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Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann's novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters in this essential volume are complemented by diary entries, related articles, and other primary source materials, as well as an introduction by German studies scholar Adrian Daub that contextualizes the impact these two great artists had on twentieth-century thought and culture.
Nelson Falcao Rodrigues (August 23, 1912 - December 21, 1980) was a Brazilian playwright, journalist and novelist. In 1943, he helped usher in a new era in Brazilian theater with his play Vestido de Noiva (The Wedding Dress), considered revolutionary for the complex exploration of its characters' psychology and its use of colloquial dialog. He went on to write many other seminal plays and today is widely regarded as Brazil's greatest playwright. This volume contains brand-new translations of the plays The Wedding Dress ; Waltz #6; All Nudity Shall be Punished; Forgive Me for You Betraying Me; Family Album; Black Angel and The Seven Kittens.
A new study of Shakespeare s life and times, which illuminates our understanding and appreciation of his works. * Combines an accessible fully historicised treatment of both the life and the plays, suited to both undergraduate and popular audiences * Looks at 24 of the most significant plays and the sonnets through the lens of various aspects of Shakespeare s life and historical environment * Addresses four of the most significant issues that shaped Shakespeare s career: education, religion, social status, and theatre * Examines theatre as an institution and the literary environment of early modern London * Explains and dispatches conspiracy theories about authorship
The easy way to craft, polish, and get your play on stage
Getting a play written and produced is a daunting process. From crystallizing story ideas, formatting the script, understanding the roles of the director stagecraft people, to marketing and financing your project, and incorporating professional insights on writing, there are plenty of ins and outs that every aspiring playwright needs to know. But where can you turn for guidance?
"Playwriting For Dummies" helps any writer at any stage of the process hone their craft and create the most dramatic and effective pieces. Guides you through every process of playwriting?from soliloquies, church skits, and one act plays to big Broadway musicalsAdvice on moving your script to the public stageGuidance on navigating loopholes
If you're an aspiring playwright looking to begin the process, or have already penned a masterpiece and need trusted advice to bring it into the spotlight, "Playwriting For Dummies" has you covered.
Anxiously awaiting the return of his new wife, Adolph finds solace in the words of a stranger. But comfort soon turns to destruction as old wounds are opened, insecurities are laid bare and former debts are settled. Regarded as Strindberg's most mature work, "Creditors" is a darkly comic tale of obsession, honour and revenge. David Greig's version premiered at the Donmar Warehouse, London, in September 2008.
This third edition of Othello offers a completely new introduction by Christina Luckyj, providing readers with a nuanced understanding of early modern theatre and culture, and demonstrating how careful attention to Shakespeare's language, staging and dramaturgy can open up fresh interpretations of the play. Tracing critical and performance trends up to the present day, Luckyj shows how the drama taps into contemporary cultural paradoxes surrounding blackness, marriage, and politics to create a powerful double perspective, illuminating the creative and destructive power of stories and of human love itself. Supplemented by an updated Reading list and extensive illustrations, this edition also features revised commentary notes, offering the very best in contemporary criticism of this great tragedy.
"Neil LaBute: A Casebook "is the first book to examine one of the
most successful and controversial contemporary American playwrights
and filmmakers. John Lahr has written of him, "There is no
playwright on the planet these days who is writing better than Neil
LaBute." While he is most famous, and in some cases infamous, for
his early films "In the Company of Men and Your Friends and
Neighbors," Labute is equally accomplished as a playwright. His
work extends from the critique of false religiosity in Bash to
examinations of opportunism, irresponsible art, failed parenting,
and racism in later plays like "Mercy Seat," "The Shape of Things,
The Distance From Here, Fat Pig, Autobahn," and the very recent
"This Is How It Goes and Some Girls," In films he has also directed
adaptation of his play The Shape of Things, as well as the more
commercial Nurse Betty and Possession. His collection of short
stories, reminiscent of the ethical concerns in his plays, is
titled Seconds of Pleasure.
Mama Dada is the first book to examine Gertrude Stein's drama within the history of the theatrical and cinematic avant-gardes. Since the publication of Stein's major writings by the Library of America in 1998, interest in her dramatic writing has escalated, particularly in American avant-garde theaters. This book addresses the growing interest in Stein's theater by offering the first detailed analyses of her major plays, and by considering them within a larger history of avant-garde performance. In addition to comparing Stein's plays and theories to those generated by Dadaists, Surrealists, and Futurists, this study further explores the uniqueness of Stein via these theatrical movements, including discussions of her interest in American life and drama, which argues that a significant and heretofore unrecognized relationship exists among the histories of avant-garde drama, cinema, and homosexuality. By examining and explaining the relationship among these three histories, the dramatic writings of Stein can best be understood, not only as examples of literary modernism, but also as influential dramatic works that have had a lasting effect on the American theatrical avant-
I want to be iconic. I want to be beautiful, reckless, feared, hated, ahead of the times. I want to be different, I want to be dangerous . . . London, 2001. Raves. Revision. Re-election. Nadia is swept up in one hot summer's night of love that promises endless possibilities. Drinking, dancing, hope, ambition, lust, greed . . . and decisions that will determine the rest of her life. Rhythmically underscored by a live mix of old-school UK Garage, With A Little Bit of Luck explores the legacy of a cultural movement that defined the hopes of a generation. It received its world premiere at the Latitude Festival 2015 and then was produced as a tour by Paines Plough and Latitude from 13 April 2016.
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.
The 37 essays in The Oxford Handbook of Thomas Middleton reinterpret the English Renaissance through the lens of one of its most original, and least understood, geniuses. Shakespeare's younger contemporary and collaborator, Middleton wrote modern comedies, tragedies, tragicomedies, history plays, masques, pageants, pamphlets, and poetry. The largest collection of new Middleton criticism ever assembled, this ambitious Handbook provides a comprehensive, in-depth, cutting-edge reaction to OUP's Collected Works of Thomas Middleton, winner of the 2009 MLA prize for editing, the first complete scholarly text of his voluminous and diverse oeuvre. The Handbook brings together an international, cross-generational team of experts to discuss all these genres through an equally diverse range of critical approaches, from feminism to stylistics, ecocriticism to performance studies, Aristotle to Zizek. Reinterpretations of canonical plays such as The Changeling, Women Beware Women, The Roaring Girl, and A Chaste Maid in Cheapside mingle with explorations of neglected or recently-identified works. Middleton's dramatic use of dance, music, and clothing, Middletonian adaptation, his relationships to the classical world and to continental Europe, his fascinating explorations of sexuality and religion, all receive attention. The collection also provides new essays on modern and postmodern reactions to Middleton, including recent Middleton revivals and films, and living artists' responses to his work-responses that range from the actresses who play Middleton's women to writers in various genres who have been freeired by his artistry. The Handbook establishes an authoritative foundation for the rapidly-expanding growth of interest in this extraordinarily protean, funny, moving, disturbing, and modern writer.
`You will see no false nothing false tonight' - the Hypnotist Tim Crouch's second play collapses a tale of loss and grief into an exploration of theatrical representation, in a piece of theatre that is at once formally innovative and profoundly moving. Written for two actors, An Oak Tree depicts the fraught meeting of a grieving father and the stage hypnotist who was behind the wheel of the car that killed his daughter, with the father played by a different actor at each performance, walking on stage with no prior knowledge of the play. Catherine Love explores An Oak Tree's connections with conceptual art, the unique process of its creation, its interrogation of stage representation, its relationship with audiences, and its place as part of Crouch's ongoing body of work.
"The next good mood I find my father in, I'll get him quite discarded" With these chillingly offhand words, Beatrice-Joanna, the spoilt daughter of a powerful nobleman, plots to get rid of the family servant who has crossed her once too often. The Changeling's vivid tale of sexual appetite, repulsion, betrayal and lunacy remains one of the most compelling tragedies of the 17th century. Exposing the vexed relationship between servants and masters, setting notions of `change' against the revelation of psychological `secrets' as ways of explaining human behaviour, and exploring the idea of love as a `tame madness', the play reveals the terrifying consequences of ungoverned sexual appetite and betrayal. Featuring the full and modernized play text, this revised edition includes incisive commentary notes which explain the nuances of the play's vibrant, colloquial language and demonstrate its sly delight in the characters' conscious and unconscious wordplay. Michael Neill's illuminating introduction provides a firm grounding in the play's socio-political context, demonstrates how careful close-reading can expand your enjoyment of the play, explains the play's violent linkage of comic and tragic plots and gives theatrical life to the text via a discussion of its stage history, with a particular emphasis on the most interesting recent productions. 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
The field of performance studies analyses the production and impact of on-stage performance, such as in a theatre or circus, and off-stage performance, such as cultural rituals and political protests. Performance Studies: Key Words, Concepts and Theories introduces students to 34 key topics seen as paramount to the future of performance studies in a series of short, engaging essays by an international team of distinguished scholars. Each essay contributes to the wide-ranging, adventurous and conscientious nature that makes performance studies such an innovative, valuable and exciting field.
From Ben Jonson's The Alchemist to the anonymous A Yorkshire Tragedy, from Thomas Dekker's The Shoemakers' Holiday to John Ford's 'Tis Pity She's a Whore, this essential guide provides clear and lively information on 34 great Elizabethan and Jacobean plays. Each chapter includes information on the play's source, the story, the author, the historical context and the world of the play, as well as a section on the playwright's craft and the play's performance history. This book is for anyone wishing to understand this fascinating and fertile period in British drama, and will be invaluable for students of Shakespeare seeking a fuller understanding of the exciting theatrical times in which he wrote.
Thomas Kilroy, Ireland's leading intellectual playwright, has, over the span of a fifty-year career, consistently resisted fixed categories and boundaries in both his stagecraft and the themes of his plays. In a close consideration of ten of his major works for the stage, and drawing extensively on archival materials, Lanters explores how Kilroy has challenged his audiences by confronting them with subject matter often perceived disturbing, controversial, even taboo within an Irish context, including homophobia, misogyny, marital unhappiness, mental illness, nationalist extremism, and religious fanaticism. Frequently drawing on styles rarely seen on the Irish stage, ranging from Artaud's `theatre of cruelty' to Japanese Kabuki theatre, Kilroy's highly imaginative, thought-provoking, and challenging plays have alerted audiences to the complexity and inconstancy of the realities around them as well as the intricacies of the human psyche. Based on the reoccurrence of certain motifs in Kilroy's oeuvre, the present study divides his ten plays into three groups, characterised in broadly thematic terms. In The O'Neill (1969), Double Cross (1986), and The Madame MacAdam Travelling Theatre (1991), Kilroy considers the politics of identity and questions extreme forms of nationalism, in Northern Ireland, the Republic, and beyond. The Death and Resurrection of Mr Roche (1968), Tea and Sex and Shakespeare (1976), The Secret Fall of Constance Wilde (1997), and Christ, Deliver Us! (2010) reveal Kilroy's ongoing interest in the fluid nature of gender and sexuality, and the tragedies that ensue when authoritarian figures or institutions seek to regulate and constrain their expression. The focus in Talbot's Box (1977), The Shape of Metal (2003), and Blake (2011) is on the single-minded, self-involved nature of great artists and mystics, whose unique visionary gifts render them at times `monstrous' to the people around them, and to themselves.
The first play collection from Anders Lustgarten, "perhaps Britain's most visible and visibly engaged political playwright" (Time Out London), containing plays from the start of his career up to 2015 with the most recent play in the collection, Shrapnel, and one previously unpublished play. The volume includes an introduction by the playwright. A Day at the Racists (2010, Finborough Theatre) is a devastatingly timely examination of the rise of the BNP in London, which attempts to understand why people might be drawn to the BNP and diagnoses the deeper cause of that attraction: the political abandonment and betrayal of the working class by New Labour. If You Don't Let Us Dream, We Won't Let You Sleep (Royal Court Theatre, 2013) offers an exploration of our current government's politics of austerity and a look at possible alternatives. Black Jesus (Finborough Theatre, 2013) unpicks the political complexities of Zimbabwe through the devastating personal journeys of two very different people, both scarred by one of Africa's most notorious dictatorships. Shrapnel (Arcola Theatre, 2015) takes as its subject The Roboski massacre is one of the most controversial episodes in the `war on terror'. Piecing together the fragments of the tragedy, Anders Lustgarten's startling new play dares to ask what a massacre is made of. Kingmakers (Salisbury Playhouse, 2015) imagines ten years after the signing of Magna Carta when the barons' takeover isn't quite going to plan. With the peasants grumbling about enormous castles and broken promises, the threat of rebellion hangs in the air. This play has not previously been published. The Insurgents (Finborough Theatre, 2007) is Anders Lustgarten's look at contemporary London and its class divide. Private equity has turned the city into a high-fenced playground for a tax-exempt, big business elite. This play has not previously been published.
Modernity, Community, and Place in Brian Friel's Drama shows how the leading Irish playwright explores a series of dynamic physical and intellectual environments, charting the impact of modernity on rural culture and on the imagined communities he strives to create between readers, and script, actors and audience.
'She has, to my knowledge, an almost unblemished record in never having failed to spot a great new play...' Philip Howard, from his Foreword Joyce McMillan has been writing about theatre in Scotland for more than three decades. As drama critic successively for The Guardian, Scotland on Sunday and The Scotsman, she has reviewed thousands of plays. During that time she has borne witness to an extraordinary cultural and political renaissance in Scotland, reflected in the newfound confidence of its playwrights, in the vibrancy of its theatre culture and in its recent outburst of new theatre companies. Compiled by McMillan and the theatre director, Philip Howard, Theatre in Scotland is a panoramic history of modern Scottish theatre, reported from the frontline. It traces the remarkable journey of Scottish theatre towards its new self-confidence: the road to 1990, when Glasgow was European Capital of Culture; followed by the explosive expansion of the 1990s; culminating in the emergence of the National Theatre of Scotland and its drive to bring theatre culture right into the heart of the nation.Gathered here are the leading Scottish playwrights, from John Byrne to Liz Lochhead, from David Greig to David Harrower, as well as the full breadth of English playwrights, from Shakespeare to Pinter. There are reflections on the great Scottish plays, classic - Ane Satyre of the Thrie Estaitis, Men Should Weep - and modern - Black Watch, The James Plays. There are reports not only from the urban theatre centres of Edinburgh and Glasgow but from all over Scotland; and from the feast that is the Edinburgh Festival, to the nourishing A Play, A Pie and A Pint. A leading thinker and writer about Scotland, McMillan has an incomparable ability to detect the wider cultural resonances in Scottish theatre, and to reveal what it can tell us about Scotland as a whole. Her book serves as a portrait of a nation and a shared cultural life, where visions of 'what we have been, what we are, and what we might become' are played out in sharp focus on its stages. 'When Scottish theatre works [its] magic over the coming years, I will be there, to try to catch the moment in print, and to tell it as it was.And believe me, on the good nights and the bad ones, the privilege will be mine: to be paid to go looking for joy, and occasionally to find it.' Joyce McMillan
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