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Books > Language & Literature > Literature: history & criticism > Plays & playwrights > General
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Macbeth
(Paperback)
William Shakespeare
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R525
Discovery Miles 5 250
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Ships in 12 - 19 working days
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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Lessing was a playwright, scholar, poet, archeologist, philosopher,
and critic. His genius is evident in the works collected in this
volume, which includes the comedy Minna von Barnhelm, the tragedy
Emilia, Galotti, Nathan the Wise, The Jews (and related
correspondence), Ernst and Falk: Conversations for the Freemasons,
and selections from philosophical and theological writings>
Die boek behandel spraakopleiding en opvoedkundige drama
Bringing together 70 major critical articles across four volumes,
Modern and Contemporary World Drama: Critical and Primary Sources
collects scholarly articles, reviews and critical interventions
that are indispensable to anyone wishing to gain an understanding
of world drama from the past 150 years. Contesting a Eurocentric
reading or history of modern drama, the articles underscore the
importance of migration and transnational movements of dramatic
forms, and place emphasis on the transmission and circulation of
dramatic theories around the world. Modern drama is revealed as a
worldwide phenomenon in which a diverse array of artists and
writers participated and in which modernism is seen to have
affected all parts of the world in ways that are much more complex
and multi-directional than what has been assumed in Eurocentric
models. The four volumes are arranged both thematically and
chronologically to give readers a sense of how world modern and
contemporary drama began and how it has been studied in the past
150 years. Volume 1: Beginnings This volume includes essays that
describe various beginnings of modern drama. Instead of identifying
a singular origin of modern drama with a linear chronology, the
volume suggests multidirectional and multidimensional beginnings.
The geographical area covered in the volume is extensive, and each
essay describes different ways to conceptualize time, chronology,
and what would be considered innovative in dramatic writing. Volume
2: Theories This volume includes essays that address theoretical
questions of modern and contemporary world drama. In many ways,
modern drama around the world began as a theoretical endeavor that
questioned the fundamentals of the dramatic form. Like the first
volume, the second illustrates an array of studies that challenge a
singular interpretation of modern and contemporary drama. Many of
the essays provide practical applications of dramatic theories, and
all of them situate the core analysis in historically and
politically specific contexts, and the volume questions what theory
means to lived experiences in the era of globalization. Volume 3:
Movements This volume includes themes of migration, exchange,
national borders, exile, and diaspora, and the theatrical stage is
often used as a laboratory to examine key issues of globalization
and displacement. The volume also examines other definitions of
"movements," including political and aesthetic movements that have
determined the development of modern and contemporary drama. Like
the first two volumes, the third volume prioritizes studies that
emphasize the complexities of the global and cosmopolitan
experience and refuses to arrive at a narrative with a singular or
universal perspective. Volume 4: Twenty-First Century This volume
continues many topics raised in the first three volumes and
considers how the new millennium has affected the development of
modern and contemporary world drama. The essays in the volume
examine various developments that are commonly described with the
prefix "post," as in posthumanism, post-truth, postcolonial,
postrace, and post-nation. A number of the essays concern
uncertainties around the future of humanity in the age of
technological advancements and late capitalism.
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Modern Tragedy
(Hardcover)
James Moran; Series edited by Simon. Shepherd
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R1,640
Discovery Miles 16 400
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Ships in 12 - 19 working days
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What distinguishes modern tragedy from other forms of drama? How
does it relate to contemporary political and social conditions? To
what ends have artists employed the tragic form in different
locations during the 20th century? Partly motivated by the urgency
of our current situation in an age of ecocidal crisis, Modern
Tragedy encompasses a variety of drama from throughout the 20th
century. James Moran begins this book with John Millington Synge's
Riders to the Sea (1904), which shows how environmental awareness
might be expressed through tragic drama. Moran also looks at
Brecht's reworking of Synge's drama in the 1937 play Senora
Carrar's Rifles, and situates Brecht's script in the light of the
theatre practitioner's broader ideas about tragedy. Brecht's tragic
thinking - informed by Hegel and Marx - is contrasted with the
Schopenhauerian approach of Samuel Beckett. The volume goes on to
examine theatre makers whose ideas were partly motivated by
applying an understanding of the tragic narrative of Synge's Riders
to the Sea to postcolonial contexts. Looking at Derek Walcott's The
Sea at Dauphin (1954), and J.P. Clark's The Goat (1961), Modern
Tragedy explores how tragedy, a form that is often associated with
regressive assumptions about hegemony, might be rethought, and how
aspects of the tragic may coincide with the experiences and
concerns of authors and audiences of colour.
Few figures are more respected and quoted internationally than
Fintan O'Toole, both as a controversial and provocative political
commentator and theatre critic. This extensive collection brings
together a wide range of his writings going back to 1980. It
provides a privileged insight into the great moments of
contemporary Irish theatre, marking the contributions of
playwrights (Carr, Murphy, Friel, McGuinness), directors (Hynes,
Byrne), actors (Hickey, McKenna), and designers (Vanek, Frawley).
It also demonstrates his unsettling of the usual "canon," with his
thoughtful arguments promoting certain playwrights who deserve to
up be there with Ireland's best, including Antoine O'Flatharta,
Paul Mercier, Dermot Bolger, and David Byrne.
This collection brings together three international and
contemporary plays that each denounce violence against women,
alongside interviews with the creators and practitioners who
brought them to life. With interviews with writers, directors and
producers, who discuss the conception and staging of their plays,
their hope is to de-glamourize the staging of violence, to give
voice to the survivors of gendered violence, and to create
awareness and empathy within the audiences. Little Stitches
(London, 2014): four short pieces by Isley Lynn, Raul Quiros Molina
, Bahar Brunton and Karis E. Halsall on the issue of Female Genital
Mutilation as seen from the point of view of by-standers, health
professionals, women who support the practice and, finally,
survivors. 'Kubra' (Sydney, 2016) by Dacia Maraini, features a
young female protagonist who was subjected to FGM/C as a child, and
now brings her case to court. Rape Trial (Rome, 2018), adapted for
theatre by Renato Chiocca from the international award-winning
documentary of the same title made for Italian state television in
1979, shows how attitudes toward sexual violence, and judicial
procedures, tend to turn rape survivors from accusers into accused,
in court and in everyday discourse.
Teenager Alan, fought over by a religious mother and an atheist
father, finds release in horses, until he is driven to blind them
with a spike. Why? While treating the boy, a psychiatrist discovers
his own life is paradoxically in the witness box.
In contrast to other literary genres, drama has received little
attention in southern studies, and women playwrights in general
receive less recognition than their male counterparts. In
Marginalized: Southern Women Playwrights Confront Race, Region, and
Gender, author Casey Kayser addresses these gaps by examining the
work of southern women playwrights, making the argument that
representations of the American South on stage are complicated by
difficulties of identity, genre, and region. Through analysis of
the dramatic texts, the rhetoric of reviews of productions, as well
as what the playwrights themselves have said about their plays and
productions, Kayser delineates these challenges and argues that
playwrights draw on various conscious strategies in response. These
strategies, evident in the work of such playwrights as Pearl
Cleage, Sandra Deer, Lillian Hellman, Beth Henley, Marsha Norman,
and Shay Youngblood, provide them with the opportunity to lead
audiences to reconsider monolithic understandings of northern and
southern regions and, ultimately, create new visions of the South.
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.
What is home? The answer seems obvious. But Telling Our Stories of
Home, an international collection of eleven plays by and about
women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil,
India, UK, and the US, complicates the answer. The "answer"
includes stories as far-ranging as: enslaved women trying to create
a home, one by any means necessary, and one in the ocean; siblings
wrestling with their differing devotion to home after their
mother's death; a family wrestling with the government's refusal to
allow the burial of their soldier-son in their hometown; a young
scholar attempting to feel at home after studying abroad; a young
man fleeing home due to his sexual orientation only to discover the
difficulty of creating home elsewhere, and Siddis (Indians of
African descent) continuing to struggle for acceptance despite
having lived in India for over 600 years. These are voices seldom
represented to a larger audience. The plays and performance pieces
range from 20 to 90-minute pieces and include a mix of monologue,
duologue, and ensemble plays. Short yet powerful, they allow
fantastic performance opportunities particularly in an age of
social-distancing with flexible casts that together invite the
theme of home to be performed and studied on the page. The plays
include: The House by Arze Khodr (Lebanon), Happy by Kia Corthron
(US), The Blue of the Island by Evelyne Trouillot (Haiti), Nine
Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe
Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana
(Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine)
Letting Go and Moving On by Louella Dizon San Juan (US),
Antimemories of an Interrupted Trip by Aldri Anunciacao (Brazil),
So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here,
Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)
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 timely and expansive biography of Wole Soyinka, the Nigerian
writer, Nobel laureate, and social activist, shows how the author's
early years influence his life's work and how his writing, in turn,
informs his political engagement. Three sections spanning his life,
major texts, and place in history, connect Soyinka's legacy with
global issues beyond the borders of his own country, and indeed
beyond the African continent. Covering his encounters with the
widespread rise of kleptocratic rule and international corporate
corruption, his reflection on the human condition of the
North-South divide, and the consequences of postcolonialism, this
comprehensive biography locates Wole Soyinka as a global figure
whose life and works have made him a subject of conversation in the
public sphere, as well as one of Africa's most successful and
popular authors. Looking at the different forms of Soyinka's
work--plays, novels, and memoirs, among others--this volume argues
that Soyinka used writing to inform, mobilize, and sometimes incite
civil action, in a decades-long attempt at literary social
engineering.
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