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A Streetcar Named Desire shows a turbulent confrontation between traditional values in the American South - an old-world graciousness and beauty running decoratively to seed - set against the rough-edged, aggressive materialism of the new world. Through the vividly characterised figures of Southern belle Blanche Dubois, seeking refuge from physical ugliness in decayed gentility, and her brutal brother-in-law Stanley Kowalski, Tennessee Williams dramatises his sense of the South's past as still active and often destructive in modern America. This revised edition features a new production history of the play that considers both stage and screen presentations, an updated bibliography and extensive notes on the language of the play. Commentary and notes by Patricia Hern and Michael Hooper.
'If the sky dropped the stars or the river drained the water there would be outrage, but we treat children like this and there is silence.' Something's not right. Children are being raised by animals. A mother is slowly sinking in the bath. The trees are left doing the paperwork. The air is filled with screams of children howling for help. And some twins want to tell you a story about how everything got so f**ked up. A spiralling odyssey of dizzying theatricality, Wolfie is a bold, fantastical fairytale following two twins separated at birth and asks who is truly responsible for society's most vulnerable children. This wildly imaginative, irreverent look at life in and after the care system premiered at Theatre503, London, in 2019.
The titular Roaring Girl of Thomas Middleton and Thomas Dekker's comedy is Moll Cutpurse, a fictionalized version of a real person, Mary Frith, who attained legendary status in London by flouting gendered dress conventions, illegally performing onstage, and engaging in all sorts of transgressive behavior from smoking and swearing to stealing. In the course of The Roaring Girl's lively and complex plot of seduction and clever ruses, Moll shares her views on gender and sexuality, defends her own honor in a duel, and demonstrates her knowledge of London's criminal underworld. This edition of the play offers an informative introduction, thorough annotation, and a substantial selection of contextual materials related to the real Mary Frith, gender and cross-dressing, criminality in London, and more. KEY FEATURES Comprehensive introduction Informative notes and glosses Background contextual materials Competitive price
These three great plays by one of the founding fathers of the theatre of the absurd, are alive and kicking with tragedy and humour, bleakness and farce. In Rhinoceros we are shown the innate brutality of people as everyone, except for Berenger, turn into clumsy, unthinking rhinoceroses. The Chairs depicts the futile struggle of two old people to convey the meaning of life to the rest of humanity, while The Lesson is a chilling, but anarchically funny drama of verbal domination. In these three 'antiplays' dream, nonsense and fantasy combine to create an unsettling, bizarre view of society.
This comedy of love and errors set on a single day, somewhere between Verona and jindyworobak, has entranced audiences for twenty years. This entertaining romp put an Australian spin on Goldoni's classic Italian farce (2 acts, 7 men, 3 women).
Set in the mysterious landscape of the bogs of rural Ireland, Carr's lyrical and timeless play tells the story of Hester Swane, an Irish traveller with a deep and unearthly connection to her land. Tormented by the memory of a mother who deserted her, Hester is once again betrayed, this time by the father of her child, the man she loves. On the brink of despair, she embarks on a terrible journey of vengeance as the secrets of her tangled history are revealed. 'A piece of poetic realism steeped in the past... Carr has an extraordinary ability to move between the mythic and the real.' Guardian 'A great play... a great work of poetry... the word should soon carry across both sides of the Atlantic.' Independent By the Bog of Cats premiered at the Abbey Theatre, Dublin, in 1998. It was revived at Wyndham's Theatre, London, in November 2004.
One of the nineteenth century's most successful and most frequently revived plays, An Ideal Husband has divided critics more than any other of Wilde's plays. Treating political intrigue, financial fraud, blackmail, scandal and spin, and the role of women in public life, it is a play which engaged with issues of vital importance to its late-Victorian audience, which continue to resonate today. Sos Eltis, a specialist in Victorian drama and its relation to women's issues, provides a stimulating new perspective on An Ideal Husband, through an introduction that looks at its relation with contemporary social purity campaigns, women's rights, and political scandals. The introduction also gives a substantial performance history, with particular reference to the play's film versions and the influential Peter Hall theatre production.
Inspired by real-life female adventurers, Phil Willmott has changed the gender of several of the central characters without compromising the spirit of Stevenson's classic novel. The play can be simply staged, is suitable for performance by kids and adults and can be adapted to suit a large company or a small team playing several roles.
Long Day's Journey into Night was written in 1940 but not staged until 1956, after O'Neill's death. Unashamedly autobiographical, it is, as he puts it himself in the dedicatory note, 'a play of old sorrow, written in tears and blood', a harrowing attempt to understand himself and his family.
"It's not always children's stories that happen to children." When the men come to drive her away, Youmna cuts off Nour's hair. And so begins one girl's journey. By bus, by lorry, into the sound of gun-shots, through adolescence and across borders. From Omar Elerian, director of the acclaimed West End hit Misty, Going Through is a bold and visually daring production about the realities of child migration. The production is equally accessible to hearing and deaf audiences and combines English, BSL and Creative Captioning. Going Through is the UK premiere of Estelle Savasta`s critically acclaimed French play Traversee and is translated by Kirsten Hazel Smith.
MULE. Who created us? ROCINANTE. What kind of dumb question is that? The great master Cervantes, of course. Who else? MULE. God. ROCINANTE. Listen you obstinate fool. We're animals. We don't have to believe in God. That's meant for the superior species. MULE. Why did Cervantes create us? ROCINANTE. Because he was a genius. I think he made me a bit like himself. But those who ride us were not so lucky. Tariq Ali's latest play, The New Adventures of Don Quixote, can be read as homage to German poet and playwright Bertolt Brecht as much as a playful tribute to Cervantes's masterwork. The central characters from the original novel, Don Quixote and Sancho Panza, are mounted on their beasts of burden, Rocinante and the Mule, and Ali has them ride into the twenty-first century, where they are confronted by old vices familiar to them: war, greed, ethnic and religious prejudices, disappointed love, and economic crisis. Their story is satirical, and their songs are sad and angry. But there are odd moments of happiness for Quixote, when he imagines that a wounded US colonel is Dulcinea and allows himself to be seduced by her in a military hospital in Germany. Primarily interested in discovering the meaning of life and how it is molded by the world in which we live, Ali's theatrical device is the conversation between the two animals - Rocinante the philosopher and Mule the everyman who questions her relentlessly. Accompanied by numerous color performance stills of the play from its 2013 production in Germany, this volume is as intellectually stimulating as it is uproariously humorous.
The Whitbread 2000 Book of the Year is a haunting and captivating work of historical fiction for children. The Coram man takes babies and money from desperate mothers, promising to deliver them safely to a Foundling Hospital in London. Instead, he murders them and buries them by the roadside, to the helpless horror of his mentally ill son, Mish. Mish saves one, Aaron, who grows up happily unaware of his history, proving himself a promising musician. As Aaron's new life takes him closer to his real family, the watchful Mish makes a terrible mistake, delivering Aaron and his best friend Toby back into the hands of the Coram man. It tells the story of a dark time in English history. Fans of The Boy in the Striped Pyjamas and Goodnight Mr Tom will love this. A great read for children aged 10+. Look out for Jamilla's other titles: The Eye of the Horse The Robber Baron's Daughter The Track of the Wind Wheel of Surya Coram Boy won the 2000 Whitbread Children's Book of the Year, was shortlisted for the Carnegie Medal and has been adapted into a highly acclaimed stage play. Jamila Gavin was born in Mussoorie, India, in the foothills of the Himalayas. With an Indian father and an English mother, she inherited two rich cultures which ran side by side throughout her life, and which always made her feel she belonged to both countries. The family finally settled in England where Jamila completed her schooling, was a music student, worked for the BBC and became a mother of two children. It was then that she began writing children's books, and felt a need to reflect the multi-cultural world in which she and her children now lived.
This is the fourth and final volume of the Cambridge edition of the works of John Webster. It contains four plays Webster wrote in collaboration, one - Sir Thomas Wyatt, a historical tragedy based around Lady Jane Grey - as part of a team of five led by Thomas Dekker, two - Westward Ho and Northward Ho, city comedies that prompted Chapman, Jonson, and Marston's Eastward Ho - with Thomas Dekker alone, and one - The Fair Maid of the Inn, an Italianate tragicomedy of which Webster wrote the largest share - with John Fletcher, Philip Massinger and John Ford. With the inclusion of these four plays, this Cambridge edition becomes the first complete works of John Webster. The edition preserves the original spelling of the plays, poetry, and prose, and incorporates the most recent editorial scholarship, including information on Webster's share in the collaborative plays, and new critical methods, textual theory, and theatrical analysis.
In this collection of essays written from different critical perspectives, African playwrights demonstrate through their art that they are not only witnesses, but also consciences, of their societies. Their works bear witness to the strivings of African people as they challenge the vices that continue to plague the continent, including neo-colonialism, dictatorship, corruption, nepotism, inter-ethnic conflicts, poverty, gender inequality and HIV/AIDS.;This anthology, which also emphasises the existence of a link or a sense of organic continuity within African literary tradition between the pre-colonial and post-colonial forms of drama and theatre, is designed to be a guide to students and scholars of African literature and society.
Playwrights for Tomorrow was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Five writers are represented in this third volume of a series of collections of plays by dramatists who have participated in an experimental program conducted at the University of Minnesota by the Office for Advanced Drama Research. Dr. Arthur H. Ballet, editor of the series, is the director of the program. The plays in this volume are Five Easy Payments by John Lewin, Where Is de Queen? by Jean-Claude van Itallie, The Great Git-Away by Romeo Muller, With Malice Aforethought by John Stranack, and I, Elizabeth Otis, Being of Sound Mind by Philip Barber.As Dr. Ballet explains in his introduction, the program of the Office for Advanced Drama Research provides a testing ground for promising playwrights by giving them a chance to have their plays actually produced. Publication of the plays makes them available to larger audiences and to further critical appraisal.
What would Pindar and Aeschylus have talked about had they met at some point during their overlapping poetic careers? How do we map the space shared by these two fifth-century choral poets? In the first book-length comparative study of Pindar and Aeschylus in over six decades, Anna S. Uhlig pushes back against the prevailing tendency to privilege interpretive frames that highlight the differences in their works. Instead, she adopts a more inclusive category of choral performance, one in which both poets are shown to be grappling to understand how the vivid here and now of their compositions are in fact a reenactment of voices and bodies from elsewhere. Pairing close readings of the ancient texts with insights from modern performance studies, Uhlig offers a novel perspective on the 'song culture' of early fifth-century BC Greece.
Australia 1789. A young married lieutenant is directing rehearsals of the first play ever to be staged in that country. With only two copies of the text, a cast of convicts, and one leading lady who may be about to be hanged, conditions are hardly ideal...Winner of the Laurence Olivier Play of the Year Award in 1988, and many other major awards, Our Country's Good premiered at the Royal Court Theatre, London, in 1988 and opened on Broadway in 1991. 'Rarely has the redemptive, transcendental power of theatre been argued with such eloquence and passion.' Georgina Brown, Independent Methuen Student Editions are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, the volume contains a chronology of the playwright's life and work; an introduction giving the background to the play; a discussion of the various interpretations; and notes on individual words and phrases in the text.
Leaving behind their home in Berlin, nine-year-old Bruno and his family move to a new house in a desolate area far from his friends. Bruno soon discovers that a mysterious fence runs alongside the new house, separating his family from the strange people in the striped pyjamas on the other side. A chance encounter with a young boy beyond the fence sparks an unlikely friendship that finally reveals the true horror of their situation. The Boy in the Striped Pyjamas features a detailed scheme of work including a range of inspiring activities and drama techniques, written by title consultants and leading Drama in English experts Paul Bunyan and Ruth Moore.
Premiered at the Royal National Theater, this extraordinary new play by one of Britain's leading playwrights combines English folk tales with modern urban life. In terms of its language alone, it is as exciting and challenging on the page as on the stage.
The play follows the Skriker, 'a shapeshifter and death portent, ancient and damaged', in its search for love and revenge as it pursues two young women to London, changing its shape at every new encounter. Along with the Skriker come Raw head and bloody bones, the Kelpie, the Green Lady, Black Dog and more, till the whole country is swarming with enticing and angry creatures that have burst from the underworld.
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