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First published in 1991, this book is the first annotated
bibliography of feminist Shakespeare criticism from 1975 to 1988 -
a period that saw a remarkable amount of ground-breaking work.
While the primary focus is on feminist studies of Shakespeare, it
also includes wide-ranging works on language, desire, role-playing,
theatre conventions, marriage, and Elizabethan and Jacobean culture
- shedding light on Shakespeare's views on and representation of
women, sex and gender. Accompanying the 439 entries are extensive,
informative annotations that strive to maintain the original
author's perspective, supplying a careful and thorough account of
the main points of an article.
First published in 1991, this book is the first annotated
bibliography of feminist Shakespeare criticism from 1975 to 1988 -
a period that saw a remarkable amount of ground-breaking work.
While the primary focus is on feminist studies of Shakespeare, it
also includes wide-ranging works on language, desire, role-playing,
theatre conventions, marriage, and Elizabethan and Jacobean culture
- shedding light on Shakespeare's views on and representation of
women, sex and gender. Accompanying the 439 entries are extensive,
informative annotations that strive to maintain the original
author's perspective, supplying a careful and thorough account of
the main points of an article.
Originally published in 1995. In three parts - introduction,
criticism and reviews - this volume examines the goriest of
Shakespeare's works. The editor's exhaustive introduction runs
through the pattern of changing scholarship and commentary,
introducing the key interests in the play, from its authorship to
its language, rhetoric and performance. Early commentaries focused
on arguing about whether the play was truly Shakespeare's. A
selection of the most important of these are included here followed
by later investigations looking at myriad topics and characters -
revenge, violence, race, Aaron, women, tragedy and Tamora. The
large section of reviews of stage performances, arranged
chronologically, ranges from 1857 to 1990. Two final pieces
interestingly survey stage history of Titus in Japan and in
Germany.
This is the first collection of critical essays devoted exclusively
to Shakespeare's first published work, his long narrative poem
Venus and Adonis which established his reputation as the literary
darling of London and the heir of Ovid. Particularly important is
the book's coverage of the little-known presence of Venus and
Adonis on stage.A substantial introduction of 65 pagessurveys the
history of criticism about the poem and its significance, and
addresses such issues as the burdens of readership and the poem as
a staged production. Following are 19 reprinted works from the 18th
to late 20th centuries and seven original essays by leading
scholars that examine the poem from a variety of theoretical and
critical perspectives-Lacanian desire, semiotics and Elizabethan
wardship, female readership, mythology, aesthetics and art history.
An extensive chronological bibliography of scholarship, editions,
and theatrical and literary reviews makes this volume
indispensable.
The first African American to win the Pulitzer Prize for drama,
Suzan Lori-Parks has received international recognition for her
provocative and influential works. Her plays capture the nightmares
of African Americans endangered by a white establishment determined
to erase their history and eradicate their dreams. This collection
of twelve original essays addresses Lori-Parks' plays, their
historical and philosophical roots, her novel and her screenplays,
as well as a production chronology of her plays. Of particular note
are an interview with Lori-Parks and another with her long-time
director Liz Diamond. This text represents a valuable addition not
only to the work of Lori-Parks, but to the extensive history of
African American playwrighting.
The author of A Streetcar Named Desire and Cat on a Hot Tin Roof
was never shy about drawing on his personal and family drama for
stage material. This collection of 15 essays examines how
Williams's confessional style and subject matter in turn influenced
a diverse group of American playwrights over the past six decades.
Critical comparisons with William Inge, Edward Albee, Neil Simon,
David Mamet, Beth Henley, Christopher Durang, Tony Kushner, and
others reveal the complexity of his influence. A special feature of
this collection is its emphasis on how Williams was received by
African American dramatists, including Lorraine Hansberry, August
Wilson, Adrienne Kennedy and Suzan-Lori Parks. The collection ends
with an original interview with Edward Albee on why and how
Williams influenced him.
In the twenty years that preceded the publication of this book in
1988, David Rabe was in the vanguard of playwrights who shaped
American theatre. As the first full-length work on Rabe, this book
laid the groundwork for later critical and biographical studies.
The first part consists of an essay that covers three sections: a
short biography, a summary and evaluation of his formative
journalism for the New Haven Register, and a detailed and cohesive
stage history of his work. The second part presents the most
comprehensive and authoritative primary bibliography of Rabe to
date, with the third section containing a secondary bibliography -
including a section on biographical studies.
In the twenty years that preceded the publication of this book in
1988, David Rabe was in the vanguard of playwrights who shaped
American theatre. As the first full-length work on Rabe, this book
laid the groundwork for later critical and biographical studies.
The first part consists of an essay that covers three sections: a
short biography, a summary and evaluation of his formative
journalism for the New Haven Register, and a detailed and cohesive
stage history of his work. The second part presents the most
comprehensive and authoritative primary bibliography of Rabe to
date, with the third section containing a secondary bibliography -
including a section on biographical studies.
Originally published in 1995. In three parts - introduction,
criticism and reviews - this volume examines the goriest of
Shakespeare's works. The editor's exhaustive introduction runs
through the pattern of changing scholarship and commentary,
introducing the key interests in the play, from its authorship to
its language, rhetoric and performance. Early commentaries focused
on arguing about whether the play was truly Shakespeare's. A
selection of the most important of these are included here followed
by later investigations looking at myriad topics and characters -
revenge, violence, race, Aaron, women, tragedy and Tamora. The
large section of reviews of stage performances, arranged
chronologically, ranges from 1857 to 1990. Two final pieces
interestingly survey stage history of Titus in Japan and in
Germany.
This is the first collection of critical essays devoted exclusively to Shakespeare's first published work, his long narrative poem Venus and Adonis, which established his reputation as the literary darling of London and the heir of Ovid. Particularly important is the book's coverage of the little-known presence of Venus and Adonis on stage.
'The impressive array of scholars gathered in this collection,
all experts in the field, read the plays with nuance and situate
them deftly within their cultural and historical contexts. Scholars
of contemporary theater and drama and of African American
literature will find value in this engaging collection.' Choice
'For students and scholars of American theatre and drama
generally and African American theatre and drama most particularly,
this is an extremely valuable critical source.' Harry Elam,
Stanford University, USA
In the last fifty years, American and World theatre has been
challenged and enriched by the rise to prominence of numerous
female African American dramatists. Contemporary African American
Women Playwrights is the first critical volume to explore the
contexts and influences of these writers, and their exploration of
black history and identity through a wealth of diverse, courageous
and visionary dramas.
Kolin compiles a wealth of new essays, comprising:
- Yale scholar David Krasner on the dramatic legacy of Lorraine
Hansberry, Zora Neale Hurston, Marita Bonner and Georgia Douglas
Johnson
- individual chapters devoted to: Alice Childress, Sonia Sanchez,
Adrienne Kennedy, Ntozake Shange, Pearl Cleage, Aishah Rahman,
Glenda Dickerson, Anna Deavere Smith and Suzan Lori-Parks
- an essay and accompanying interview with Lynn Nottage
- comprehensive discussion of attendant theatrical forms, from
choreopoems and surrealistic plays, to documentary theatre and
civil rights dramas, and their use in challenging racial and gender
hierarchies.
Contributors: Brandi Wilkins Catanese, Soyica Diggs, James
Fisher, Freda Scott Giles, Joan Wylie Hall, Philip C. Kolin, David
Krasner, Sandra G. Shannon, Debby Thompson, Beth Turner and
Jacqueline Wood.
A Streetcar Named Desire revolutionized the modern stage and this book offers the first continuous history of the play in production from 1947 to 1998. Chapters survey major national premieres by the world's leading directors including Seki Sano, Luchino Visconti, Ingmar Bergman, Jean Cocteau and Laurence Olivier. Interpretations by Black and gay theater companies also receive analyses, and transformations into other media, such as ballet, film, television, and opera (premiered in 1998) form an important part of the overall study.
'The impressive array of scholars gathered in this collection, all
experts in the field, read the plays with nuance and situate them
deftly within their cultural and historical contexts. Scholars of
contemporary theater and drama and of African American literature
will find value in this engaging collection.' - Choice 'For
students and scholars of American theatre and drama generally and
African American theatre and drama most particularly, this is an
extremely valuable critical source.' - Harry Elam, Stanford
University, USA In the last fifty years, American and World theatre
has been challenged and enriched by the rise to prominence of
numerous female African American dramatists. Contemporary African
American Women Playwrights is the first critical volume to explore
the contexts and influences of these writers, and their exploration
of black history and identity through a wealth of diverse,
courageous and visionary dramas. Kolin compiles a wealth of new
essays, comprising: Yale scholar David Krasner on the dramatic
legacy of Lorraine Hansberry, Zora Neale Hurston, Marita Bonner and
Georgia Douglas Johnson individual chapters devoted to: Alice
Childress, Sonia Sanchez, Adrienne Kennedy, Ntozake Shange, Pearl
Cleage, Aishah Rahman, Glenda Dickerson, Anna Deavere Smith and
Suzan Lori-Parks an essay and accompanying interview with Lynn
Nottage comprehensive discussion of attendant theatrical forms,
from choreopoems and surrealistic plays, to documentary theatre and
civil rights dramas, and their use in challenging racial and gender
hierarchies. Contributors: Brandi Wilkins Catanese, Soyica Diggs,
James Fisher, Freda Scott Giles, Joan Wylie Hall, Philip C. Kolin,
David Krasner, Sandra G. Shannon, Debby Thompson, Beth Turner and
Jacqueline Wood.
This collection of essays documents the indebtedness and thematic
similarities uniting Shakespeare and eight southern
authors--William Gilmore Simms, Henry Timrod, Sidney Lanier, Mark
Twain, William Faulkner, John Crowe Ransom, Robert Penn Warren, and
Walker Percy. Each of these essays, written expressly for this
collection, examines the shared cultural heritage in which
Shakespeare has been received as well as the significant ways in
which each of these writers has responded to Shakespeare. Since no
other single work currently exists that exclusively considers this
subject, Shakespeare and Southern Writers will be a valuable
resource for scholars of American literature, Shakespearian
studies, and southern culture, giving as it does not only a much
needed account of the Bard's influence on the life and writings of
these particular writers but also an assessment of his influence on
southern letters in general. The eight authors selected are
representatives of various periods and achievements in southern
literature (the local color movement, the age of the
Fugitives-Agrarians, the modern novel); their work represents the
widely different genres in which Shakespeare's influence was
felt--the lyric (Timrod, Warren), the drama (Simms--in both comedy
and tragedy), the novel (Twain, Faulkner, Percy), and criticism
(Ransom, in particular). The editor draws together these disparate
and individual writers from the nineteenth and twentieth centuries
in an introductory essay that points out the variety and richness
of these authors' responses to Shakespeare.
Edward Albee has reigned over the American theater since 1959. By
transporting the techniques of European absurdism to American soil,
he ushered in a new era in the American theater. He has said he won
two and one-half Pulitzers---one for "Delicate Balance," one for
"Seascape," and the one-half supposedly for "Virginia Woolf," which
the Pulitzer committee denied to Albee in 1962 because they
objected to the language of the play.
Albee's numerous roles and achievements are reflected in the
lively interviews in this collection. These reveal the many sides
and responses of one of the most significant dramatists of our age.
In them we see the poised and guardedly amiable Albee; the angry
Albee; the speculative and philosophical Albee; the
historical-critical Albee; and the witty Albee.
Albee talks knowledgeably and frankly about every phase of
staging his plays---the many personalities involved in the process
and the playwright's prerogatives, which he jealously guards.
These twenty-seven interviews contain a rich sampler of Albee's
own scathing wit, his wry humor, and his sometimes biting, sardonic
innuendo. His targets are many---the New York theater critics,
television, Hollywood and films, complacent America, and lazy
audiences.
A Streetcar Named Desire revolutionized the modern stage and this book offers the first continuous history of the play in production from 1947 to 1998. Chapters survey major national premieres by the world's leading directors including Seki Sano, Luchino Visconti, Ingmar Bergman, Jean Cocteau and Laurence Olivier. Interpretations by Black and gay theater companies also receive analyses, and transformations into other media, such as ballet, film, television, and opera (premiered in 1998) form an important part of the overall study.
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