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.

Dennis Potter is the most well-known, respected and controversial television dramatist Britain has ever produced. Plays and serials such as The Singing Detective and Pennies From Heaven received huge critical acclaim whilst always attracting audiences in their millions. This book will critically analyse both the strengths and the weaknesses of Potter's oeuvre, whilst investigating his status as both an 'author' and a 'celebrity'. Re-examining the drama, it foregrounds its ambiguities and contradictions, whilst clarifying the complex mixture of themes, styles and techniques which produced its distinctive and often provocative appeal.

This is an investigation of Yeats's experiments with the media of language and dance in his plays. He was allied to other artists of the 1890s in his fascination with the biblical dancer Salome and in his preoccupation with things Japanese, particularly "Noh" theatre with its central dance. The impact of Diaghilev's Ballets Russes also played its part in influencing Yeats's drama and he took interest in the "dance-as-meaning" debate. The book contains new data on Yeats's "At the Hawk's Well" dancer, Ito and new information on his personal acquaintance with music-hall and Ballets Russes from yet unpublished letters.

This publication examines over 125 American, English, Irish and Anglo-Indian plays by 70 dramatists which were published in 14 American general interest periodicals aimed at the middle-class reader and consumer.

Aristotle's neat compartmentalization notwithstanding (Poetics, ch. 9), historians and playwrights have both been laying claim to representations of the past - arguably since Antiquity, but certainly since the Renaissance. At a time when narratology challenges historiographers to differentiate their "emplotments" (White) from literary inventions, this thirteen-essay collection takes a fresh look at the production of historico-political knowledge in literature and the intricacies of reality and fiction. Written by experts who teach in Germany, Austria, Russia, and the United States, the articles provide a thorough interpretation of early modern drama (with a view to classical times and the 19th century) as an ideological platform that is as open to royal self-fashioning and soteriology as it is to travestying and subverting the means and ends of historical interpretation. The comparative analysis of metapoetic and historiosophic aspects also sheds light on drama as a transnational phenomenon, demonstrating the importance of the cultural net that links the multifaceted textual examples from France, Russia, England, Italy, and the Netherlands.

This study focuses on themes and techniques of empowerment in the full range of produced plays by Caryl Churchill from 1960 to the present. The playwright is well known for combining theatrical inventiveness with uncompromising social critique. She is one of the very few contemporary women playwrights to have achieved international prominence, and she has done so on the basis of a forthright socialist-feminist stand.

In August, 1959, an anxious William Rueckert wrote Kenneth Burke to ask, "When on earth is that perpetually 'forthcoming' A Symbolic of Motives forthcoming? Will it be soon enough so that I can wait for it before I complete my book Kenneth Burke and the Drama of Human Relations]? If the Symbolic is not forthcoming soon, would it be too much trouble for you to send me a list of exactly what will be included in the book, and some idea of the structure of the book?" Burke replied, "Holla If you're uncomfortable, think how uncomfortable I am. But I'll do the best I can. . . ." In the course of their long correspondence, the nature of the Symbolic-Burke's much-anticipated third volume in his Motivorum trilogy-vexed both men, and they discussed its contents often. Ultimately, Burke left the job of pulling it all together to Rueckert. Forty-eight years after they first discussed the Symbolic, Rueckert has fulfilled his end of the bargain with this book, Essays Toward a Symbolic of Motives, 1950-1955. ESSAYS TOWARD A SYMBOLIC OF MOTIVES, 1950--1955 contains the work Burke planned to include in the third book in his Motivorum trilogy, which began with A Grammar of Motives (1945) and A Rhetoric of Motives (1950). In these essays-some of which appear here in print for the first time-Burke offers his most precise and elaborated account of his dramatistic poetics, providing readers with representative analyses of such writers as Aeschylus, Goethe, Hawthorne, Roethke, Shakespeare, and Whitman. Following Rueckert's Introduction, Burke lays out his approach in essays that theorize and illustrate the method, which he considered essential for understanding language as symbolic action and human relations generally. Burke concludes with a focused account of humans as symbol-using and misusing animals and then offers his tour de force reading of Goethe's Faust. About the Author KENNETH BURKE (1897-1993) is the author of many books, including the landmark predecessors in the Motivorum trilogy: A Grammar of Motives (1945) and A Rhetoric of Motives (1950). He has been hailed as one of the most original thinkers of the twentieth century and possibly the greatest rhetorician since Cicero. Paul Jay refers to him as "the most theoretically challenging, unorthodox, and sophisticated of twentieth-century speculators on literature and culture." Geoffrey Hartman praises him as "the wild man of American criticism." According to Scott McLemee, Burke may have "accidentally create d] cultural studies." About the Editor William H. Rueckert, the "Dean of Burke Studies," has authored or edited numerous groundbreaking books and articles on Kenneth Burke, including the landmark study, Kenneth Burke and the Drama of Human Relations (1963, 1982). His correspondence with Burke was collected in Letters from Kenneth Burke to William H. Rueckert, 1959-1987 (Parlor, 2003). His most recent book is Faulkner From Within-Destructive and Generative Being in the Novels of William Faulkner (Parlor, 2004).

This collection of essays sets out to challenge the dominant narrative about Victorian theatre by placing the practices and products of the Victorian theatre in relation to Victorian visual culture, through the lens of the concept of 'Ruskinian theatre, ' an approach to theatre which values its educative purpose as well as its aesthetic expression.

This book investigates how the Children of Paul's (1599-1606) and the Children of the Queen's Revels (1600-13) defined their players as children and, via an analysis of their plays and theatrical practices, it examines early modern theatre as a site in which children have the opportunity to articulate their emerging selfhoods.

Set in Ancient Rome, "Poetaster" offers one of the first and most subtle statements in English of the Augustan cultural ideal. Jonson contrasts Augustus' wise rule with an English polity dominated (like the stage) by malice, intrigue and envy. This text examines these different strands so skilfully interwoven by Jonson, and argues for a reassessment of "Poetaster" as one of the most ideologically interesting of all early modern plays. The accompanying explanatory notes guide the reader through the personal and political illusions which gave the play its immediate satirical impact. -- .

Beckett and Philosophy examines and interrogates the relationships between Samuel Beckett's works and contemporary French and German thought. There are two wide-ranging overview chapters by Richard Begam (Beckett and Postfoundationalism) and Robert Eaglestone (Beckett via Literary and Philosophical Theories), and individual chapters on Beckett, Derrida, Foucault, Deleuze, Badious, Merleau-Pointy, Adorno, Hebermas, Heidegger and Nietzsche. The collection takes a fresh look as issues such as postmodern and poststructuralist thought in relation to Beckett studies, providing useful overview chapters and original essays.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Perfect for students of English Literature, Theatre Studies and American Studies at college and university, The Theatre of Tennessee Williams provides a lucid and stimulating analysis of Willams' dramatic work by one of America's leading scholars. With the centennial of his birth celebrated amid a flurry of conferences devoted to his work in 2011, and his plays a central part of any literature and drama curriculum and uibiquitous in theatre repertoires, he remains a giant of twentieth century literature and drama. In Brenda Murphy's major study of his work she examines his life and career and provides an analysis of more than a score of his key plays, including in-depth studies of major works such as A Streetcar Named Desire, The Glass Menagerie, Cat on a Hot Tin Roof and others. She traces the artist figure who features in many of Williams' plays to broaden the discussion beyond the normal reference points. As with other volumes in Methuen Drama's Critical Companions series, this book features too essays by Bruce McConachie, John S. Bak, Felicia Hardison Londre and Annette Saddik, offering perspectives on different aspects of Williams' work that will assist students in their own critical thinking.

Sean O'Casey is recognized as one of the most important Irish playwrights of the 20th century. When he was in his early 20s, he committed himself to the nationalist struggle to free Ireland from English domination. During the Dublin General Strike and Lock-Out of 1913, he came to appreciate the importance of social class, and he rejected Irish nationalism in favor of international socialism. Though "The Shadow of a Gunman" and "Juno and the Paycock" helped save the Abbey Theatre from near bankruptcy, "The Plough and the Stars" drew open criticism in 1926, when nationalists rioted over O'Casey's treatment of the Easter Rebellion.

This reference work is a comprehensive guide to O'Casey's plays. The volume begins with an introductory essay that discusses the political themes of his plays, the controversy surrounding his works in Ireland, the response to his plays in England and other countries, and the growth of academic interest in O'Casey in the 1960s. Plot summaries and critical overviews are provided for all of his dramatic works, and production credits are given for major performances of his plays. The volume includes extensive annotated bibliographical information for secondary sources, including reviews.

VALENTINE. Cease to persuade, my loving Proteus: Home-keeping youth have ever homely wits. Were't not affection chains thy tender days To the sweet glances of thy honour'd love, I rather would entreat thy company To see the wonders of the world abroad, Than, living dully sluggardiz'd at home, Wear out thy youth with shapeless idleness. But since thou lov'st, love still, and thrive therein, Even as I would, when I to love begin. PROTEUS. Wilt thou be gone? Sweet Valentine, adieu! Think on thy Proteus, when thou haply seest Some rare noteworthy object in thy travel. Wish me partaker in thy happiness When thou dost meet good hap; and in thy danger, If ever danger do environ thee, Commend thy grievance to my holy prayers, For I will be thy headsman, Valentine.

This new volume in the "Author Chronologies" series traces the daily activities of the Nobel Prize winning author and playwright Harold Pinter 1930-2008]. It is based upon published and unpublished materials and discussion with his close friends, and is the most detailed chronological account of Pinter to appear to date. As such, it will influence future scholarship and criticism, and is an invaluable reference tool for all Pinter students and scholars.

"Theatre, Intimacy and Engagement "unravels politics from theatre in order to propose a new means to politicize performance. The last human venue is the location where the sense of one's aliveness, ethical associations, and collective potential is kickstarted through the shock of theatrical affects. Performance analyses ranging from child actors, animals and objects to reflections on the innovative theatre work of Societas Raffaello Sanzio, Forced Entertainment and Goat Island combine to offer a radical critique of performance studies: the first social science of appearance.

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.

The book studies the past of the characters in Aeschylus and Sophocles, a neglected but crucial topic. The characters' beliefs, values, and emotions bear on their view of the past. This view reinforces their beliefs and their conception of themselves and others as agents of free will and members of a family and/or community. The study reveals that, although the characters' idea of the past is fixed, the impact of the past is not. The characters consider, review, and construct narratives of it, as they seek to mould a future they perceive as morally just for themselves and others.

This collection investigates dramatic and performative renderings of 'America' as an exilic place particularly focusing on issues of language, space and identity. It looks at ways in which immigrants and outsiders are embodied in American theatre practice and explores ways in which 'America' is staged and dramatized by immigrants and foreigners.

The comparison made between Prometheus and Faust occurs so frequently in modern scholarship as to seem commonplace. However, while each figure has been investigated separately, no recent full-length study has brought the two characters together and examined the association. The present volume explores the Prometheus myth from its preliterary origins through treatments in Greek by Hesiod, Aeschylus, Plato, and Lucian, as well as in Latin literature and Roman theatricals. The investigation continues into hitherto unexplored connections with the Greek figure and the magus and occult scientist types of late antiquity, the Middle Ages, and Renaissance. The Prometheus and Faust traditions met in literature and art soon after the emergence of the historical Faustus. The traditions continued to exist independently through the 16th and 17th centuries, until Goethe began to write a play about each character. Ultimately Goethe abandoned Prometheus; however, Faust absorbed much of the Promethean persona.

In its rigorously researched analysis of Anglo-Jewish women writing the Holocaust, this book highlights the necessity of their inclusion in the evolving canon of modern British literature. Addressing the question of why the Holocaust is still being written, this study brings together Kindertransport writers, those of the Second Generation and those writers who have no personal or communal connection to the Holocaust but who have felt compelled to testify to the painful adaptations or betrayals of refugees by the nation which rescued so many.
In her significant critical interpretations of memoirs, plays, poetry and novels, Lassner shows how these writers complicate theories of trauma and memory by using fantasy and the Gothic as a response to silence as well as to the historical and narrative relationship between endangered European Jews and Britain's cultural and political responses to them.

"The broad scope of this work should provide accessible and welcome assistance to both the seasoned O'Neill scholar and the newly initiated. . . . For academic libraries, community college level and up, and public libraries. Choice

Theatres world-wide embrace Chekhov's handful of plays with a fervour second only to Shakespeare's. Whatever their native language or culture, audiences often see themselves in his Russian characters, making Chekhov seem an author who easily transcends his own culture and time. Nonetheless, students, actors, and audiences alike are often initially puzzled by Chekhov's dramatic texts. Are they comic or tragic, ironic or sincere, starkly familiar or willfully elusive? How can his often seemingly irrelevant dialogue create dynamic performances? In his stories and plays alike, Chekhov challenges his readers to diagnose his characters' desires, opinions, heartaches and joys in the same way that doctors diagnose illness by attending closely to apparently trivial details. In the plays where narrative voice is absent and characters speak for themselves reading under a microscope becomes all the more necessary. The expert attention that Carnicke pays to the performative dimensions of Chekhov's plays makes her book unique among the published guides to Chekhov's works.

Theatre of Real People offers fresh perspectives on the current fascination with putting people on stage who present aspects of their own lives and who are not usually trained actors. After providing a history of this mode of performance, and theoretical frameworks for its analysis, the book focuses on work developed by seminal practitioners at Berlin's Hebbel am Ufer (HAU) production house. It invites the reader to explore the HAU's innovative approach to Theatre of Real People, authenticity and cultural diversity during the period of Matthias Lilienthal's leadership (2003-12). Garde and Mumford also elucidate how Theatre of Real People can create and destabilise a sense of the authentic, and suggest how Authenticity-Effects can present new ways of perceiving diverse and unfamiliar people. Through a detailed analysis of key HAU productions such as Lilienthal's brainchild X-Apartments, Mobile Academy's Blackmarket, and Rimini Protokoll's 100% City, the book explores both the artistic agenda of an important European theatre institution, and a crucial aspect of contemporary theatre's social engagement.

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.