This is an introduction to Shakespeare's "I Henry IV" - introducing its critical and performance history, current critical landscape and new directions in research on the play. "I Henry IV" has always been one of Shakespeare's most popular plays and this critical guide offers a comprehensive guide to the wide range of criticism on the play and its central figures, including Falstaff. It introduces the play's critical and performance history, including notable stage productions alongside TV, film and radio versions. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays. Finally, a guide to critical, web-based and production-related resources and an annotated bibliography provide a basis for further individual research. "Continuum Renaissance Drama" offers practical and accessible introductions to the critical and performative contexts of key Elizabethan and Jacobean plays. Each guide introduces the text's critical and performance history but also provides students with an invaluable insight into the landscape of current scholarly research through a keynote essay on the state of the art and newly commissioned essays of fresh research from different critical perspectives.

This book documents the changing representation of subjectivity in Medieval and Early Modern English drama by intertextually exploring discourses of 'self-speaking', including soliloquy. Pre-modern ideas about language are combined with recent models of subject formation, especially Lacan's, to theorize and analyze the stage 'self' as a variable linguistic construct. Both the approach itself and the conclusions it generates significantly diverge from the standard New Historicist/Cultural Materialist narrative of subjectivity. Plays range from the Corpus Christi pageants to the Beaumont and Fletcher canon, with Shakespeare a recurrent focus and Hamlet, inevitably, the pivotal text.

From the London Sunday Telegraph: Acting Shakespeare is extraordinary. The tone of the voice is unmistakably Sir John's, the atmosphere congenial. We're in the company of our greatest actor, who holds in his hands the last links of a chain of tradition leading to Shakespeare himself ... this book is crucial for anyone who believes that Shakespeare on the stage should be Shakespeare at his greatest ... Gielgud is by turns, wise, witty and wicked, but unfailingly modest.

After decades of neglect, the screenplay is finally being recognized as a form that deserves serious critical analysis. This book for the first time combines detailed study of the theory and practice of screenwriting with new approaches to criticism and original studies of individual texts.

Piece together the world of Shakespeare in this art jigsaw puzzle depicting the London of his day. Spot a huge cast of contemporary extras as a Midsummer Night’s dream is rehearsed at the globe and fellow actors wander the streets, along with local characters who may well have provided the Bard with inspiration. From lovers ascending ladders and bears being baited to tavern brawls and summer fetes, there is something to delight in every detail.

Shakespeare's plays investigate the implications of using the mimetic process - a process that invents by redefining personal and collective identities and re-establishing mythic representation, references, and allusions. This book focuses on Shakespeare's understanding that the creative repositioning of the point of origin to restructure existing devastation and to create an ideal world also give birth to destructive impulses. His dramas suggest that this regressive moment is formulated from associations, economic factors, family relationships, political factors, personal philosophies and affiliations, and then are supplied structurally, linguistically, artistically, psychologically, culturally, politically, socially, and economically.

The most successful African-American playwright of his time, August Wilson is a dominant presence on Broadway and in regional theatres and college drama courses throughout the country. In little more than a decade, his work has earned him two Pulitzer Prizes, two Tonys and six New York Drama Critics Circle Awards. In this book Joan Herrington, traces the roots of Wilson's drama to visual artists like Romare Bearden and to the jazz musicians who inspire and energise him as a dramatist. She goes on to analyse his process of playwriting, how he brings his experiences and his ideas to stage life.

Arden Student Guides: Language and Writing offer a new type of study aid which combines lively critical insight with practical guidance on the critical writing skills you need to develop in order to engage fully with Shakespeare's texts. The books' core focus is on language: both understanding and enjoying Shakespeare's complex dramatic language, and expanding your own critical vocabulary, as you respond to his plays. Key features include: an introduction considering when and how the play was written, addressing the language with which Shakespeare created his work, as well as the generic, literary and theatrical conventions at his disposal detailed examination and analysis of the individual text, focusing on its literary, technical and historical intricacies discussion of performance history and the critical reception of the work a 'Writing matters' section in every chapter, clearly linking the analysis of Shakespeare's language to your own writing strategies in coursework and examinations. Written by world-class academics with both scholarly insight and outstanding teaching skills, each guide will empower you to read and write about Shakespeare with increased confidence and enthusiasm. At a climactic point in the play, Macbeth realises that the witches have deceived him through their ambiguous language: 'they palter with us in a double sense'. This book explores Shakespeare's own paltering in the play - the densely rich language of ambition, of blood, and of guilt that structures Macbeth.

What's the worst thing you can do to Shakespeare? The answer is simple: don't read him. To that end, Richard Burt and Julian Yates embark on a project of un/reading the bard, turning the conventional challenges into a roadmap for textual analysis and a thorough reconsideration of the plays in light of their absorption into global culture.

This is the first full-length study of Shelley's plays in performance. It offers a rich, meticulously researched history of Shelley's role as a playwright and dramatist and a reassessment of his "closet dramas" as performable pieces of theatre. With chapters on each of Shelley's dramatic works, the book provides a thorough discussion of the poet's stagecraft, and analyses performances of his plays from the Georgian period to today. In addition, Mulhallen offers details of the productions Shelley saw in England and Italy, many not identified before, as well as a vivid account of the actors and personalities that constituted the theatrical scene of his time. Her research reveals Shelley as an extraordinarily talented playwright, whose fascination with contemporary theatrical theory and practice seriously challenges the notion that he was a reluctant dramatist. This study is a major contribution to recent reassessments of Shelley's work and an invaluable resource for anybody interested in Romantic writing and the history of theatre.

Wild plots and quicksilver wit characterize the plays of Georges Feydeau. Called the greatest master of French comedy since Moliere by admirers such as Kenneth Tynan, Feydeau reflects the lusty tradition of the French bedroom farce as well as the tough exorbitant humor later to find full expression in the theater of the absurd.

This study provides a re-reading of the two sequences of English history plays, Henry VI-Richard III and Richard II-Henry V. Reconsidering the chronicle sources and the staging practices of Shakespeare's time, Grene argues that the history plays were originally designed for serial performance. The book looks at their original creation in the 1590s and at modern serial productions or adaptations, such as the famous Royal Shakespeare Company's 1960s Wars of the Roses and others.

Are you a theatre-maker looking for devising tools? A writer wanting to improve your dialogue? A director trying to create a story through improvisation? Three Plays by Squint & How They Were Made brings three of the company's plays together with the methods used to create them, in a practical, user-friendly toolkit. Three of Squint's plays - created by Lee Anderson, Adam Foster and Andrew Whyment - are published here for the first time. At the heart of each, a character is struggling to process their personal trauma under the intense glare of the public eye. Long Story Short (2014) dissects journalism in the digital age, Molly (2015) takes a reality television-style journey into the mind of a sociopath, and The Incredible True Story of the Johnstown Flood (2021) embarks on a transatlantic exploration of class, exploitation and appropriation. Developed over ten years through Squint's education programme, the exercises in this book distil the company's collaborative practice into over 25 tools for writing and devising. The Squint Toolkit covers the entire theatre-making process, from carrying out research and improvising story to writing subtext, devising from music and making cuts.

Eugene O'Neill's most exciting experiments with stage direction and design took place in his plays produced between 1920 and 1934. The impact of these experiments on American theater and drama was enormous, and in this book Ronald H. Wainscott critically examines the staging of these innovative works. Beginning with the first professional production of a new O'Neill play, Beyond the Horizon, and concluding with Days Without End, Wainscott recreates the initial performances of twenty-two works, including The Emperor Jones, Anna Christie, The Hairy Ape, and Mourning Becomes Electra. Using a wide range of unpublished material including prompt books, ground plans, design elevations, publicity materials, letters, and manuscript notes, Wainscott provides fascinating details about the production of these plays. He discusses their preproduction histories; how the actors, designers, directors, and theaters were selected; the design of plays, including set, costumes, lighting, music, and sound; the director's work; the acting; and the critical response. He analyzes how the various artists approached stage composition and use of the performance space, as well as techniques and devices such as masks, sound effects, music, simultaneous settings, internal monologues, and split characterizations. Revealing a great deal about O'Neill's relationships with directors-most notably Robert Edmond Jones and Philip Moeller-Wainscott demonstrates that the era was a maturation period not only for American playwriting but also for American directing and design. "A wonderful book, the best of the recent studies of O'Neill and a remarkable work of theater history. What Wainscott has to tell is important not only to those generally interested in O'Neill and in theater history, but to actors, designers, and directors as well." -Travis Bogard, University of California, Berkeley

This revelatory study explores how Scottish history plays, especially since the 1930s, raise issues of ideology, national identity, historiography, mythology, gender and especially Scottish language. Covering topics up to the end of World War Two, the book addresses the work of many key figures from the last century of Scottish theatre, including Robert McLellan and his contemporaries, and also Hector MacMillan, Stewart Conn, John McGrath, Donald Campbell, Bill Bryden, Sue Glover, Liz Lochhead, Jo Clifford, Peter Arnott, David Greig, Rona Munro and others often neglected or misunderstood. Setting these writers' achievements in the context of their Scottish and European predecessors, Ian Brown offers fresh insights into key aspects of Scottish theatre. As such, this represents the first study to offer an overarching view of historical representation on Scottish stages, exploring the nature of 'history' and 'myth' and relating these afresh to how dramatists use - and subvert - them. Engaging and accessible, this innovative book will attract scholars and students interested in history, ideology, mythology, theatre politics and explorations of national and gender identity.

This book offers the term "ecophobia" as a way of understanding and organizing representations of contempt for the natural world. Estok argues that this vocabulary is both necessary to the developing area of ecocritical studies and for understandings of the representations of "Nature" in Shakespeare. Engaging close readings with theoretical sophistication make this book a path-breaking contribution to both Shakespearean scholarship and the burgeoning field of ecocriticism.

Cross-gender performance was an integral part of Shakespearean theatre: from boys portraying his female characters, to those characters disguising themselves as men within the story. This book examines contemporary trends in staging cross-gender performances of Shakespeare in the UK and USA. Terri Power surveys the field of gender in performance through an intersectional feminist and queer theoretical lens. In depth discussions of key productions reveal processes adapted by companies for their performances. The book also looks at how contemporary performance responds to new cultural politics of gender and creates a critical language for understanding that within Shakespeare. This book features: - First-hand interviews with professional artists - Case studies of individual performances - A practical workshop section with innovative exercises

Although psychoanalytic criticism of Shakespeare is a prominent and prolific field of scholarship, the analytic methods and tools, theories, and critics who apply the theories have not been adequately assessed. This book fills that gap. It surveys the psychoanalytic theorists who have had the most impact on studies of Shakespeare, clearly explaining the fundamental developments and concepts of their theories, providing concise definitions of key terminology, describing the inception and evolution of different schools of psychoanalysis, and discussing the relationship of psychoanalytic theory (especially in Shakespeare) to other critical theories. It chronologically surveys the major critics who have applied psychoanalysis to their readings of Shakespeare, clarifying the theories they are enlisting; charting the inception, evolution, and interaction of their approaches; and highlighting new meanings that have resulted from such readings. It assesses the applicability of psychoanalytic theory to Shakespeare studies and the significance and value of the resulting readings.

* This book offers an exciting examination of the theatrical functions of medieval English stage directions as records of earlier performance. * Would be recommended reading in for any undergraduate or master's level students studying the medieval period in Performance studies, English Literature or in History (in particular in the UK and the US). * The closest competitors focus on after 1560 so this project is a first in its time period coverage.

Does satire have the ability to effect social reform? If so, what satiric style is most effective in bringing about reform? This book explores how Renaissance poet and playwright Ben Jonson negotiated contemporary pressures to forge a satiric persona and style uniquely his own. These pressures were especially intense while Jonson was engaged in the Poetomachia, or Poets' War (1598-1601), which pitted him against rival writers John Marston and Thomas Dekker. As a struggle between satiric styles, this conflict poses compelling questions about the nature and potential of satire during the Renaissance. In particular, this book explores how Jonson forged a moderate Horatian satiric style he championed as capable of effective social reform. As part of his distinctive model, Jonson turned to the metaphor of purging, in opposition to the metaphors of stinging, barking, biting, and whipping employed by his Juvenalian rivals. By integrating this conception of satire into his Horatian poetics, Jonson sought to avoid the pitfalls of the aggressive, violent style of his rivals while still effectively critiquing vice, upholding his model as a means for the reformation not only of society, but of satire itself.

***Listed in THE CHRONICLE OF HIGHER EDUCATION's Weekly Book List, July 11, 2011***

Identifying an apprehension about the nature and constitution of urbanism in North American plays, "Urban Drama" examines how cities like New York City and Los Angeles became focal points for identity politics and social justice at the end of the twentieth century. In plays as different as Tony Kushner's "Angels in America," Anna Deavere Smith's "Twilight Los Angeles, 1992," and David Henry Hwang's "FOB," these concerns became spatialized against the urban environment, suggesting a shift of consciousness toward what critical geography has argued: The social is always spatial. "Urban Drama" interrogates how this shift informs playwriting in the 1980s and 1990s and inspires new modes of dramatic representation.

A comprehensive introduction to John Ford's ??i??Tis Pity She's a Whore??i?? - introducing its critical history, performance history, the current critical landscape and new directions in research on the play. John Ford's tragedy ??i??Tis Pity She's A Whore??i?? was first performed between 1629 and 1633 and since then its themes of incest, love versus duty and forbidden passion have made it a widely studied and performed, if controversial, play. This guide offers students an introduction to its critical and performance history, including TV and film adaptations. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays. Finally, a guide to critical, web-based and production-related resources and an annotated bibliography provide a basis for further individual research. ??i??Continuum Renaissance Drama??i?? offers practical and accessible introductions to the critical and performative contexts of key Elizabethan and Jacobean plays. Each guide introduces the text's critical and performance history but also provides students with an invaluable insight into the landscape of current scholarly research through a keynote essay on the state of the art and newly commissioned essays of fresh research from different critical perspectives.

A revealing examination of an under-explored area of Shakespeare studies, this work looks at the evidence for the author's deep and evolving response to the loss of his only son, Hamnet. Although many commentators have been intrigued by the possible effects of the death of Shakespeare's only son, Hamnet, on the writer, Shakespeare and Son: A Journey in Writing and Grieving is the first full-length study examining the evidence that Shakespeare's later work was deeply involved with this loss. The book is also the first full-length study to explore Shakespeare's works in light of the psychology of grief, combining psychological insights with literary analysis. Specifically, the book explores 20 plays from all parts of Shakespeare's career, concentrating on works known to definitely have been written after Hamnet's death, especially Much ado About Nothing, Henry the Fourth Part 2, Hamlet, Twelfth Night, King Lear, Pericles, The Winter's Tale, Cymbeline, and The Tempest. Examining various manifestations of grief in the plays, such as anger, depression, guilt, and hope, author Keverne Smith argues that the evidence of Shakespeare's grief is cumulative and evident in repeated structures and patterns in plays written over a period of 14 to 15 years. Discussion of 20 of Shakespeare's works, concentrating on 16 works completed after his son Hamnet's death in 1596 Chronological organization so readers can follow the development of Shakespeare's response to the death of Hamnet as reflected in the plays and poetry written following this tragedy A cross-disciplinary bibliography, drawing especially on literary, theatrical, historical, thanatological, and psychological commentaries

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.

"Shakespeare and Character "brings together leading scholars in theory, literary criticism, and performance studies in order to redress a serious gap in Shakespeare studies and to put character back at the centre of our understanding of Shakespeare's achievement as an artist and thinker.