The first collection of plays by one of France's most prominent playwrights

Overboard: "Combines Shakespearian tragedy, Aristophanic farce and a Chekhovian drama of lives consumed and memories that fade." Le Progres, Situation Vacant: "The play builds to a climax which powerfully captures a mind under siege, bombarded by a cacophony of voices and tormented by guilt." (Independent); Dissident, Goes Without Saying and Nina, That's Something Else: "These two plays bring to a summit the art of suggestions...Two fables in which prosaic everyday life is captured, at times fraught with pathos, often compassionate." (L'Humanite ); A Smile on the End of the Line: "A six-part invention which interweaves half a dozen plot lines to bring life and speed into the manufacturing sector." (Daily Telegraph)

The second collection of plays by one of France's most prominent playwrights

High Places: "A drama which, from second to second, maintains the spectator in suspense, and which, by the same stroke, achieves the dimension of pure, great metaphysical theatre." (Le Monde); The Neighbours " bizarre contemporary vaudeville, biting, disturbing, very subtle and wildly funny" (Le Figaro); Portrait of a Woman: "An intriguing challenging piece." (Financial Times); The Television Programme: "The piece is beautifully plotted and written from the heart." (Independent on Sunday)

The translators are Gideon Y. Schein (High Places); Paul Antal (The Neighbours); Donald Watson (Portrait of a Woman); David and Hannah Bradby (The Television Programme)

This is a title in the Bristol Classical Press French Texts series, in French with English notes, vocabulary and introduction.;Chiefly known as leader of the "Theatre du Quotidien" school, Vinaver has forged a dramatic idiom which is both original and accessible. This volume includes three of his representative "chamber" plays, chosen to exemplify his personal approach both to dialogue and problems of dramatic structure. The introduction provides an account of Vinaver's place in the French theatre of the 1990s, as well as guidance on how to approach the staging of his dialogue.