Ideal for student research and class discussion, this interdisciplinary casebook provides a rich variety of primary historical documents and commentary on The Crucible within the context of two relevant historical periods: the Salem witch-trials of 1692 and the "Red Scare" of the 1950s, when the play was written. The play is a testimony to the inherent dangers Miller sees in any community seized by hysteria. The Salem witch-hunts, which Miller uses to illustrate such a community, were echoed more than 250 years later in the hunt for subversives during the "Red Scare" of the 1950s. The authors provide literary and dramatic analysis of the play, comprehensive historical backgrounds, relevant documents of the periods, and questions and projects to help students in their understanding of The Crucible and the issues it raises. In a discussion of Puritan society of the seventeenth century, the authors explore the habits of many of the residents of Massachusetts Bay and specific events which seemed to make the witch-hunts of 1692 inevitable. The text of relevant documents illustrate their beliefs, combined with the disasters that contributed to community hysteria. A chapter on the Salem witch trials includes testimony, letters, and first person accounts by actual people on which Miller based his characters. A chapter on the "Red Scare" of the 1950s features testimony before the House Un-American Activities Committee, case studies of blacklisted people, and an exclusive interview with a couple who were blacklisted. The authors include a chapter on witch-hunting in the 1990s in the form of testimony from preschoolers which sent child care workers to prison on charges of sexual abuse. Studentswill be able to compare and contrast witch- hunting over 300 years with the materials provided here, many of which are available in no other printed form. Each section of the casebook contains study questions, topics for research papers and class discussion, and lists of further reading for examining the issues raised by the play.

The history of European drama began at the festivals of Dionysus in ancient Athens, where tragedy, satyr-drama and comedy were performed. Understanding this background is vital for students of classical, literary and theatrical subjects, and Alan H. Sommerstein's accessible study is the ideal introduction.
The book begins by looking at the social and theatrical contexts and different characteristics of the three genres of ancient Greek drama. It then examines the five main dramatists whose works survive - Aeschylus, Sophocles, Euripides, Aristophanes and Menander - discussing their styles, techniques and ideas, and giving short synopses of all their extant plays.

Originally adapted for the stage, Peter Meineck's revised translations achieve a level of fidelity appropriate for classroom use while managing to preserve the wit and energy that led The New Yorker to judge his Clouds The best Greek drama we've ever seen anywhere," and The Times Literary Supplement to describe his Wasps as "Hugely enjoyable and very, very funny. A general Introduction, introductions to the plays, and detailed notes on staging, history, religious practice and myth combine to make this a remarkably useful teaching text.

David and Bathsheba presents a modernised edition of George Peele's explosive biblical drama about the tangled lives, deadly liaisons, and twisted histories of Ancient Israel's royal family. Martin's critical edition is the first modern single-volume edition of the play since 1912 and opens up this unduly neglected gem of English Renaissance drama to student and scholar alike. The introduction examines such topics as the play's treatment of its biblical and poetic sources, its engagement with Elizabethan politics, and its forceful representations of religious fanaticism, genocide, and sexual violence. Its commentary notes clarify the text's meaning and staging, guide the reader through the play's dramatisation of the turbulent Davidic period of Ancient Israel's history, and place the play in its broader cultural and artistic milieu. Martin's edition aims to encourage new contemporary critical study of Peele's powerful and disturbing drama. -- .

During the 19 years of her play-writing career, Aphra Behn had far more new plays staged than anyone else. This book is the first to examine all her theatrical work. It explains her often dominant place in the complex theatrical culture of Charles II's reign, her divided political sympathies, and her interests as a free-thinking intellectual. It also reveals her to be a brilliant theatrical practitioner who used the seen as richly and significantly as the spoken.

Unique in any Western language, this is an invaluable resource for the study of one of the world's great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.

Eric Salmon contends that modern theatre is artistically endangered. This book is his evaluation of the present state of English-speaking theatre and an examination, through examples of twentieth-century plays, both good and bad, of the reasons for it. Salmon's method is critical-argumentative. He is as much concerned with staging methods and playing as with the plays themselves, though he regards the playwright as the primary artist in the theatre and the actor as an interpretor.

This six-volume anthology documents the history of women's drama throughout the 18th century, starting with the emergence in 1695-6 of the second generation of women dramatists in succession to Aphra Benn. Containing a representative selection of newly edited and annotated texts by leading woman dramatists of the period from 1696 to 1800, the anthology reflects the changes in Britain's global realignment in class models and perception of other peoples.

This exploration of the territory between theory and practice in contemporary theatre features essays by academics from theatre and translation studies, and delineates a new space for the discussion of translation in the theatre that is international, critical and scholarly, while rooted in experience and understanding of theatre practices.

KENT. I thought the King had more affected the Duke of Albany than Cornwall. GLOUCESTER. It did always seem so to us; but now, in the division of the kingdom, it appears not which of the Dukes he values most, for equalities are so weigh'd that curiosity in neither can make choice of either's moiety. KENT. Is not this your son, my lord? GLOUCESTER. His breeding, sir, hath been at my charge. I have so often blush'd to acknowledge him that now I am braz'd to't.

Good evening, I'm Inspector Carter. Take my case. This must be Charles Haversham! I'm sorry, this must've given you all a damn shock... The original version of the global hit play created by Mischief. After benefiting from a large and sudden inheritance, the inept and accident-prone Cornley Polytechnic Drama Society embark on producing an ambitious 1920s murder mystery. Hilarious disaster ensues and the cast start to crack under the pressure. Can they get the production back on track before the final curtain falls? This one-act version of Mischief's world famous The Play That Goes Wrong originally premiered at the Old Red Lion Theatre in London in 2012. Since then, the expanded two-act version has taken the world by storm and has been performed in over 35 countries across 5 continents, winning multiple awards including the WhatsOnStage and Olivier Award for Best New Comedy plus a Tony and Drama Desk Award for Best Scenic Design of a Play. This edition features the original one-act edition of the play that's perfect to be enjoyed on the page as well as in performance. A true global phenomenon, it is guaranteed to leave you aching with laughter.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

The only comprehensive guide to the plays of one of the world's greatest yet most puzzling contemporary dramatists, The Pinter Ethic penetrates the mystery of Harold Pinter's work with compelling and authoritative insights that locate and disclose the primal power of his drama in his characters' powerplay for dominance. Penelope Prentice reveals that Pinter's plays reflect not a vision of postmodern hopelessness in a world threatening to self-destruct, but provoke unguessed choice and action that enlarge the concept of love and link it to justice.

Key Features: * Study methods * Introduction to the text * Summaries with critical notes * Themes and techniques * Textual analysis of key passages * Author biography * Historical and literary background * Modern and historical critical approaches * Chronology * Glossary of literary terms

This book offers a compelling examination of performed adaptations of Stevenson's masterpiece, "The Strange Case of Dr. Jekyll and Mr. Hyde." Rose investigates how a single text, adapted many times in the past century, can serve to elucidate certain shifts in cultural attitudes. Providing an analysis of the relation between culture and performance, the author argues that Stevenson's adapters have infused the original story with concerns about issues of race, class, gender, and economics.

Contents:
Acknowlegements. Introduction. Unit one: Are you sitting comfortably? Unit two: Realism: Telling it like it is? Unit three: presentation of character: non-standard language. Unit four: The protagonist. Unit five: Storytelling. Unit six: The grammar of sound. Unit seven:Book to film. Index of terms. Index of textx and writers. References and further reading.

Key Features: * Study methods * Introduction to the text * Summaries with critical notes * Themes and techniques * Textual analysis of key passages * Author biography * Historical and literary background * Modern and historical critical approaches * Chronology * Glossary of literary terms

Modern British Playwriting: The 1980s equips readers with a fresh assessment of the theatre and principle playwrights and plays from a decade when political and economic forces were changing society dramatically. It offers a broad survey of the context and of the playwrights and companies such as Complicite and DV8 that rose to prominence at this time. Alongside this it provides a detailed examination based on fresh research of four of the most significant playwrights of the era and considers the influence they had on later work. The 1980s volume features a detailed study by four scholars of the work of four of the major playwrights who came to prominence: Howard Barker (by Sarah Goldingay), Jim Cartwright (David Lane), Sarah Daniels (Jane Milling) and Timberlake Wertenbaker (Sara Freeman). Essential for students of Theatre Studies, the series of six decadal volumes provides a critical survey and study of the theatre produced from the 1950s to 2009. Each volume features a critical analysis of the work of four key playwrights besides other theatre work from that decade, together with an extensive commentary on the period. Readers will understand the works in their contexts and be presented with fresh research material and a reassessment from the perspective of the twenty-first century. This is an authoritative and stimulating reassessment of British playwriting in the 1980s.

"Memory, Images, and the English Corpus Christi Drama" uniquely brings together memory theory, medieval and contemporary images, cognition, and the English Corpus Christi drama. Lerud argues that the role of frames or backgrounds is integral to the image and has been underestimated or misunderstood in the study of the drama. Lerud examines the use of doorways, arches, gates, and other significant town spaces in framing or setting off particular pageant images, to achieve a fuller understanding of the longevity of a drama often viewed as "Catholic" that nonetheless survived the dissolution of the monasteries and the turmoil of the early Reformation.

The Aesthetic Exception theorises anew the relation between art and politics. It challenges critical trends that discount the role of aesthetic autonomy, to impulsively reassert art as an effective form of social engagement. But it equally challenges those on the flipside of the efficacy debate, who insist that art's politics is limited to a recondite space of 'autonomous resistance'. The book shows how each side of the efficacy debate overlooks art's exceptional status and its social mediations. Mobilising philosophy and cultural theory, and employing examples from visual art, performance, and theatre, it proposes four alternative tests to 'effect' to offer a nuanced account of art's political character. Those tests examine how art relates to politics as a practice that articulates its historical conjuncture, and how it prefigures the 'new' through simulations capable of activating the political life of the spectator. -- .

This book has been specially written for the needs of A-level and undergraduate students. This book enables students to appreciate contrasting interpretations of the text and develop their own critical thinking.Key Features: *Study methods *Introduction to the text *Summaries with critical notes *Themes and techniques *Textual analysis of key passages *Author biography *Historical and literary background *Modern and historical critical approaches *Chronology *Glossary of literary term

This anthology consists of ten plays from countries involved in World War I, including plays from Germany and France never before available in translation. The playwrights reconstruct imagined communities, challenge concepts of national identity, and rewrite history. Representing a range of dramatic forms, from radio play to street-epic, from comic sketch to musical, this anthology includes plays from: Muriel Box; Marion Wentworth Craig; Dorothy Hewitt; Berta Lask; Marie Leneru; Wendy Lill; Alice Dunbar Nelson; Christina Reid; and Gertrude Stein. Highly successful in their day, these plays demonstrate how women have attempted to use theatre to achieve social change. The collection explores the historical development of theatrical conventions and genres and the historical context of social and gender issues.

Shakespeare and the Young Writer presents fascinating and impressive accounts of primary school children encountering Shakespeare's work for the first time.
Fred Sedgwick shows how careful selection of scenes, lines and images from the plays and sonnets - in their original language - can be used to great effect as the starting point for children's writing. Examples of children's work show just how powerful the stimulus can be. The book will be of great value to all teachers looking for new ideas to improve their practice in teaching literacy.

FLAVIUS. Hence, home, you idle creatures, get you home. Is this a holiday? What, know you not, Being mechanical, you ought not walk Upon a laboring day without the sign Of your profession? Speak, what trade art thou? FIRST COMMONER. Why, sir, a carpenter. MARULLUS. Where is thy leather apron and thy rule? What dost thou with thy best apparel on? You, sir, what trade are you?

"Wendy Wasserstein: A Casebook "contains in-depth discussions of the playwright's major works, including her recent play 1 "An American Daughter." Wasserstein's plays and essays are explored within diverse traditions, including Jewish storytelling, women's writing, and classical comedy. Critical perspectives include feminist, Bakhtinian, and actor/director. Comparisons with other playwrights, such as Rachel Crothers, Caryl Churchill, and Anton Chekhov, provide context and understanding. An interview with the playwright and an annotated bibliography are included.