Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies and of the year's major British performances. The theme for Volume 74 is 'Shakespeare and Education. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.

"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.

The Shakespearean Forest, Anne Barton's final book, uncovers the pervasive presence of woodland in early modern drama, revealing its persistent imaginative power. The collection is representative of the startling breadth of Barton's scholarship: ranging across plays by Shakespeare (including Titus Andronicus, As You Like It, Macbeth, The Two Gentlemen of Verona and Timon of Athens) and his contemporaries (including Jonson, Dekker, Lyly, Massinger and Greene), it also considers court pageants, treatises on forestry and chronicle history. Barton's incisive literary analysis characteristically pays careful attention to the practicalities of performance, and is supplemented by numerous illustrations and a bibliographical essay exploring recent scholarship in the field. Prepared for publication by Hester Lees-Jeffries, featuring a Foreword by Adrian Poole and an Afterword by Peter Holland, the book explores the forest as a source of cultural and psychological fascination, embracing and illuminating its mysteriousness.

English Stage Comedy 1490-1990 is a unique and beautifully written study of the comedy of the English stage from the Tudor period to the late twentieth century. Alexander Leggatt demonstrates that an examination of comedy as a 'genre' can tell us much about the relationships between literature and society. English Stage Comedy 1490-1990 surveys five centuries of classic comic drama, focusing on major playwrights such as:
* Shakespeare
* Jonson
* Etherege
* Wycherley
* Congreve
* Vanbrugh
* Goldsmith
* Sheridan
* Wilde
* Shaw
* Coward
* Orton
* Ayckbourn

Lyric Incarnate examines the plays of Aleksandr Blok, the pre-eminent poet of Russian Symbolism and one of the greatest poets of the twentieth century. Blok's plays have received less attention than his poetry in the West, and this book is the first and only English-language monograph devoted to Blok the playwright. In chronological succession, each of Blok's major plays is examined in detail. Special attention is accorded to Blok's relations with the major directors of his time, particularly Meyerhold and Stanislavsky. Blok's role, for instance, in Meyerhold's formulation of the theatre of the grotesque proved to be critical, and his relation to the Moscow Art Theatre just before the October Revolution helped to define the future course of that theatre. Blok's innovative dramatic technique is carefully studied at each stage in his career, from his earliest "lyric dramas," such as A Puppet Show and The Stranger, to his great tragedy The Rose and the Cross.

The volume explores Elizabeth I's impact on English and European culture during her life and after her death, through her own writing as well as through contemporary and later writers. The contributors are codicologists, historians and literary critics, offering a varied reading of the Queen and of her cultural inheritance.

This text focuses on preparing students for A-Level. It has notes, end-of-act activities, tips from an A-Level Chief Examiner and space for students' own annotations.

'n Regter bring sy mooi, jong vrou saam na 'n jagplaas om sy laaste trofee te kom skiet. So word vyf mense saamgegooi vir 'n naweek. Jaloesie, konkelary, wedywering en twis oor grondbesit is aan die orde van die dag – en nog 'n verhouding wat nooit sy le kon kry nie. 'n Misterieuse bok maak sy verskyning. Meteens raak die verlede deel van die hede. Nie almal op die plaas weet van die vloek wat oor die grond hang nie. Die omgewing word 'n medespeler wat jare se intrige op die spits dryf.

Key features of this text: How to study the text Author and historical background General and detailed summaries Commentary on themes, structure, characters, language and style Glossaries Test questions and issues to consider Essay writing advice Cultural connections Literary terms Illustrations Colour design

Tracing Lyubimov's work play by play, we discover an indivudual doomed to be at odds with the prevailing political and social climate of his literary contemporaries. From this unique book there emerges a clear picture of Lyubimov's mischievous, provocative, fearless, and tireless imagination.
In this fascinating study of Yury Lyubimov's tempestuous career and his liberating style of theatre, Birgit Beumers thoroughly explores the making of a major figure in twentieth-century theatre. She traces the development of Lyubimov's ideas, from his arrival at the Taganka theatre in 1964, through his expulsion in 1984 and his period of exile in the West, until his return in 1989 to a much-changed Russia.

The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations - incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna - and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely. DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period.

This work undertakes a re-evaluation of Seneca's plays, their relationship to Roman imperial culture and their instrumental role in the evolution of the European theatrical tradition. Following an introduction on the history of the Roman theatre, the book provides dramatic and cultural critique of the whole of Seneca's corpus, analyzing the declamatory form of the plays, their rhetoric, interiority, stagecraft and spectacle, dramatic, ideological and moral structure and their overt theatricality. Each of Seneca's plays is examined in detail, locating the force of Senecan drama not only in the moral complexity of the texts and their representations of power, violence, history, suffering and the self, but the semiotic interplay of text, tradition and culture. The later chapters focus on Seneca's influence on Italian, English and French drama of the Renaissance. A.J. Boyle argues that tragedians such as Cinthio, Kyd, Marlowe, Shakespeare, Webster, Corneille, and Racine owe a debt to Seneca that goes beyond allusion, dramatic form and the treatment of tyranny and revenge to the development of the tragic sensibility and the metatheatrical mind.

This book examines six plays by Shakespeare ("Love's Labour's Lost", "Hamlet", "As You Like It", "Twelfth Night", "The Winter's Tale" and "The Tempest") as dramatizations of the Renaissance Court in its developing history - a history searched by Shakespeare to disclose its most characteristic gains and losses. For these plays do not simply celebrate Tudor and Stuart rule: they scrutinize it too, in the centre of its institutional theatre of power, the Court. This book shows how, if the plays came into Court, the Court also came into the plays, with its most salient features - its competitiveness, its inner tensions and its contradictions, its language, its cultural life and its entertainments - exposed to the scrutiny of an art-form that proved itself to be a new mode of historical understanding.

What did childhood mean in early modern England? To answer this question, this book examines two key contemporary institutions: the school and the stage. The rise of grammar schools and universities, and of the professional stage featuring boy actors, reflect the culture's massive investment in children. In this collection, an international group of well-respected scholars examines how the representation of children by major playwrights and poets reflected the period's educational and cultural values. This book contains chapters that range from Shakespeare and Ben Jonson to the contemporary plays of Tom Stoppard, and that explore childhood in relation to classical humanism, medicine, art, and psychology, revealing how early modern performance and educational practices produced attitudes to childhood that still resonate to this day.

Includes everything students need for their first encounter with Shakespeare - well-chosen scenes from his most famous plays, plus lively accessible activities for discussion, drama, language study and comparison. It's the ideal starting-point for exploring Shakespeare, his theatre and his language. Extracts from: Twelfth Night, Julius Caesar, Romeo and Juliet, Macbeth, A Midsummer Night's Dream, The Merchant of Venice.

In critical history, Shakespeare's The Tempest has been interpreted as a reticent play, a fascinating and yet mysterious blend of magic and verisimilitude, narrative and drama, spectacle and meditation on death. The Tempest seems to raise fundamental issues without ever exhausting them, it captures and appropriates existing motifs and modes, and allows for later appropriations and re-mediations. Is its signifying potential still alive in the third millennium? Does it still speak to us? Revisiting The Tempest aims to explore that potential and examine the play's more 'intractable material' as a fertile source of significance.The essays that make up this collection range from investigations of the play's position within the European early modern dramatic heritage to its 'domestic' re-writings and/or adaptations in diverse theatrical contexts and media, while also interrogating the play's own resistance to interpretation. Rather than providing new meanings, Revisiting The Tempest explores how this drama makes meaning and reanimates it through time.

"Alice Birch's new play is scored like a piece of music ... It is an extraordinary echoing text, full of pain and strange beauty. The three stories play out simultaneously on stage, the dialogue from one scene overlapping with the other two in a manner that borders on the choral ... Birch has provided a text that explores these ideas in a formally invigorating way." The Stage Three generations of women. For each, the chaos of what has come before brings with it a painful legacy. A powerful, unflinching look at a family afflicted with severe depression and mental illness. Presented as a triptych of plays performed side by side, this groundbreaking play reverberates with audiences and readers. Published for the first time in Methuen Drama's Modern Classics series, this edition features a brand new introduction by Ava Davies.

How can we look afresh at Shakespeare as a writer of sonnets? What new light might they shed on his career, personality, and sexuality? Shakespeare wrote sonnets for at least thirty years, not only for himself, for professional reasons, and for those he loved, but also in his plays, as prologues, as epilogues, and as part of their poetic texture. This ground-breaking book assembles all of Shakespeare's sonnets in their probable order of composition. An inspiring introduction debunks long-established biographical myths about Shakespeare's sonnets and proposes new insights about how and why he wrote them. Explanatory notes and modern English paraphrases of every poem and dramatic extract illuminate the meaning of these sometimes challenging but always deeply rewarding witnesses to Shakespeare's inner life and professional expertise. Beautifully printed and elegantly presented, this volume will be treasured by students, scholars, and every Shakespeare enthusiast.

KING JOHN. Now, say, Chatillon, what would France with us? CHATILLON. Thus, after greeting, speaks the King of France In my behaviour to the majesty, The borrowed majesty, of England here. ELINOR. A strange beginning- 'borrowed majesty'! KING JOHN. Silence, good mother; hear the embassy.

"The purpose of these 17 essays . . . is to convey the significance of Chekhov within manageable parameters for readers unable to tackle the considerable body of available Chekhov scholarships." Choice

Post-Colonial Drama is the first full-length study to address the ways in which performance has been instrumental in resisting the continuing effects of imperialism. It brings to bear the latest theoretical approaches from post-colonial and performance studies to a range of plays from Australia, Africa, Canada, New Zealand, the Caribbean and other former colonial regions. Some of the major topics discussed include:
* the interactions of post-colonial and performance theories
* the post-colonial re-stagings of language and history
* the specific enactments of ritual and carnival
* the theatrical citations of the post-colonial body
Post-Colonial Drama combines a rich intersection of theoretical approaches with close attention to a wide range of performance texts.

eBook available with sample pages: 020342106X

Post-Colonial Drama is the first full-length study to address the ways in which performance has been instrumental in resisting the continuing effects of imperialism. It brings to bear the latest theoretical approaches from post-colonial and performance studies to a range of plays from Australia, Africa, Canada, New Zealand, the Caribbean and other former colonial regions. Some of the major topics discussed in Post-Colonial Drama include:
* the interactions of post-colonial and performance theories
* the post-colonial re-stagings of language and history
* the specific enactments of ritual and carnival
* the theatrical citations of the post-colonial body
Post-Colonial Drama combines a rich intersection of theoretical approaches with close attention to a wide range of performance texts.

Aphra Behn (1640-1689) was one of the most successful dramatists of the Restoration theatre and a popular poet. This is the fifth volume in a set of seven which comprises a complete edition of all her works.

Goethe's Faust, a work which has attracted the attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century, hashad a seminal impact in musical realms. That Goethe's poetry has proved pivotal for the development of the nineteenth-century Lied has long been acknowledged. Less acknowledged is the seminal impact in musical realms of Goethe's Faust, a work which has attractedthe attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century. While Goethe longed to have Faust set to musicand considered only Mozart and perhaps Meyerbeer as being equal to the task, by the end of his life he had abandoned hope that he would live to witness a musical setting of his text. Despite this, a floodtide of musical interpretations of Goethe's Faust came into existence from Beethoven to Schubert, Schumann to Wagner and Mahler, and Gounod to Berlioz; and a broad trajectory can be traced from Zelter's colourful description of the first setting ofGoethe's Faust to Alfred Schnittke's Faust opera (1993). This book explores the musical origins of Goethe's Faust and the musical dimensions of its legacy. It uncovers the musical furore caused by Goethe's Faust and considers why his polemical text has resonated so strongly with composers. Bringing together leading musicologists and Germanists, the book addresses a wide range of issues including reception history, the performative challenges of writing music for Faust, the impact of the legend on composers' conceptual thinking, and the ways in which it has been used by composers to engage with other contemporary intellectual concepts. Constituting the richest examination to date of the musicality of language and form in Goethe's Faust and its musical rendering from the eighteenth to twenty-first centuries, the book will appeal to music, literary and Goethe scholars and students alike. LORRAINE BYRNE BODLEY is Senior Lecturer in Musicology at Maynooth University and President of the Society for Musicology in Ireland. Contributors: Mark Austin, Lorraine Byrne Bodley, NicholasBoyle, John Michael Cooper, Siobhan Donovan, Osman Durrani, Mark Fitzgerald, John Guthrie, Heather Hadlock, Julian Horton, Ursula Kramer, Waltraud Meierhofer, Eftychia Papanikolaou, David Robb, Christopher Ruth, Glenn Stanley, Martin Swales, J. M. Tudor