects of Chekhov's artistic universe * All the major works explored. One century after the death of Anton Chekhov (1860-1904), his plays are celebrated throughout the world as a major milestone in the history of theatre and drama. Outside the Russian-speaking community, he is undoubtedly the most widely translated, studied and performed of all Russian writers. His plays are characterised by their evasiveness: tragedy and comedy, realism and naturalism, symbolism and impressionism, as well as other labels of school and genre - all fail to account for the uniqueness of 'Chekhovism', i.e., the essence of his artistic system and world view. Presence through Absence is a
One of the major novelists in world literature over the last five decades, Mario Vargas Llosa (b. 1936) is also one of Latin America's most engaging public intellectuals, a critic of art and culture, and a playwright of distinction. This Companion's chapters chart the development of Vargas Llosa's writings from his rise to prominence in the early 1960s to the award of the Nobel Prize for Literature in 2010. The volume traces the development of his literary trajectory and the ways in which he has re-invented himself as a writer. His vast output of narrative fiction is the main focus, but the connections between his concerns as a creative writer and his rich career as a cultural and political figure are also teased out in this engaging, informative book.
Staging the Old Faith is the first book length study to examine Caroline theatre as a space where the concerns of the English Roman Catholic community are staged. Rebecca Bailey juxtaposes a detailed analysis of Queen Henrietta Maria's ground-breaking performances which showcased to an elite audience her role as defender of English Catholics, against an exploration of how this community responded to such a startling vision, in particular through the politically charged texts of James Shirley and William Davenant. This engagement on the stage with the anxieties and hopes of the English Catholic community (properly contextualised within the wider and increasingly fragmented religious landscape in the years leading to civil war) opens up Caroline commercial theatre as a site which energetically discussed the explosive religio-political topics of the cultural moment. -- .
Men and women in early modern Europe experienced their bodies very differently from the ways in which contemporary men and women do. In this challenging and innovative book, Gail Kern Paster examines representations of the body in Elizabethan-Jacobean drama in the light of humoral medical theory, tracing the connections between the history of the visible social body and the history of the subject's body as experienced from within. Focusing on specific bodily functions and on changes in the forms of embarrassment associated with them, Paster extends the insights of such critics and theorists as Mikhail Bakhtin, Norbert Elias, and Thomas Laqueur. She first surveys comic depictions of incontinent women as "leaky vessels" requiring patriarchal management and then considers the relation between medical bloodletting practices and the gender implications of blood symbolism. Next she relates the practice of purging to the theme of shame and assays ideas about pregnancy, childbirth, and nursing in medical and other nonliterary texts. Paster then turns to the use of reproductive processes in the plot structures of key Shakespeare plays and in Dekker's, Ford's, and Rowley's Witch of Edmonton. Including twelve vivid illustrations, The Body Embarrassed will be fascinating reading for students and scholars in the fields of Renaissance studies, gender studies, literary theory, the history of drama, and cultural history.
A student edition of Mamet's Pulitzer Prize-winning play First staged in Britain in 1983, Glengarry Glen Ross is the tale of four real-estate salesmen in a cut-throat sales competition. It won the Pulitzer Prize in 1984 and was made into a film, starring Al Pacino, Jack Lemmon, Kevin Spacey and Alec Baldwin, in 1992. "The finest American playwright of his generation" Sunday Times "A chillingly funny indictment of a world in which you are what you sell" Guardian "Nobody alive writes better American...Here at last, carving characters out of language, is a play with real muscle" Observer "David Mamet, screenwriter of The Verdict and The Postman Always Rings Twice, is alongside Sam Shepard and Michael Weller, one of the most distinctive voices on the contemporary American stage" Michael Coveney, Financial Times
"And I? May I say nothing, my lord?" With these words, Oscar Wilde's courtroom trials came to a close. The lord in question, High Court justice Sir Alfred Wills, sent Wilde to the cells, sentenced to two years in prison with hard labor for the crime of "gross indecency" with other men. As cries of "shame" emanated from the gallery, the convicted aesthete was roundly silenced. But he did not remain so. Behind bars and in the period immediately after his release, Wilde wrote two of his most powerful works-the long autobiographical letter De Profundis and an expansive best-selling poem, The Ballad of Reading Gaol. In The Annotated Prison Writings of Oscar Wilde, Nicholas Frankel collects these and other prison writings, accompanied by historical illustrations and his rich facing-page annotations. As Frankel shows, Wilde experienced prison conditions designed to break even the toughest spirit, and yet his writings from this period display an imaginative and verbal brilliance left largely intact. Wilde also remained politically steadfast, determined that his writings should inspire improvements to Victorian England's grotesque regimes of punishment. But while his reformist impulse spoke to his moment, Wilde also wrote for eternity. At once a savage indictment of the society that jailed him and a moving testimony to private sufferings, Wilde's prison writings-illuminated by Frankel's extensive notes-reveal a very different man from the famous dandy and aesthete who shocked and amused the English-speaking world.
Thomas Middleton (1580-1627) was a writer of great versatility, and his career as a London dramatist spans the most productive, innovative, and exciting period of theatrical activity in the history of English drama. Best known for his tragedies, he also wrote many successful comedies of city life. This volume brings together the greatest among them: A Mad World, My Masters, Michaelmas Term, A Trick to Catch the Old One, and No Wit, No Help Like a Woman's. The first three plays, written between 1604 and 1606, are witty and rambunctious satires on the predatory life of the aspiring London citizen. Sex and money are the characters' obsessions; their caustic exposure Middleton's. In the later play, No Wit (1612), satire shades into romance, prose into verse. Together the four plays reveal the range and exuberance of Middleton's writing for the comic stage. Under the General Editorship of Michael Cordner of the University of York, the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, there is a scholarly introduction and detailed annotation. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Marlene thinks the eighties are going to be stupendous. Her sister Joyce has her doubts. Her daughter Angie is just frightened. Since its premiere in 1982, Top Girls has become a seminal play of the modern theatre. Set during a period of British politics dominated by the presence of the newly elected Prime Minister Margaret Thatcher, Churchill's play prompts us to question our notions of women's success and solidarity. Its sharp look at the society and politics of the 1980s is combined with a timeless examination of women's choices and restrictions regarding career and family. This new Student Edition features an introduction by Sophie Bush, Senior Lecturer at Sheffield Hallam University, UK prepared with the contemporary student in mind. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. A well as the complete text of the play itself, this volume contains: * A chronology of the play and the playwright's life and work * an introductory discussion of the social, political, cultural and economic context in which the play was originally conceived and created * a succinct overview of the creation processes followed and subsequent performance history of the piece * an analysis of, and commentary on, some of the major themes and specific issues addressed by the text * a bibliography of suggested primary and secondary materials for further study.
Caring for Red is Mindy Fried's moving and colorful account of caring for her 97-year-old father, Manny - an actor, writer, and labor organizer - in the final year of his life. This memoir chronicles the actions of two sisters as they discover concentric circles of support for their father and attempt to provide him with an experience of ""engaged aging"" in an assisted living facility. The story is also that of a daughter of a powerful and outspoken man who took risks throughout his life and whose political beliefs had an enduring impact on his family. (After Manny was called before the House Un-American Activities Committee, he was blackballed and his family was shunned.) As an actor, Manny was affiliated with Elia Kazan's Group Theatre and the Federal Theatre Project. He did Shakespeare, Chekhov, and Ibsen, and played everything from the tormented father in Arthur Miller's All My Sons to an infant in a baby carriage in Thornton Wilder's Infancy, from the Rabbi in Fiddler on the Roof to - poignantly for this book - the role of Morrie in Tuesdays with Morrie. As she devotes herself to caring for her dying father, Mindy grapples anew with the complexity of their relationship. She questions whether she can be there for him and how to assert her own voice as her father's caregiver in his last days.
The Persians, Aeschylus' earliest surviving tragedy, holds a fascination both for readers of Greek drama and Greek history. Not only is it the earliest existing play in the Western tradition, it is drawn directly from the playwright's own experiences at the battle of Salamis, making it the only account of the Persian Wars composed by an eyewitness. And as pure tragedy, it is a masterpiece. Aeschylus tells the story of the war from the Persian point of view, and his pride in the great victory of Greeks is tempered with a real compassion for Xerxes and his vanquished nation. Lembke and Harrington have rendered this stunning work in a modern translation that loses none of the original's dramatic juxtaposition of serenity and violence, hope and despair.
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