A South African pastor and a young teacher from Cape Town battle over the fate of an eccentric elderly widow. The play won the 1988 New York Drama Critics Circle Award for Best Foreign Play.

This volume uniquely draws together seven contemporary plays by a selection of the finest African women writers and practitioners from across the continent, offering a rich and diverse portrait of identity, politics, culture, gender issues and society in contemporary Africa.

Niqabi Ninja by Sara Shaarawi (Egypt) is set in Cairo during the chaotic time of the Egyptian uprising.

Not That Woman by Tosin Jobi-Tume (Nigeria) addresses issues of violence against women in Nigeria and its attendant conspiracy of silence. The play advocates zero-tolerance for violence against women and urges women to bury shame and speak out rather than suffer in silence.

I Want To Fly by Thembelihle Moyo (Zimbabwe) tells the story of an African girl who wants to be a pilot. It looks at how patriarchal society shapes the thinking of men regarding lobola (bride price), how women endure abusive men and the role society at large plays in these issues.

Silent Voices by Adong Judith (Uganda) is a one-act play based on interviews with people involved in the LRA and the effects of the civil war in Uganda. It critiques this, and by implication, other truth commissions.

Unsettled by JC Niala (Kenya) deals with gender violence, land issues and relations of both black and white Kenyans living in, and returning to, the country.

Mbuzeni by Koleka Putuma (South Africa) is a story of four female orphans, aged eight to twelve, their sisterhood and their fixation with death and burials. It explores the unseen force that governs and dictates the laws that the villagers live by.

Bonganyi by Sophia Kwachuh Mempuh (Cameroon) depicts the effects of colonialism as told through the story of a slave girl: a singer and dancer, who wants to win a competition to free her family.

Each play also includes a biography of the playwright, the writer's own artistic statement, a production history of the play and a critical contextualisation of the theatrical landscape from which each woman is writing.

Includes a new introduction from Sophie Hannah, bestselling author of THE MONOGRAM MURDERS.

Agatha Christie was not only the biggest selling writer of detective stories the world has ever known, she was also a mystery in herself, giving only the rarest interviews, declining absolutely to become any sort of public figure, and a mystery too in the manner in which she achieved her astonishing success.

H R F Keating, a crime novelist and respected reviewer of crime fiction, brought together a dozen distinguished writers from both sides of the Atlantic to throw light on this double mystery. Some analyse the art itself; some explain the reasons for her success, not just the books, but also in film and theatre. The approaches are penetrating, affectionate, enthusiastic, analytical, funny - even critical.

Together, they give an almost unique insight into the life and work of the First Lady of Crime.

Winner of the Pulitzer Prize, Tennessee Williams's A Streetcar Named Desire is the tale of a catastrophic confrontation between fantasy and reality, embodied in the characters of Blanche DuBois and Stanley Kowalski. This Penguin Modern Classics edition includes an introduction by Arthur Miller. 'I have always depended on the kindness of strangers' Fading southern belle Blanche DuBois is adrift in the modern world. When she arrives to stay with her sister Stella in a crowded, boisterous corner of New Orleans, her delusions of grandeur bring her into conflict with Stella's crude, brutish husband Stanley Kowalski. Eventually their violent collision course causes Blanche's fragile sense of identity to crumble, threatening to destroy her sanity and her one chance of happiness. Tennessee Williams's steamy and shocking landmark drama, recreated as the immortal film starring Marlon Brando, is one of the most influential plays of the twentieth century. Tennessee Williams (1911-1983) was born in Columbus, Mississippi. When his father, a travelling salesman, moved with his family to St Louis some years later, both he and his sister found it impossible to settle down to city life. He entered college during the Depression and left after a couple of years to take a clerical job in a shoe company. He stayed there for two years, spending the evenings writing. He received a Rockefeller Fellowship in 1940 for his play Battle of Angels, and he won the Pulitzer Prize in 1948 and 1955. Among his many other plays Penguin have published The Glass Menagerie (1944), The Rose Tattoo (1951), Cat on a Hot Tin Roof (1955), Sweet Bird of Youth (1959), The Night of the Iguana (1961), and Small Craft Warnings (1972). If you enjoyed A Streetcar Named Desire, you might like The Glass Menagerie, also available in Penguin Modern Classics. 'Lyrical and poetic and human and heartbreaking and memorable and funny' Francis Ford Coppola, director of The Godfather 'One of the greatest American plays' Observer

Honestly the best science I've ever done and - frankly the best science in the history of humankind - has started with the same thought experiment: find the ways in which humanity thinks it is special... and assume that we're not. How do you plan for a catastrophe? Virologist Nathan Wolfe, named one of TIME's 100 Most Influential People in the World for his work tracking viral pandemic outbreaks, proposed pandemic insurance years before the novel coronavirus outbreak. No one bought it. Now, in a post-COVID world, we hear his story. A time-jumping tale based on the life and work of Nathan Wolfe (who also happens to be the playwright's husband). Though not a play about COVID19, it is a true story of a pandemic expert. A deep dive into the profundities of scientific exploration and modern Judaism, the lengths one goes for love and family, the bracing truths of fatherhood and discovery, and the harrowing realities of facing your own mortality, The Catastrophist is also a story of a main character battling the story he's in... and who is writing it.

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.

Why Athena? I guess just like the goddess of strategic warfare and all that. In a New York City fencing club two warriors are ready to battle. Athena and Mary Wallace are training for the Junior Olympics. They practice together. They compete against each other. They spend their lives together. They wish they were friends. From Award-winning playwright Gracie Gardner, following an acclaimed extended run in New York, comes a fierce coming-of-age comedy where two teenagers parry class, competition and power as they practice fencing and life. But only one will win - en garde. This edition was published to coincide with the UK premiere at The Yard in London in October 2022.

Colin McAllister was born in 1942 in Sao Paulo, Brazil but has lived in St Andrews since 1955. He was educated at the Abbey School, Fort Augustus and at St Andrews University, where he graduated with MA Honours in Political Economy and Geography. For 28 years he taught Economics and related subjects at Dundee College. He was Captain of The New Golf Club at St Andrews in 1999 and President of St Andrews Burns Club from 2005 to 2007. Golf is his main hobby, but other interests include Scottish history, the Gaelic language, economics and politics, good wine and malt whisky, and foreign travel. He published But does it scan? In 2008, Can I Scan? In 2012 and ita s Quite an Uncanny in 2016, More than 100 jokes That Made Me Laugh in 2016 and To Scan or Not To Scan in 2018.

Anthony Neilson is often described as one of the most exciting and challenging voices in contemporary British theatre. For over two decades he has acquired a reputation for innovation and experimentation in both writing and directing having worked with companies such as The Royal Court, The RSC and the National Theatre. This third play collection of his most recent major works brings together five plays in publication for the first time, offering an important documentary of his original work since 2008. Relocated (2008) originally premiered at the Royal Court, directed by the author, where it was described as a "sinister mystery" play and "not an experience for the faint-hearted...morally challenging and riveting...leaves an indelible stain on the memory" (The Times). Get Santa! (2010) is a magical, musical and mischievous Christmas show with a fresh moral featuring music by Nick Powell. It's Christmas Eve but Holly isn't happy. All she's ever wanted from Santa is to meet her real Dad for the first time. And every time, Santa's failed to deliver, bringing lots of useless presents instead. Well, Holly's had enough. This year she has a plan. She's going to wait up and trap Santa when he arrives and get from him the only present she's ever wanted. Narrative (2013) originally premiered at the Royal Court Theatre Upstairs. Devised throughout rehearsal with a seven-strong cast it's a play about storytelling and the narratives of our everyday lives. Unreachable (2016) was described as an "intoxicatingly chaotic comedy" (Time Out) which follows a film director on an obsessive quest to capture the perfect light. Originally running at the Royal Court Theatre in a production that starred Matt Smith, it broke boundaries by offering audiences a digital insight into the rehearsal process through online content which documented and shaped the devising process. The Prudes (2018) is a comedy about relationships in the current sexual climate; and a vicious satire on the male response to it. Jess and Jimmy haven't done it in a year. Fourteen months and four days to be exact. It's definitely not the seven year itch - they've been together nine. Now they're coming together in a last-ditch effort to re-boot their sex life and save their relationship. But a lot has changed in a year; for them and for the world. Described as a "smart, sketchy, amusing, awkward, stimulating two-hander" (The Times), it originally premiered at the Royal Court Upstairs. Published to coincide with his adaptation of The Tell-Tale Heart at the National Theatre in December 2018, this play collection is an important and unique anthology of a major international voice of contemporary theatre.

'n Regter bring sy mooi, jong vrou saam na 'n jagplaas om sy laaste trofee te kom skiet. So word vyf mense saamgegooi vir 'n naweek. Jaloesie, konkelary, wedywering en twis oor grondbesit is aan die orde van die dag – en nog 'n verhouding wat nooit sy le kon kry nie. 'n Misterieuse bok maak sy verskyning. Meteens raak die verlede deel van die hede. Nie almal op die plaas weet van die vloek wat oor die grond hang nie. Die omgewing word 'n medespeler wat jare se intrige op die spits dryf.

In a mental health unit inside a prison, a group of women discover the music of punk rock band The Slits and form their own group. An outlet for their frustration, they find remedy in revolution. But in a system that suffocates, can rebellion ever be allowed? Written by Morgan Lloyd Malcolm (Emilia), Typical Girls is a funny, fierce and furious part-gig, part-play, co-commissioned by Clean Break theatre company.

Barber Shop Chronicles is a generously funny, heart-warming and insightful new play set in five African cities, Johannesburg, Harare, Kampala, Lagos, Accra, and in London. Inspired in part by the story of a Leeds barber, the play invites the audience into a unique environment where the banter may be barbed, but the truth always telling. The barbers of these tales are sages, role models and father figures who keep the men together and the stories alive. Inua Ellams's celebrated play was first produced by the National Theatre, Fuel and Leeds Playhouse in 2017.

'We - artists, thinkers, creators - have a responsibility to communicate the truth of the climate emergency. The world is shape-shifting and our culture must too.' This book is a guide to one hundred brilliant plays addressing the most urgent and important issue of our time: the climate crisis. The plays - drawn from around the world, written by one hundred different writers, and demonstrating a vast span of styles, genres and cast sizes - all speak to an aspect of the climate emergency. Encompassing both famous plays and lesser-known works, the selection includes recent writing that explicitly wrestles with these issues, as well as classic texts in which these resonances now ring out clearly. Each play is explored in a concise essay illuminating key themes, and highlighting its contribution to our understanding of climate issues, with sections including Resources, Energy, Migration, Responsibility, Fightback and Hope. 100 Plays to Save the World is a book to provoke as well as inspire - to start conversations, to inform debate, to challenge our thinking, and to be a launch pad for future productions. It is also an empowering resource for theatre directors, producers, teachers, youth leaders and writers looking for plays that speak to our present moment. Above all, it is a call to arms, to step up, think big, and unleash theatre's power to imagine a better future into being. The book includes a foreword by Daze Aghaji, a leading youth climate justice activist. 'This book is a kind of miracle, a thrilling compendium of plays that speak to the enormous environmental crisis of our time. Freestone and O'Hare have exquisite taste and brilliant analysis, illuminating plays I've never heard of, as well as plays I thought I knew. 100 Plays to Save the World should be required reading for everyone who believes in the power of theatre to move the world; I will certainly never plan a season again without referring to it.' Oskar Eustis, Artistic Director, The Public Theater, New York 'This book is dynamite. Through lively play analysis and accessible environmental know-how, it will galvanise theatre-makers to step up and artists to be heard. Theatre must play its part in the climate fight and this book shows us how.' Kwame Kwei-Armah, Artistic Director, Young Vic Theatre, London

Celebrated legal scholar Kenji Yoshino's first book, Covering, was acclaimed--from the New York Times Book Review to O, The Oprah Magazine to the American Lawyer--for its elegant prose, its good humor, and its brilliant insights into civil rights and discrimination law. Now, in A Thousand Times More Fair, Yoshino turns his attention to the question of what makes a fair and just society, and delves deep into a surprising source to answer it: Shakespeare's greatest plays. Through fresh and insightful readings of Measure for Measure, Titus Andronicus, Othello, and others, he addresses the fundamental questions we ask about our world today and elucidates some of the most troubling issues in contemporary life.

Enormously creative, engaging, and provocative, A Thousand Times More Fair is an altogether original book about Shakespeare and the law, and an ideal starting point to explore the nature of a just society-and our own.

Die boek behandel spraakopleiding en opvoedkundige drama

The Heinemann Plays series offers contemporary drama and classic plays in classroom editions. Many have large casts and an equal mix of boy and girl parts. This play depicts the conflict between a fading Southern belle and the brash lower-class society of her sister's family.

Napoleon's biographers often note his fondness for theatre, but as we approach the bicentenary of the Emperor's death, little remains known about the nature of theatre at the time. This is particularly the case for tragedy, the genre in which France considered itself to surpass its neighbours. Based on extensive archival research, this first sustained study of tragedy under Napoleon examines how a variety of agents used tragedy and its rewriting of history to make an impact on French politics, culture and society, and to help reconstruct the French nation after the Revolution. This volume covers not just Napoleon's efforts, but also those of other individuals in government, the theatrical world, and the wider population. Similarly, it uncovers a public demand for tragedy, be it the return of Corneille, Racine, and Voltaire to the Comedie-Francaise, or new hits like Les Templiers (1805) and Hector (1809). This research also sheds new light on Napoleonic propaganda and censorship, exposing their incoherencies and illustrating how audiences reacted to these processes. In short, Tragedy and Nation in the Age of Napoleon argues that Napoleonic tragedy was not simply tired and derivative; it engaged its audiences, by chomping at the poetic bit, allowing for a retrial of the Revolution, and offering a vision of the new French nation.

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.

Hierdie title gee 'n basiese inleiding tot die moderne dramateorie asook praktiese riglyne oor hoe om 'n dramateks te analiseer, en is 'n gids vir dosente en studente. Die invloed van die opvoeringsgerigtheid van 'n drama op aspekte soos die karakters, die tyd en ruimte asook die drama se struktuur, word behandel. Die teorie word deurgaans verduidelik en geillustreer aan die hand van voorbeelde uit meer as 30 bekende Afrikaanse dramas.

Both lecturers and students will find this book useful as it gives a basic introduction to modern drama theory as well as practical guidelines on the analysis of a play. The influence of the performance orientation of a play on aspects such as the characters, time and space, as well as the play's structure, is dealt with. The theory is constantly explained and illustrated by means of examples taken from more than 30 well-known English South African plays.

In eighteenth-century Europe, artistic production was characterised by significant geographical and cultural transfer. For innumerable musicians, composers, singers, actors, authors, dramatists and translators - and the works they produced - state borders were less important than style, genre and canon. Through a series of multinational case studies a team of authors examines the mechanisms and characteristics of cultural and artistic adaptability to demonstrate the complexity and flexibility of theatrical and musical exchanges during this period. By exploring questions of national taste, so-called cultural appropriation and literary preference, contributors examine the influence of the French canon on the European stage - as well as its eventual rejection -, probe how and why musical and dramatic materials became such prized objects of exchange, and analyse the double processes of transmission and literary cross-breeding in translations and adaptations. Examining patterns of circulation in England, France, the Netherlands, Germany, Scandinavia, Russia, Bohemia, Austria, Italy and the United States, authors highlight: the role of migrant musicians in breaching national boundaries and creating a 'musical cosmopolitanism'; the emergence of a specialised market in which theatre agents and local authorities negotiated contracts and productions, and recruited actors and musicians; the translations and rewritings of major plays such as Sheridan's The School for scandal, Schiller's Die Rauber and Kotzebue's Menschenhass und Reue; the refashioning of indigenous and 'national' dramas in Europe under French Revolutionary and imperial rule.

In the final decade of the eighteenth century, theatre was amongst the most important sites for redefining France's national identity. In this study, Annelle Curulla uses a range of archival material to show that, more than any other subject matter which was once forbidden from the French stage, Roman Catholic religious life provided a crucial trope for expressing theatre's patriotic mission after 1789. Even as old rules and customs fell with the walls of the Bastille, dramatic works by Gouges, Chenier, La Harpe, and others depicted the cloister as a space for reimagining forms of familial, individual, and civic belonging and exclusion. By relating the dramatic trope of religious life to shifting concepts of gender, family, religiosity, and nation, Curulla sheds light on how the process of secularization played out in the cultural space of French theatre.

This Play Guide is specifically written for A Level students who are studying Hedda Gabler as part of the AQA A Level Drama & Theatre specification. It provides structured support for Component 1: Section A - Drama and theatre. / This book is divided into three sections: How to explore a text for A level Drama and Theatre, with vocabulary-building sections on acting, directing and design; An extended exploration of the play to enrich students' understanding and response to the text; Targeted examination preparation to improve writing and test-taking skills. / Fully supports the written examination and helps students develop their key knowledge and understanding of key A Level drama & theatre skills. / Knowledge and understanding of the play are developed with a synopsis, character and scene studies, contextual and practical exploration. / Includes a wide range of practical drama tasks, activities, and research and revision exercises. / Advice on how to interpret and prepare for exam questions with examples of effective responses.