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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
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Waste
Harley Granville Barker
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R778
Discovery Miles 7 780
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Ships in 12 - 17 working days
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Granville Barker on Theatre brings together some of the most
important critical theatrical writings of Harley Granville Barker,
a major figure of 20th-century British theatre. Known as a pioneer
of the National Theatre and Repertory Movement, and remembered
mainly for his Prefaces to Shakespeare, from the 1900s to his death
in the 1940s Granville Barker commented enthusiastically in
newspaper items, introductions to plays, articles, essays,
articles, and published lectures on a range of topics: the nature
of theatre as an art form and as a social medium, the need for
ensemble playing in a repertory system, the relationship between
the three chief constituents of theatre - the actor, the playwright
and the audience. Granville Barker on Theatre makes available again
these writings in which Barker dissects the state of theatre as he
saw it, with coruscating critiques of the commercial system, the
long run and censorship, the vitality of theatre outside Britain,
and what he saw as the welcome renaissance of theatre in
non-professional groups liberated from the profit motive. These
writings show a master practitioner concerned with, above all,
promoting a new type of drama; vital not only for its own sake but
for the sake of the health of society at large.
The plays of Maria Martinez Sierra were popular in Spain, South
America and in translation on Broadway and London's West End in the
first half of the 20th century but they were thought to be written
by her husband, the celebrated director and playwright Gregorio
Martinez Sierra. After his death, the authorship of his work was
revealed to be that of Maria, making her one of the most important
playwrights of her time. This edited collection features three
plays by Maria Martinez Sierra, translated by Helen and Harley
Granville-Barker, along with an introduction by Patricia O'Connor,
University of Cincinnati, US, which examines Maria's extraordinary
life and work, and the battle for her authorship to be recognized
in both the Spanish-speaking and anglophone world. This volume
focuses on plays centred on strong women; and each is translated by
the eminent man of theatre Harley Granville-Barker and his wife,
Helen, whose own story holds stark parallels to Maria's in terms of
authorship. The collection is edited by playwright Richard Nelson
and Professor Colin Chambers, who contribute an essay on the
translation work of the Granville-Barkers. The plays are: The
Kingdom of God (1928); The Romantic Young Lady (1920) and Take Two
From One (1931). Maria Martinez Sierra: A Great Playwright Hidden
in Plain Sight recognizes Maria de la O Lejarraga Garcia, to use
her birth name, as one of the most important female playwrights,
not just in Spain, but globally, in the first half of the 20th
century.
Originally published in 1929, this book is comprised of a series of
papers written for, and mostly read to, the Royal Society of
Literature. The papers concern themselves with various aspects of
life and literature during the 1870s, including novels, poetry,
theatre, criticism and other areas. Edited by Harley
Granville-Barker, the text contains notable contributions from
figures such as Walter De La Mare and Vita Sackville-West. This is
a highly readable book that will be of value to anyone with an
interest in the 1870s, nineteenth-century literature and early
twentieth-century literary criticism.
The Study of Drama by Harley Granville-Barker was published as part
of the Cambridge Miscellany series in 1934. It contains the text of
a lecture delivered by the author in Cambridge in 1934 on the study
of 'drama as drama, considered in relation to the theatre'. The
lecture is printed together with extensive notes, which were added
subsequently.
Harley Granville Barker, one of the most versatile figures in
twentieth-century theatre, was the leader of the campaign to reform
the English stage in the Edwardian period. His work as an actor,
director, playwright, and manager set new standards of production
and gave Shaw his first successful showings; his later career as a
critic, after he abandoned the stage, opened new interpretations of
Shakespeare and led the way to the establishment of a national
theatre. This volume presents three of Granville Barker's best
plays: The Marrying of Ann Leete (about a young woman rebelling
against convention), The Voysey Inheritance (digging at
middle-class hypocrisy), and Waste (banned by the Lord Chamberlain,
the tragedy of a politician caught in a sexual trap). Written
between 1899 and 1907, and collected here for the first time in a
scholarly edition, they reveal Barker as an exciting, subtle and
innovative dramatist.
The plays of Maria Martinez Sierra were popular in Spain, South
America and in translation on Broadway and London's West End in the
first half of the 20th century but they were thought to be written
by her husband, the celebrated director and playwright Gregorio
Martinez Sierra. After his death, the authorship of his work was
revealed to be that of Maria, making her one of the most important
playwrights of her time. This edited collection features three
plays by Maria Martinez Sierra, translated by Helen and Harley
Granville-Barker, along with an introduction by Patricia O'Connor,
University of Cincinnati, US, which examines Maria's extraordinary
life and work, and the battle for her authorship to be recognized
in both the Spanish-speaking and anglophone world. This volume
focuses on plays centred on strong women; and each is translated by
the eminent man of theatre Harley Granville-Barker and his wife,
Helen, whose own story holds stark parallels to Maria's in terms of
authorship. The collection is edited by playwright Richard Nelson
and Professor Colin Chambers, who contribute an essay on the
translation work of the Granville-Barkers. The plays are: The
Kingdom of God (1928); The Romantic Young Lady (1920) and Take Two
From One (1931). Maria Martinez Sierra: A Great Playwright Hidden
in Plain Sight recognizes Maria de la O Lejarraga Garcia, to use
her birth name, as one of the most important female playwrights,
not just in Spain, but globally, in the first half of the 20th
century.
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