In this first introduction to Plautus' Trinummus, students and non-specialists alike are guided through the themes, context, and enduring humor of this Roman comedy. The play portrays the story of an elaborate game of keep-away involving a hidden treasure, a hot-blooded spendthrift youth, his pious sister, her would-be fiancee, a con-artist, and the most unlikely of comic schemers-a group of overly pious old men. The conflict of the plot focuses on whether a pair of old men can help their absent friend Charmides by getting a dowry to his daughter without Charmides' wastrel son Lesbonicus first spending the money on the usual comic debauchery. The money is taken from a treasure hidden by Charmides when he left and a sycophant is hired to pretend to bring letters from Charmides along with the cash for the dowry. Comic confusion ensues when Charmides returns from abroad just in time to intercept the con-artist and overturn the scheming of his friends. Long neglected, Trinummus is one of many Plautine plays that is experiencing a resurgence. This volume elucidates the humor of the play, which is largely based on parody and clever inversions of typical characters and situations from Roman comedy. This discussion is accompanied by an examination of the religious, social, and historical context of the play, as well as its modern reception. The genuine humor of Trinummus has something to say to modern readers, as it showcases how parody can skewer those engaged in pompous moral posturing and presents readers with a playwright who astutely views issues of imperialism and moral justification through a comic lens.

As the first full-length study to analyse utopian plays in Western drama from antiquity to the present, Utopian Drama: In Search of a Genre offers an illuminating appraisal of the objectives of utopianism as manifested in drama through the ages, and carefully ascertains the added value that live performance brings to the persuasion of utopian thought. Sian Adiseshiah scrutinises the distinctive intervention of utopian drama through its examination alongside the utopian prose tradition - in this way, the book establishes new ways of approaching utopian aesthetics and new ways of interpreting utopian drama. This book provides fresh understandings of the generic features of utopian plays, identifies the gains of establishing a new genre, and ascertains ways in which this genre functions as political theatre. Referring to over 40 plays, of which 18 are examined in detail, Utopian Drama traces the emergence of the utopian play in the Western tradition from ancient Greek Comedy to experimental contemporary work. Works discussed in detail include plays by Aristophanes, Margaret Cavendish, George Bernard Shaw, Howard Brenton, Claire MacDonald, Cesi Davidson, and Mojisola Adebayo. As well as offering extended attention to the work of these playwrights, the book reflects on the development of utopian drama through history, notes the persistent features, tropes, and conventions of utopian plays, and considers the implications of their registration for both theatre studies and utopian studies.

Choruses, Ancient and Modern examines the ancient Greek chorus and its afterlives in western culture. Choruses, though absolutely central to the social, political, and religious life of classical Greece, no longer hold the same broad importance in modernity, yet the attraction of the Greek chorus has proved a strong impetus to reimagining. Artists and thinkers have continually appropriated Greek choruses to their own ends, and the body of these engagements constitutes a rich and hitherto-unexplored area of the reception of classical antiquity. Exploring the choral tradition from archaic Greece to the present across a variety of different media, the volume thematically juxtaposes perspectives on choruses to create a dialogue between ancient and modern contexts. Following a substantial introduction, the four sections of the book discuss the place of the chorus within scholarship, aesthetic and philosophical perspectives on the chorus, reflections on absences of the chorus, and the social and communal potential of the chorus. Each section considers antiquity and modernity in counterpoint, at once de-familiarizing ancient contexts of the chorus and defining crucial moments in modern choral traditions.

"Shakespeare and His Contemporaries" begins with Shakespeare's England and expands to a world before, after, and beyond. With an eye to language, genre, drama, and literary and historical narrative, this book examines the comedy of Shakespeare in the context of comedies from Italy, Spain, and France in the sixteenth and seventeenth centuries.

With the Meiji Restoration in 1868, Japan opened its doors to the West and underwent remarkable changes as it sought to become a modern nation. Accompanying the political changes that Western trade ushered in were widespread social and cultural changes. Newspapers, novels, poems, and plays from the Western world were soon adapted and translated into Japanese. The combination of the rich storytelling tradition of Japan with the realism and modernism of the West produced some of the greatest literature of the modern age. Historical Dictionary of Modern Japanese Literature and Theater presents a broad perspective on the development and history of literature narrative, poetry, and drama in modern Japan. This book offers a chronology, introduction, bibliography, and over 400 cross-referenced dictionary entries on authors, literary and historical developments, trends, genres, and concepts that played a central role in the evolution of modern Japanese literature."

"Image Ethics in Shakespeare and Spenser" is a study of the connection between visuality and ethical action in early modern English literature. Focusing on works by Shakespeare and Spenser, this book details varying attitudes toward the development of ethical human subjectivity at a moment when basic assumptions about perception and knowledge were breaking down. Knapp places early modern debates over the value of visual experience in determinations of truth and ethical action into dialog with subsequent (and on-going) philosophical efforts to articulate an ethics that accounts for visual experience.

Aristophanes is widely credited with having elevated the classical art of comedy to the level of legitimacy and recognition that only tragedy had hitherto achieved, and producing some of the most intriguing works of literature to survive from classical Greece in the process. Among them, Frogs has a unique appeal; written and performed in 405 BCE, the comedy won first prize in that year's Lenaea festival competition and was re-performed soon thereafter--a rare occurrence for comedies at the time. Frogs has been admired and quoted by readers and critics ever since, a testament to its timeless appeal; it remains among the most approachable of Aristophanes' plays, as well as perhaps the richest of all in insights it provides into ancient Greek cultural attitudes and values.
Mark Griffith's study of the Frogs is the first single book to offer a reliable and sophisticated account of this play in light of modern notions of culture, performance, democracy, religion, and aesthetics. After placing the work in its original historical, cultural, and biographical context, Griffith goes on to underscore the originality of Frogs in relation to parallel developments in the tragedies of Aeschylus and Euripides, among others. He highlights the play's unique portrayal of the figure of Dionysus, the Eleusinian mystery cult, and the question of life after death. This title provides not only a detailed analysis of the play and a concise account of its reception, but also a succinct introduction to ancient Greek comedy, exploring the extraordinary range of theatrical conventions, moral and aesthetic assumptions, and religious beliefs that underlie the action of Aristophanes' play. The book provides an invaluable companion to Aristophanes and the theater of classical Greece for students and general readers alike.

This new Complete Works marks the completion of the Arden Shakespeare Third Series and includes all of Shakespeare's plays, poems and sonnets, edited by leading international scholars. New to this edition are the 'apocryphal' plays, part-written by Shakespeare: Double Falsehood, Sir Thomas More and King Edward III. The anthology is unique in giving all three extant texts of Hamlet from Shakespeare's time: the first and second Quarto texts of 1603 and 1604-5, and the first Folio text of 1623. With a simple alphabetical arrangement the Complete Works are easy to navigate. The lengthy introductions and footnotes of the individual Third Series volumes have been removed to make way for a general introduction, short individual introductions to each text, a glossary and a bibliography instead, to ensure all works are accessible in one single volume. This handsome Complete Works is ideal for readers keen to explore Shakespeare's work and for anyone building their literary library.

This second edition of Othello has a new, illustrated introduction by leading American scholar Ayanna Thompson, which addresses such key issues as race, religion and gender, as well as looking at ways in which the play has been adapted in more recent times. Othello is one of Shakespeare's great tragedies-written in the same five-year period as Hamlet, King Lear, and Macbeth. The new introduction attends to the play's different meanings throughout history, while articulating the historical context in which Othello was created, paying particular attention to Shakespeare's source materials and the evidence about early modern constructions of racial and religious difference. It also explores the life of the play in different historical moments, demonstrating how meanings and performances develop, accrue, and metamorphose over time. The volume provides a rich and current resource, making this best-selling play edition ideal for today's students at advanced school and undergraduate level.

A Student Handbook to the Plays of Arthur Miller provides the essential guide to Miller's most studied and revived dramas. Authored by a team of leading scholars, it offers students a clear analysis and detailed commentary on five of Miller's plays: Death of a Salesman, The Crucible, A View from the Bridge, All My Sons and Broken Glass. A consistent framework of analysis ensures that whether readers want a summary of the play, a commentary on the themes or characters, or a discussion of the work in performance, they can readily find what they need to develop their understanding and aid their appreciation of Miller's artistry. A chronology of Miller's life and work helps to situate his oeuvre in context and the introduction reinforces this by providing a clear overview of his writing, its recurrent themes and how these are intertwined with his life and times. For each play the author provides a summary of the plot, followed by commentary on: the contextthemescharactersstructure and languagethe play in production (both on stage and screen adaptations)questions for studynotes on words and phrases in the text The wealth of authoritative and clear commentary on each play, together with further questions that encourage comparison across Miller's work and related plays by other leading writers, ensures that this is the clearest and fullest guide to Miller's greatest plays.

This study considers parallel issues in revenge tragedies of the early seventeenth-century and violent cinema of the last thirty years. It offers a series of provocative explorations of death, revenge and justice, and gender and violence. What happens when we connect The White Devil with Basic Instinct ? The Changeling or Titus Andronicus with Straw Dogs ? Doctor Faustus with Se7en ? Taxi Driver with The Spanish Tragedy ? Appealing to those with an interest in either drama or film, written in an engaging style, the book also reconsiders the high /popular culture divide, and reflects on the enduring significance of the revenge motif in Western culture over the past four hundred years, particularly in the post 9/11 context.

This Play Guide is specifically written for A Level students who are studying Antigone as part of the AQA A Level Drama & Theatre specification. It provides structured support for Component 1: Section A - Drama and theatre. / This book is divided into three sections: How to explore a text for A level Drama and Theatre, with vocabulary-building sections on acting, directing and design; An extended exploration of the play to enrich students' understanding and response to the text; Targeted examination preparation to improve writing and test-taking skills. / Fully supports the written examination and helps students develop their key knowledge and understanding of key A Level drama & theatre skills. / Knowledge and understanding of the play are developed with a synopsis, character and scene studies, contextual and practical exploration. / Includes a wide range of practical drama tasks, activities, and research and revision exercises. / Advice on how to interpret and prepare for exam questions with examples of effective responses.

A new study of Shakespeare s life and times, which illuminates our understanding and appreciation of his works. * Combines an accessible fully historicised treatment of both the life and the plays, suited to both undergraduate and popular audiences * Looks at 24 of the most significant plays and the sonnets through the lens of various aspects of Shakespeare s life and historical environment * Addresses four of the most significant issues that shaped Shakespeare s career: education, religion, social status, and theatre * Examines theatre as an institution and the literary environment of early modern London * Explains and dispatches conspiracy theories about authorship

A wide-ranging selection from the most recent criticism of Antony and Cleopatra, beginning with seminal work from the 1950s onwards, and culminating in a series of radical reappraisals of the play's content, form, and appeal to modern readers. Represented in this selection is material from the late John Danby, Terence Hawkes, Janet Adelman, Margot Heinemann, J.Neville Davies, Barbara Vincent, Ania Loomba, Phyllis Rackin, Jonathan Dollimore and Jyotsyna Singh. Together with a substantial Introduction they offer a radical reappraisal of one of Shakespeare's Major Tragedies.

This book takes Roland Barthes's famous proclamation of 'The Death of the Author' as a starting point to investigate concepts of authorial presence and absence on various levels of text and performance. By offering a new understanding of 'the author' as neither a source of unquestioned authority nor an obsolete construct, but rather as a performative figure, the book illuminates wide-ranging aesthetic and political aspects of 'authorial death' by asking: how is the author constructed through cultural and political imaginaries and erasures, intertextual and intertheatrical references, re-performances and self-referentiality? And what are the politics and ethics of these constructions?

This book explores questions of gender, desire, embodiment, and language in Barker's oeuvre. With The Castle as a focal point, the scope extends considerably beyond this play to incorporate analysis and exploration of the Theatre of Catastrophe; questions of gender, subjectivity and desire; God/religion; aesthetics of the self; autonomy-heteronomy; ethics; and the relation between political and libidinal economy, at stake in 20 other plays by Barker (including Rome, The Power of the Dog, The Bite of the Night, Judith, Possibilities, I Saw Myself, Fence in Its Thousandth Year, The Gaoler's Ache for the Nearly Dead, The Brilliance of the Servant, Golgo, among others).

Besides essays on such individual dramatists as Wole Soyinka, Derek Walcott, David Williamson, Louis Nowra, Athol Fugard, George Walker, Sharon Pollock and Judith Thompson, there are surveys of the dramatic literature and developments in the theatre in Australia, Canada, India, New Zealand, South Africa, Papua New Guinea, Ghana, Nigeria, Jamaica and Trinidad. Canadian women dramatists and the new radical South African theatre are also among the topics. Bruce King's introduction discusses the comparative development of Commonwealth drama since the late 1940s.

The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of 'the stranger' and 'the other'. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally. Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent's turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English. In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019. In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare's Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.

Twenty years after Tony Kushner's influential Angels in America seemed to declare a revitalized potency for the popular political play, there is a "No Politics" prejudice undermining US production and writing. This book explores the largely unrecognized cultural patterns that discourage political playwriting on the contemporary American stage.

Middle Eastern American Theatre explores the burgeoning Middle Eastern American theatre movement with a focus on Arab American, Jewish American, Armenian American, Iranian American, and Turkish American theatres, playwrights, directors, and actors. By exploring the rich religious and cultural heritage of this diverse group - which includes Arabs, Armenians, Iranians, Jews, and Turks - and religions that include the Baha'i faith, Christianity, Chaldean, Druze, Ishik Alevism, Judaism, Islam, Mandaeism, Samaratin, Shabakism, Yazidi, and Zoroastrianism - the rich and paradoxical nature of the term 'Middle Eastern' is interrogated through the dramas written and performed by those in the Diaspora. Featuring a clear introduction and examination of the context and the various push and pull factors that have contributed to the mass migrations to North America - including the so-called "Great Migration" of 1890-1915, the Armenian Genocide, the European Holocaust, the two world wars, the Israeli/Palestinian conflict, and other social and political conflicts. With chapters devoted to Arab American, Israeli American, Iranian American and Turkish American theatre, Middle Eastern American Theatre traces the history and examines the work of key artists and directors including Heather Raffo, Yussef El Guindi, Jamil Khoury, Mona Mansour, Danny Bryck, Ken Kaissar, Ari Roth, Torange Yeghiazarian, Reza Abdoh, Sedef Ecer, Torange Yeghiazarian, of Golden Thread Productions, and Jamil Khoury, of Silk Road Rising. The volume provides readers with a deeper and more nuanced understanding of millions of Middle Eastern Americans, and how they have contributed to American theatre today.

This well-illustrated work is the first attempt to bridge the gap between several specialized discourses concerning Japanese theatre. Central are problems of scholarly and practical reception of Japanese theatre forms in the West.
The essays by a careful selection of internationally well-reputed scholars range widely through Japanese theatre, from the ancient to the postmodern, or, one might say, from "kagura to "angura. It deals with reception of Japanese theatre in the West, the treatment of the body in stage art and drama, Western influence, the impact of Japanese theatre practice and theory upon the actor's training, and stage directing in the West. Readers will come across a wide variety of intriguing topics, such as lion dances, "kabuki, "nth, folk theatre, "taishu engeki, and several important modern playwrights, etc.
This book truly promises to intensify future dialogue between the many disciplines concerned with Japanese theatre.

Delia Bacon (1811-59), an American writer and dramatist, is remembered today almost exclusively for this controversial 1857 book, in which she argues that the plays of 'Shakspere' were in fact written by a coterie of highly educated aristocrats, including Francis Bacon, Walter Raleigh and Edmund Spenser, for the purpose of disseminating a philosophy, encoded in the works, which was not intended to be understood by the popular audiences to whom they were ostensibly directed. The book considers the intellectual context in which the plays were written, arguing that radical changes in science and society craved by Bacon were impossible under the despotism of Queen Elizabeth, but could be infiltrated into the consciousness of the elite through drama. Delia Bacon enjoyed the friendship of Hawthorne (who wrote a preface to this book), and Emerson (who thought her a 'genius', but mad). The work sparked a debate on the authorship of the plays which still continues.

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 is a concise, accessible introduction to Shakespeare's life and work which focuses on what we know, assessing the differing theories and avoiding speculation. William Shakespeare's work and life have proved endlessly fascinating to generations of readers. However, it can be difficult to find a way through the mass of differing interpretations of his work and speculation about his life. This book offers a reassessment of Shakespeare and his creative output from his earliest work through his 'mature' drama and the late plays, taking into account our current knowledge of Shakespeare's biography and consensus on key textual, critical and theatrical issues. William Baker offers a comprehensive but accessible introduction to Shakespeare's work and places it in the contexts of what is known of his life and activities. Avoiding speculation of a biographical, critical or textual nature, he focuses instead on an account of what is known of Shakespeare and his achievement at the end of the first decade of the twenty-first century. This is a concise, accessible introductions to major writers focusing equally on their life and works. Written in a lively style to appeal to both students and readers, books in the series are ideal guides to authors and their writing.