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'Anouilh is a poet, but not of words: he is a poet of words-acted, of scenes-set, of players-performing' Peter Brook Jean Anouilh, one of the foremost French playwrights of the twentieth century, replaced the mundane realist works of the previous era with his innovative dramas, which exploit fantasy, tragic passion, scenic poetry and cosmic leaps in time and space. Antigone, his best-known play, was performed in 1944 in Nazi-controlled Paris and provoked fierce controversy. In defying the tyrant Creon and going to her death, Antigone conveyed to Anouilh's compatriots a covert message of heroic resistance; but the author's characterisaation of Creon also seemed to exonerate Marshal Petain and his fellow collaborators. More ambivalent than his ancient model, Sophocles, Anouilh uses Greek myth to explore the disturbing moral dilemmas of our times. Commentary and notes by Ted Freeman.
Award-winning British novelist Margaret Drabble is renowned for her fiction, stories that gave voice to the new woman of the 1960s and continue to illuminate the conflicting roles of women in the twenty-first century. Drabble's long affiliation with the theatrical world also inspired her to experiment with the dramatic form. She wrote two plays?one for television, Laura (1964), and one for the stage, Bird of Paradise (1969). Fernandez's penetrating new critical edition makes both plays available for the first time, giving Drabble fans a new vantage point from which to understand her work. In Laura and Bird of Paradise, Drabble mines the familiar territory of social class, domestic life, and questions of destiny, which have been the hallmark of her writing. As in her novels, both plays reveal a deep curiosity about the world and a piercing commentary on the social issues of her time. The volume's introduction and accompanying critical essays give valuable insight into the plays' historical and social context, and explore the artistic solutions that an accomplished author of fiction found when writing for the stage. Offering a fascinating complement to Drabble's prodigious oeuvre, this volume also provides a glimpse into a specific period in English letters, one that shaped an influential generation of writers.
Dark and violent, Macbeth is also the most theatrically spectacular of Shakespeare's tragedies. Indeed, for 250 years - until early this century - it was performed with grand operatic additions set to baroque music. In his introduction Nicholas Brooke relates the play's changing fortunes to changes within society and the theatre and investigates the sources of its enduring appeal. He examines its many layers of illusion and interprets its linguistic turns and echoes, arguing that the earliest surviving text is an adaptation, perhaps carried out by Shakespeare himself in collaboration with Thomas Middleton. This fully annotated edition reconsiders textual and staging problems, appraises past and present critical views, and represents a major contribution to our understanding of Macbeth. 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.
This edition includes a preface, introduction and appendix. "Ancient Sources" gives readers the opportunity to consider the epic, dramatic, philosophical and rhetorical texts that influenced the Poetics. Modern interpretations speak to the enduring relevance of this ancient creation.
Exam Board: AQA, CCEA, Edexcel Level: AS/A-level Subject: English literature First teaching: September 2015 First exams: Summer 2016 Enable students to achieve their best grade in AS/A-level English Literature with this year-round course companion; designed to instil in-depth textual understanding as students read, analyse and revise Top Girls throughout the course. This Study and Revise guide: - Increases students' knowledge of Top Girls as they progress through the detailed commentary and contextual information written by experienced teachers and examiners - Develops understanding of characterisation, themes, form, structure and language, equipping students with a rich bank of textual examples to enhance their coursework and exam responses - Builds critical and analytical skills through challenging, thought-provoking questions and tasks that encourage students to form their own personal responses to the text - Extends learning and prepares students for higher-level study by introducing critical viewpoints, comparative references to other literary works and suggestions for independent research - Helps students maximise their exam potential using clear explanations of the Assessment Objectives, sample student answers and examiner insights - Improves students' extended writing techniques through targeted advice on planning and structuring a successful essay
This edition contains in distilled form the insight and learning found iun the fuller Revels critical edition, but with less of the learned apparatus that is appropriate to a critical edition. The introduction and commentary are compact and up to date. The price and format are designed to be competitive with any paperback teaching edition of this play. -- .
Oxford Student Texts offer an accessible route into the study of texts for A Level including line-by-line notes, and detailed sections covering key themes, issues and contexts. This edition focuses on The Importance of Being Earnest by Oscar Wilde.
A short literary guide to one of this country s greatest African American dramatists, August Wilson s Twentieth-Century Cycle Plays: A Reader s Companion will serve a wide range of students, teachers, theater professionals, and theater audiences. Beginning with an account of August Wilson s life, from his impoverished childhood in the Hill District of Pittsburgh, Pennsylvania, to achieving national acclaim, the book introduces the ten-play cycleone for each decade of the twentieth centuryas a whole, explaining Wilson s goals as a playwright: to depict African American life, primarily in Pittsburgh, during the century, illustrating the hardships, the suffering, the desperation, the small victories, the beauty and the bleakness, and the ultimate triumph of a community. Subsequent chapters place each play in the context of its decade by listing and discussing historical events that influenced and comprised the background to the play. For each play there is a general introduction, a plot summary, a description of each character, and an appraisal of the work. The book also discusses August Wilson s non-cycle plays. Clear and accessible, the text enables readers to move into a deeper analytical exploration of the cycle plays.
This is a collection of the most important genres of Japanese performance -- noh, kyogen, kabuki, and bamrili puppet theater -- in one comprehensive, authoritative volume. Organized by genre, each section features a rich selection of representative plays and explorations into each theatrical style and is prefaced by an illustrative essay covering a wide range of subjects, from stage direction to musical accompaniment. With classic and new translations of more than thirty plays and scenes -- along with Brazell's detailed, historically rich supplementary material and copious illustrations -- no better anthology exists for students of this most fascinating and diverse dramatic tradition.
Oxford Student Texts offer an accessible route into the study of texts for A Level including line-by-line notes, and detailed sections covering key themes, issues and contexts. This edition focuses on 'The Changeling' by Thomas Middleton and William Rowley.
Do you want to know why Beckett has become a figure of such continuing influence and importance in the theatre? Are you studying his plays and looking for help with interpretation? Do you teach Beckett and need a reliable guide to his plays? A Faber Critical Guide to Samuel Beckett's major work gives all this and more: An introduction to the distinctive features of the playwright's work The significance of the playwright in the context of modern theatre A detailed analysis of each of the classic plays: language, structure and character features of performance select bibliography Compiled by experts in their field, for use in classroom, college or at home, Faber Critical Guides are the essential companions to the work of all leading dramatists. Also in this series: Faber Critical Guides to the major works of Sean O'Casey, Brian Friel, Harold Pinter and Tom Stoppard.
Theatre has a funny way of getting to the heart of who we are now and - particularly in the case of Connections - who we are going to be. Drawing together the work of nine leading playwrights, National Theatre Connections 2018 features work by some of the most exciting contemporary playwrights. Gathered together in one volume, the plays offer young performers an engaging selection of material to perform, read or study. From friends building bridges and siblings breaking down walls; girls making their voice heard and boys searching for home; and not forgetting a band of unlikely action heroes taking control of the weather. The anthology contains nine play scripts along with imaginative production notes and exercises, as well as a short introduction to the writing process for the tenth Connections play [ BLANK ] by Alice Birch. National Theatre Connections is an annual festival which brings new plays for young people to schools and youth theatres across the UK and Ireland. Commissioning exciting work from leading playwrights, the festival exposes actors aged 13-19 to the world of professional theatre-making, giving them full control of a theatrical production - from costume and set design to stage management and marketing campaigns. NT Connections have published over 150 original plays and regularly works with 500 theatre companies and 10,000 young people each year.
If I don't want to tell anyone, it's up to me, right? Lucy knows James has avoided the battle. Mark knows Amanda has fought for her life. But speaking the truth could bring everything crashing down. What happens if we live a life of not talking? Olivier award-winning writer Mike Bartlett's gripping and lyrical first play unlocks a culture of silence and gives voice to the human casualties when things are easier done than said. This edition was published to coincide with a new production at the Arcola Theatre and features an introduction by the author.
Fatherland is a bold, ambitious show about contemporary fatherhood in all its complexities and contradictions. Created by Frantic Assembly's Scott Graham, Karl Hyde from Underworld and playwright Simon Stephens (Punk Rock, The Curious Incident of the Dog in the Night-Time), this daring collage of words, music and movement confronts the complexities and contradictions of contemporary fatherhood. A vivid, urgent and deeply personal portrait of 21st-century England at the crossroads of past, present and future, the play is inspired by conversations with fathers and sons from the writers' home towns in the heart of the country. Tender and tough, honest and true, Fatherland is a vital and necessary show about what we were, who we are and what we'd like to become. The world premiere of Fatherland took place at the Royal Exchange Theatre, Manchester on 5 July 2017 as part of Manchester International Festival. This is a revised version of the original text which coincides with performances in London at the Lyric Hammersmith as part of LIFT 2018.
John Cameron Mitchell and Stephen Trask's Hedwig and the Angry Inch opened on Valentine's Day,1998, in New York City, and ever since it and its genderqueer heroine have captivated audiences around the world. As the first musical to feature a genderqueer protagonist as its lead, the show has had an extraordinary life on film, Broadway and in the music field. A glam rock musical with a complex relationship to issues related to art, eroticism and matters of identity formation, Hedwig and the Angry Inch is a darkly exuberant fairy tale about a child that discovers she is one of a kind, but also potentially among her own kind, if she dares travel past borders that confine and try to stabilise her being and identity. Caridad Svich examines this exhilarating work through the lenses of visual and vocal rock `n' roll performance, the history of the American musical, and its positioning within LGBTIQ-plus theatre. "... love creates something that was not there before."
This book approaches Ulster Protestantism through its theatrical and cultural intersection with politics, re-establishing a forgotten history and engaging with contemporary debates. Anchored by the perspectives of ten writers - some of whom have been notably active in political life - it uniquely examines tensions going on within. Through its exploration of class division and drama from the early twentieth century to the present, the book restores the progressive and Labour credentials of the community's recent past along with its literary repercussions, both of which appear in recent decades to have diminished. Drawing on over sixty interviews, unpublished scripts, as well as rarely-consulted archival material, it shows - contrary to a good deal of cliched polemic and safe scholarly assessment - that Ulster Protestants have historically and continually demonstrated a vigorous creative pulse as well as a tendency towards Left wing and class politics. St. John Ervine, Thomas Carnduff, John Hewitt, Sam Thompson, Stewart Parker, Graham Reid, Ron Hutchinson, Marie Jones, Christina Reid, and Gary Mitchell profoundly challenge as well as reflect their communities. Illuminating a diverse and conflicted culture stretching beyond Orange Order parades, the weaving together of the lives and work of each of the writers highlights mutual themes and insights on their identity, as if part of some grander tapestry of alternative twentieth-century Protestant culture. Ulster Protestantism's consistent delivery of such dissenting voices counters its monolithic and reactionary reputation.
Drama in Medieval and Early Modern Europe moves away from the customary conceptual framework that artificially separates `medieval' from `early modern' drama to explore the role of drama and spectacle in England, France, the Low Countries, Spain, Italy, Switzerland, and the German-speaking areas that now constitute Austria and Germany. This book investigates the ranges of dramatic and performative techniques and strategies that playmakers across Europe used to adapt their work to the changing contexts in which they performed, and to the changing or expanding audiences that they faced. It considers the different views expressed through drama and spectacle on shared historical events, how communities coped with similar issues and why they ritually recycled these themes through reinvented or alternative forms that replaced or existed alongside their predecessors. A wide variety of genres of play are discussed throughout, including visitatio sepulchri (visit to the tomb) plays; Easter and Passion plays and morality plays; the French civic mystere; Italian sacre rappresentazioni performed by choirboys in the context of the church; Burgertheater from the Swiss Confederacy; drama performed for the purpose of royal entertainment and propaganda; May and summer games; and the commercial, professional theatre of Shakespeare and Lope de Vega. Examining the strength of drama in relation to the larger cultural forces to which it adapted, and demonstrating the use of social, political, economic, and artistic networks to educate and support the social structures of communities, Drama in Medieval and Early Modern Europe offers a broader understanding of a shared European past across the traditional chronological divide of 1500. It is ideal for students of social history, and the history of medieval and early modern drama or literature.
The Winter's Tale is Shakespeare's most perfectly realized tragi- comedy, as notable for its tragic intensity as for its comic grace and, throughout, for the richness and complexity of its poetry. It concludes, moreover, with the most daring and moving reconciliation scene in all Shakespeare's plays. Though the title may suggest an escapist fantasy, recent criticism has seen in the play a profoundly realist psychology and a powerful commentary on the violence implicit in family relationships and deep, longlasting friendships. Stephen Orgel's edition considers the play in relation to Renaissance conceptions of both dramatic genre and the family, traces the changing critical and theatrical attitudes towards it, and places its psychological and dramatic conflicts within the Jacobean cultural and political context. The commentary pays special attention to the play's linguistic complexity, and the edition also includes a complete reprint of Shakespeare's source, Pandosto, by Robert Greene. 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.
In 1934, a group of Ashington miners and a dental mechanic hired a professor from Newcastle University to teach an Art Appreciation evening class. Unable to understand each other, they embarked on one of the most unusual experiments in British art as the pitmen learned to become painters. Within a few years the most avant-garde artists became their friends, their work was taken for prestigious collections and they were celebrated throughout the British art world; but every day they worked, as before, down the mine. The Pitmen Painters premiered at Live Theatre, Newcastle-upon-Tyne, in September 2007, before transferring to the National Theatre in 2008.
Shakespearean Metadrama was first published in 1971. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.In a new approach to Shakespeare criticism, the author interprets five of Shakespeare's early plays as metadramas, dramas that are not only about the various moral, social, political, and other thematic issues with which critics have so long been concerned but also about the plays themselves. Professor Calderwood demonstrates that in these five plays Shakespeare writes about his dramatic art -- its nature, its media of language and theater, its generic forms and conventions, its relationship to truth and the social order.In an introductory chapter the author explains his theory of metadrama, placing it in a general critical context as well as in the specific framework of Shakespeare's plays. He distinguishes between the meaning of metadrama and the similar terms "metaplay" and "metatheare." He points out that the dominant metadramatic aspect of the five plays under study is the interplay of language and action in drama. A separate chapter is devoted to the interpretation of each of the plays.Professor Calderwood is aware that in presenting his critical theory and interpretations he may be met with skepticism by other scholars and critics. He anticipates such a situation in the introduction: "To the critic trying on introductory styles for a book on Shakespearean metadrama," he writes, "the plight of Falstaff at the Boar's Head Tavern comes all to readily to mind. 'What trick," he must ask himself, 'what device, what starting-hole, canst thou now find out to hide thee from this open and apparent shame?'"
Mythic Patterns in Ibsen's Last Plays was first published in 1970. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Until recently critics have tended to regard Ibsen principally as a social dramatist, one who was concerned primarily with the political, social, and moral questions of his time. Radical though he was in the Victorian era, his ideas, with the passage o time, ceased to be avant garde, and for this reason many critics have dismissed him as outdated. Professor Holtan examines a major portion of Ibsen's work, his last eight plays, in a new perspective, however, and finds much that is of lasting significance and interest.Ibsen's initial impact came with the publication in 1879 of A Doll's House, the play which seemingly advocates a woman's right to leave her husband and children. His reputation as a social dramatist was only furthered by the appearance of his next two plays, Ghosts and An Enemy of the People. But Professor Holtan's study of the plays which came after these identifies in the later plays values which transcend the social problems of their time, penetrating questions of the human spirit itself.The eight last plays which Professor Holtan examines in this study are The Wild Duck, Rosmersholm, The Lady from the Sea, Hedda Gabler, The Master Builder, Little Eyolf, John Gabriel Borkman, and When We Dead Awaken. In these plays he identifies a mythic pattern and unity based in elements of symbolism and mysticism which have puzzled or annoyed readers and critics for years. In his mythic vision Ibsen's lasting contribution far exceeds that of his invention of the social-problem drama, Professor Holtan concludes.
Love is the rarest of things...it's the rarest trick...and we feel entitled to it, don't we? Owen may live in the present but his mind remains lodged firmly in the past. As he's forced into a relationship with a teenager with emotional behavioural problems he blurs aspects of his current life with the memories of what might have been and the opportunities and relationships that could have changed his world. Riddled with regret over the man he loved and the chance to flee rural Wales he's unable to detach himself from past mistakes. An exciting new play by an established Welsh writer inspired by experiences working at an emotional behavioral difficulty education unit. All But Gone explores a man's relationship with his past as two world collide and his fractured mind merges the life he once knew with the lonely world in which he exists.
Tom Stoppard is widely considered to be one of the most important dramatists of contemporary theatre. In this Introduction, William Demastes provides an accessible overview of Stoppard's life and work, exploring all the complexity and variety that makes his drama so unique. Illustrated with images from a diverse range of Stoppard productions, the book provides clear evaluations of his major works, including Rosencrantz and Guildenstern are Dead, Travesties, Arcadia and The Coast of Utopia, to provide the most up-to-date assessment available. Detailed chapters situate each play in the context of its sources, which include Shakespeare and contemporary existential thought, espionage, quantum physics, chaos theory, romanticism, landscape design, nineteenth-century European intellectual thought and European totalitarianism. The book also includes a section on Stoppard's Academy Award-winning film Shakespeare in Love.
This book draws parallels between literature and the arts, and between drama and painting, in terms of Time and Symbolism, as they appear in the play The Lady of the Castle by Leah Goldberg, and in a group of selected paintings by Marc Chagall, Salvador Dali, Rene Magritte, Paul Klee and Edward Munch. Discussion focuses on the connection between the written play-text and the paintings through their common visual qualities and in terms of their common thematic, structural and stylistic characteristics. In a world dominated by science and technology, which renders belief in any absolute problematic, two seminal events have left a permanent mark on the contemporary concept of time: Einsteins theory of relativity and Bergsons philosophy of duration (simultaneite and duree). In their wake, Time has become relative and fragmented -- a central theme in the play and in the selected works of art under discussion. Objective, scientific and chronological time is contrasted with inner, psychological time (duration), which differs from individual to individual and from culture to culture. Four categories of time are assessed: historical, physical-chronological, psychological and eternal. The primary meaning behind a symbol makes the basic assumption that a particular object or entity may represent another essence. In attempting to understand the temporal/symbolic linkages of the text and paintings, much importance is attributed to the relationship between representer and represented and between concrete and abstract. Through symbolic abstraction one is able to better comprehend the human and cosmic phenomena the symbol seeks to decipher. The book deals with a castle. This central symbol of the play and the paintings is multifaceted, representing what is manifest and what is hidden within the castle, revealing a magical encounter between the world of words and the world of colour.
A study of all of the major tragedies of Jean Racine, France's preeminent dramatist-and, according to many, its greatest and most representative author-Mitchell Greenberg's work offers an exploration of Racinian tragedy to explain the enigma of the plays' continued fascination.
Greenberg shows how Racine uses myth, in particular the legend of Oedipus, to achieve his emotional power. In the seventeenth-century tragedies of Racine, almost all references to physical activity were banned from the stage. Yet contemporary accounts of the performances describe vivid emotional reactions of the audiences, who were often reduced to tears. Greenberg demonstrates how Racinian tragedy is ideologically linked to Absolutist France's attempt to impose the "order of the One" on its subjects. Racine's tragedies are spaces where the family and the state are one and the same, with the result that sexual desire becomes trapped in a closed, incestuous, and highly formalized universe.
Greenberg ultimately suggests that the politics and sexuality associated with the legend of Oedipus account for our attraction to charismatic leaders and that this confusion of the state with desire explains our continued fascination with these timeless tragedies.
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