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.

Franz Xaver Kroetz -- banana-cutter, hospital orderly, fledgling actor and, more significantly, Germany's most popular contemporary dramatist of the seventies and early eighties. This study, which situates Kroetz's aesthetics in a political context, focuses on four plays that mark crisis points in his development of a political aesthetic. The breaks in otherwise very successful aesthetic models occur as Kroetz responds to changing social conditions.All those interested in Kroetz, as well as in broader aesthetic questions, will find that this book makes important breakthroughs.

This work provides a wealth of information on obscure and overlooked American playwrights as well as some famous ones; it will be a welcome addition for collections specializing in the theater arts. "Reference Books Bulletin"

This directory and index, the first such volume devoted exclusively to contemporary black American dramatists, will have an important place in theatre collections. It captures and preserves an elusive part of artistic endeavor, giving access to literally thousands of dramatic works that would otherwise be lost to scholars and the public. Organized as an encyclopedia, it provides information on more than 600 noteworthy Black American playwrights whose plays have been written, produced, or published between 1950 and the present. The volume begins with an introductory essay surveying the history of contemporary black American drama. Playwrights, screenwriters, radio and television scriptwriters, and musical theatre collaborators are treated in individual entries that comprise the bulk of the book. The volume also supplies a bibliography of anthologies, books, and periodicals cited; mailing addresses for more than 200 of the playwrights; and title and subject indexes.

During the 1920s and 1930s, Willis Richardson (1889-1977) was highly respected as a leading African-American playwright and drama anthologist. His plays were performed by numerous black high school, college, and university drama groups and by theater companies in Chicago, New York, Washington D.C., Cleveland, Baltimore, and Atlanta. With the opening of "The Chip Woman's Fortune" (1923), he became the first African American to have a play produced on Broadway. Several of his 46 plays were published in assorted magazines, and in his essays, he urged black Americans to seek their dramatic material in their own lives and circumstances. In addition, he edited three anthologies of plays by African-Americans. But between 1940 and his death in 1977, Richardson came to realize that his plays were period pieces and that they no longer reflected the problems and situations of African-Americans. In the years before his death, he attempted vigorously yet unsuccessfully to preserve several of his plays through publication, if not production. But the man who has been called the father of African-American drama and who was considered the hope and promise of African-American drama died in obscurity.

Richardson has even been neglected by the scholarly community. This critical biography, the first extensive consideration of his life and work, firmly reestablishes his pioneering role in American theater. The book begins with a detailed chronology, followed by a thoughtful biographical essay. The volume then examines the nature of African-American drama in the 1920s, the period during which Richardson was most productive, and it analyzes his approach to drama as a means of educating African-American audiences. It then explores the African-American community as the central theme in Richardson's plays, for Richardson typically looks at the consequences of refusals by blacks to help one another. The work additionally considers Richardson's history plays, his anthologies, his dramas intended for black children, and his essays. A concluding chapter summarizes his lasting influence; the book closes with a listing of his plays and an extensive bibliography.

In Peter Handke's play Kaspar, a young man is forced to learn to speak: a process that is a form of physical torture to him. In Jane Austen's Mansfield Park, the young heroine desires to keep as silent as possible, since speech directed at her causes such pain. We are not allowed to remain silent, even when the cost of speech is torture and pain.
Silence and Subject in Modern Literature uses a wide variety of texts from forms such as the modern crime novel, via popular classics from authors such as Jane Austen, to avant-garde plays by Samuel Beckett and Handke, to study literary representations of the power relations in which we are forced to speak. Informed by critical theory by Foucault and Bakhtin among others, and touching on fields as diverse as rhetoric, feminism, and the concept of literature, Silence and Subject in Modern Literature engages closely with a central issue in modern life: spoken violence.

Co-founder of the Provincetown Players and one of its leading writers, Susan Glaspell won the Pulitzer Prize for Alison's House (1930) and was also successful as an actress, producer, and novelist. Her plays were compared, often favorably, with O'Neill's. After a period of eclipse, Glaspell's concern with woman's desire for selfhood brought her plays to the attention of feminist scholarship beginning in the 1970s. Mary Papke argues in this work for a reassessment of Glaspell as a major American playwright. This sourcebook begins with a bio-critical survey and includes plot summaries for each staged work, complete with production history and critical reception. An annotated bibliography of primary works includes plays, novels, short fiction, nonfiction, nonprint, and archival sources. The secondary bibliography documents reviews and provides extensive annotations for a broad range of materials. Chronologically organized, it constitutes a detailed examiniation of Glaspell criticism.

In Shakespeare's bawdy bedroom farce, the dissolute Sir John Falstaff seeks to restore his declining fortunes by seducing the wife of a wealthy Windsor citizen. His ambitions go awry when two of his intended victims realize what Falstaff is up to and seek to lure him into a trap of their own. The Merry Wives of Windsor explores greed, envy and revenge, yet ends on a note of forgiveness. Shakespeare weaves an intricate plot, full of disguises and double-dealing, resulting in sparkling comedy. Falstaff ranks as one of Shakespeare's greatest characters, a man whose obvious flaws make him thoroughly human and all the more likeable.

'York Notes Advanced' offer an accessible approach to English Literature. This series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, 'York Notes Advanced' introduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

The Merchant of Venice is a comedy with a heart of darkness. In order to help a beloved friend, Antonio takes a loan from Shylock, a grasping Jewish moneylender. The terms of the loan state that if Antonio defaults on the loan, he must make restitution with a pound of his own flesh. One of Shakespeare's most complex characters, Shylock is at once villainous and profoundly human. He embodies commonplace anti-Semitic stereotypes, yet his motivations - surrounded as he is by hostile Christians - are readily comprehensible and render him sympathetic. The Merchant of Venice continues to challenge, entertain and disturb theatergoers and readers alike.

In their sparse and isolated spaces, Samuel Beckett's figures imagine the touch of a lost love or dream of the comfort and care that the hands of a dear one might bring. Applying philosophical writings that feature sensation, particularly touch, Trish McTighe examines how Beckett's later work for stage and screen dramatizes moments of contact between self and self, self and world, and self and other. With implications for how gender and ethics can be approached within Beckett's aesthetic, this study explores the employment of haptic imagery as an alternative to certain dominant codes of visual representation.

A study of the 30-year collaboration between playwright Samuel Beckett and director Alan Schneider, Bianchini reconstructs their shared American productions between 1956 and 1984. By examining how Beckett was introduced to American audiences, this book leads into a wider historical discussion of American theatre in the mid-to-late 20th century.

Giving equal space to the sanctity of script and the artistic freedom of directors, this book addresses the difficulties encountered by playwrights and directors as they bring a script to the stage. Inspired directors can help a writer of genius turn his play into exciting theatre, but playwrights find that giving directors leeway to interpret and modify text can result in directors' overriding authorial intentions. This book presents the best that has been written by literary theorists on the current definitions of text and attempts to depart from quick rule-of-thumb assessments of the problem.

Drawing from definitive articles in literary and theatre journals, part one gives the reader basic concepts and terminology. Interviews with playwrights and directors, showing the complexity of the issue, appear in part two, and part three includes case studies of playwrights and directors who faced production crises. Legal aspects of collaboration are considered in part four. The book concludes with a positive approach and possible solution to the problem.

Now in its 4th edition, this is an accessible and comprehensive introduction to the critical study of drama. Using familiar examples of classic and contemporary works such as Shakespeare's King Lear, Ibsen's A Doll's House and Timberlake Wertenbaker's Our Country's Good, the book explores the essential elements of play texts, from character, dialogue and plot to theatrical space. With more in depth guidance on how to study plays in and as performance, both live and in recordings available online, the 4th edition of Studying Plays now includes: * new examples throughout the book drawn from a range of 21st-century plays by established and emergent writers for diverse theatres and companies * new explorations of how plays structure and engage audience response * a complete new section on the analysis of theatre of witness and testimony; monodrama; and postdramatic texts.

Fifteen distinguished scholars contribute original essays that analyze A Streetcar Named Desire, one of the most significant plays in modern theatre, from various critical or cultural stances, methods, or modalities. Represented as individual points of view or touched upon in the analysis are the theories of Lacan and Foucault and the tenets of Marxism; the approaches of Feminism, Reader Response Criticism, Deconstructionism, Chaos and Anti-Chaos Theory, Translation Theory, Formalism, Mythology, Perception Theory, and Gender Theory; and the perceptions of Popular Culture, Film History and Theory, Southern Letters, and assorted cultural and regional studies. The volume introduction charts the course of Streetcar criticism from its inception to the present. Each essay begins by articulating the theoretical principles and methods behind the critical approach pursued, then applies these to readings from Streetcar, utilizing and documenting relevant major research. Insightful and challenging, the readings, individually and collectively, advance the study of the play and Tennessee Williams's canon and reputation generally. Each essay offers a fresh, provocative view of a play that has long been discussed in simplistic and dichotomized terms: Blanche as victim/Stanley as predator; Streetcar as a play about a failed southern belle meeting a brutish Pole; or Streetcar as a work of Southern literature. Viewing the play through the lenses of cultural and critical pluralism, the contributors open up the script and expand our awareness of the problems and possibilities offered by this great modern classic.

Coward Plays: 9 offers up a fascinating selection of Noel Coward's lesser-known works. Salute to the Brave/Time Remembered (1940) follows Leila Heseldyne after she has fled to America, leaving a war-torn Britain and her husband behind; Long Island Sound(1947) sees a writer coerced into a riotous flock of high flying society people with turbulent results; and Volcano (1957) depicts a volcanic eruption as it punctuates the dubious conduct of six individuals on a fictional South Sea island. This volume also includes Design for Rehearsing (1933) was Coward's private satire on the way he , Alfred Lunt and Lynn Fontanne worked on Design for Living. Age Cannot Wither (1967), Coward's last and unfinished play completes the collection as it portrays the boozy reunion of three women in their sixties, who meet without fail every year to reminisce. Together, these works offer a new and intriguing insight into Coward the playwright and his oeuvre that extends well beyond his most well-known works such as Private Lives, Blithe Spirit and Hay Fever. The volume is introduced by Coward expert and scholar Barry Day.

Among the most commercially successful female playwrights of all times, Clare Boothe Luce (1903-1987) is best remembered as the author of "The Women" (1936), a biting social comedy. Beginning in 1942, she spent less of her time writing plays and turned instead to the wider stage of politics and world affairs. She was the editor of Vanity Fair magazine, a congresswoman, and an ambassador to Italy during the Eisenhower administration.

This book traces her transition from playwright to politician to Catholic apologist. It uncovers for the first time plays, both early and late, that dramatize her spiritual and artistic journey. A comprehensive survey of her plays and the world's reception to them, the book provides a thorough treatment of Luce's published and unpublished work. For each play, the volume includes a plot summary, critical commentary, and production information. The book also includes an exhaustive and generously-annotated bibliography of both popular reviews and scholarly criticism.

The plays of Plautus and Terence were profoundly musical: large portions of all the plays were sung to accompaniment, and variations in melody, rhythm and dance were essential elements in bringing both pleasure and meaning to their performance. This book explains the nature of Roman comedy's music: the accompanying tibia, the style of vocal performance, the importance of dance, characteristics of melody, the relationship between meter and rhythm, and the effects of different meters and of variations within individual verses. It provides musical analyses of songs, scenes and whole plays, and draws analogies between Roman comedy's music and the music of modern opera, film and musical theatre. The book will change our understanding of the nature of Roman comedy and will be of interest to students of ancient theatre and Latin literature, scholars and students working on the history of music and theatre, and performers working with ancient plays.

A literary reading informed by the recent temporal turn in Queer Theory, this book analyzes medieval Biblical drama for themes representing modes of power such as the body, politics, and law. Revitalizing the discussions on medieval drama, Sturges asserts that these dramas were often intended not to teach morality but to resist Christian authority.

Naomi Wallace, an American playwright based in Britain, is one of the more original and provocative voices in contemporary theatre. Her poetic, erotically-charged, and politically engaged plays have been seen in London's West End, off-Broadway, at the Comedie-Francaise, in regional and provincial theaters, and on college campuses around the world. Known for their intimate, sensual encounters examining the relationship between identity and power, Wallace's works have attracted a wide range of theatre practitioners, including such important directors as Dominic Dromgoole, Ron Daniels, Jo Bonney, and Kwame Kwei-Armah. Drawing on scholars, activists, historians, and theatre artists in the United States, Canada, Britain, and the Middle East, this anthology of essays presents a comprehensive overview of Wallace's body of work that will be of use to theatre practitioners, students, scholars, and educators alike.

This checklist is witness to the vast and varied production of 20th-century French women playwrights. Like Beach's preceding volume, "French Women Playwrights Before the Twentieth Century: A Checklist" (Greenwood, 1994), this reference book presents an extensive list of dramatic works. Beach provides biographical information about the authors when known, as well as name variations (pseudonyms, maiden name, other marriages, etc.)

The plays are listed chronologically under each author's name, followed by a variety of information about each work: genre, the place and date of publication and performances, and the location of over 2000 texts in published or manuscript form in French holding libraries. The checklist also includes a title index and a bibliography. This book provides a useful research tool not only for scholars interested in drama and/or women's literature, but also for theatre professionals.

Accessible informative critical introduction to Caryl Churchill's classic modern play, "Top Girls".Caryl Churchill is widely considered one of the most innovative playwrights to have emerged in post-war British theatre. Identified as a socialist feminist writer, she is one of the few British women playwrights to have been incorporated into the dramatic canon. "Top Girls" is one of Churchill's most well known and often studied works, using an all female cast to critique bourgeois feminism during the Thatcher era.This guide provides a comprehensive critical introduction to "Top Girls", giving students an overview of the background and context for the play; detailed analysis of the its structure, style and characters; a practical analysis of key production issues and choices; an overview of the performance history focusing on key productions; and an annotated guide to further reading highlighting key critical approaches. It includes new interpretations of the text in the light of Churchill's recent playwriting and intervening shifts in the political landscape.It offers accessible, informative critical introductions to modern plays for students in both Theatre/Performance Studies and English. Offering up-to-date coverage of a broad range of key plays throughout modern drama, the guides includes accounts of performance history, production analysis, screen adaptations and summaries of important critical approaches and debates.

A father of newborn identical twins gives the boys the same name, while acquiring another set of twins (who also share a name) to be servant to his sons. What are the odds that a shipwreck will separate them, leaving two pairings of master and servant with identical names? If it's a Shakespeare comedy, it is virtually inevitable. It is also inevitable that these pairs will wind up in the same town, unaware of each other's presence, causing a great deal of confusion. Shakespeare is well-known for deriving comedy from mistaken identity, and here the device is taken to extremes, with hilarious results.

This book considers the cultural residue from pre-Christian Ireland in Synge's plays and performances. By dramatising a residual culture in front of a predominantly modern and political Irish Catholic middle class audience, the book argues that Synge attempted to offer an alternative understanding of what it meant to be "modern" at the beginning of the twentieth century. The book draws extensively on Synge's archive to demonstrate how pre-Christian residual culture informed not just how he wrote and staged pre-Christian beliefs, but also how he thought about an older, almost forgotten culture that Catholic Ireland desperately wanted to forget. Each of Synge's plays is considered in an individual chapter, and they identify how Synge's dramaturgy was informed by pre-Christian beliefs of animism, pantheism, folklore, superstition and magical ritual.

What did publicity look like before the eighteenth century? What were its uses and effects, and around whom was it organized? The essays in this collection ask these questions of early modern London. Together, they argue that commercial theater was a vital engine in celebrity's production. The men and women associated with playing-not just actors and authors, but playgoers, characters, and the extraordinary local figures adjunct to playhouse productions-introduced new ways of thinking about the function and meaning of fame in the period; about the networks of communication through which it spread; and about theatrical publics. Drawing on the insights of Habermasean public sphere theory and on the interdisciplinary field of celebrity studies, Publicity and the Early Modern Stage introduces a new and comprehensive look at early modern theories and experiences of publicity.

The global reception of Samuel Beckett raises numerous questions: in which areas of the world was Beckett first translated? Why were Beckett texts sometimes slow to penetrate certain cultures? How were national literatures impacted by Beckett's oeuvre? Translating Samuel Beckett around the World brings together leading researchers in Beckett studies to discuss these questions and explore the fate of Beckett in their own societies and national languages. The current text provides ample coverage of the presence of Beckett in geographical contexts normally ignored by literary criticism, and reveals unknown aspects of the 1969 Nobel Prize winner interacting with translators of his work in a number of different countries.