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'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
This newly updated second edition features wide-ranging, systematically organized scholarship in a concise introduction to ancient Greek drama, which flourished from the sixth to third century BC. * Covers all three genres of ancient Greek drama tragedy, comedy, and satyr-drama * Surveys the extant work of Aeschylus, Sophokles, Euripides, Aristophanes, and Menander, and includes entries on lost playwrights * Examines contextual issues such as the origins of dramatic art forms; the conventions of the festivals and the theater; drama s relationship with the worship of Dionysos; political dimensions of drama; and how to read and watch Greek drama * Includes single-page synopses of every surviving ancient Greek play
This critical edition delivers a unique and comprehensive collection of the works of Ktunaxa-Secwepemc writer and educator Vera Manuel, daughter of prominent Indigenous leaders Marceline Paul and George Manuel. A vibrant force in the burgeoning Indigenous theatre scene, Vera was at the forefront of residential school writing and did ground breaking work as a dramatherapist and healer. Long before mainstream Canada understood and discussed the impact and devastating legacy of Canada's Indian residential schools, Vera Manuel wrote about it as part of her personal and community healing. She became a grassroots leader addressing the need to bring to light the stories of survivors, their journeys of healing, and the therapeutic value of writing and performing arts. A collaboration by four Indigenous writers and scholars steeped invalues of Indigenous ethics and editing practices, the volume features Manuel's most famous play, Strength of Indian Women-first performed in 1992 and still one of the most important literary works to deal with the trauma of residential schools--along with an assemblage of plays written from the late 1980s until Manuel's untimely passing in 2010 that were performed but never before published. The volume also includes three previously unpublished short stories written in 1988, poetry written over three decades in a variety of venues, and a 1987 college essay that draws on family and community interviews on the effects of residential schools.
A student edition of this challenging and popular tragedy with notes and commentary. The most controversial of the Greek tragedians, Euripedes is also the most modern in his sympathies, a dramatist who handles the complex emotions of his characters with extraordinary depth and insight. Wronged and discarded by her husband, Medea gradually reveals her revenge in its increasing horror, while the audience is led to understand the incomprehensible; a woman who murders her own children. Since its first production (431 BC), the play has exerted an irresistible attraction for actors and directors alike. Translated by J.Michael Walton.
Few subjects of the English stage have proved more alluring and enduring than religious conversion. The emergence of the Elizabethan theatre marked a profound shift in the way in which conversion was presented. If medieval drama had encouraged conversion without reservation, early Elizabethan plays started to question it. Considering over forty canonical and lesser known works, this study argues that more so than any other medium, early modern drama engaged with the question of the possibility of undergoing a radical transformation in faith and presented the period's understanding of it as fundamentally unsettled. Offering the first cross-religious exploration of conversion in early modern English drama, and presenting a new reading of William Shakespeare's tragedy Othello, Lieke Stelling reveals telling patterns in the stage's treatment of conversion and religious identity.
'Gamesters and Highwaymen are generally very good to their Whores, but they are very Devils to their Wives.' With The Beggar's Opera (1728), John Gay created one of the most enduringly popular works in English theatre history, and invented a new dramatic form, the ballad opera. Gay's daring mixture of caustic political satire, well-loved popular tunes, and a story of crime and betrayal set in the urban underworld of prostitutes and thieves was an overnight sensation. Captain Macheath and Polly Peachum have become famous well beyond the confines of Gay's original play, and in its sequel, Polly, banned in Gay's lifetime, their adventures continue in the West Indies. With a cross-dressing heroine and a cast of female adventurers, pirates, Indian princes, rebel slaves, and rapacious landowners, Polly lays bare a culture in which all human relationships are reduced to commercial transactions. Raucous, lyrical, witty, ironic and tragic by turns, The Beggar's Opera and Polly - published together here for the first time - offer a scathing and ebullient portrait of a society in which statesmen and outlaws, colonialists and pirates, are impossible to tell apart. 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.
By the late 1970s, internationally known performance groups such as Els Joglars, La Fura dels Baus or La Cubana had precipitated a decline in text-based Catalan theatre, reversed in the mid 1980s with the appearance of a younger generation of playwrights led by Sergi Belbel. Influenced by contemporary European rather than Spanish or Catalan drama, his work was very different from the realist idiom favoured by playwrights of the Franco generation. But playwriting is only one aspect of Belbel's work as a theatre practitioner. He also has a highly successful career as a director of Spanish, Catalan and foreign plays (a number of which he himself has translated), and, since 2006, he has held the position of Artistic Director of the National Theatre of Catalonia. This study examines these three key aspects of his career, as well as Ventura Pons's film adaptations of his plays. Finally, it considers the reception of his plays in several countries, analysing his evolving relationship with critics at home and abroad. DAVID GEORGE is Professor of Hispanic Studies at Swansea University.
Stevie is 17. She's peak cool, or so she thinks. In the middle of the wide-eyed stagger from girlhood to womanhood Stevie is sent to live in the middle of nowhere with her grandma. Suffolk - the home of doggers, folklore and Stan. Stan is peak geek, not that he knows. There are secrets in the marshland, songs that will show Stevie the way. Interwoven with beautiful live folk music from award-winning band TRILLS. Songlines is a coming-of-age love story in all its awkward teen glory. This edition is published to coincide with the production at the Pleasance Courtyard Beneath, Edinburgh in August 2018 presented by HighTide and DugOut Theatre.
Named a Choice Outstanding Academic Title of the Year 2018 The Theatre of Eugene O'Neill offers a new comprehensive overview of O'Neill's career and plays in the context of the American theatre. Organised thematically, it considers his modernist intervention in the theatre, offers readers detailed analysis of the plays, and assesses the recent resurgence in his reputation and new approaches to staging his work. It includes a study of all his major plays-The Emperor Jones, The Hairy Ape, The Iceman Cometh, Long Day's Journey Into Night, A Moon for the Misbegotten and Desire Under the Elms-besides numerous other full length and one act dramas. Eugene O'Neill is generally credited with inventing modern American drama, in a time of cultural ferment and lively artistic and intellectual change. Yet O'Neill's theatrical instincts were always shaped by American stage traditions that were inextricable from his sense of himself and his own national culture. This study shows that his theatrical modernism represents not so much a break from these traditions as a reinvention of their scope and significance in the context of international stage modernism, offering an image of national culture and character that opens new possibilities for the stage while remaining rooted in its past. Kurt Eisen traces O'Neill's modernism throughout the dramatists's work: his attempts to break from the themes, plots, and moral conventions of the traditional melodramatic theatre; his experiments in stagecraft and theme, and their connection to traditional theatre and his European modernist contemporaries; the turn toward direct and indirect self-representation; and his critique of the family and of American 'pipe dreams' and the allure of success. The volume additionally features four contributed essays providing further critical perspectives on O'Neill's work, alongside a chronology of the writer's life and times.
Here we are nibbling away all day and night, Mrs Dacey. Nibble nibble. No sense, no order, no nothing, we're all mad and nasty. Samuel Bennett leaves his home in South Wales to pursue a career in London. Setting out with an attitude of reckless, nihilistic purpose, he encounters a nightmarish city with an assortment of bizarre characters and an embarrassing first sexual experience. Join Samuel as he meanders through this dreamlike world, all with a beer bottle stuck on his little finger. Dylan Thomas's gloriously surreal coming-of-age and unfinished novel is given new life by acclaimed writer Lucy Gough. Originally premiered in Wales in 2014, the adaptation was then performed in both Sydney and Melbourne, Australia in 2015. It is published here in Methuen Drama's Plays for Young People series, pitched at ages 16-18. It features an introduction by Sam Mackie, Head of Drama in the English Faculty at The Peninsula School, Victoria.
Though now associated mainly with Sophocles' Theban Plays and Euripides' Bacchae , the theme of Thebes and its royalty was a favorite of ancient Greek poets, one explored in a now lost epic cycle, as well as several other surviving tragedies. With a rich Introduction that sets three of these plays within the larger contexts of Theban legend and of Greek tragedy in performance, Cecelia Eaton Luschnig's annotated translation of Aeschylus' Seven Against Thebes , Euripides' Suppliants , and Euripides' Phoenician Women offers a brilliant constellation of less familiar Theban plays-those dealing with the war between Oedipus' sons, its casualties, and survivors.
This book explores the emergence of Greek tragedy on the American stage from the nineteenth century to the present. Despite the gap separating the world of classical Greece from our own, Greek tragedy has provided a fertile source for some of the most innovative American theater. Helene P. Foley shows how plays like Oedipus Rex and Medea have resonated deeply with contemporary concerns and controversies--over war, slavery, race, the status of women, religion, identity, and immigration. Although Greek tragedy was often initially embraced for its melodramatic possibilities, by the twentieth century it became a vehicle not only for major developments in the history of American theater and dance, but also for exploring critical tensions in American cultural and political life. Drawing on a wide range of sources--archival, video, interviews, and reviews--"Reimagining Greek Tragedy on the American Stage" provides the most comprehensive treatment of the subject available.
I have to believe in the institutions we trust to be fair, and functional. Whether that be the judiciary, the police, the media ... That they should all be able to resist the temptations of a more entertaining lie, over a less extraordinary truth. April 2003. Army Major Charles Ingram, his wife and coughing accomplice are convicted for cheating on Who Wants to Be a Millionaire? The evidence is damning. The nation is gripped by the sheer audacity of the plot to snatch the GBP1,000,000 jackpot. But was he really guilty? It's time for you to decide. Question everything you think you know in James Graham's provocative new play. Olivier Award-nominee James Graham returns with a sharp, fictional imagination of one of the most famous quiz show controversies to date. The production premiered at Chichester Festival Theatre and this edition was published this edition was published to coincide with the West End opening at the Noeel Coward Theatre in April 2018.
Do wrong, you get done, simple as. Gail Wilde is an average policewoman, but one who lives up to her nickname, `Wildefire' - and in the precarious world of modern policing, being wild or full of fire is hardly likely to be appropriate for the job in hand . . . Suspicions surrounding Gail's professional conduct reach fever pitch when a fellow officer is involved in a serious incident on the beat. Conspiracy theories and rumours are rife - not only at work but at home too - and a cycle of accusations and recrimination ensues, spiralling out of control. Roy Williams's riveting thriller looks at the maelstrom of urban policing, and the mental and physical impact it has on the people we rely on to keep the peace. This edition published to coincide with the world premiere at Hampstead Theatre, London.
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.
I kept telling myself I wanted something more out of my life, something brighter. I had all these ideas in my head. Thing is, I had to go down so low just to try to lift my life up a little bit higher. Simon Stephens's exciting new adaptation of the twentieth-century classic Kasimir and Karoline is a dark, political and hilarious play that sets two young lovers in the throes of a break-up against the hypnotic whirl and bright lights of a funfair. The Funfair takes us on a ride through the loops, dips and highs of one night at a fairground, exploring a crisis of capitalism set to the soundtrack of a rock and roll love song. The play received its world premiere at Manchester's Home Theatre on 14 May 2015 and was the theatre's first-ever production.
I slip into Thandi's bed in the night. I crack her ribs and climb deep inside her chest So I never have to leave. Johannesburg. 2014. Summer. Yolandi is listening to rap-rave music and helping her brother bust parts from her teacher's car. Thandi is swotting for her exams and keeping well away from any distractions. In the stifling heat, two teenagers collide. Downing Klipdrift brandy, they create an alliance away from everything else. But scars take time to heal and, as the thunder threatens to strike, the real world crashes in. Set in the eighteenth year of South Africa's democracy a tender coming-of-age story for a nation and its youth. Following a rehearsed reading at HighTide Festival in 2013, Klippies by South African playwright Jessica Sian received its world premiere at Southwark Playhouse, London, on 13 May 2015.
And we are watching the huge grey waves crashing and this is the moment when I say I have to tell you something. Claire and her wife Kit have moved from the confines of London to the wide open coasts of South Shields. To be nearer family, to be nearer the sea, to put down roots. To have a baby. Claire's new job at the local school is a step up, and she wants to make a real difference, but she soon discovers that she has as much to learn from her students as they have from her. A tender new play about gender, wild swimming, and how we define who we are.
You know what would really fuck them off? If you went out there and found the least suitable, most inappropriate, most outrageous hunk of a man that this fine city has to offer, and the pair of you rock up to that church service in May, arm in arm. Sean is feeling wronged because his boyfriend Tim has been excluded from a family wedding back home in Ireland. What does it matter that they've just broken up? The problem for his family is that Tim is femme, fabulous and worst of all, English. Spurred on by righteous anger, Sean is determined to do something about it. As Greek myths, hook-up apps, and the musical stylings of Sinead O'Connor collide, Sean launches into his hunt for the most disruptive plus-one possible.
Exam board: Edexcel, OCR, WJEC Eduqas Level: A-level Subject: English First teaching: September 2015 First exams: Summer 2016 (AS); Summer 2017 (A-level) Check, reinforce and improve critical skills and textual understanding to give students the best chance of success in their AS/A-level English Literature exams. Containing over 150 ready-made activities for The Duchess of Malfi - with comprehensive answers provided online - this write-in Workbook: - Actively develops knowledge and skills as students practise questions that cover plot and structure, themes, characterisation, form and language, contexts and critical approaches - Ensures that every student achieves real progress with activities that gradually build in difficulty, plus additional 'Challenge yourself' tasks to target the top grades - Helps students make the transition from GCSE to AS/A-level, with guidance from experienced examiners and teachers on higher-level skills, such as analysing structure and using literary terminology - Focuses on exam skills with a separate section that includes practice essay questions and advice on: question types; essay planning; writing about extracts and whole texts; using evidence and context - Encourages independent learning as students use their Workbook at home or in class, throughout the course or for revision and exam preparation - Supports the Edexcel, OCR and WJEC Eduqas AS/A-level English Literature specifications through a wide range of activities suitable for every exam board
The story of modern drama is a tale of extremes, testing both audiences and actors to their limits through hostility and contrarianism. Spanning 1880 to the present, Kirsten E. Shepherd-Barr shows how truly international a phenomenon modern drama has become, and how vibrant and diverse in both text and performance. This Very Short Introduction explores the major developments of modern drama, covering two decades per chapter, from early modernist theatre through post-war developments to more recent and contemporary theatre. Shepherd-Barr tracks the emergence of new theories from the likes of Brecht and Beckett alongside groundbreaking productions to illuminate the fascinating evolution of modern drama. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Easy to use in the classroom or as a tool for revision, Oxford Literature Companions provide student-friendly analysis of a range of popular A Level set texts. Each book offers a lively, engaging approach to the text, covering characterisation and role, genre, context, language, themes, structure, performance and critical views, whilst also providing a range of varied and in-depth activities to deepen understanding and encourage close work wtih the text. Each book also includes a comprehensive Skills and Practice section, which provides detailed advice on assessment and a bank of exam-style questions and annotated sample student answers. This guide covers A Streetcar Named Desire by Tennessee Williams, is suitable for all exam boards and for the most recent AS/A level specifications.
'Tis Pity She's a Whore is one of the most controversial plays
ever staged in the English theatre. This introductory guide to one
of Ford's most read and performed plays offers a scene-by-scene
theatrically aware commentary, a brief history of the text and
first performances, case studies of key performances and
productions, a survey of film and TV adaptations, and a wide
sampling of critical opinion and further reading.
A debut storytelling solo show, recounting a prodigal's return to the musty vibrancy of amateur dramatics. Step-ball-changing between quaint suburb and queer city, I, AmDram minds the gap between the identities we assert and the worlds we leave. I, AmDram is about the artist's individual experience, of a particular amateur dramatics society, in a specific New Town, in an unremarkable swathe of Middle England.
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