Published in association with the seminar series of the same name held by the University of Oxford, "Samuel Beckett: Debts and Legacies" presents the best new scholarship addressing the sources, development and ongoing influence of Samuel Beckett's work. Edited by convenors Dr Peter Fifield and Dr David Addyman, the volume presents ten research essays by leading international scholars ranging across Beckett's work, opening up new avenues of enquiry and association for scholars, students and readers of Beckett's work.Among the subjects covered the volume includes studies of: -Beckett and the influence of new media 1956-1960-the influence of silent film on Beckett's work-death, loss and Ireland in Beckett's drama - tracing Irish references in Beckett's plays from the 1950s and 1960s, including" Endgame," "All That Fall," " Krapp's Last Tape" and "Eh Joe"-a consideration of Beckett's theatrical notebooks and annotated copies of his plays which provide a unique insight into his attitude toward the staging of his plays, the ways he himself interpreted his texts and approached theatrical practice.-the French text of the novel "Mercier et Camier," which both biographically and aesthetically appeared at a very significant moment in Beckett's career and indicates a crucial development in his writing-the matter of tone in Beckett's drama, offering a new reading of the ways in which this elusive property emerges and can be read in the relationship between published text, canon and performance

The young King Richard has legitimately inherited the throne, yet he rules with self-serving arrogance, neglects his subjects and spends liberally. Tensions among the nobility mount as his favoritism and miscalculations turn many against him. When he is forced to cover his involvement in the murder of his uncle he banishes two nobles, Henry Bolingbroke and Thomas Mowbray, Duke of Norfolk. But Bolingbroke soon returns, enraged that Richard has seized property and wealth that he had rightfully inherited. Despite his tyrannical behavior, Richard is defended by many as God's chosen ruler. But, having created a rift in the nobility that will continue to fester for a hundred years, Richard has also set in motion the events that may cost him the crown. Written entirely in verse, Richard II is one of Shakespeare's finest history plays.

This volume presents the proceedings of the international conference "Theatre Cultures within Globalising Empires: Looking at Early Modern England and Spain", held in 2012 as part of the ERC Advanced Grant Project Early Modern European Drama and the Cultural Net (DramaNet). Implementing the concept of culture as a virtual network, it investigates Early modern European drama and its global dissemination. The 12 articles of the volume - all written by experts in the field teaching in the United Kingdom, the USA, Russia, Switzerland, India and Germany - focus on a selection of English and Spanish dramas from the sixteenth and seventeenth centuries. Analysing and comparing motifs, formal parameters as well as plot structures, they discuss the commonalities and differences of Early modern drama in England and Spain.

Classics, Computer Science, and Linguistics are brought together in this book, in an attempt to provide an answer to the authorship question concerning Prometheus Bound, a disputed play in the Aeschylean corpus, by applying some well-established Computer Stylistics methods. One of the main objectives of Stylometry, which, broadly speaking, is the study of quantified style, is Authorship Attribution. In its traditional form it can range from manually calculating descriptive statistics to the use of computer-assisted methodologies. However, non-traditional Authorship Attribution drastically changed the field. It brought together modern Linguistics and Artificial Intelligence applications (machine learning, natural language processing), and its key characteristic is that it aims at developing fully-automated systems for the attribution of texts of unknown authorship. In this book the author employs a series of supervised and unsupervised techniques used in non-traditional Authorship Attribution-applied here for the first time in ancient drama. The outcome of the analysis indicates a significant distance between the disputed text and the secure plays of Aeschylus, but also various interesting (micro-linguistic) ties of affinity with other authors, especially Sophocles and Euripides.

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.

One of Shakespeare's lesser-known plays, King John reaches far back in English history to the struggle for the throne that ensued after the death of Richard Coeur de Lion. Supported by their conniving mother Queen Eleanor, his younger brother John assumes the crown, but immediately there is a rival claim from his nephew Arthur. When John hears that the King of France supports Arthur's claim, John declares war. His plans are thrown off course by the arrival of the pope's ambassador come to excommunicate him. Lacking the heroism of his deceased brother, and possessed of a shifty temperament, John doesn't shy away from cold-blooded savagery. Filled with political intrigue, backroom deals and shifting alliances, King John is a rarely performed and often under- rated masterpiece.

This book is a close taxonomic study of the pivotal role of games in early modern drama. The presence of the game motif has often been noticed, but this study, the most comprehensive of its kind, shows how games operate in more complex ways than simple metaphor and can be syntheses of emblem and dramatic device. Drawing on seventeenth-century treatises, including Francis Willughby's Book of Games, which only became available in print in 2003, and divided into chapters on Dice, Cards, Tables (Backgammon), and Chess, the book brings back into focus the symbolism and divinatory origins of games. The work of more than ten dramatists is analysed, from the Shakespeare and Middleton canon to rarer plays such as The Spanish Curate, The Two Angry Women of Abington and The Cittie Gallant. Games and theatre share common ground in terms of performance, deceit, plotting, risk and chance, and the early modern playhouse provided apt conditions for vicarious play. From the romantic chase to the financial gamble, and in legal contest and war, the twenty-first century is still engaging the game. With its extensive appendices, the book will appeal to readers interested in period games and those teaching or studying early modern drama, including theatre producers, and awareness of the vocabulary of period games will allow further references to be understood in non-dramatic texts.

George Kelly was a pioneer realist in the American theater who not only enjoyed popular and critical success, but also remained true to his own moral vision of theater as an art form despite what he considered vulgar influences that catered to the popular taste. Drawing upon the canon of Kelly's published plays as well as on manuscripts for four plays never before published or widely discussed by critics, this volume chronicles the evolution of this important craftsman and director from his earliest and most critically lauded examinations of America's upper middle-class family life to his often spartan commentary on changing American morals and tastes.

Calling into question the short-sighted assessments of scholars and critics who discount Kelly's achievements as formulaic and misogynistic, this reference reveals the broad spectrum of critical opinion which generally admired his theatrical skill and moral commitment. An opening biography surveys Kelly's career, while the chapters that follow give detailed information about his works. Included are plot synopses and production histories of his plays, along with an extensive annotated bibliography of reviews and scholarly studies.

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.

In Beckett before Godot, John Pilling (editor of the Cambridge Companion to Beckett) re-evaluates the formative years of Beckett between the publication of his first work in 1929 and the composition late in 1946 of The Calmative, his last work before the 'trilogy'. Using a wealth of unpublished manuscripts and correspondence from around the world, Pilling offers a detailed account of Beckett's early psychological and aesthetic development, and shows how his artistic growth was paradoxically linked to the likelihood of failure, to which he was always temperamentally attracted. Pilling's treatment of the first two decades of Beckett's career as a writer offers for the first time a coherent critical narrative of his development during this long period of apprenticeship. Beckett before Godot links biographical fact with a series of powerful close readings to modify and enhance our understanding of one of this century's most influential authors.

Few ancient authors are as challenging as Euripides, and few have provoked so many diverse critical opinions through the ages. This volume aims to bring together some classic essays illustrating the main strands of Euripidean criticism over the last forty years in a form convenient for students. Two of the essays are translated here for the first time, and many others have been revised by their authors. All Greek has been translated.

The English monarchy is in a state of crisis, as the nobles and Cardinal Wolsey become locked in a fierce power struggle. Unbeknownst to the King, the ambitious Wolsey has taxed the populace to the point of rebellion and amassed a huge fortune by taking advantage of his position. When he meddles with the King's plans for divorce he brings ruin upon himself. Against all opposition the King proceeds to divorce Queen Katherine and marries one of her ladies-in-waiting Anne Bullen, throwing off centuries of obedience to Rome and declaring himself head of the church. A play with a rich theatrical history, Henry VIII features in Katherine and Wolsey two of Shakespeare's most memorable and vivid characters. The roots of the crisis are explored from many subtle political and personal angles. Written late in his career the play shines with depth and power.

This book critically engages with the study of theatre and performance in colonial India, and relates it with colonial (and postcolonial) discussions on experience, freedom, institution-building, modernity, nation/subject not only as concepts but also as philosophical queries. It opens up with the discourse around 'Indian theatre' that was started by the orientalists in the late 18th century, and which continued till much later. The study specifically focuses on the two major urban centres of colonial India: Bombay and Calcutta of the 19th and early 20th centuries. It discusses different cultural practices in colonial India, including the initiation of 'Indian theatre' practices, which resulted in many forms of colonial-native 'theatre' by the 19th century; the challenges to this dominant discourse from the 'swadeshi jatra' (national jatra/theatre) in Bengal, which drew upon earlier folk and religious traditions and was used as a tool by the nationalist movement; and the Indian People's Theatre Association (IPTA) that functioned from Bombay around the 1940s, which focused on the creation of one national subject - that of the 'Indian'. The author contextualizes the relevance of the concept of 'Indian theatre' in today's political atmosphere. She also critically analyses the post-Independence Drama Seminar organized by the Sangeet Natak Akademi in 1956 and its relevance to the subsequent organization of 'Indian theatre'. Many theatre personalities who emerged as faces of smaller theatre committees were part of the seminar which envisioned a national cultural body. This book is an important contribution to the field and is of interest to researchers and students of cultural studies, especially Theatre and Performance Studies, and South Asian Studies.

'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

This book examines the lyrical voice of Sophocles' heroes and argues that their identities are grounded in poetic identity and power. It begins by looking at how voice can be distinguished in Greek tragedy and by exploring ways that the language of tragedy was influenced by other kinds of poetry in late fifth-century Athens. In subsequent chapters, Professor Nooter undertakes close readings of Sophocles' plays to show how the voice of each hero is inflected by song and other markers of lyric poetry. She then argues that the heroes' lyrical voices set them apart from their communities and lend them the authority and abilities of poets. Close analysis of the Greek texts is supplemented by translations and discussions of poetic features more generally, such as apostrophe and address. This study offers new insight into the ways that Sophoclean tragedy inherits and refracts the traditions of other poetic genres.

The struggle for the crown takes on new dimensions as the realm of King Henry VI tears itself apart in civil war. His defeat in battle at St. Albans has placed the Duke of York on the throne. Henry and York agree that Henry rules until death but that York would then inherit the crown. Queen Margaret, unwilling to accept the disinheritance of her son, leads a counterattack by the Lancastrians. Soon a whole nation suffers under wars led by warmongering nobles driven by personal vendettas. King Henry retreats into contemplation; overcome by the senselessness of war, by fathers killing sons, sons killing fathers. Henry loses the throne again, and Edward, son of the murdered Duke of York, becomes king. But peace is illusive, as in the background his own brother Richard prepares the way for his own rise to the throne.

This volume argues against Gerard Genette's theory that there is an "insurmountable opposition" between drama and narrative and shows that the two forms of storytelling have been productively intertwined throughout literary history. Building on the idea that plays often incorporate elements from other genres, especially narrative ones, the present study theorises drama as a fundamentally narrative genre. Guided by the question of how drama tells stories, the first part of the study delineates the general characteristics of dramatic narration and zooms in on the use of narrative forms in drama. The second part proposes a history of dramatic storytelling from the Renaissance to the twenty-first century that transcends conventional genre boundaries. Close readings of exemplary British plays provide an overview of the dominant narrative modes in each period and point to their impact in the broader cultural and historical context of the plays. Finally, the volume argues that throughout history, highly narrative plays have had a performative power that reached well beyond the stage: dramatic storytelling not only reflects socio-political realities, but also largely shapes them.

Harold Pinter is one of the most important writers in English of the late twentieth century and early twenty-first century. This brief biography offers fresh insights into his life and work, concentrating on the themes, patterns, relationships, ideas and language common to his life and creative output. Placing Pinters life and work alongside each other, the study illuminates Pinters vision of society, politics, gender, sex, violence and human relationships. Drawing upon the full-range of his output, his letters, journalism, writings about him, Baker combines a biographical approach with close (re)readings of his work to create a fresh perspective on his life and art. The book offers students, academics and readers a rich depiction of Harold Pinter, the man and the writer.

Where did cabaret come from? What has it got to do with pre-war Berlin, decadent society and Nazis? How does it turn into media cabaret and the sisterhood of sleaze? Is cabaret a primary vehicle for exploring the range of sexual practices and alternative sexual identities? In this new book William Grange brings into one place for the first time the range of practices now associated with the form of cabaret. Beginning with its origins in speciality German theatres and the development both of the sheet music industry and disc recordings, Grange tracks the form through into its golden age in the 1920s and beyond. The book's three sections deal first with the emergence of Berlin as the 'German Chicago', where cabaret flourished in the midst of post-war political turmoil. The abolition of censorship allowed nude dancing and sexually explicit songs and routines. It also saw the introduction of kick-line dancing and black performers. In the book's second and third sections Grange takes the story forward into the post second-world-war world, describing how the form moved outwards from central Europe to move across the whole world, reaching Singapore and Australia, and as it did so settling into the range of forms in which we know it today. Some of these forms became 'media cabaret' looking towards the new media age, the postmodernism that followed on from modernism. To this age, even in its new forms, cabaret brought its old habits of making challenges to assumptions around gender identities and sexual practices. As throughout its whole history, cabaret was a form that provided particular vehicles for female performers. And whereas it once served up whore songs and nude dancing it now offers a sisterhood of sleaze.

This new translation (the first complete verse translation of Aristophanes' comedies to appear for more than twenty-five years) makes freshly available one of the most remarkable comic playwrights in the entire Western tradition. Aristophanes is the only surviving representative of Greek Old Comedy, which flourished during the heyday of classical Athenian culture in the fifth century BC, and his plays are characterized by extraordinary combinations of fantasy and satire, sophistication and vulgarity, formality and freedom. This special mixture of qualities calls for a range and flexibility of linguistic resources which only a verse translation can supply. The present translation balances historical fidelity with literary and dramatic vigour, and conveys some of the unique variety of Aristophanic comic theatre. There is a substantial general introduction to the author and introductory essays to each of the plays, as well as full explanatory notes and an index of names.

Bacchae is one of the most troubling yet intriguing of Greek tragedies. Written during Euripides' self-imposed exile in Macedonia, it tells of the brutal murder and dismemberment of Pentheus by his mother and aunts who, driven temporarily insane, have joined the Bacchae (devotees of the god Dionysus, or Bacchus). The startling plot, driven by Dionysus' desire to punish his family for refusing to accept his divinity, and culminating in the excruciating pathos of a mother's realization that she has killed her son, has held audiences transfixed since its original performance (when it won first prize). It is one of the most performed and studied plays in the Greek tragic corpus, with a strong history of reception down to the present day. This collection of essays by eminent academics gathered from across the globe explores the themes, staging and reception of the play, with essays on the characters Dionysus and Pentheus, the role of the chorus of Bacchae, key themes such as revenge, women and religion, and the historical and literary contexts of the play. The essays are accompanied by David Stuttard's English translation which is performer-friendly, accessible and closely accurate to the original.

This book explores an important moment in Italian women's theatre and cultural history: plays written for all-women casts between 1946 and the mid-1960s, authored for the most part by women and performed exclusively by women. Because they featured only female roles, they concentrated on aspects of specifically women's experience, be it their spirituality, their future lives as wives and mothers, their present lives as workers or students, or their relationships with friends, sisters and mothers. Most often performed in a Catholic environment, they were meant to both entertain and educate, reflecting the specific issues that both performers and spectators had to confront in the years between the end of the war and the beginning of the economic miracle. Drawing on material never before researched, Educational Theatre for Women in Post-World War II Italy: A Stage of Their Own recovers the life and works of forgotten women playwrights while also discussing the role models that educational theatre offered to the young Italian women coming of age in the post-war years.

Packed full of analysis and interpretation, historical background, discussions and commentaries, York Notes will help you get right to the heart of the text you're studying, whether it's poetry, a play or a novel. You'll learn all about the historical context of the piece; find detailed discussions of key passages and characters; learn interesting facts about the text; and discover structures, patterns and themes that you may never have known existed. In the Advanced Notes, specific sections on critical thinking, and advice on how to read critically yourself, enable you to engage with the text in new and different ways. Full glossaries, self-test questions and suggested reading lists will help you fully prepare for your exam, while internet links and references to film, TV, theatre and the arts combine to fully immerse you in your chosen text. York Notes offer an exciting and accessible key to your text, enabling you to develop your ideas and transform your studies!

King Henry VI matures as a gentle, spiritual man. Peace has been established between England and France and Suffolk has arranged a strategic marriage for the King to Margaret of Anjou. Suffolk, with his close relationship to Margaret, and the Duke of Gloucester hold influential positions at the court, as Henry lacks interest in politics and the affairs of the state. This weakness in leadership opens the door for power struggles among the royal family, the nobles and aristocrats. The murder of the Duke is just the first in a series of catastrophes leading to the open uprising against the King in the War of the Roses. An exciting and dynamic play, King Henry VI Part 2, explores the relationship between leadership, power and liberty.