"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 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.

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.

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 Jacobean tragic-comedy by Philip Massinger explores the cultural conflict between Christian Europe and Muslim North Africa experienced when the two began to travel and trade in the early modern period. The play is peopled with merchants and pirates and the somewhat convoluted plot involves conversions between both faiths, disguise, kidnap and clandestine marriage.

The play is one of many of the period exploring the tantalizing and sometimes threatening "other" world of other religions and cultures and as such is studied alongside more familiar plays such as "Othello" and "The Merchant of Venice." Michael Neill explores the themes as well as the pure theatrical joy of this fast-paced play, putting it in its historical context as well as discussing how it resonates with modern audiences and readers today.

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.

Olympe de Gouges, French activist and playwright, has for centuries been called illiterate, immoral, and insane while being mentioned almost uniquely for her "Declaration of the Rights of Woman and the female]" Citizen (1791). However, her plays and pamphlets imagine in vivid terms the consequences of natural right and their potential for transforming the autocratic state and family. She wrote nearly fifty plays, of which about a dozen have been recovered, and innumerable polemical letters, posters, brochures, and essays. This book uncovers her radical views of the self, the family, and the state and accounts for her vision of increasing female agency and decreasing the entitlements of aristocratic males. Here, Sherman examines and refutes the calumny de Gouges's reputation has suffered and proves that this intriguing historical figure deserves to be read instead of simply being talked about.

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.

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.

"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

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.

This book charts how promotional campaigns in which Bernard Shaw participated were key crucibles within which agency and personality could re-negotiate their relationship to one another and to the consuming public. Concurrent with the rise of modern advertising, the creation of Shaw's 'G.B.S.' public persona was achieved through masterful imitation of patent medicine marketing strategies and a shrewd understanding of the relationship between product and spokesman. Helping to enhance the visibility of his literary writing and dovetailing with his Fabian political activities, 'G.B.S.' also became a key figure in the evolution of testimonial endorsement and the professionalizing of modern advertising. The study analyzes multiple ad series in which Shaw was prominently featured that were occasions for self-promotion for both Shaw and the agencies, and presage the iconoclastic style of contemporary 'public personality' and techniques of celebrity marketing.

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

Each edition includes:
- Freshly edited text based on the best early printed version of the play
- Full explanatory notes conveniently placed on pages facing the text of the play
- Scene-by-scene plot summaries
- A key to famous lines and phrases
- An introduction to reading Shakespeare's language
- An essay by a leading Shakespeare scholar providing a modern perspective on the play
- Illustrations from the Folger Shakespeare

A collection of comedic and dramatic monologues with 50 monologues for boys and 50 monologues for girls.

This work offers a timely alternative to theater criticism's neglect of the intensely spatial character of theatrical performance by showing that early modern audiences were highly aware of the spatial aspects of the stage. Jacobean dramatists used stage space to explore the spatial transformations of early modern society--social mobility, wandering populations, rural enclosure, sea travel, localized empirical thought.

Examining some of the most iconic texts in English theatre history, including "Titus Andronicus," "The Duchess of Malfi" and "The Changeling," this book reveals the pernicious erasure of rape and violence against women in the early modern era, and the politics and ethics of rehearsing these negotiations on the twentieth- and twenty-first century stages.

From his earliest success in 1945 with the poignant "The Glass Menagerie," until his final curtain call with the 1979 production of "The Two-Character Play," Tennessee Williams never stopped experimenting with theatrical techniques and striving to explain his richly provocative ideas. This new critical study of Williams traces the shape of the playwright's life and career, both full of wanderings, failures, love, anguish, and unparalleled triumphs. Incorporating much of the new information that is emerging in the recent publication of letters, biographies, and previously unpublished plays, this Student Companion distills a vast body of scholarship to give a fresh and accessible presentation of the key elements of Williams' complicated works. In-depth analysis of 7 of Williams' plays explore the literary styles, themes, and influences Williams drew from poetry, movies, mythology, religion, and personal experiences. This book allows the general reader and theatre enthusiast a glimpse at the shape of his life, his mind, and his work. Readers will come to appreciate why plays such as "A Streetcar Named Desire" (1947) and "Cat on a Hot Tin Roof" (1955) have come to be considered American classics.

Following the successful series format, this volume introduces readers to Tennessee Williams with a richly detailed biography, followed by a Literary Heritage chapter. A full chapter is devoted to examining each of his major plays. In addition to analysis of character, plot, themes, and style, each play is also given an alternate reading from formal, feminist, psychological, gay, or theological criticism. The concluding bibliography cites all of Williams' dramatic output, as well as his poetry and prose. It also gives many sources for biographical information, criticism of individual works, and original reviews from the first staging of his plays. Students and their teachers should find this volume interesting and easy to follow.

Consisting of six studies that present hermeneutical analyses of Wagnerian dramas, this book discusses Wagner's mature single dramas from Hollander to Parsifal with reference to the concept of Romantic irony and the basic theoretical orientation of post-structuralism. Wagner is best known as a composer of mythological works, but these music-dramas contain basic problems that essentially contradict what is regarded as their mythological or legendary nature. They all self-referentially play out certain critical processes. Focusing on the very issue of interpretation, this work asks how Wagner's dramas use their legendary or mythological raw material in a specifically 19th-century Romantic way to create meaning. It is argued that by means of Romantic irony, internal self-reflection or self-consciousness, each work deconstructs its own mythological or legendary nature. Musicologists with an interest in Wagner's works, and literary scholars who are interested in interdisciplinary applications of literary-critical theory, will appreciate this unique application of literary, theoretical, and critical concepts to the understanding of his music-dramas. This work will also appeal to scholars of German literature and of German cultural history. It discusses Wagner's single dramas from Hollander to Parsifal.

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 most complete record of a contemporary American dramatist available, David Mamet: A Resource and Production Sourcebook is the result of ten years' research by a widely published drama and theatre scholar and a university bibliographic specialist. Presenting a complete overview of all reviews and scholarshp on Mamet, the authors challenge assumptions about the playwright, such as the charge that he is an antifeminist writer. This comprehensive sourcebook is an essential purchase for Mamet scholars and students of American drama alike. David Mamet: A Resource and Production Sourcebook reflects the revolution underway in the study of drama, in which not only previous scholarship but performance reviews are a necessary part of research. It gives a complete listing and overview of over 250 scholarly articles and chapters of books on Mamet's plays. It also presents the complete production history of each play, including review excerpts. The authors have produced an invaluable guide to research into this key contemporary dramatist.

Friel is widely recognised as Irelands leading playwright but through the ability of plays like "Translations" and "Dancing at Lughnasa" to translate into other cultures he has also made a major impact on world theatre. This study draws on the Friel Archive in the National Library of Ireland to deepen our understanding of how his plays were developed.

Writing Under Tyranny: English Literature and the Henrician Reformation spans the boundaries between literary studies and history. It looks at the impact of tyrannical government on the work of poets, playwrights, and prose writers of the early English Renaissance. It shows the profound effects that political oppression had on the literary production of the years from 1528 to 1547, and how English writers in turn strove to mitigate, redirect, and finally resist that oppression. The result was the destruction of a number of forms that had dominated the literary production of late-medieval England, but also the creation of new forms that were to dominate the writing of the following centuries. Paradoxically, the tyranny of Henry VIII gave birth to many modes of writing now seen to be characteristic of the English literary Renaissance.

The Theatre of War surveys more than two hundred plays about the First World War written, published and/or performed in Britain and Ireland between 1909 and 1998. Collectively, these plays constitute an important aspect of British and Irish literary, social and cultural history. They are discussed from five major perspectives: subject matter, technique, attitude, reception and evaluation. The resulting complex image is a significant contribution to the understanding of the First World War as a watershed in international history.

In Troy, there lies the scene. From isles of Greece The princes orgillous, their high blood chaf'd, Have to the port of Athens sent their ships Fraught with the ministers and instruments Of cruel war. Sixty and nine that wore Their crownets regal from th' Athenian bay Put forth toward Phrygia; and their vow is made To ransack Troy, within whose strong immures The ravish'd Helen, Menelaus' queen, With wanton Paris sleeps-and that's the quarrel. To Tenedos they come, And the deep-drawing barks do there disgorge Their war-like fraughtage. Now on Dardan plains The fresh and yet unbruised Greeks do pitch Their brave pavilions: Priam's six-gated city, Dardan, and Tymbria, Helias, Chetas, Troien, And Antenorides, with massy staples And corresponsive and fulfilling bolts, Sperr up the sons of Troy.