This study provides a new model for the construction of mentalities and intermental thought of characters in playscripts. It introduces a model that facilitates the analysis of the construction of consciousness, instances of collective thought, and the dynamics of group formation in late-Victorian drama. It can be placed within the framework of cognitive studies because cognitive studies are interested in examining the mental state and the relationship between minds involved in cognitive interaction in narratives. For a long time narrative studies have neglected drama as a genre and, even after the long overdue acceptance of plays in the family of narratives, most critics were eager to focus on performance rather than on playscripts. This book introduces a model through which the analysis of playscripts will be rewarding and worthwhile.

Lorca in English examines the evolution of translations of Federico Garcia Lorca into English as a case of rewriting and manipulation through politically and ideologically motivated translation. As new translations of Federico Garcia Lorca continue to appear in the English-speaking world and his literary reputation continues to be rewritten through these successive re-translations, this book explores the reasons for this constant desire to rewrite Lorca since the time of his murder right into the 21st century. From his representation as the quintessential Spanish Republican martyr, to his adoption through translation by the Beat Generation, to his elevation to iconic status within the Queer Studies movement, this volume analyzes the reasons for this evolution and examines the current direction into which this canonical author is heading in the English-speaking world.

FOLGER Shakespeare Library: the world's leading center for Shakespeare studies.

Each edition includes:
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Staging the revolution offers a reappraisal of the weight and volume of theatrical output during the commonwealth and early Restoration, both in terms of live performances and performances on the paper stage. It argues that the often-cited notion that 1642 marked an end to theatrical production in England until the playhouses were reopened in 1660 is a product of post-Restoration re-writing of the English civil wars and the representations of royalists and parliamentarians that emerged in the 1640s and 1650s. These retellings of recent events in dramatic form mean that drama is central to civil-war discourse. Staging the revolution examines the ways in which drama was used to rewrite the civil war and commonwealth period and demonstrates that, far from marking a clear cultural demarcation from the theatrical output of the early seventeenth century, the Restoration is constantly reflecting back on the previous thirty years. -- .

First performed in the 1580s, Love's Metamorphosis is widely regarded as the most elegantly structured of Lyly's plays. The plot looks back to the account of Erisichthon's punishment for the desecration of Ceres' grove in Ovid's Metamorphosis, but the Ovidian story is woven into a wider network of interests turning upon aspects of love. A series of allusions to earlier Lylian compositions allows the play to be viewed in terms of a continuum of work, exploring the status of Cupid and the nature and extent of his power. The play is notable for the articulate resistance offered by the female characters towards the desires of their lovers and the wishes of authority figures, while Protea, is of particular interest to feminist criticism as a striking example of a woman empowered rather than marginalised by the loss of her virgin state. Revived towards the close of the sixteenth century, the play is of importance to theatre historians in that it is the only one of Lyly's comedies known to have passed from Paul's to a different troupe. It is newly edited here from the sole early witness, the quarto of 1601. -- .

Noel Coward's Brief Encounter is remembered as one of the most haunting love stories on screen ever. Drawing on the characteristic wit and musicality of Kneehigh, Emma Rice, former Joint Artistic Director of the Company, has adapted Coward's classic 1945 screenplay, and the one-act play Still Life on which it was based, into a richly theatrical, imaginative and vibrant piece of theatre. From an original idea by David Pugh & Dafydd Rogers, Kneehigh's production received its world premiere in 2008. This edition is published to coincide with the production's run live at the Empire Cinema in London's West End for 2018, co-produced by Steve and Jenny Wiener and The Old Vic. With an updated foreword by Emma Rice. 'Surely the most enchanting work of stagecraft ever inspired by a movie.' Ben Brantley, The New York Times 'Moving, funny, gripping and even at its most inventive, true to the original and its all-English heart' The Times

The importance of native American realism is traced through a study of the evolution of dramatic theory from the early 1890s through World War I and the uniquely American innovations in realistic drama between world wars.

This book locates the theatre of Marina Carr within a female genealogy that revises the patriarchal origins of modern Irish drama. The creative vision of Lady Augusta Gregory underpins the analysis of Carr's dramatic vision throughout the volume in order to re-situate the woman artist as central to Irish theatre. For Carr, 'writing is more about the things you cannot understand than the things you can', and her evocation of 'pastures of the unknown' forms the thematic through-line of this work. Lady Gregory's plays offer an intuitive lineage with Carr which can be identified in their use of language, myth, landscape, women, the transformative power of storytelling and infinite energies of nature and the Otherworld. This book reconnects the severed bridge between Carr and Gregory in order to acknowledge a foundational status for all women in Irish theatre.

This study provides a European perspective on the drama of Yeats and of the Irish playwrights - Wilde and Synge, O'Casey and Beckett - who share in the achievement of creating a modern 'drama of the interior'. Professor Worth traces in particular the influence of Maeterlinck, examining his 'static drama' in some detail. A dominant theme is the importance of total theatre techniques to the playwrights of the interior from Wilde in Salome to O'Casey in plays like Cock-a-Doodle Dandy. Yeats is seen as the great pioneer, assimilating inspiration from the French, with Arthur Symons as guide, from Synge, from Gordon Craig and from the No drama, and evolving a modern technique for a drama of complex self-consciousness."

This collection of essays considers what constituted contagion in the minds of early moderns in the absence of modern germ theory. In a wide range of essays focused on early modern drama and the culture of theater, contributors explore how ideas of contagion not only inform representations of the senses (such as smell and touch) and emotions (such as disgust, pity, and shame) but also shape how people understood belief, narrative, and political agency. Epidemic thinking was not limited to medical inquiry or the narrow study of a particular disease. Shakespeare, Thomas Middleton, Ben Jonson, Thomas Dekker and other early modern writers understood that someone might be infected or transformed by the presence of others, through various kinds of exchange, or if exposed to certain ideas, practices, or environmental conditions. The discourse and concept of contagion provides a lens for understanding early modern theatrical performance, dramatic plots, and theater-going itself.

After decades of neglect, the screenplay is finally being recognized as a form that deserves serious critical analysis. This book for the first time combines detailed study of the theory and practice of screenwriting with new approaches to criticism and original studies of individual texts.

In the earliest extant works of Greek literature, Zeus reigns supreme in the Olympian hierarchy. However, scattered and scanty though they may be, there are allusions to threats of rebellion which challenge Zeus' supremacy. This book examines these passages, drawn from Homer, Hesiod and the "Homeric Hymns," to offer some new interpretations. While focusing on the theme of cosmic/divine strife, it becomes clear that hints of lost legends underlie these texts. Tracing their hidden logic helps to improve our understanding of early Greek poetry.

PHILO. Nay, but this dotage of our general's O'erflows the measure. Those his goodly eyes, That o'er the files and musters of the war Have glow'd like plated Mars, now bend, now turn, The office and devotion of their view Upon a tawny front. His captain's heart, Which in the scuffles of great fights hath burst The buckles on his breast, reneges all temper, And is become the bellows and the fan To cool a gipsy's lust.

Edition, with notes and introductions, of the elaborate entertainments offered to Elizabeth by her courtiers. The entertainments offered by Elizabethan courtiers to their Queen are a central part of the elaborate cult surrounding the figure of Elizabeth. Yet the fascinating literary texts written for these occasions have been comparatively neglected, despite years of growing interest in both "Gloriana" herself and the masques in general. This book presents an extended study of the entertainments by way of introduction to four of the actual texts. The general introduction examines the origins of the entertainments in court spectacles and pageants of the early Tudor period, and shows how they underline the central place of the cult of Elizabethan court life during her reign, as well as considering the literary traditions of chivalry and romance on which the texts of the entertainments rely so heavily. The four major texts edited here are: The Four Foster Children of Desire (1581), and those at Cowdray in 1591,Elvetham (1591), and Ditchley (1592). Two minor texts, on Bisham and Rycote (1592), are also included. Each text is preceded by an introduction and is fully annotated; there are also notes on the music and a full bibliography.

Originally published in 1987, this is a thorough and lucid introduction and commentary to the whole of Goethe's Faust. It gives the student of German and European literature valuable insights into the most important work of Germany's foremost poet. German quotations are translated or paraphrased in English and a detailed knowledge of German literature is not assumed. The book traces Goethe's work on the play over 60 years of his creative career and surveys its critical reception over the 200 years since its first appearance. Part One is analysed as a mimetic tragedy, Part Two as an historical and cultural profile of Goethe's own times. The commentary guides the reader carefully through its subtleties and multi-layered references and provides a broad and coherent structure for the overall understanding of the work. It suggests provocative interpretations of some figures and episodes in Part Two and places renewed emphasis on parts of the work that often receive relatively little attention. An appendix surveys the metres and verse forms of the play.

Originally published in 1951 this full length study gives an account of Buchner's life and personality, together with an account of his three plays, his unfinished short story, his scientific publications and his translations of Hugo.

Levels of education and, consequently, of literacy were low in the Dublin tenements at the beginning of the 20th century, and this facilitated the persistence of an oral tradition which stretched back for thousands of years. This book is an analysis of O'Casey's Abbey plays in the context of the oral culture in which they were set. Because they were powerless in a culture dominated by those who had reaped the advantages of education, the tenement dwellers were dazzled by the apparent magic of literacy and in awe of those who wielded its power. O'Casey uses this to dramatize the ease with which the poor were seduced into what he saw as a bourgeois revolution which brought them nothing but suffering and death.

Although Sean O'Casey's Abbey plays"The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars"--are universally admired for the richness of their language, this is the first authoritative analysis of the plays in relation to the linguistic and political culture at the turn of the century. Levels of education, and consequently, of literacy were low in the Dublin tenements and this facilitated the persistence of an oral tradition which stretched back for thousands of years. What might strike the modern reader as extravagant in the language of O'Casey's characters would be quite normal in an oral community where all communication was performative.

Because they were powerless in a culture dominated by those who had reaped the advantages of education, the tenement dwellers were dazzled by the apparent magic of literacy and in awe of those who wielded its power. O'Casey uses this to dramatize the ease with which the poor were seduced into what he saw as a bourgeois revolution which brought them nothing but suffering and death. It is hardly surprising, then, that the villains in these plays are educated intruders who speak a language strikingly different from that of the tenement dwellers.

Making Plays explores great drama of the last two decades through the eyes of those who write it, and those who direct it. It is at once a masterclass on theatrical technique and a unique insight into the ways in which great dramatists of our time have reacted to a rapidly changing world. In this book Duncan Wu talks to Michael Attenborough, Alan Bennett, Michael Blakemore, Howard Brenton, David Edgar, Sir Richard Eyre, Michael Frayn, Sir David Hare, Nicholas Hytner, and Max Stafford-Clark.

Who is the proper occupant of the nursery? The obvious answer is the child, and not an archive, a seductive troll-princess, or poor fosterlings. Nevertheless, characters in Hedda Gabler, The Master Builder, and Little Eyolf intend to host these improper occupants in their children's rooms. Dr. Gunn calls these dramas 'the empty nursery plays' because they all describe rooms intended for offspring, as well as characters' plans for refilling that space. One might expect nurseries to provide an ideal setting for a realist playwright to dramatize contemporary problems. Rather than mattering to Ibsen in terms of naturalist detail or explicit social critique, however, they are reserved for the maintenance of characters' fears and expectations concerning the future. Empty Nurseries, Queer Occupants intervenes in scholarly debates in child studies by arguing that the empty bourgeois nursery is a better symbol for innocence than the child. Here, 'emptiness' refers to the common construction of the child as blank and latent. In Ibsen, the child is also doomed or deceased, and thus essentially absent, but nurseries persist as spaces of memorialization and potential alike. Nurseries also gesture toward the domains of childhood and women's labor, from birth to domestic service. 'Bourgeois nursery' points to the classed construction of innocence and to the more materialist aspects of this book, which inform our understanding of domesticity and family in the West and uncover a set of reproductive connotations broader than 'the innocent child' can convey.

In this, the third and final volume of his critical account of American drama in the twentieth century, Christopher Bigsby turns from the text-oriented drama of Williams, Miller and Albee (volume 2) in order to trace other, parallel theatrical developments of the post-war period, including contemporary groups and playwrights. Beyond Broadway denotes the geographical and spiritual challenges to prevailing standards which so fragmented the theatre of the 1960s in particular. Following his analysis of the Off-Broadway and Off-Off Broadway playwrights and theatres, Dr Bigsby separates the period into four main areas: performance theatre (including the Living Theatre and the Performance Group); the conjunction of dance, music and painting with drama in the ‘theatre of images’; two successful contemporary playwrights, Sam Shepard and David Mamet; and finally the committed theatre exemplified in the San Francisco Mime Troupe and Chicano, black and women’s theatre.

Death still comes to Everyman, but this study of three twentieth-century German plays shows the harder challenge of living without salvation in an age of war and unprecedented mass destruction. Death comes to everyone, and in the late-medieval morality play of Everyman the familiar skeleton forces the universalized central figure to come to terms with this. Only his inner resources, in the forms of Good Deeds and Knowledge, ensure that he repents and is redeemed. Three important twentieth-century German plays echo Everyman - Toller's Hinkemann, Borchert's The Man Outside, and Frisch's The Arsonists/Firebugs - but the unprecedented scale of killing in the First and Second World Wars changed the view of death, while in the Cold War the nuclear destruction literally of everyone became a possibility. Brian Murdoch traces the heritage of Everyman in the three plays in terms of dramatic effect, changes in the image of Death, and especially the problem of living with existential guilt. Death, now over-fed, still has to be faced, but Everyman has the harder problem of living with the awareness of human wickedness without the possibility of salvation. All three plays have tended to be viewed in their specific historical contexts, but by viewing them less rigidly and as part of a long dramatic tradition, Murdoch shows that all present a message of lasting and universal significance. They pose directly to the theater audience questions not just of how to cope with death, but how to cope with life.

Aus Anlass des doppelten Geburtstages - 50 Jahre Germanistik in Hermannstadt und 60. Geburtstag von Maria Sass, der langjahrigen Leiterin dieses Lehrstuhls, - greifen die literaturhistorisch, kulturwissenschaftlich und interdisziplinar ausgerichteten Beitrage aus unterschiedlichen Perspektiven die Geschichte und Dokumentation der rumaniendeutschen und deutschen (Gegenwarts-)Literatur auf. Fragen der Rezeptionsgeschichte und der Wechselwirkungen im Bereich der Interkulturalitat, der Literaturvermittlung und des deutsch-rumanischen Kulturaustausches bilden thematische Schwerpunkte des Studienbandes und stehen damit im Zeichen der Wahrung von Kontinuitat und Konstanz der Hermannstadter Germanistik.

Humorality in Early Modern Art, Material Culture, and Performance seeks to address the representation of the humors from non-traditional, abstract, and materialist perspectives, considering the humorality of everyday objects, activities, and performance within the early modern period. To uncover how humoralism shapes textual, material, and aesthetic encounters for contemporary subjects in a broader sense than previous studies have pursued, the project brings together three principal areas of investigation: how the humoral body was evoked and embodied within the space of the early modern stage; how the materiality of an object can be understood as constructed within humoral discourse; and how individuals' activities and pursuits can connote specific practices informed by humoralism. Across the book, contributors explore how diverse media and cultural practices are informed by humoralism. As a whole, the collection investigates alternative humoralities in order to illuminate both early modern works of art as well as the cultural moments of their production.

A pioneering collection of articles on fictionalized biographies of the Romantics in contemporary fiction and drama. It appears that the lives of the British Romantics and the myths surrounding them have a special appeal for contemporary writers.The present volume sets out to explore this renewed interest in Romantic artist-figures in the context of the current renaissance of 'life-writing'. The essays collected here deal with Romantic 'biofictions' by such authors as Peter Ackroyd, Adrian Mitchell, Ann Jellicoe, Liz Lochhead, Judith Chernaik, Amanda Prantera, Robert Nye, Tom Stoppard, Howard Brenton, Edward Bond, and others. Thomas Chatterton, William Blake, James Hogg, Sir Walter Scott, Percy Bysshe Shelley, Mary Shelley, John Polidori, John Clare, and -- most prominently -- Lord Byron featureas the 'biographical subjects' in the works discussed.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.