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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.
Completed only two months before the author's execution in Granada at the age of thirty-eight, La casa de Bernarda Alba marks the completion of Lorca's 'trilogia de la tierra espanola' and is commonly held to be his greatest play. The theme of vitality and repression that runs as a leitmotif through his writings takes on a clearer social dimension in the 'drama de mujeres en los pueblos de Espana', with the presentation of a household of five unmarried daughters tyrannised by their mother's excessive concern with social class and obscurantist village morality. -- .
By comparing the literary works of two of the greatest playwrights of our time, Onder Cakirtas reveals the similarities and contrasts between their political views and the political backdrop of their respective nations. In Britain, George Bernard Shaw, the leading British dramatist for the first half of the twentieth century, wrote his plays to explicitly reflect his socialist political and economic views, and highlight the need for equal rights for women. In Turkey, decades later, Orhan Asena confronted similar issues with plays that challenged the dominant political powers of his time - a stance which ultimately led to his political exile from Turkey. Reviews "Comparing Shaw with a Turkish playwright in the second half of the century not only gives the later dramatist a solid basis for discussion, it also demonstrates the continuing significance of Shaw's plays." Christopher Innes, Distinguished Research Professor, York University "It is quite a challenging task for an author to write about G.B. Shaw and Orhan Asena from such a fresh perspective. But Onder Cakirtas has succeeded with an arresting portrait of both playwrights" Omer Sekerci, Associate Professor, Suleyman Demirel University About the Author Onder Cakirtas is Assistant Professor of English Language and Literature at BingOl University, Turkey. His major areas of study and research include Modern British, Turkish and Comparative Drama, and Political Drama.
The civic religious drama of late medieval England-financed, produced, and performed by craftspeople-offers one of the earliest forms of written literature by a non-elite group in Europe. In this innovative study, Nicole R. Rice and Margaret Aziza Pappano trace an artisanal perspective on medieval and early modern civic relations, analyzing selected plays from the cities of York and Chester individually and from a comparative perspective, in dialogue with civic records. Positing a complex view of relations among merchants, established artisans, wage laborers, and women, the two authors show how artisans used the cycle plays to not only represent but also perform their interests, suggesting that the plays were the major means by which the artisans participated in civic polity. In addition to examining selected plays in the context of artisanal social and economic practices, Rice and Pappano also address relations between performance and historical transformation, considering how these plays, staged for nearly two centuries, responded to changes in historical conditions. In particular, they pay attention to how the pressures of Reformist governments influenced the meaning and performance of the civic religious drama in both towns. Ultimately, the authors provide a new perspective on how artisans can be viewed as social actors and agents in England in the fifteenth and sixteenth centuries.
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.
Oxford Student Texts offer an accessible route into the study of texts for A Level including line-by-line notes, and detailed sections covering key themes, issues and contexts. This edition focuses on The Way of the World by William Congreve.
Ireland's Abbey Theatre opened in 1904. Under the guidance of W. B. Yeats and Lady Augusta Gregory, it became instrumental to the success of many of the leading Irish playwrights and actors of the early twentieth century. Conventional wisdom holds that the playwright Sean O'Casey was the first to offer a new vision of Irish authenticity in the people and struggles of inner-city Dublin in his groundbreaking trilogy The Shadow of a Gunman, The Ploughand the Stars, and Juno and the Paycock. Challenging this view, Mannion argues that there was an established tradition of urban plays within the Abbeyrepertoire that has long been overlooked by critics. She seeks to restore attention to a lesser-known corpus of Irish urban plays, specifically those that appeared at the Abbey Theatre from the theatre's founding until 1951, when the original theatre was destroyed by fire. Mannion illustrates distinct patterns within this Abbey urban genre and considers in particular themes of poverty, gender, and class. She provides historical context for the plays and considers the figures who helped shape the Abbey and this urban subset of plays. With detailed analysis of box office records and extensive appendixes of cast members and production schedules, this book offers a rich source of archival material as well as a fascinating revision to the story of this celebrated institution.
Irish Drama in Poland is the first book to broadly assess Irish drama's impact on both Poland's theatrical world and its cultural and literary heritage in the twentieth century. With a wide-ranging analysis--from Yeats, Synge, O'Casey, and Behan, to Wilde, Shaw, and Beckett--this engaging study explores the translation, production, and reception of Irish plays in Poland. Barry Keane presents readers with the historical and literary context for each production, allowing readers to understand the many ways Irish theater has informed Poland's theatrical and literary heritage. Including a foreword by translation scholar Michael Cronin, Irish Drama in Poland drives home the importance of exploring intercultural contexts, allowing readers a more informed understanding of European culture and identity.
GBS was the first great brand - discover how he created this most modern of concepts. The fourth book in the Royal Irish Academy's award-winning `Judging' series looks at the legacy of George Bernard Shaw, Nobel prizewinner for literature. George Bernard Shaw has left a vast legacy of theatrical, fictional, polemical, critical and philosophical writing. The first person to win both a Nobel Prize and an Academy Award, Shaw bridges the Victorian era and the contemporary culture of celebrity. The GBS brand came to be recognised globally as referring to an Irish provocateur with a red beard and startling opinions. He was a master of self-invention, a nobody who captured the zeitgeist and one of the first private individuals to understand fully how to generate-and how to use-global fame. The timing of Judging Shaw is fortuitous, as it will serve to reintroduce GBS to an Irish and international readership. The book is an interesting, informative, and well-written survey of Shaw/GBS and will be a welcome addition to the library of those who know Bernard Shaw perhaps only as the author of Pygmalion, his most popular and frequently performed play.
This classic text is the tale of a woman who becomes involved in
murder without realizing the terrible price she will pay for it.
This edition includes an introduction which analyzes the play in
detail, and a commentary illuminating difficulties in the play for
the modern reader.
Dominique Edde met novelist and playwright Jean Genet in the 1970s. And she never forgot him. "His presence," she writes, "gave me the sensation of icy fire. Like his words, his gestures were full, calculated and precise. . . . Genet's movements mimicked the movement of time, accumulating rather than passing." This book is Edde's account of that meeting and its ripples through her years of engaging with Genet's life and work. Rooted in personal reminiscences, it is nonetheless much broader, offering a subtle analysis of Genet's work and teasing out largely unconsidered themes, like the absence of the father, which becomes a metaphor for Genet's perpetual attack on the law. Tying Genet to Dostoevsky through their shared fascination with crime, Edde helps us more clearly understand Genet's relationship to France and Palestine, Judaism, Christianity, Islam, the theater, and even death. A powerful personal account of the influence of one writer on another, The Crime of Jean Genet is also one of the most penetrating explorations yet of Genet's work and achievement.
Jean Toomer (1894-1967) was a modernist writer, a member of the Harlem Renaissance, and briefly part of the literary and artistic community that grew up around Mabel Dodge Luhan in Taos, New Mexico. This book, a critical edition of a previously unpublished 1935 manuscript, makes A Drama of the Southwest available to readers for the first time. The play provides a vivid glimpse into the social world of the artists who mined Taos for creative and spiritual renewal in the early twentieth century, and editor Dekker provides cultural and literary historical context, arguing for Toomer's continuing creative power and significance at a time in his career that has been largely overlooked by critics.
What did childhood mean in early modern England? To answer this question, this book examines two key contemporary institutions: the school and the stage. The rise of grammar schools and universities, and of the professional stage featuring boy actors, reflect the culture's massive investment in children. In this collection, an international group of well-respected scholars examines how the representation of children by major playwrights and poets reflected the period's educational and cultural values. This book contains chapters that range from Shakespeare and Ben Jonson to the contemporary plays of Tom Stoppard, and that explore childhood in relation to classical humanism, medicine, art, and psychology, revealing how early modern performance and educational practices produced attitudes to childhood that still resonate to this day.
Developed for use in upper-level courses and written entirely in Spanish, this anthology introduces students to Peninsular literature. Representative works by major literary figures in a variety of genres (fiction, poetry, drama, and essay), exemplify important literary movements from the Middle Ages to the present. This text is part of a two-volume anthology that can be used separately or in conjunction with its companion volume, Panoramas literarios: America hispana.
Introducing readers to the key texts, theatrical practice and context of late seventeenth-century drama, David Roberts combines literary and theatrical approaches to show how Restoration plays were written, performed, received, and printed. Structured according to the 'life cycle' of the dramatic text, this book reproduces extracts from twenty-four of the most influential Restoration plays to provide readers with a comprehensive and colourful introduction to the period's drama. Roberts encourages readers to look beyond a limited canon of established plays and practice, and to see how Restoration drama has been revived and adapted on the modern stage and on screen. Restoration Plays and Players is of great interest to undergraduate and non-specialist readers of seventeenth-century drama, Restoration literature and theatre studies.
An original approach to Shakespeare's King Lear: Michael Pennington takes us on a fascinating journey through the play from the point of view of Lear himself and others. Although Michael also writes about his own New York acting experience in 2014, the major part of the book comprises chapters devoted to commentary on the play, its thoughts, motives and its themes in Lear's own words, and other chapters equally devoted to similar commentary from other characters in the play.
When Claudio breaks the new laws against vice in Vienna by getting his financee, Julietta, pregnant, a series of ethical issues is brought under scrutiny. His sister's virtue is held to ransom by the deputy rule of the city until justice is done, mercy shown, and order restored. This is among Shakespeare's most vivid dramatic projections of moral duplicity. The introduction discusses the origins of his treatment of the well-known story and examines his sources. The editor also sets the play in its historical context and offers the most comprehensive available account of the text's theatrical life from Restoration adaptations to present-day productions. 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.
A magnificent new biography of Henrik Ibsen, among the greatest of modern playwrights Henrik Ibsen (1820-1908) is arguably the most important playwright of the nineteenth century. Globally he remains the most performed playwright after Shakespeare, and Hedda Gabler, A Doll's House, Peer Gynt, and Ghosts are all masterpieces of psychological insight. This is the first full-scale biography to take a literary as well as historical approach to the works, life, and times of Ibsen. Ivo de Figueiredo shows how, as a man, Ibsen was drawn toward authoritarianism, was absolute in his judgments over others, and resisted the ideas of equality and human rights that formed the bases of the emerging democracies in Europe. And yet as an artist, he advanced debates about the modern individual's freedom and responsibility-and cultivated his own image accordingly. Where other biographies try to show how the artist creates the art, this book reveals how, in Ibsen's case, the art shaped the artist.
An enhanced exam section: expert guidance on approaching exam questions, writing high-quality responses and using critical interpretations, plus practice tasks and annotated sample answer extracts. Key skills covered: focused tasks to develop analysis and understanding, plus regular study tips, revision questions and progress checks to help students track their learning. The most in-depth analysis: detailed text summaries and extract analysis to in-depth discussion of characters, themes, language, contexts and criticism, all helping students to reach their potential.
Arthur Miller's plays have held the world's stages for almost half a century. Among them are Death of a Salesman, The Crucible, and All My Sons, which have been read and performed countless times across the world. His memoir, Timebends, shows that the life of the man is as compelling as his plays. With passion, wit and candour, Miller recalls his childhood in Harlem and Brooklyn in the 1920s and the Depression; his successes and failures in the theatre and in Hollywood; the formation of his political beliefs that, two decades later, brought him into confrontations with the House Committee of Un-American Activities; and his later work on behalf of human rights as the president of PEN International. He writes with astonishing perception and tenderness of Marilyn Monroe, his second wife, as well as the host of famous and infamous that have intersected with his adventurous life. Timebends is Miller's love letter to the twentieth century: its energy, its humour, its chaos and moral struggles.
Victor, a New York cop nearing retirement, moves among furniture in the disused attic of a house marked for demolition. Cabinets, desks, a damaged harp, an overstuffed armchair - the relics of a lost life of affluence he's finally come to sell. But when his brother Walter, who he hasn't spoken to in years, arrives, the talk stops being just about whether Victor's been offered a fair price for the furniture, and turns to the price that one and not the other of them paid when their father lost both his fortune and the will to go on ... Fraught, but cut through with humour, The Price is one of Arthur Miller's finest plays.
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.
This Student Edition of Broken Glass is perfect for students of literature and drama and offers an unrivalled and comprehensive guide to Miller's play. It features an extensive introduction by Alan Ackerman which includes a chronology of Miller's life and times, a summary of the plot and commentary on the characters, themes, language, context and production history of the play. Together with over twenty questions for further study and detailed notes on words and phrases from the text, this is the definitive edition of the play. Set in Brooklyn in 1938, Broken Glass is Miller's moving study of marital relations, Jewish identity and anti-Semitism that won the Olivier Award for Best New Play in 1994. Sylvia Gellburg is stricken by a mysterious paralysis in her legs for which the doctor can find no cause. He soon realises that she is obsessed by the devastating news from Germany, where government thugs have begun smashing Jewish stores. But through a series of meetings with her husband Phillip he learns that this experience is intermeshed with their strange relationship and the deceptions and hostilities that lie at the heart of their marriage. Professor Alan Acklerman's expertly edited edition of the play provides a wide-ranging study of Kristallnacht, and of American and European responses to the Holocaust, the situation of Jews in America from the 1930s to the 1990s, the Great Depression and other Holocaust and Jewish drama.
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