In an innovative and wide-ranging collection of essays, The Performing Century looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. From the vogue for fairy plays to the acting styles of melodrama, from the work of a single impresario to the nature of a genre, from ship-launches in Belfast to royal weddings in England, from the representation of economics to the work of a parliamentary committee in regulating theatres, the authors bring new perspectives on familiar material and radically redefine what theatre and performance in the Nineteenth century might be.

SATURNINUS. Noble patricians, patrons of my right, Defend the justice of my cause with arms; And, countrymen, my loving followers, Plead my successive title with your swords. I am his first born son that was the last That ware the imperial diadem of Rome; Then let my father's honours live in me, Nor wrong mine age with this indignity. BASSIANUS. Romans, friends, followers, favourers of my right, If ever Bassianus, Caesar's son, Were gracious in the eyes of royal Rome, Keep then this passage to the Capitol; And suffer not dishonour to approach The imperial seat, to virtue consecrate, To justice, continence, and nobility; But let desert in pure election shine; And, Romans, fight for freedom in your choice.

This new study of one of Britain's greatest modern playwrights represents the first major, extended discussion of Edward Bond's work in over twenty years. The book combines rigorous and readable analysis and discussion of Bond's plays and ideas about drama and society. For the first time, there is also discussion of selected plays from his later, post-2000 period, including "Innocence" and "There Will Be More," alongside explorations of widely studied plays such as "Saved."

This ground-breaking study analyses Beckett's television plays in relation to the history and theory of television. It argues that they are in dialogue with innovative television traditions connected to Modernism in television, film, radio, theatre, literature and the visual arts. Using original research from BBC archives and manuscript sources, the book provides new perspectives on the relationships between Beckett's television dramas and the wider television culture of Britain and Europe. It also compares and contrasts the plays for television with Beckett's Film and broadcasts of his theatre work including the recent Beckett on Film season. Chapters deal with the production process of the plays, the broadcasting contexts in which they were screened, institutions and authorship, the plays' relationships with comparable programmes and films and reaction to Beckett's screen work by audiences and critics. This book is a major contribution to Beckett scholarship and to studies of television drama. It will be essential reading in literature and drama studies, television historiography and for devotees of Beckett's work. -- .

Eugene O'Neill is the only American dramatist ever to have received the Nobel Prize for Literature. He wrote over 50 plays; a number are virtually unknown by the general public; several are considered classics of the American stage; all of them demonstrate, in one way or another, how O'Neill challenged the conventional boundaries of the drama of his time and thereby paved the way for modern American theatre. This volume will provide guides to eight of O'Neill's plays that are most often studied in schools and colleges: The Hairy Ape, Anna Christie, The Emperor Jones, Desire Under the Elms, Ah, Wilderness!, The Iceman Cometh, Long Day's Journey Into Night, and A Moon for the Misbegotten. More than almost any other author in any fictional genre, O'Neill's works are highly autobiographical. The love/hate relationships he had with the members of his own family resonate throughout his dramatic works. The son of an alcoholic and a morphine addict, he struggled with chemical dependency throughout his life, but determined to be "an artist or nothing," he eventually gave up drinking and fulfilled his artistic ambitions, transforming the traumatic experiences of his life into compelling drama. O'Neill's drama provides insights into the complexities of human behavior and raises questions about the forces, both external and internal, that shape human lives.

This is a comprehensive introduction to "The Duchess of Malfi" that introduces its critical and performance history, the current critical landscape and new directions in research. John Webster's classic revenge tragedy "The Duchess of Malfi" was first performed in 1614 and published in 1623. This guide offers students and scholars an introduction to its critical and performance history, including recent versions on stage and screen. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays presenting new critical positions on the text include gender and political perspectives on the idea of secrecy in the play and debates surrounding Webster's religio-political allegiances. Finally, a guide to critical, web-based and production-related resources and an annotated bibliography provide a basis for further individual research. "Continuum Renaissance Drama" offers practical and accessible introductions to the critical and performative contexts of key Elizabethan and Jacobean plays. Each guide introduces the text's critical and performance history but also provides students with an invaluable insight into the landscape of current scholarly research through a keynote essay on the state of the art and newly commissioned essays of fresh research from different critical perspectives.

While the past decade proved to be some of the most tumultuous times in modern US history, the Black community has been resilient, opening up dialogues and sustaining advocacy. Nowhere has this been more apparent than at the Obie Award-winning The Fire This Time Festival in New York City. Since being founded in 2009, this theater festival has become the destination for emerging and early career playwrights from the African diaspora. Inequality in education and healthcare, skewed and negative images of Black people in mainstream media, racism in policing, widespread gentrification and its effects on multi-generational Black neighbourhoods, and the growth of Black love; these conversations have been happening in the US, and The Fire This Time Festival has borne witness. 25 Plays from The Fire This Time Festival: A Decade of Recognition, Resistance, Resilience, Rebirth, and Black Theater reflects this fantastic legacy, containing 25 ten-minute plays originally produced by the eponymous festival. Together, these pieces bookend the Black experience in the US from 2009 to the present day: from the hope for further progress and equity under the Obama administration, to the existential threat faced by Black people under the Trump presidency. Edited and curated by Kelley Nicole Girod, the anthology divides the plays into seven thematic sections concerning multi-faceted aspects of the Black experience, featuring work by seminal writers such as Katori Hall, Antoinette Nwandu, Dominique Morisseau, C.A. Johnson, and Marcus Gardley. Both timely and timeless, 25 Plays from The Fire This Time Festival presents an exciting, eclectic mix of 21st century theater that is perfect for study, performance, and reflection.

'Moliere on Stage' takes the reader onstage, backstage and into the audience of Moliere's plays, analyzing the performance of his works in both his own time and in ours. Written by a professional stage director with over fifty years' experience directing and translating Moliere, this text explores how the playwright strove to create a communal experience of shared laughter, and investigates four key topics relating to this achievement: Moliere's early experiences that lead to his later theater experiences; his central great plays of love and lust; his comedic genius and his passion for the stage; and the final words and performances of his life.

A Companion to Sophocles presents the first comprehensive collection of essays in decades to address all aspects of the life, works, and critical reception of Sophocles. * First collection of its kind to provide introductory essays to the fragments of his lost plays and to the remaining fragments of one satyr-play, the Ichneutae, in addition to each of his extant tragedies * Features new essays on Sophoclean drama that go well beyond the current state of scholarship on Sophocles * Presents readings that historicize Sophocles in relation to the social, cultural, and intellectual world of fifth century Athens * Seeks to place later interpretations and adaptations of Sophocles in their historical context * Includes essays dedicated to issues of gender and sexuality; significant moments in the history of interpreting Sophocles; and reception of Sophocles by both ancient and modern playwrights

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.

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.

This volume offers critical and theoretical perspectives on some of the major figures in European drama in the 20th century. There are 13 essays, covering Luigi Pirandello, Bertolt Brecht, Stanislaw Witkiewicz, Samuel Beckett, Antonin Artaud, Eugene Ionesco, Jean Anouilh, Fernando Arrabal, Jean Genet, Peter Weiss, Vaclav Havel, contemporary German theatre, and Dario Fo and Franca Fame. These essays combine contemporary theory with a discussion of the dramatic work and theories of theatre and drama of the playwrights who created modern drama in Europe. Brian Docherty is the co-editor of "Nineteenth-Century Suspense: From Poe to Conan Doyle", and editor of "American Crime Fiction: Studies in the Genre", "American Horror Fiction: From Brockden Brown to Stephen King", "Twentieth Century American Drama", "American Modernist Poetry", "Twentieth Century British Poetry 1900-50", Twentieth Century British Poetry 1950-90" and "The Beat Generation".

POET. Good day, sir. PAINTER. I am glad y'are well. POET. I have not seen you long; how goes the world? PAINTER. It wears, sir, as it grows. POET. Ay, that's well known. But what particular rarity? What strange, Which manifold record not matches? See, Magic of bounty, all these spirits thy power Hath conjur'd to attend! I know the merchant. PAINTER. I know them both; th' other's a jeweller.

What were the causes of Restoration drama's licentiousness? How did the elegantly-turned comedy of Congreve become the pointed satire of Fielding? And how did Sheridan and Goldsmith reshape the materials they inherited? In the first account of the entire period for more than a decade, Richard Bevis argues that none of these questions can be answered without an understanding of Augustan and Georgian history. The years between 1660 and 1789 saw considerable political and social upheaval, which is reflected in the eclectic array of dramatic forms that is Georgian theatre's essential characteristic.

The most important period in the history of English drama is revealed in Alexander Leggatt's challenging account. The author considers English drama from the beginning of Shakespeare's career to the restoration of Charles II. Focusing on Shakespeare and the development of his art, he examines all his major contemporaries: Jonson, Middleton, Webster, Beaumont, Fletcher and Ford. He combines close analysis of specific plays with a broader look at trends within drama.

"The Gothic and the Rule of Law" is the first full-length theoretical and historical study of the relation between early Gothic fiction and an emerging modern rule of law. The work identifies not only a political and cultural, but also an ontological relation between what critics have conceptualized as 'Gothic' and the nature and function of modern juridical power. It represents a highly significant contribution to Gothic criticism and to law and literature scholarship.

Writing Catholic Women examines the interplay of gender, race, ethnicity, nationality, and sexuality through the lens of Catholicism in a wide range of works by women writers, forging interdisciplinary connections among women's studies, religion, and late twentieth-century literature. Discussing a diverse group of authors, Jeana DelRosso posits that the girlhood narratives of such writers constitute highly charged sites of their differing gestures toward Catholicism and argues that an understanding of the ways in which women write about religion from different cultural and racial contexts offers a crucial contribution to current discussions in gender, ethnic, and cultural studies.

Reissuing 15 works originally published between 1934 and 1991, this diverse set offers an outstanding collection of scholarship devoted to Renaissance Drama. Routledge Library Editions: Renaissance Drama provides an extensive study of performance history and criticism of Elizabethan and Jacobean theatre, as well as volumes dedicated to the playwrights Ben Jonson and William Shakespeare. These volumes present together a lively picture of the development of British theatre and will be of interest to students of literature, drama and performance.

This volume offers a current reading of the Italian writer, Pirandello. The author examines the representation of gender relations in Pirandello's writing in the light of recent developments in textual analysis. She reassesses Pirandello's status as an innovative, avant-garde writer, arguing that whilst on the level of dramatic form he is certainly avant-garde, he is not so on the more covert level of gender relations. The author uses contemporary feminist theory to show how textual analysis can expose the covert reinforcement of patriarchal values. The study provides an illustration of a variety of methods which could be applied to texts other than those of Pirandello's.

This collection of multi-authored essays not only refashions and revises critical understandings of the early modern dramatist Ben Jonson and his canon of work, but is also self-reflexive about the process. It includes original essays by both established and emergent Jonson scholars, and employs materialist, feminist and queer theory in the production of its readings of Jonsonian playtexts and masques, familiar and otherwise. It is intended to encourage new approaches by students to this central figure from the Renaissance.

'One drink. And if you never want to see me again you never have to see me again.' A quantum physicist and a beekeeper meet. They hit it off, or perhaps they don't. They might go home together, they might not. Constellations explores love, free will, and friendship through quantum multiverse theory and honey. Constellations premiered at the Royal Court Theatre Upstairs, London, in 2012, and transferred to the Duke of York's. It opened on Broadway in 2015; and at the Vaudeville Theatre, London, in 2021. 'Nick Payne's gorgeous two-character drama, may be the most sophisticated date play Broadway has seen.' New York Times

During the years 1880 to 1945, American theatre grew up, moving from entertainment-driven motives and melodramatic formulas to serious confrontations with issues of its time and to an experimentation with forms that would allow those confrontations to be frank and earnest. Many of the playwrights of this time wrote works of lasting significance, while others have impacted the work of contemporary dramatists. This reference is a guide to American theatre during this formative period.

The volume includes alphabetically arranged entries for 40 American playwrights active between 1880 and 1945. Included are the most frequently canonized figures, as well as previously neglected women and minority playwrights whose work is a vital part of American theatre history. Each entry includes a biographical overview, a summary of the critical reception of major productions and significant revivals, a critical assessment of the playwright's career, and a listing of archival, primary, and secondary bibliographic material.