This book is a complete re-assessment of the works of J.M. Synge, one of Ireland's major playwrights. The book offers the first complete consideration of all of Synge's major plays and prose works in nearly 30 years, drawing on extensive archival research to offer innovative new readings. Much work has been done in recent years to uncover Synge's modernity and to emphasise his political consciousness. This book builds on this re-assessment, undertaking a full systematic exploration of Synge's published and unpublished works. Tracing his journey from an early Romanticism through to the more combative modernism of his later work, the book's innovative methodology treats text as process, and considers Synge's reading materials, his drafts, letters, diaries, and journalism, turning up exciting and unexpected revelations. Thus, Synge's engagement with occultism, pantheism, socialism, Darwinism, and even a late reaction against eugenic nationalisms, are all brought into the critical discussion. Breaking new ground in ascertaining the tenets of Synge's spirituality, and his aesthetic and political idealization of harmony with nature, the book also builds on new work in modernist studies, arguing that Synge can be understood as a leftist modernist, exhibiting many of the key concerns of early modernism, but routing them through a socialist politics. Thus, this book is valuable not only to considerations of Synge and the Irish Revival, but also to modernist studies more broadly.

This collection features plays written between 1935 and 1996. This revised and expanded Black Theatre USA broadens its collection to fifty-one outstanding plays, enhancing its status as the most authoritative anthology of African American drama with twenty-two new selections

In revealing patterns of you/thou use in Shakespeare's plays, this study highlights striking and significant shifts from one to the other. Penelope Freedman demonstrates that understanding of the implications of you/thou use in early modern English has been bedevilled by overconcern with issues of power and status, and her careful research, analysing all the plays, reveals how a fuller understanding of Shakespeare's usage can provide a key to unlock puzzles of motive and character, and a glass to clarify relationships and emotions. The work focuses particularly on dialogue between men and women, and sheds new light on male and female language use. The scholarship presented in this volume is augmented with tables and a glossary of linguistic terms.

Niru is a young Bengali woman married to an English colonial bureaucrat - Tom. Tom loves Niru, exoticising her as a frivolous plaything to be admired and kept; but Niru has a long-kept secret, and just as she thinks she is almost free of it, it threatens to bring her life crashing down around her. Tanika Gupta re-imagines Ibsen's classic play of gender politics through the lens of British colonialism, offering a bold, female perspective exploring themes of ownership and race. This edition is published for the first time in Methuen Drama's Plays For Young People series, aimed specifically at students aged 16-18 to perform and study.

This book explores the themes of colonial encounters and postcolonial contests over identity, power and culture through the prism of theatre. The author examines the work of prominent Nigerian and British playwrights who came of age after the passing of the British Empire.

At a time when the relevance of literary theory itself is frequently being questioned, Richard Wilson makes a compelling case for French Theory in Shakespeare Studies. Written in two parts, the first half looks at how French theorists such as Bourdieu, Cixous, Deleuze, Derrida and Foucault were themselves shaped by reading Shakespeare; while the second part applies their theories to the plays, highlighting the importance of both for current debates about borders, terrorism, toleration and a multi-cultural Europe. Contrasting French and Anglo-Saxon attitudes, Wilson shows how in France, Shakespeare has been seen not as a man for the monarchy, but a man of the mob. French Theory thus helps us understand why Shakepeare's plays swing between violence and hope. Highlighting the recent religious turn in theory, Wilson encourages a reading of plays like Hamlet, Julius Caesar, A Midsummer Night's Dream and Twelth Night as models for a future peace. Examining both the violent history and promising future of the plays, Shakespeare in French Theory is a timely reminder of the relevance of Shakespeare and the lasting value of French thinking for the democracy to come.

"Presentist Shakespeares "constitutes the first extended exposition and exploration of the principles and the practice of presentism. Although an emphasis on history or historical context has been very important in recent Shakespeare scholarship, no critic is able to make direct contact with a past uncontaminated by their own contemporary concerns. By the same token, all experience of the present is moulded by the past. "Presentism," as elaborated in this volume, takes account of the never-ending dialogue between past and present, scrupulously seeking out salient aspects of the present as a crucial trigger for its investigations and arguing that an intrusive, shaping awareness of ourselves deserves our closest attention.
The distinguished team of contributors to this volume demonstrate the way in which presentist readings make possible a fuller engagement with the ironies generated by our inescapable involvement in time. These ironies, the contributors argue, are a fruitful, necessary and inescapable aspect of any text's being, which also function as agents of change, flowing unstoppably back into the events of the past, coloring how we perceive them, modifying our sense of what they signify. In respect of Shakespeare, they point to shades of implication suddenly available here and now within the wide range of plays examined, subtly challenging, changing and adding to our sense of what they are able to tell us. Perhaps, it is suggested, they offer the only effective purchase on these texts that we are able to make.
Presentist criticism is an open-ended and on-going project, located at a particularly interesting and demanding juncture in modern Shakespeare studies. Its boundariesremain to be defined. It is envisaged, however, that the new essays of this collection will establish a landmark: one which reflects, develops and even rejoices in this indeterminacy.

"Presentist Shakespeares "constitutes the first extended exposition and exploration of the principles and the practice of presentism. Although an emphasis on history or historical context has been very important in recent Shakespeare scholarship, no critic is able to make direct contact with a past uncontaminated by their own contemporary concerns. By the same token, all experience of the present is moulded by the past. "Presentism," as elaborated in this volume, takes account of the never-ending dialogue between past and present, scrupulously seeking out salient aspects of the present as a crucial trigger for its investigations and arguing that an intrusive, shaping awareness of ourselves deserves our closest attention.
The distinguished team of contributors to this volume demonstrate the way in which presentist readings make possible a fuller engagement with the ironies generated by our inescapable involvement in time. These ironies, the contributors argue, are a fruitful, necessary and inescapable aspect of any text's being, which also function as agents of change, flowing unstoppably back into the events of the past, coloring how we perceive them, modifying our sense of what they signify. In respect of Shakespeare, they point to shades of implication suddenly available here and now within the wide range of plays examined, subtly challenging, changing and adding to our sense of what they are able to tell us. Perhaps, it is suggested, they offer the only effective purchase on these texts that we are able to make.
Presentist criticism is an open-ended and on-going project, located at a particularly interesting and demanding juncture in modern Shakespeare studies. Its boundariesremain to be defined. It is envisaged, however, that the new essays of this collection will establish a landmark: one which reflects, develops and even rejoices in this indeterminacy.

Read MACBETH in graphic-novel form--with NO FEAR! NOW IN COLOR! Based on the No Fear Shakespeare translations, this dynamic graphic novel--now with color added--is impossible to put down. The illustrations are distinctively offbeat, slightly funky, and appealing to teens. Includes: - An illustrated cast of characters - A helpful plot summary - Illustrations that show the reader exactly what's happening in each scene--making the plot and characters clear and easy to follow

The systematic practice of non-traditional or "colorblind" casting began with Joseph Papp's New York Shakespeare Festival in the 1950s. Although colorblind casting has been practiced for half a century now, it still inspires vehement controversy and debate.
This collection of fourteen original essays explores both the production history of colorblind casting in cultural terms and the theoretical implications of this practice for reading Shakespeare in a contemporary context.

"Neil LaBute: A Casebook "is the first book to examine one of the most successful and controversial contemporary American playwrights and filmmakers. John Lahr has written of him, "There is no playwright on the planet these days who is writing better than Neil LaBute." While he is most famous, and in some cases infamous, for his early films "In the Company of Men and Your Friends and Neighbors," Labute is equally accomplished as a playwright. His work extends from the critique of false religiosity in Bash to examinations of opportunism, irresponsible art, failed parenting, and racism in later plays like "Mercy Seat," "The Shape of Things, The Distance From Here, Fat Pig, Autobahn," and the very recent "This Is How It Goes and Some Girls," In films he has also directed adaptation of his play The Shape of Things, as well as the more commercial Nurse Betty and Possession. His collection of short stories, reminiscent of the ethical concerns in his plays, is titled Seconds of Pleasure.
Like David Mamet, an acknowledged influence on him, and Conor McPhereson, with whom she shares some stylistic and thematic concerns, LaBute tends to polarize audiences. The angry voices, violent situations, and irresponsible behavior in his works, especially those focusing on male characters, have alienated some viewers. But the writer's religious affiliation (he is a Mormon) and refusal to condone the actions of his characters suggest he is neither exploitive nor pornographic. As Ben Brantley identifies, LaBute's plays and films make a consistent attack on "the moral flabbiness, selfishness and all-around nastiness of the male species, whether at work, at home or at play" which indicates a "probingmoralism as fierce as that of Nathaniel Hawthorne."
This casebook explores the primary issues of the writer's style, themes, and dramatic achievements. Contributors describe, for example, the influences (both classical and contemporary) on his work, his distinctive vision intheater and film, the role of religious belief in his work, and his satire. In addition to the critical introduction by Russell and the original essays by leading dramatic and literary scholars, the volume will also include a bibliography and a chronology of the playwright's life and works.

This New Mermaids anthology brings together the four most popular and widely studied of Christopher Marlowe's plays: Tamburlaine, Parts 1 and 2, The Jew of Malta, Edward II and Dr Faustus. The new introduction by Brian Gibbons explores the plays in the context of early modern theatre, culture and politics, as well as examining their language, characters and themes. On-page commentary notes guide students to a better understanding and combine to make this an indispensable student edition ideal for study and classroom use from A Level upwards.

The first decade of the Jacobean age witnessed a sudden profusion of comedies satirizing city life; among these were comedies by Ben Jonson, John Marston and Thomas Middleton, as well as the bulk of the repertory of the newly-established children's companies at Blackfriars and Paul's. The playwrights self-consciously forged a new genre which attracted London audiences with its images of folly and vice in Court and City, and hack-writing dramatists were prompt to cash in on a new theatrical fashion. This study, first published in 1980, examines ways in which the Jacobean city comedy reflect on the self-consciousness of audiences and the concern of the dramatists with Jacobean society. This title will be of interest of students of Renaissance Drama, English Literature and Performance.

William Percy's Mahomet and His Heaven (1601) is extraordinary. Not only is it the only early modern play purportedly based upon the Qur'an, but it is also the first to place the Prophet Muhammad on the stage. While there existed a remarkable range of texts concerning Islamic characters and themes in Renaissance England, from chronicles and pamphlets to popular drama, the publication of this edition of Mahomet and His Heaven represents a major step forward in the study of Islam on the early modern stage. Roughly contemporary with Shakespeare's Othello, William Percy makes the remarkable and potentially highly provocative gesture of locating the Prophet as its central character, presiding over an apocalyptic drought to chastise the sins of mankind. The play takes place in around the mosques of 'Medina' and the action mirrors early Christian 'translations' of the Qur'an, the Islamic holy text that was rarely available in England at the time. Furthermore, the play provides a fascinating insight into the way that Islamic characters were portrayed on the early modern stage, containing as it does remarkably detailed stage directions, stipulating for example that the Prophet wears 'all greene and greene his Turban' and that his Angels are 'rainbow powdered'. Such details offer an entirely new perspective upon this aspect of early modern stagecraft. Matthew Dimmock presents here the play in its entirety, with a critical introduction which introduces some of its key themes, and places it in a textual and social context. A section of detailed explanatory scholarly notes follow the play, containing a full translation of the short Latin sections and references to the many political and literary parallels. This book should be required reading for historians, literary scholars and students dealing with notions of race, religion, magic, astrology and stagecraft in early modern England.

Brecht's series of twenty-four interconnected playlets describe events which took place in ordinary German households in the 1930s. They dramatise with clinical precision the suspicion and anxiety experienced by ordinary people, particularly Jewish citizens, as the power of Hitler grew. Written in exile in Denmark and first staged in 1938 it was inspired in part by his recent trip to Moscow where he had been researching tasks for the anti-Nazi effort. This Student Edition features an extensive introduction and commentary and includes: a chronology of the Brecht's life and work; a synopsis of each playlet; an introduction to the context of the play; commentary on themes, characters, style and language; a review of the play in performance; notes on individual words and phrases in the text, and questions for further study.

First published in 1995, David Nokes' major biography of John Gay (1685-1732) was the first full-length life of Gay for over fifty years, and drew on hitherto unpublished letters. Presenting Gay as a complex character, torn between the hopes of court preferment and the assertion of literary independence, Nokes offers both a lively and accessible read for the non-specialist and a comprehensive scholarly study. Best-known for The Beggar's Opera, Gay is here revealed as a contradictory figure. Nokes argues that Gay's self-effacing and self-mocking literary persona was largely responsible for perpetuating an image of himself as a genial literary non-entity. Often cast as a neglected genius, dependent on others, he in fact left a considerable fortune after his death. Depicted by his friends as both a childlike innocent and a rakish ladies' man, he produced the most successful and subversive theatrical satire of his generation, and volumes of bestselling Fables.

During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres with the same sentimental moments and comic interludes of domestic melodrama mixed with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain's promulgation of imperial ideology - and its role in constructing and maintaining class, gender, and racial identities - have given discussions of melodrama force and momentum. The plays in included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from the original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays' nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices - acting, audiences, staging, lighting, special effects - are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further. The appendices include maps of Britain, Europe, and the East and West Indies.

Facial Hair and the Performance of Early Modern Masculinity is the first full-length critical study to analyse the importance of beards in terms of the theatrical performance of masculinity. According to medical, cultural, and literary discourses of early modern era in England, facial hair marked adult manliness while beardlessness indicated boyhood. Beards were therefore a passport to cultural prerogatives. This book explores this in relation to the early modern stage, a space in which the processes of gender formation in early modern society were writ large, and how the uses of facial hair in the theatre illuminate the operations of power and politics in society more widely. Written for scholars of Early Modern Theatre and Theatre History, this volume anatomises the role of beards in the construction of onstage masculinity, acknowledging the challenges offered to the dominant ideology of manliness by boys and men who misrepresented or failed to fulfil bearded masculine ideals.

Despite the outpour of interpretations, from critics of all schools, on Shakespeare's dramatic works and other poetic works, A Lover's Complaint has been almost totally ignored by criticism. This collection of essays is designed to bring to the poem the attention it deserves for its beauty, its aesthetic, psychological and conceptual complexity, and its representation of its cultural moment. A series of readings of A Lover's Complaint, particularly engaging with issues of psychoanalysis and gender, the volume cumulatively builds a detailed picture of the poem, its reception, and its critical neglect. The essays in the volume, by leading Shakespeareans, open up this important text before scholars, and together generate the long-overdue critical conversation about the many intriguing facets of the poem.

William Shakespeare's Hamlet (c.1600-1601) has achieved iconic status as one of the most exciting and enigmatic of plays. It has been in almost constant production in Britain and throughout the world since it was first performed, fascinating generations of audiences and critics alike.

Taking the form of a sourcebook, this guide to Shakespeare's remarkable play offers:

• extensive introductory comment on the contexts, critical history and performance of the text, from publication to the present
• annotated extracts from key contextual documents, reviews, critical works and the text itself
• cross-references between documents and sections of the guide, in order to suggest links between texts, contexts and criticism
• suggestions for further reading.

During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres with the same sentimental moments and comic interludes of domestic melodrama mixed with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain's promulgation of imperial ideology - and its role in constructing and maintaining class, gender, and racial identities - have given discussions of melodrama force and momentum. The plays in included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from the original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays' nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices - acting, audiences, staging, lighting, special effects - are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further. The appendices include maps of Britain, Europe, and the East and West Indies.

Sometimes it takes a long time to sound like yourself (Miles Davis) Two men meet at a funeral. Gil knew the deceased. Benny did not. Before long their families are close. Soon they'll be singing the same tune. Benny is a loner anchored by his wife and children. Gil longs to fulfill his potential. They develop a deep bond but as cracks appear in their fragile lives they start to realise that true courage comes in different forms. Featuring music from Gil and Benny's lives, Lolita Chakrabarti's searching, soulful new play asks what it takes to be a good father, brother or son. This edition was published to coincide with the world premiere at London's Almeida Theatre in February 2021.

This book presents new evidence about the ways in which English Renaissance dramatists such as William Shakespeare, Ben Jonson, Thomas Heywood, John Fletcher and Thomas Middleton composed their plays and the degree to which they participated in the dissemination of their texts to theatrical audiences. Grace Ioppolo argues that the path of the transmission of the text was not linear, from author to censor to playhouse to audience - as has been universally argued by scholars - but circular.
Extant dramatic manuscripts, theatre records and accounts, as well as authorial contracts, memoirs, receipts and other archival evidence, are used to prove that the text returned to the author at various stages, including during rehearsal and after performance. This monograph provides much new information and case studies, and will be a fascinating contribution to the fields of Shakespeare studies, English Renaissance drama studies, manuscript studies, textual study and bibliography and theatre history.

Originally published in 1990, Medieval English Drama is an exhaustive bibliography of scholarship on medieval English drama. Each item has been annotated in the bibliography with considerable care; these annotations are descriptive rather than critical and give a clear synopsis of the content of each reference, the texts with which it deals, and a brief indication of its critical position. The bibliography is divided into two sections; editions and collections of plays, and critical works. The bibliography is exhaustive rather than selective and provides English annotations for foreign language works, as well as a list of reviews for most books. The book covers liturgical and folk drama, other forms of entertainment, and related material useful to researchers in the field. The book provides an update of sources not listed in Carl J. Stratman's comprehensive Bibliography of Medieval Drama published in 1972.

This volume posits and explores an intermedial genre called theatre-fiction, understood in its broadest sense as referring to novels and stories that engage in concrete and sustained ways with theatre. Though theatre has made star appearances in dozens of literary fictions, including many by modern history's most influential authors, no full-length study has dedicated itself specifically to theatre-fiction-in fact there has not even been a recognized name for the phenomenon. Focusing on Britain, where most of the world's theatre-novels have been produced, and commencing in the late-nineteenth century, when theatre increasingly took on major roles in novels, Theatre-Fiction in Britain argues for the benefits of considering these works in relation to each other, to a history of development, and to the theatre of their time. New modes of intermedial analysis are modelled through close studies of Henry James, Somerset Maugham, Virginia Woolf, J. B. Priestley, Ngaio Marsh, Angela Carter, and Doris Lessing, all of whom were deeply involved in the theatre-world as playwrights, directors, reviewers, and theorists. Drawing as much on theatre scholarship as on literary theory, Theatre-Fiction in Britain presents theatre-fiction as one of the past century's most vital means of exploring, reconsidering, and bringing forth theatre's potentials.