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.

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.