Beginning with a brief essay by internationally renowned playwright Harold Pinter, Captive Audience examines the social, gendered, ethnic, and cultural problems of incarceration as explored through contemporary theatre. The original essays discuss a wide range of topics related to the intersection of theatre and prison, including Harold Pinter's screenplays for The Handmaid's Tale and The Trial, Theatrical Prison Projects, Marat/Sade, and themes of imprisonment in US Latino drama. This is the first collection on this increasingly popular and important topic.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

This volume addresses disability in theatre, and features all new work, including critical essays, interviews, personal essays, and an original play. It fills a gap in scholarship while promoting the profile of disability in theatre. Peering Behind the Curtain examines the issues surrounding disability in many well-known plays, including Children of a Lesser God, The Elephant Man, 'night Mother and Wit, as well as an original play by James McDonald.

This comprehensive collection gathers critical essays on the major works of the foremost American and British playwrights of the 20th century, written by leading figures in drama/performance studies. It is the ideal reference for the classroom, for independent research and for a general overview of the field.

This comprehensive collection gathers critical essays on the major works of the foremost American and British playwrights of the 20th century, written by leading figures in drama/performance studies. It is the ideal reference for the classroom, for independent research and for a general overview of the field.

Samuel Beckett: A Casebook may be characterized as a new collection of essays by a generation of Beckett scholars who did not have access to the author. This text demarcates the line between the critical work produced when Beckett was alive, and the critical work produced within ten years of the author's death. This collection is distinctive, too, because the text offers a variety of critical perspectives which engage and problematize Beckett's dramatic canon. From Deleuzean rhizomatics to New Historicism to the crucial question of gender-each reading re-positions Beckett's plays and forces us to rethink our standard interpretations of Beckett's drama.

The first collection on this important topic, Captive Audience examines the social, gendered, ethnic, and cultural problems of incarceration as explored in contemporary theatre. Beginning with an essay by Harold Pinter, the original contributions discuss work including Harold Pinter's screenplays for The Handmaid's Tale and The Trial, Theatrical Prison Projects and Marat/Sade. Kimball King, Thomas Fahy, Rena Fraden, Tiffany Ana Lopez, Fiona Mills, Harold Pinter, Ann C. Hall, Christopher C. Hudgins, Pamela Cooper, Robert F. Gross, Claudia Barnett, Lois Gordon

Woody Allen, who first became famous as a stand up comedian and a writer of comedy routines, has also had a distinguished career as a playwright and screenwriter/director. Allen owes his celebrity status primarily to his critically acclaimed films, such as Manhattan, Hannah and her Sisters, and Crimes and Misdemeanors. In Woody Allen: A Casebook, Kimball King, has selected major plays and films by Woody Allen and has chosen well-known scholars to examine their complexities in detail. Allen's sophisticated movie musical scores as well as his thoughtful studies of American character and life are analyzed by contemporary critics, such as William Hutchings, Tom Sahy, and King himself. The result is a volume that surveys artistic highpoints of the Allen canon and illustrates the creative impact of Allen's works on audiences and readers.

Playwrights have been depicting Hollywood as a cultural desert and an industry of profit-driven philistines ever since the early days of the movies. This collection of original essays covers the period from the 1920s to the present but concentrates on such contempory playwrights as David Mamet, Sam Shepard, David Rabe, Arthur Kopit, and Adrienne Kennedy. A substantial proportion of the volume is devoted to a discussion of the way in which these authors deconstruct Hollywood myths to reveal painful social and psychological issues in American life, providing a deeper and darker picture than the simple satires of movie-making in the 1920s and 1930s or Odets's comparison of the commercially debased Hollywood with the higher, purer art of the theatre. To complete and further complicate the picture, the volume concludes with essays on the African American experience, gay writers, and feminist writing as seen through the lens of Marlane Myer's ETTA JENKS. It is obvious that the legitimate stage remains a watchdog and constant critic of what is possibly the world's most powerful cultural phenomenon
This book will be eargerly read by all students of film, theatre, and 20th century literature.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.