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Blood Wedding is set in a village community in Lorca's Andalusia, and tells the story of a couple drawn irresistibly together in the face of an arranged marriage. This tragic and poetic play is the work on which his international reputation was founded. Like many of Lorca's passionate and intensely lyrical plays that focus on peasant life and the forces of nature, Blood Wedding combines innovatory dramatic technique with Spanish popular tradition. Methuen Drama Student Editions are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, the volume contains a chronology of the playwright's life and work; an introduction giving the background to the play; a discussion of the various interpretations; notes on individual words and phrases in the text; and questions for further study.
Meet Jess and Joe. They want to tell you their story. Joe is Norfolk born and bred and wears wellies. Jess holidays there with her au pair and is slightly too tubby for her summer dresses. They are miles apart even when they stand next to each other. This is a story of growing up, fitting in (or not), boys, girls, secrets, scotch eggs and maybe even love, but most of all, it's about friendship. Spanning several summer holidays, Jess and Joe Forever is an unusual coming of age tale that explores rural life and what it means to belong somewhere, if you can really belong anywhere. A layered and thoughtful play about finding your place in the world when you only know a small corner of it. This edition was published to coincide with House Theatre's production at the Traverse Theatre, Edinburgh in 2017.
Drawing on major new archival discoveries and recent research, Patrick Lonergan presents an innovative account of Irish drama and theatre, spanning the past seventy years. Rather than offering a linear narrative, the volume traces key themes to illustrate the relationship between theatre and changes in society. In considering internationalization, the Troubles in Northern Ireland, the Celtic Tiger period, feminism, and the changing status of the Catholic Church in Ireland, Lonergan asserts the power of theatre to act as an agent of change and uncovers the contribution of individual artists, plays and productions in challenging societal norms. Irish Drama and Theatre since 1950 provides a wide-ranging account of major developments, combined with case studies of the premiere or revival of major plays, the establishment of new companies and the influence of international work and artists, including Tennessee Williams, Chekhov and Brecht. While bringing to the fore some of the untold stories and overlooked playwrights following the declaration of the Irish Republic, Lonergan weaves into his account the many Irish theatre-makers who have achieved international prominence in the period: Samuel Beckett, Siobhan McKenna and Brendan Behan in the 1950s, continuing with Brian Friel and Tom Murphy, and concluding with the playwrights who emerged in the late 1990s, including Martin McDonagh, Enda Walsh, Conor McPherson, Marie Jones and Marina Carr. The contribution of major Irish companies to world theatre is also examined, including both the Abbey and Gate theatres, as well as Druid, Field Day and Charabanc. Through its engaging analysis of seventy years of Irish theatre, this volume charts the acts of gradual but revolutionary change that are the story of Irish theatre and drama and of its social and cultural contexts.
Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in actions, not ideas. Challenging both views, The Drama of Ideas shows that theater and philosophy have been crucially intertwined from the start. Plato is the presiding genius of this alternative history. The Drama of Ideas presents Plato not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue-based dramaturgy that differs markedly from the standard, Aristotelian view of theater. Puchner discovers scores of dramatic adaptations of Platonic dialogues, the most immediate proof of Plato's hitherto unrecognized influence on theater history. Drawing on these adaptations, Puchner shows that Plato was central to modern drama as well, with figures such as Wilde, Shaw, Pirandello, Brecht, and Stoppard using Plato to create a new drama of ideas. Puchner then considers complementary developments in philosophy, offering a theatrical history of philosophy that includes Kierkegaard, Nietzsche, Burke, Sartre, Camus, and Deleuze. These philosophers proceed with constant reference to theater, using theatrical terms, concepts, and even dramatic techniques in their writings. The Drama of Ideas mobilizes this double history of philosophical theater and theatrical philosophy to subject current habits of thought to critical scrutiny. In dialogue with contemporary thinkers such as Martha Nussbaum, Iris Murdoch, and Alain Badiou, Puchner formulates the contours of a "dramatic Platonism." This new Platonism does not seek to return to an idealist theory of forms, but it does point beyond the reigning philosophies of the body, of materialism and of cultural relativism.
Love and sex are like politics: it's not what you say that matters, still less what you mean, but what you do. Patrick Marber understands this perfectly, and in Closer he has written one of the best plays of sexual politics in the language: it is right up there with Williams' Streetcar, Mamet's Oleanna, Albee's Virginia Woolf, Pinter's Old Times and Hare's Skylight.' (The Sunday Times) "Patrick Marber's searing follow-up to Dealer's Choice establishes him as the leading playwright of his generation." (Independent on Sunday)
Graded exercises introduce the reader to the history and techniques of commedia, originating in mid-16th century Italy. Topics covered include: the commedia masks; mime and movement games; using face masks; and creating the roles. Illustrations demonstrate posture, gesture, costume and masks.
Greece on Air offers the first substantial discussion of the
fascinating history of creative and public engagements with ancient
Greek literature, history, and thought via the BBC Radio, from the
birth of domestic broadcasting in the 1920s up to the 1960s.
"Mother Courage and Her Children" is widely regarded as Brecht's
best work, a theatrical landmark and one of the most powerful
anti-war plays in history. This unique bilingual edition allows
students to compare the original German text with a translation by
one of the world's leading playwrights, Tony Kushner.
An intimate, moving and ultimately uplifting new monologue play. Replay is the story of a woman revisiting her childhood, coming to terms with the significant pain of her past and finally realising that she needs to embrace the memory of her brother in order to move on with her life. Heart, honesty and humour are at the core of this moving play in which Wren explores what it is to grow up, accept loss, be vulnerable and celebrate the past, however painful. This edition was published to coincide with DugOut Theatre's production at the Pleasance Courtyard at the Edinburgh Fringe Festival in August 2017.
Performed as a one-woman show, Victim follows the power struggle between prison guard Tracey and criminal Siobhan as they come face-to-face with a notorious inmate. As they both muse on their lives outside the prison walls, we come to learn of their anxieties and their hardships as they confront the realities of prison life. Darkly comic and at times chilling, Victim is a thoughtful reflection on modern life and how easily it can be turned upside down. This edition was published to coincide with Bruised Sky's production at Pleasance Courtyard, Edinburgh, August 2017.
The Oxford Handbook of Global Modernisms expands the scope of modernism beyond its traditional focus to explore the contributions of artists from regions like Spain, the Balkans, China, Japan, India, Vietnam, and Nigeria. Together, these essays offer the most comprehensive worldwide examination of modernist studies available. Topics covered include: Richard Wright and photographic modernism; poetry of the Caribbean; Chinese modernism and Lu Xun's Ah Q-The Real Story; Ben Okri and magical realism; aesthetic autonomy in Paris, Italy, Russia; Cuba's avant-gardes; geography of Hebrew and Yiddish modernism in Europe; Japanese modernism in works by Kitagawa Fuyuhiko and Yokomitsu Riichi; and South African cinema.
Focusing on major and emerging playwrights, institutions, and various theatre practices this "Concise Companion "examines the key issues in British and Irish theatre since 1979. Written by leading international scholars in the field, this collection offers new ways of thinking about the social, political, and cultural contexts within which specific aspects of British and Irish theatre have emerged and explores the relationship between these contexts and the works produced. It investigates why particular issues and practices have emerged as significant in the theatre of this period.
Miss Julie (1888), written in a fortnight, was regarded by Strindberg as his masterpiece, 'the first naturalistic tragedy of the Swedish drama'. Shocking in subject-matter, revolutionary in technique, it was fiercely attacked on publication for immorality. On Midsummer Eve, Miss Julie, the daughter of a count, sleeps with her father's valet, Jean. The subsequent conflict between sexual passion and social position, which leads to her suicide, is presented with startling modernity. The play's premiere at Strindberg's experimental theatre in Denmark in 1889 was banned by the censor and its first public production three years later in Berlin aroused such protests that it was withdrawn after one performance. Miss Julie has since become one of Strindberg's most popular and frequently performed plays. Commentary and notes by David Thomas and Jo Taylor.
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.
Elesin Oba, the King's Horseman, has a single destiny. When the King dies, he must commit ritual suicide and lead his King's favorite horse and dog through the passage to the world of the ancestors. A British colonial officer, Pilkings, intervenes.
"The action of the play is as inevitable and eloquent as in Antigone: a clash of values and cultures so fundamental that tragedy (ensues): a tragedy for each individual, each tribe."-Daily Telegraph
"This play, by the winner of aNobel Prize for Literature, asks: "On the authority of what gods" the white aliens rupture a world. It puts exciting political theatre back on the agenda ... a masterpiece of 20th century drama."-Guardian
Methuen Student Editions are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, the volume contains a chronology of the playwright's life and work; an introduction giving the background to the play; a discussion of the various interpretations; an interview with Wole Soyinka; and notes on individual words and phrases in the text.
This Norton Critical Edition of John Webster s 1612 13 tragedy offers a newly edited and annotated text together with a full introduction and illustrative materials intended for student readers. The Duchess of Malfi s themes of love, loyalty, and betrayal have resonated through the centuries, making this a perennially popular play with audiences and readers alike. This volume includes a generous selection of supporting materials, among them Webster s likely sources for the play (William Painter, George Whetstone, Simon Goulart, and Thomas Beard) as well as related works by Webster and George Wyther on widows, funerals, and memorializing death. A generous selection from Mark H. Curtis s classic essay, The Alienated Intellectuals of Early Stuart England, tells readers as much about the character of Bosola as it does about his creator. Henry Fitzgeffrey (1617) and Horatio Busino (1618) provide early responses to the play. Criticism is thematically organized to provide readers with a clear sense of The Duchess of Malfi s central themes of dramaturgy; the politics of family, court, and religion; and gender. Also included are essays on contemporary re-imaginings of the play and its critical reception over time. Contributors include Don D. Moore, J. L. Calderwood, Inga-Stina Ewbank, D. M. Bergeron, Christina Luckyj, B. Correll, D. C. Gunby, M. C. Bradbrook, Frank Whigham, Lee Bliss, Rowland Wymer, B. Chalk, Michael Cordner, Kathleen McCluskie, Theodora Jankowski, and Pascale Aebischer. A selected bibliography is also included."
Herewith an original approach to the study of comedy. While assimilating theoretical insights from Aristotle to the present day, it contests, inter alia, the theory of comedy's ritual origin; challenges the age-old and continuing attempts to determine the structure of action that characterises comedy; and suggests instead that structures of action are shared by all genres, and that it is the specific mood that accounts for their differences. Mood is a prism through which a playwright wishes the spectator to perceive a fictional world. Comedy is characterised by its light-hearted mood, which generates a specific kind of laughter. If mood determines the genre of a fictional world, in contrast to current theory, comedy, satiric drama and grotesque drama are different genres promoting different moods and aiming at different effects. Each genre should thus be read and experienced according to its inherent rules and not in terms of a theory that lumps these genres together. The book discusses the pivotal role of commedia dell'arte in both reflecting comedy's classical tradition and influencing subsequent developments, especially in comedy's style of acting; it explores the relations between comedy and carnival and between comedy and joke-telling; probes the view that comedy is characterised by a unique vision; and examines comedy in different media -- such as cinema, comics, puppet theatre, radio drama and TV drama. Eli Rozik questions the traditional semiotic view that all meaning is in the text, and suggests that, in generating comedic meaning, the spectator's contribution/reaction is no less vital than that of the text itself. Major contributions to a general theory of comedy, and to a sound methodology for the analysis of comedies, are presented, and ample reference to comedies and/or pertinent analyses of such comedies, written over the course of 2,500 years of theatre recorded history, is provided to enable readers to grasp ideas in their original terminology and logic. Each presentation is accompanied by critical comments which attempt both to introduce the problems involved and suggest possible solutions.
This volume offers a critique of cultural and intellectual life in Greece during the dictatorship of 1967-1974, discussing how Greek playwrights, directors, and actors reconceived the role of culture in a state of crisis and engaged with questions of theater's relationship to politics and community. In the early 1970s, several bold new plays appeared, resonating with the concerns of Greek public and private life. The reinvigorated Greek stage displayed an extraordinary degree of historical consciousness and embraced revisionist cultural critique as well, leading to a drastic re-shaping of the Greek theatrical landscape. Stage of Emergency is the first study to focus on these particular theatrical developments of the so-called junta era, shedding light not only on the messages and impact of the plays themselves, but also on the politics of culture and censorship affecting the Greek public during this period.
The Routledge Anthology of British Women Playwrights, 1777-1843 brings together ten eclectic plays by female dramatists and writers, to stimulate a rich discussion of women, writing, and theatre history. Ranging through tragedy, comedy, musical theatre and mixed-genre texts, this volume celebrates the breadth and experimental spirit of 18th century dramatic writing. Each play is accompanied by an introductory essay which addresses its sociopolitical and theatrical contexts, and outlines its performance and reception history. The selections included here invite teachers and their students to study particular works by authors of note, but also to consider the differences between works written for page and stage. While many of the plays included are recognizable as published dramas, they have been placed alongside textual artifacts that suggest plays or theatrical events of which no definitive record exists, as well as supplementary materials that invite teachers to engage their students in exploring women's dramatic writing in this era. Organised in chronological order, The Routledge Anthology of British Women Playwrights, 1777-1843 traces a history of women's writing across genres and styles, offering an invaluable resource to students and teachers alike.
History of English Literature is a comprehensive, eight-volume survey of English literature from the Middle Ages to the early twenty-first century. This reference work provides insightful and often revisionary readings of core texts in the English literary canon. Richly informative analyses are framed by the biographical, historical and intellectual context for each author. Volume 2 offers a general assessment of all of Shakespeare's works, summarizes the critical reception since its onset, traces a tentative biography of the playwright, discusses the youthful poems and the sonnets, and analyses the plays one by one. The plays are divided into the traditional thematic and chronological subsets - such as historical dramas, comedies, tragedies and romances - but they are further assessed in terms of their "experimental" or "mature" characteristics.
'Modern classic' is the fitting accolade bestowed on Our Country's Good soon after its premiere in 1988, directed by Max Stafford-Clark at the Royal Court Theatre. The play tells the story of a production of George Farquhar's 1706 play The Recruiting Officer by a company of convicts in the early days of the Australian penal colony. The Page to Stage series offers insightful and authoritative introductions by well-known theatre professionals. Instead of an academic or analytical study of the play, Stafford-Clark brings his own involvement in its history, and his unrivalled experience as a director, to presenting an in-depth study of how it actually works on stage. After an introduction about the creation of the play, the reader is conducted through its action, the historical context, its characters, and how the play was rehearsed and designed for its original production.
Mothers and meaning on the early modern English stage is a study of the dramatised mother figure in English drama from the mid-sixteenth to the early seventeenth centuries. It explores a range of genres: moralities, histories, romantic comedies, city comedies, domestic tragedies, high tragedies, romances and melodrama and includes close readings of plays by such diverse dramatists as Udall, Bale, Phillip, Legge, Kyd, Marlowe, Peele, Shakespeare, Middleton, Dekker and Webster. The study is enriched by reference to religious, political and literary discourses of the period, from Reformation and counter-Reformation polemic to midwifery manuals and Mother's Legacies, the political rhetoric of Mary I, Elizabeth I and James VI, reported gallows confessions of mother convicts and Puritan conduct books. It thus offers scholars of literature, drama, art and history a unique opportunity to consider the literary, visual and rhetorical representation of motherhood in the context of a discussion of familiar and less familiar dramatic texts. -- .
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