"Listen to the dialogue: no other American dramatist has this feel for the ordinary talk of ordinary people, or the knowledge of what they do. This is more than a writer's craft, it is a psychological and moral openness to humanity, an act not of imitating, but of sharing". Sunday Times This fourth anthology features Arthur Miller's two early plays, The Golden Years, a historical tragedy about Montezuma's destruction at the hands of Cortez, and The Man Who Had All the Luck, a fable about human freedom and individual responsibility, are brought together in this volume. It also features two of his contemporary shorter plays, I Can't Remember Anything and Clara, first presented on a double bill as Danger! Memory. The latter focus on the importance and dangers of remembering the past, while the early plays, written at the time of the Second World War, mark the emergence of a drama in which public issues are rooted in private anxieties and chart the beginning of Miller's career that was one of the most distinguished in dramatic history. First produced in 1944 and revived in London in 2008, The Man Who Had All the Luck is a mesmerising drama in which the author's brilliance and characteristic qualities are already evident: The fourth volume of Miller's plays has been reissued with a new cover and features an introduction by the author and a chronology of his work.

"The greatest American dramatist of our age" Evening Standard This fifth volume of Arthur Miller's work contains two plays from the early nineties: his highly acclaimed The Last Yankee (1993), which the Guardian called "a fine and moving play . . . Like all Miller's best work, it effortlessly links private and public worlds by connecting personal desperation to insane American values"; and The Ride Down Mount Morgan (1991), which explores themes of bigamy and betrayal, described as "searching, scorching, harsh but compassionate" (Sunday Times). Also contained in the volume is Almost Everybody Wins, the original version of the screenplay Arthur Miller wrote for Karel Reisz's film, "Everybody Wins".

This book analyses the epistemological problems that Shakespeare explores in Othello. In particular, it uses the methods of analytic philosophy, especially the work of the later Wittgenstein, to characterize these problems and the play.

This book lays bare the dialogue between Shakespeare and critics of the stage, and positions it as part of an ongoing cultural, ethical, and psychological debate about the effects of performance on actors and on spectators. In so doing, the book makes a substantial contribution both to the study of representations of theatre in Shakespeare's plays and to the understanding of ethical concerns about acting and spectating-then, and now. The book opens with a comprehensive and coherent analysis of the main early modern English anxieties about theatre and its power. These are read against 20th- and 21st-century theories of acting, interviews with actors, and research into the effects of media representation on spectator behaviour, all of which demonstrate the lingering relevance of antitheatrical claims and the personal and philosophical implications of acting and spectating. The main part of the book reveals Shakespeare's responses to major antitheatrical claims about the powerful effects of poetry, music, playacting, and playgoing. It also demonstrates the evolution of Shakespeare's view of these claims over the course of his career: from light-hearted parody in A Midsummer Night's Dream, through systematic contemplation in Hamlet, to acceptance and dramatization in The Tempest. This study will be of great interest to scholars and students of theatre, English literature, history, and culture.

I Was There... is a perfect introduction for younger readers into stories from the past, allowing children to imagine that they were really there. I Was There... Ira Aldridge tells the exciting story of the African-American actor, Ira Aldridge, who rose to fame on the London stage. Brilliantly imagined, readers aged 7+ will love this first-hand account of a child's experience of nineteenth-century London and the vibrant life of the theatre. Amazing black-and-white illustrations throughout bring the story to life! Perfect stories for children who are struggling with their reading

Shakespeare's gentle melancholy, enlivened by a comic sub-plot of considerable accomplishment, has long made Twelfth Night a favourite with Shakespearian audiences. Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is illustrated throughout by Sir John Gilbert, and includes an introduction by Dr Robert Mighall. Separated from her twin brother Sebastian after a shipwreck, Viola disguises herself as a boy to serve the Duke of Illyria. Wooing a countess on his behalf, she is stunned to find herself the object of his beloved's affections. With the arrival of Viola's brother, and a trick played upon Malvolio, the countess's steward, confusion reigns in this romantic comedy of mistaken identity.

A strange, tender love story from the author of Disco Pigs and The Walworth Farce. In a waiting room, inside a tower, Isla waits for her number to be called. A young woman finally understands her fate. And a young man faces a stark decision. In the midst of a bleak and terrifying world, Arlington is a compelling ode to the human spirit and its power to endure. It premiered at Galway International Arts Festival in 2016 in a production by the festival and Landmark Productions, directed by the playwright. Enda Walsh's play Arlington is published in this edition alongside three short theatre installations - Kitchen, A Girl's Bedroom and Room 303 - performed at the 2016 Galway International Arts Festival under the collective title Rooms.

Fugard's well-known play about two squatters.

"The Century Cycle" is August Wilson's epic dramatization of the African-American experience and heritage in the 20th century. Wilson's extraordinary lifework has been called one of the most ambitious dramatic projects ever undertaken. "(New York Times)" It is presented here for the first time in its entirety in a ten-volume, hardcover, slipcased edition.

Percy Lifar', a Play in Two Acts, 1986, as represented by Curtis Brown Ltd., London and performed by The Hot Toddy Theatre Company (Mark Normandy, Director), The Photographers' Gallery, London, 198

The selected plays show the extraordinary variety of Irish drama today as well as the brilliance of Irish playwrights, both seasoned veterans and those beginning to build reputations on the stages of the world's premier national theatre, The Abbey. The first play by award-winning playwright Michael Harding, ""Sour Grapes"", explores the taboos of seminary life including paedophilia and homosexuality. Thomas Kilroy's ""The Secret Fall of Constance Wilde"" tells the historical drama of the marriage of Constance to Oscar Wilde and recounts the tragedy that was her marriage and life. Interlocking lives of a varied group of eight morally adrift young Dublin women and men, Alex Johnston's dramatic comedy ""Melonfarmer"" illuminates the difficulty of human communication in a fast-paced urban society. ""By the Bog of Cats"" by Marina Carr completes the volume in an intense, poetic tragedy of brutal Irish rural-Midlands life in which money and land outweigh all other values.

This third volume of the "Shakespeare Set Free" series is written by institute faculty and participants. The volume sparkles with fine recent scholarship and the wisdom and wit of real classroom teachers in all kinds of schools all over the United States.

In this book, you'll find:

Clear and provocative essays written by leading scholars to refresh the teacher and challenge older students

Successful and plainly understandable techniques for teaching through performance

Ways to teach Shakespeare that successfully engage students of every grade and ability level in exploring Shakespeare's language and the magical worlds of the plays

Day-by-day teaching strategies for "Twelfth Night" and "Othello"-- created, taught, written, and edited by teachers with real voices in real classrooms.

The Winter's Tale is one of Shakespeare's most varied, theatrically self-conscious, and emotionally wide-ranging plays. This 2007 edition provides a newly-edited text, a comprehensive introduction that takes into account current critical thinking, and a detailed commentary on the play's language designed to make it easily accessible to contemporary readers. Much of the play's copiousness inheres in its generic intermingling of tragedy, comedy, romance, pastoral, and the history play. In addition to dates and sources, the introduction attends to iterative patterns, the nature and cause of Leontes' jealousy, the staging and meaning of the bear episode, and the thematic and structural implications of the figure of Time. Special attention is paid to the ending and its tempered happiness. Performance history is integrated throughout the introduction and commentary. Textual analysis, four appendices - including the theatrical practice of doubling, and a select chronology of performance history - and a reading list complete the edition.

An adaption of Robert Swindell's novel intended for Key Stage 3. The nightmare Fliss had before the school trip is becoming a chilling reality. The hotel where they are staying holds a sinister secret, but none of the teachers will believe what Fliss has seen. Can Fliss save Ellie-May?

Toe Eugene Marais deurtrek van malaria en morfien by 'n vreemde plaashuis in die Waterberg ingeneem word, verander daardie huishouding heeltemal. Twee vroue ding mee om sy aandag - Maria, die huisvrou, en Jane, 'n jong meisie onder die gesin se sorg. En op hulle beurt is daar twee jaloerse mans - Gys, die eggenoot, en hul seun, Adderjan. Oor die maande waarin Marais onder die sorg van die twee vroue herstel, verrig hy wat vir die plaasmense en hul bure na wonderwerke lyk. Hy versamel en ondersoek byna alles, maak diere mak en bring hulle in sy kamer in, genees besoekers. Hy "mesmeraais" mense en hou hom besig met dinge wat soos toordery lyk. Algaande bring sy teenwoordigheid in almal die verlange na iets onbereikbaars na vore, maar dis Marais se verlange na die jongmeisie, en hare na hom en na 'n ander lewe, wat al die verswee konflikte op die spits dryf.

Five ambitious and exciting plays by the multi-award-winning playwright, hailed as 'one of the prime movers in a new golden generation of British playwrights' (Independent), and introduced by the author. Earthquakes in London (National Theatre & Headlong, 2010) is an epic drama about climate change, population explosion, social breakdown and worldwide paranoia, travelling from 1968 to 2525 and back again. 'The theatrical equivalent of a thrilling roller-coaster ride' (Daily Telegraph) Love, Love, Love (Paines Plough & Drum Theatre Plymouth, UK tour, 2010; Royal Court & Paines Plough, 2012) examines the baby boomer generation, from coming-of-age in the 1960s to retirement-age more than forty years later, in a play that 'does the clash of generational world views with a devastating precision' (Guardian). The Enemy is a short play in which a journalist seizes an opportunity to interview the man who shot Osama bin Laden. It was staged by Headlong as part of Decade (St Katherine's Dock, London, 2011), exploring 9/11 and its legacy. 13 (National Theatre, 2011) is a panoramic drama in which a young man returns to London, a city riven by social protest and upheaval, with a radical vision for the future. Premiered on the National's largest stage, it confirmed Bartlett's ability to tackle epic themes with supreme assurance: 'His ambition is distinctive and immense' (Evening Standard). Medea (Headlong, UK tour, 2012) is a startlingly modern version of Euripides' tragedy, exploring a woman's private fury at her husband's infidelity, while imprisoned in her marital home. 'A savage play for today, superbly well done' (Mail on Sunday)

'30 just matters, innit. Like there's no doubt you're a proper adult then. Like 25 to 29 is just training, but 30, it's real.' Tunde's thirtieth birthday is fast approaching. So he's started therapy because he hasn't been able to get to the gym for weeks, and a recent one-night stand ended in tears - his. Interrogating the challenge of opening up and accepting our own vulnerabilities, Ifeyinwa Frederick's Sessions is a raw, funny, bittersweet deep-dive into the complexities of masculinity, depression and therapy. It was first produced in 2021 on tour of the UK, before a run at Soho Theatre, London, co-produced by Paines Plough and Soho, and directed by Philip Morris.