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To study an archive or archival materials is to encounter an affective and critical practice involved in the construction of memory. Lexicon for an Affective Archive, edited by Giulia Palladini and Marco Pustianaz, is an international collection of these encounters, offering glimpses into the intimate relations inherent in finding, remembering (or imagining), and creating an archive. Bringing together voices from a variety of fields across the humanities, performance studies, and contemporary art, and engaging in a multidisciplinary analysis, this beautifully designed and fully illustrated volume advances the idea of an "affective archive" as a useful conceptual tool a tool which contributes to an understanding of an expanded notion of an archive and its central role in contemporary visual and performing arts.
Samuel Richardson (1689-1761) was an established master printer when, at the age of 51, he published his first novel, Pamela, and immediately became one of the most influential and admired writers of his time. Not only were all Richardson's novels written in epistolary form: he was also a prolific letter-writer himself. This volume in the first ever full edition of Richardson's correspondence includes his letters to and from Aaron Hill, the poet, dramatist and entrepreneur (1685-1750). Hill was Richardson's earliest literary friend and advisor as he embarked on a new career as a novelist. This correspondence offers fascinating insight into the compositional processes not just of the two Pamela novels, but of Richardson's later novels Clarissa and The History of Sir Charles Grandison. The volume also contains Richardson's correspondence with Hill's three literary daughters, which forms an invaluable chapter in the history of women's writing and literary criticism.
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.
Featuring four new plays written and devised in collaboration with groups of secondary school children, this collection examines immigration to and emigration from the UK. A theatre-in-education project coordinated by Tamasha theatre company and The Migration Museum, children worked on exercises designed to develop their understanding of, and feelings about, migration. Their reactions were then incorporated into a piece of theatre by a professional playwright that the students then performed. This collection brings together these plays along with the unique exercises that inspired them. The plays include: Nothing to Declare by Sharmila Chauhan follows three precious keepsakes and the stories attached to them as their owners are stopped at a hostile border. Potato Moon by Satinder Chohan focuses on the potatoes buried in a share allotment. They become people's memories in a magical realist Southall and so when they start to go missing, schoolgirl Mira set out to find out why. Wilkommen by Asif Khan follows 11 year Ammar on the most dangerous journey of his life, from war-torn country, across sea and land, to take up the offer of a new life in Europe. Jigsaw by Sumerah Srivstav tells the story of how three angels, horrified by mankind's cruelty, prepare to wipe them out... until they find an unlikely friend who changes their mind. This is an invaluable collection that gives both teachers the resources to address the sometimes tricky issues surrounding migration and students the opportunity to create and in doing so counteract and humanize the narratives hear in the media and society as a whole.
Sophocles' play, first staged in the fifth century B.C., stands as
a timely exploration of the conflict between those who affirm the
individual's human rights and those who must protect the state's
security. During the War of the Seven Against Thebes, Antigone, the
daughter of Oedipus, learns that her brothers have killed each
other, having been forced onto opposing sides of the battle. When
Creon, king of Thebes, grants burial of one but not the
"treacherous" other, Antigone defies his order, believing it her
duty to bury all of her close kin. Enraged, Creon condemns her to
death, and his soldiers wall her up in a tomb. While Creon
eventually agrees to Antigone's release, it is too late: She takes
her own life, initiating a tragic repetition of events in her
The Methuen Drama Student Edition of Twelve Angry Men is the first critical edition of Reginald Rose's play, providing the play text alongside commentary and notes geared towards student readers. In New York, 1954, a man is dead and the life of another is at stake. A 'guilty' verdict seems a foregone conclusion, but one member of the jury has the will to probe more deeply into the evidence and the courage to confront the ignorance and prejudice of some of his fellow jurors. The conflict that follows is fierce and passionate, cutting straight to the heart of the issues of civil liberties and social justice. Ideal for the student reader, the accompanying pedagogical notes include elements such as an author chronology; plot summary; suggested further reading; explanatory endnotes; and questions for further study. The introduction discusses in detail the play's origins as a 1954 American television play, Rose's re-working of the piece for the stage, and Lumet's 1957 film version, identifying textual variations between these versions and discussing later significant productions. The commentary also situates the play in relation to the genre of courtroom drama, as a milestone in the development of televised drama, and as an engagement with questions of American individualism and democracy. Together, this provides students with an edition that situates the play in its contemporary social and dramatic contexts, while encouraging reflection on its wider thematic implications.
'Tis Pity She's a Whore is one of the most controversial plays ever staged in the English theatre. In this illuminating Handbook, Martin White: * offers an in-depth, moment-by-moment analysis of the play, looking at how it might be performed on stage * provides vital contextual material on John Ford's social and literary influences * reconstructs the play's performances in Ford's own time and examines later stage, television and film productions * guides the reader through the often heated critical and theatrical responses to the dramatic work.
In Joe and Kate Keller's family garden, an apple tree - a memorial to their son Larry, lost in the Second World War - has been torn down by a storm. But his loss is not the only part of the family's past they can't put behind them. Not everybody's forgotten the court case that put Joe's partner in jail, or the cracked engine heads his factory produced which caused it and dropped twenty-one pilots out of the sky ...
The plays are fully annotated for the modern reader and are accompanied by six illustrations. The close relationship between theater and society during the period continues to be the focus of "Contexts." The editor offers contemporary discussions of the following topics: "On Wit, Humour, and Laughter: 1660-1775," "The Collier Controversy: 1698," "Steele and Dennis: On The Man of Mode and The Conscious Lovers," and "Stages, Actors, and Audiences." "Criticism" has been revised to reflect approaches in scholarly interpretations. Two seminal essays from the First Edition have been retained-Charles Lamb's appreciation of the period's comedy and L. C. Knights's condemnation of it. New essays by Jocelyn Powell, Harriet Hawkins, Elin Diamond, Martin Price, and Laura Brown have been added.
York Notes Advanced offer a fresh and accessible approach to English Literature. This market-leading series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced intorduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.
Hamlet's combination of violence and introspection is unusual among Shakespeare's tragedies. It is also full of curious riddles and fascinating paradoxes, making it one of his most widely discussed plays. Professor Hibbard's illuminating and original introduction explains the process by which variant texts were fused in the eighteenth century to create the most commonly used text of today. Drawing on both critical and theatrical history, he shows how this fusion makes Hamlet seem a much more 'problematic' play than it was when it originally appeared in the First Folio of 1623. The Oxford Shakespeare edition presents a radically new text, based on that First Folio, which printed Shakespeare's own revision of an earlier version. The result is a 'theatrical' and highly practical edition for students and actors alike. 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.
Fifteen varied essays discuss the style, language, and vision of Howard Barker, one of Britain's most influential and controversial playwrights. An international range of academics offers illuminating interpretations of his work. Includes analyses of the political, moral, and historical aspects of his writing, its poetry and eroticism, its depiction of the figure of the artist, and Barker's writing in performance.
This is a unique introduction to Greek tragedy that explores the plays as dramatic artifacts intended for performance and pays special attention to construction, design, staging, and musical composition. Written by a scholar who combines his academic understanding of Greek tragedy with his singular theatrical experience of producing these ancient dramas for the modern stage Discusses the masters of the genre Aeschylus, Sophocles, and Euripides including similarities, differences, the hybrid nature of Greek tragedy, the significance that each poet attaches to familiar myths and his distinctive approach as a dramatic artist Examines 10 plays in detail, focusing on performances by the chorus and the 3 actors, the need to captivate audiences attending a major civic and religious festival, and the importance of the lyric sections for emotional effect Provides extended dramatic analysis of important Greek tragedies at an appropriate level for introductory students Contains a companion website, available upon publication at www.wiley.com/go/raeburn, with 136 audio recordings of Greek tragedy that illustrate the beauty of the Greek language and the powerful rhythms of the songs
The rich legacy of women's contributions to Irish theatre is traditionally viewed through a male-dominated literary canon and mythmaking, thus arguably silencing their work. In this timely book, Shonagh Hill proposes a feminist genealogy which brings new perspectives to women's mythmaking across the twentieth and twenty-first century. The performances considered include the tableaux vivants performed by the Inghinidhe na hEireann (Daughters of Ireland), plays written by Alice Milligan, Maud Gonne, Lady Augusta Gregory, Eva Gore-Booth, Mary Devenport O'Neill, Mary Elizabeth Burke-Kennedy, Paula Meehan, Edna O'Brien and Marina Carr, as well as plays translated, adapted and performed by Olwen Fouere. The theatrical work discussed resists the occlusion of women's cultural engagement that results from confinement to idealised myths of femininity. This is realised through embodied mythmaking: a process which exposes how bodies bear the consequences of these myths, while refusing to accept the female body as passive bearer of inscription through the assertion of a creative female corporeality.
Arthur Miller was one of the most important American playwrights and political and cultural figures of the twentieth century. Both Death of a Salesman and The Crucible stand out as his major works: the former is always in performance somewhere in the world and the latter is Miller's most produced play. As major modern American dramas, they are the subject of a huge amount of criticism which can be daunting for students approaching the plays for the first time. This Reader's Guide introduces the major critical debates surrounding the plays and discusses their unique production histories, initial theatre reviews and later adaptations. The main trends of critical inquiry and scholars who have purported them are examined, as are the views of Miller himself, a prolific self-critic.
Christopher Marlowe (1564-1593), a man of extreme passions and a
playwright of immense talent, is the most important of
Shakespeare's contemporaries. This edition offers his five major
plays, which show the radicalism and vitality of his writing in the
few years before his violent death.
This innovative collection, featuring three plays by Carlos Morton, spans five centuries of Mexican and Mexican American history. In the tradition of "teatro campesino," these plays present provocative revisions of historical events.
The first play, "La Malinche," challenges the historical record of the tragic clash between Indians and Spaniards. The near-mythical La Malinche, who betrayed her country for love of Hernan Cortez but was then betrayed by him, is freed from the bonds of history to have her vengeance. She saves her legacy and destroys the legacy of the conquistador. In the second play, "Dreaming on a Sunday in the Alameda," characters from a mural by painter Diego Rivera come to life to depict four centuries of Mexican history. Among these, Frida Kahlo, Rivera's wife, finally steps out of his shadow as a woman and artist in her own right. "Esperanza," a libretto for an opera, tells the story of Mexican miners who labored in twentieth-century Silver City, New Mexico. Based on the classic movie "Salt of the Earth," this play deftly portrays the crisis that foretold the rise of the Chicano movement.
Get to grips with set texts and be fully prepared for the AS/A Level exam with the Modern Languages Oxford Literature Companions. The Companions are written by experienced lecturers, teachers and examiners and provide comprehensive coverage of characters, themes, plot, language and context with activities in Spanish to consolidate your knowledge of the text. There are also extensive sections on exam preparation and response planning, with a bank of annotated sample answers and practice questions. This guide covers La casa de Bernarda Alba by Federico Garcia Lorca. Modern Languages Oxford Literature Companions are also available for selected French and German set texts.
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 Death of a Salesman by Arthur Miller, is suitable for all exam boards and for the most recent AS/A level specifications.
J. M. Barrie, Victorian novelist, playwright, and author of Peter Pan or The Boy Who Wouldn't Grow Up, led a life almost as magical and interesting as as his famous creation. Childless in his marriage, Barrie grew close to the five young boys of the Llewelyn Davies family, ultimately becoming their guardian and devoted surrogate father when they were orphaned. Andrew Birkin draws extensively on a vast range of material by and about Barrie, including notebooks, memoirs, and hours of recorded interviews with the family and their circle, to describe Barrie's life and the wonderful world he created for the boys. Originally published in 1979, this enchanting and richly illustrated account is reissued with a new preface to mark the release of Neverland, the film of Barrie's life, and the upcoming centenary of Peter Pan. "A psychological thriller ...one of the year's most complex and absorbing biographies."-Gerald Clarke, Time "A terrible and fascinating story."-Eve Auchincloss, Washington Post
Performed variously as escapist fantasy, celebratory fiction, and
political allegory, The Tempest is one of the plays in which
Shakespeare's genius as a poetic dramatist found its fullest
expression. Significantly, it was placed first when published in
the First Folio of 1623, and is now generally seen as the
playwright's most penetrating statement about his art.
A Pulitzer Prize--winning playwright, an Emmy-winning television writer, and an Oscar-winning screenwriter of such notable films as To Kill a Mockingbird, Tender Mercies, and A Trip to Bountiful, the amazingly versatile Horton Foote has been a force on the American cultural scene for more than fifty years. By critical consensus, Foote's foremost achievement is The Orphans' Home Cycle -- a course of nine independent yet interlocking plays that traces the transformation over twenty-six years of a small-town southern orphan, Horace Robedaux, into a husband, father, and patriarch. Drawing on a wide range of sources, including interviews with Foote, Laurin Porter demonstrates why the author's masterpiece is a unique accomplishment not only in his personal oeuvre but also in the canon of American drama.
Set in and near Harrison, Texas, the fictitious counterpart to Foote's native Wharton, and based partly on his father's childhood and his parents' courtship and marriage, the plays introduce two extended families -- those of Horace and his wife, Eliazbeth -- across three generations, as well as numerous townspeople whose lives intertwine with theirs. The result is a wide-ranging, intricate work of interconnected stories reminiscent of William Faulkner's Yoknapatawpha saga.
Porter shows how the small-town southern culture speaks through Horace while she examines the functions of family and community in identity formation. She explains that Foote's signature style -- which replaces stage directions, poetic language, and suspense-driven narratives with sparse, restrained dialogue and seemingly actionless plots -- creates a simmering power by stressing subtext over text, a strategy more often associated with the novel than drama. Similarly, Foote uses recurring character types and motifs, interrelated images and symbols, and parallel and inverted events that reverberate within and among the plays, employing language and structure in innovative ways. In comparing the cycle with the works of William Faulkner and Eugene O'Neill, Porter positions Foote at the intersection of southern literature and American drama.
Foote's emphasis, Porter concludes, is not so much on returning home as on leaving it and building a new family, contending that for Foote home is not a place but a geography of the heart. Her definitive Orphans' Home shines much-needed light on an understudied talent and proves Foote's to be a vital American voice.
It is time to change the way we talk about writing in theater. This book offers a new argument that reimagines modern theater's critical power and places innovative writing at the heart of the experimental stage. While performance studies, German Theaterwissenschaft, and even text-based drama studies have commonly envisioned theatrical performance as something that must operate beyond the limits of the textual imagination, this book shows how a series of writers have actively shaped new conceptions of theater's radical potential. Engaging with a range of theorists, including Theodor Adorno, Jarcho reveals a modern tradition of 'negative theatrics,' whose artists undermine the here and now of performance in order to challenge the value and the power of the existing world. This vision emerges through surprising new readings of modernist classics - by Henry James, Gertrude Stein, and Samuel Beckett - as well as contemporary American works by Suzan-Lori Parks, Elevator Repair Service, and Mac Wellman.
This book is about the history of character in modern Irish drama. It traces the changing fortunes of the human self in a variety of major Irish plays across the twentieth century and the beginning of the new millennium. Through the analysis of dramatic protagonists created by such authors as Yeats, Synge, O'Casey, Friel and Murphy, and McGuinness and Walsh, it tracks the development of aesthetic and literary styles from modernism to more recent phenomena, from Celtic Revival to Celtic Tiger, and after. The human character is seen as a testing ground and battlefield for new ideas, for social philosophies, and for literary conventions through which each historical epoch has attempted to express its specific cultural and literary identity. In this context, Irish drama appears to be both part of the European literary tradition, engaging with its most contentious issues, and a field of resistance to some conventions from continental centres of avant-garde experimentation. Simultaneously, it follows artistic fashions and redefines them in its critical contribution to European artistic and theatrical diversity.
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