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Do you think it would be better if you and me got ourselves steady boyfriends? Best friends Rita and Sue get a lift home from married Bob after babysitting his kids. When he takes the scenic route and offers them a bit of fun, the three start a fling each of them think they control. Andrea Dunbar's semi-autobiographical play, written for the Royal Court Theatre in 1982 when she was just 19, is a vivid portrait of girls caught between brutal childhood and an unpromising future, both hungry for adult adventure. Told with wicked humour, startling insight and a great ear for dialogue, this new edition of Rita Sue and Bob Too was published to coincide with director Max Stafford-Clark's major new production produced by Out of Joint, Bolton Octagon and the Royal Court Theatre.
The commedia dell'arte, the improvised Italian theatre that dominated the European stage from 1550 to 1750, is arguably the most famous theatre tradition to emerge from Europe in the early modern period. Its celebrated masks have come to symbolize theatre itself and have become part of the European cultural imagination. Over the past twenty years a revolution in commedia dell'arte scholarship has taken place, generated mainly by a number of distinguished Italian scholars. Their work, in which they have radically separated out the myth from the history of the phenomenon remains, however, largely untranslated into English (or any other language). The present volume gathers together these Italian and English-speaking scholars to synthesize for the first time this research for both specialist and non-specialist readers. The book is structured around key topics that span both the early modern period and the twentieth-century reinvention of the commedia dell'arte.
From the stages of Broadway and London to university campuses,
Paris, and the bourgeoning theaters of Africa, Greek tragedy
remains constantly in production. This global revival, in addition
to delighting audiences, has highlighted both the promise and the
pitfalls of staging ancient masterpieces in the modern age.
Addressing the issues and challenges these performances pose,
renowned classicist Simon Goldhill responds here to the growing
demand for a comprehensive guide to staging Greek tragedy today.
Bringing together scholars from diverse disciplines and countries, Thomas Mann and Shakespeare is the first book-length study to explore the always fascinating, if sometimes disturbing, connections between Shakespeare and Mann. It establishes startling resonances between the central works of these two authors, pairing, for instance, Der Zauberberg with The Tempest, Der Tod in Venedig with The Merchant of Venice, Tonio Kroeger with Othello and Love's Labour's Lost with Doktor Faustus. Showing how the conjunction of Shakespeare and Mann affords new, alternative perspectives on fundamental issues such as modernity, irony, art, desire, authorship and religion, Thomas Mann and Shakespeare challenges the increasingly walled-in specialism of literary topics and periodization and demonstrates the scope for new ways of reading in literary studies.
Is morality just what the majority say? Is that all it is? If I don't vote, I'm not part of that discussion. Rob Drummond returns to the National with a new show about democracy. The Majority charts Rob's journey as he navigates the Scottish Independence Referendum, Brexit, Trump... and whatever today brings. So take your seat and push the button. Yes or No. Can you change the show with your votes? Every night will be different, depending on the majority.
Jean Racine's classic play Britannicus is a chilling study of the emergence of a monster, as Emperor Nero begins to take Rome in his grip. Timberlake Wertenbaker's translation premiered at Wilton's Music Hall, London, in October 2011. 'Anexcellent new translation.' Guardian 'Timberlake Wertenbaker's beautifully distilled adaptation . . . Exhilarating theatre.' Time Out (Critic's Choice) 'An astute, gripping evening.' Sunday Telegraph 'At once a thriller, a study of jealousy, and a treatise on power and its responsibilities.' Independent on Sunday 'Powerful.' What's on Stage 'Gripping.' The Stage
The original essays in Oxford Twenty-First Century Approaches to Literature mean to provoke rather than reassure, to challenge rather than codify. Instead of summarizing existing knowledge, scholars working in the field aim at opening fresh discussion; instead of emphasizing settled consensus, they direct their readers to areas of enlivened and unresolved debate. Following the models established by previous volumes in the Oxford Twenty-First Century Approaches to Literature series, Early Modern Theatricality launches a new generation of scholarship on early modern drama by focusing on the rich formal capacities of theatrical performance. The collection gathers some of the most innovative critics in the field to examine the techniques, objects, bodies, and conventions that characterized early modern theatricality, from the Tudor period to the Restoration. Taking their cues from a series of guiding keywords, the contributors identify the fundamental features of theatricality in the period, using them to launch conceptually adventurous arguments. The volume generates fresh possibilities for criticism by combining historical, formal, and philosophical questions, in order to provoke our rediscovery of early modern drama in all its complexity and inventiveness.
Now published for the International Brecht Society by Camden House under the Society's editorship, the Brecht Yearbook is the central scholarly forum for discussion of the life and work of Bertolt Brecht and of aspects of theater and literature that were of particular interest to him, especially the politics of literature and theater in a global context. The Yearbook welcomes a wide variety of perspectives and approaches, and, like Brecht himself, it is committed to the use value of literature, theater, and theory. Volume 40 features new research on Brechtian concepts of temporality (Matthias Rothe) and the apparatus (Thomas Pekar), as well as articles on the "Bilder aus der Kriegsfibel" (Arnold Pistiak), the poem "Die Nachtlager" (Klaus-Dieter Krabiel), Brecht and Peruvian theater (Carlos Vargas-Salgado), early Brecht productions in Australia (Laura Ginters), and Brecht and Karl Kraus (Jost Hermand). Biographically oriented pieces focus on Brecht and the Chinese author Feng Zhi (Lin Cheng) and an unpublished letter to Brecht from 1918 (Jurgen Hillesheim). Special contents include a portfolio of drawings by Dieter Goltzsche, with a brief introduction by the artist, a tribute to Sara Joffre, a brief set of texts related to the exchanges between Hanns Eisler and Hans Bunge, introduced by Sabine Berendse, and an open letter to Brecht from Hans-Thies Lehmann and Helene Varopoulou. Theodore F. Rippey is Associate Professor of German at Bowling Green State University.
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.
Looking at European drama through an ecological lens, this book chronicles nature and the environment as primary topics in major plays from ancient to recent times. Cless focuses on the few, yet well-known plays in which nature is at stake in the action or the environment is a dramatic force. Though theater predominantly explores human and cultural themes, these plays fully display the power of the other-than-human world and its endangerment during the history of Europe. While offering a broad overview, the book features extensive case studies of several playwrights, plays, and eco-theater productions: Aristophanes? The Birds, Marlowe's Doctor Faustus, Shakespeare's A Midsummer Night's Dream and The Tempest, and Giraudoux's The Madwoman of Chaillot. In each case, Cless connects nature in the play to nature in the life of the playwright based on biographical research into the understanding of natural philosophy and awareness of the immediate environment that influenced the specific play. The book is one of the first of its kind in a growing field of ecocriticism and emerging eco-studies of theater.
This collection of essays on Goethe's Faust by prominent American and German scholars explores the work's significance in the context of recent historical, political, and scholarly developments and points to new directions for research. Topics include translation (into Indo-European languages), Faust's relationship to Mephistopheles, Faust and the feminine, sexual imagery, gothic allusions, musical representations of Faust, political and moral implications, Faust in the contemporary theatre, devils in German literature, Faust in the continuing debate over modern and postmodern, Goethe's stylistic use of complementary points of view, and his use of myth.
Meet Jamie, Sadhbh and Collette: three best friends on a wild night out in Dublin. By the end of the night, Collette will be dead. Can you save her? The Friday Night Effect combines compelling new writing with an edge-of-your-seat interactive experience. At crucial turning points in the story, the fate of the characters will be in the hands of the audience, whose decisions will change their stories irrevocably. Funny, insightful and provocative, this interactive piece is a brand new play by Eva O'Connor (Maz and Bricks, Overshadowed) and Hildegard Ryan. Published to coincide with the premiere production at The Assembly George Square Studios at the Edinburgh Fringe Festival 2017.
Midsummer's weekend in Edinburgh. It's raining. Bob's a failing car salesman on the fringes of the city's underworld. Helena's a high-powered divorce lawyer with a taste for other people's husbands. She's totally out of his league; he's not her type at all. They absolutely should not sleep together. Which is, of course, why they do. Midsummer is the story of a great lost weekend of bridge-burning, car chases, wedding bust-ups, bondage miscalculations, midnight trysts and self-loathing hangovers. A collaboration between playwright David Greig and singer-songwriter Gordon McIntyre, Midsummer opened at the Traverse Theatre in October 2008 and was revived for an international tour in the summer of 2009.
Why did medieval dramatists weave so many scenes of torture into their plays? Exploring the cultural connections among rhetoric, law, drama, literary creation, and violence, Jody Enders addresses an issue that has long troubled students of the Middle Ages. Theories of rhetoric and law of the time reveal, she points out, that the ideology of torture was a widely accepted means for exploiting such essential elements of the stage and stagecraft as dramatic verisimilitude, pity, fear, and catharsis to fabricate truth. Analyzing the consequences of torture for the history of aesthetics in general and of drama in particular, Enders shows that if the violence embedded in the history of rhetoric is acknowledged, we are better able to understand not only the enduring "theater of cruelty" identified by theorists from Isidore of Seville to Antonin Artaud, but also the continuing modern devotion to the spectacle of pain.
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.
Providing a comprehensive survey of Christopher Marlowe's literary career, this Introduction presents an approachable account of the life, works and influence of the groundbreaking Elizabethan dramatist and poet. It includes in-depth discussions of all of Marlowe's plays, stressing what was new and revolutionary about them as well as how they made use of existing dramatic models. Marlowe's poems and translations, sometimes marginalised in discussions of his work, are analysed to emphasise their literary importance and political resonances. The book presents a balanced discussion of Marlowe's turbulent life and considers his afterlives: the influence of his work on other writers and examples of how his plays have been performed. In addition to introducing the reader to the historical and religious contexts within which Marlowe wrote, the Introduction stresses the qualities that continue to make his work fascinating: intellectual range, radical irony and an awareness of the dangerously compelling power of theatre.
`You want me to have full penetrative sex with your son, right? I just wanted to, you know, check.' Jack, a young man with a learning disability, lives at home, cared for by his devoted parents. Like most men in their twenties, he has needs - his mates at the rugby club talk about nothing but getting laid, whilst Jack's most erotic experience to date is the time he was winked at by the pretty cashier in Lloyds. Desperate for their son to not feel left out, his parents decide to bring in a professional. But the woman they hire has a far more profound impact on the whole family than they could ever have imagined. Written by up-and-coming writer Sarah Page, this text has been published to coincide with Kuleshov Theatre's 2017 production at Theatre503.
This study examines the early dramatic works of Yeats, Synge, and Gregory in the context of late colonial Ireland's unique socio-political landscape. By contextualizing each author's work within the artistic and political discourses of their time, Cusack demonstrates the complex negotiation of nationalism, class, and gender identities undertaken by these three authors in the years leading up to Ireland's revolution against England. Furthermore, by focusing on plays written by each author in the context of the ongoing debates over Irish national identity that were taking place throughout Irish public life in this period, Cusack examines in more depth than previous studies the ways Yeats, Gregory, and Synge adapted conventional dramatic and linguistic forms to accommodate the conflicting claims of Irish nationalism. In so doing, he demonstrates the contribution these authors made not only to the development of Irish nationalism but also to modern and postcolonial literature as we understand them today.
Arguably the most perfectly poised of Restoration wit comedies, The Man of Mode is a finished exercise in dramatic sprezzatura, or nonchalance, matching the beguiling `easiness' and `complaisance' of its central character. The play's imaginative brilliance depends upon its author's ability to hint at the dark abyss of passion and emotional violence at whose edge the modish denizens of the town perform their graceful ballet. Its seemingly casual construction and wanton breaches of comic decorum mask a ferocious artistic control designed to upset the complacency of the audience's moral, social and aesthetic assumptions by luring them into sympathy for a character whose dangerous `wildness' they ought to deplore. It is at once among the funniest and the most unsettling of comedies in English. The full, modernized play text is accompanied by incisive commentary notes, while its engaging introduction unpacks the complexity of the Restoration's political and theatrical context, analyses the play's performance history (including Nicholas Hytner's 2007 modern-dress version) and demonstrates Etherege's linguistic finesse. This edition is supplemented by a plot summary and an annotated bibliography. The New Mermaids plays offer: * Modernized versions of the play text edited to the highest textual standards * Fully annotated student editions with obscure words explained and critical, contextual and staging insight provided on each page * Full Introductions analyzing context, themes, author background and stage history
Have the walking dead anything to tell us that might matter to the modern world? Catherine Belsey suggests that ghost stories continue to register the strangeness that surrounds the everyday, bringing fragments of news from the unknown that speak to our nameless anxieties. Taking Hamlet as a turning point in the history of ghost stories, Belsey uncovers the traditional tales the play draws on, before considering its influence on later Gothic fiction up to the present day. She also discusses whether fictional female revenants were more benign or deadlier, while showing how storytelling goes about exciting the desire of the reader. The book considers a range of ghost stories from Homer and the Icelandic sagas to Margaret Atwood's Alias Grace and beyond, including works by M. G. Lewis, Sir Walter Scott, Charles Dickens, Emily Bront , Henry James, Joseph Conrad, M. R. James, Edith Wharton, Ambrose Bierce, Virginia Woolf, Elizabeth Bowen, Susan Hill and many others familiar to devotees of the genre.
Lorca's passionate, lyrical tales of longing and revenge put the spotlight on the rural poor of 1930s Spain and are considered masterpieces of twentieth-century theatre. These plays exhibit Lorca's intense anger at the injustices of society, and his determination to create art that might remedy it.The collection contains Blood Wedding, Yerma and The House of Bernarda Alba, in sensitive, accurate and playable translations, and a full introduction to Lorca, his times and his work.The NHB Drama Classics series presents the world's greatest plays in affordable, highly readable editions for students, actors and theatregoers. The hallmarks of the series are accessible introductions (focussing on the play's theatrical and historical background, together with an author biography, key dates and suggestions for further reading) and the complete text, uncluttered with footnotes. The translations, by leading experts in the field, are accurate and above all actable. The editions of English-language plays include a glossary of unusual words and phrases to aid understanding.
In About Kane, Graham Saunders offers an important study of one of the most controversial and talented playwrights of recent times. His survey includes a concise biography, in-depth analysis of Sarah Kane's work, and interviews with Kane and those who helped to put her work on stage. With Kane's reputation still growing, this book is an essential guide for the student and theatregoer.
The Spanish Golden Age was a period of flourishing in arts and literature, and in particular of drama, in Spain, coinciding with the political decline and fall of the Habsburgs. This term does not generally imply any great precision about dates, but it begins no earlier than 1492, ending with the death of he last great writer of the period, Pedro Calderon de la Barca, died in 1681.In 2003, the RSC produced a season of Spanish Golden Age plays, including classics such as "The Dog in the Manger", "House of Desires and Pedro", and "The Great Pretender" establishing an innovative working process that laid emphasis on the plays as pieces of theatre, dynamic and alive, and on the principle of respect for the plays' historical contexts. The essays in this book, written by some of the world's foremost scholars of the Spanish Golden Age, explore some of the many issues that arose from this season and the complex nature of translating and staging plays from the Spanish Golden Age on the English-speaking stage.
This Student Edition of Goldoni's classic 18th century play, "A Servant to Two Masters," features expert and helpful annotation, ideal for anyone studying or performing the play. Editor Joseph Farrell's accessible Introduction includes a plot synopsis, a commentary on the dramatic, social and political context, and on the themes, characters, language and structure of the play, as well a list of suggested reading, questions for further study and a review of performance history.
The play revolves around the wily, greedy servant Truffaldino,
who in trying to fill both his purse and his stomach, attempts to
serve two masters simultaneously. Meanwhile, his mistress disguises
herself as her dead brother to claim the dowry from his bewildered,
bereft fiancee. The plot is full of mishaps and mix-ups,
confusions, disguises and mistaken identity, before the murder and
entangled romances can be resolved.
A classic of world literature, Goethe's Faust is a philosophical and poetic drama full of satire, irony, humor, and tragedy. Martin Greenberg re-creates not only the text's varied meter and rhyme but also its diverse tones and styles-dramatic and lyrical, reflective and farcical, pathetic and coarse, colloquial and soaring. His rendition of Faust is the first faithful, readable, and elegantly written translation of Goethe's masterpiece available in English. At last, the Greenberg Faust is available in a single volume, together with a thoroughly updated translation, preface, and notes. "Greenberg has accomplished a magnificent literary feat. He has taken a great German work, until now all but inaccessible to English readers, and made it into a sparkling English poem, full of verve and wit. Greenberg's translation lives; it is done in a modern idiom but with respect for the original text; I found it a joy to read."-Irving Howe (on the earlier edition)
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