Modern British Playwriting: The 1980s equips readers with a fresh assessment of the theatre and principle playwrights and plays from a decade when political and economic forces were changing society dramatically. It offers a broad survey of the context and of the playwrights and companies such as Complicite and DV8 that rose to prominence at this time. Alongside this it provides a detailed examination based on fresh research of four of the most significant playwrights of the era and considers the influence they had on later work. The 1980s volume features a detailed study by four scholars of the work of four of the major playwrights who came to prominence: Howard Barker (by Sarah Goldingay), Jim Cartwright (David Lane), Sarah Daniels (Jane Milling) and Timberlake Wertenbaker (Sara Freeman). Essential for students of Theatre Studies, the series of six decadal volumes provides a critical survey and study of the theatre produced from the 1950s to 2009. Each volume features a critical analysis of the work of four key playwrights besides other theatre work from that decade, together with an extensive commentary on the period. Readers will understand the works in their contexts and be presented with fresh research material and a reassessment from the perspective of the twenty-first century. This is an authoritative and stimulating reassessment of British playwriting in the 1980s.

A peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference. Theatre History Studies is devoted to research in all areas of theatre studies, with special interest in archival research, historical documentation, and historiography.

Theatre History Studies (THS) is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference.

A peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference. Theatre History Studies is devoted to research in all areas of theatre studies, with special interest in archival research, historical documentation, and historiography. Many issues feature a special section curated around a special theme or topic; for 2017 that special section focus on histories of new writing for the theatre. Featured in Theatre History Studies 2017, Volume 36 : i?1/2Resisting Arlecchino's Mask: The Case of Marcello Morettii?1/2 by Gabrielle Houle i?1/2Making Space for Performance: Theatrical-Architectural Nationalism in Postindependence Ghanai?1/2 by David Afriyie Donkor i?1/2Preparing Boys for War: J. M. Barrie's Peter Pan Enlists in World War I's aEURO~Great Adventure'i?1/2 by Laura Ferdinand Feldmeyer i?1/2Not Just Rock aEURO~n' Roll: Chicago Theatre, 1984aEURO"1990i?1/2 by Julie Jackson i?1/2New Writing and Theatre Historyi?1/2 by Sara Freeman i?1/2New Plays in New Tongues: Bilingualism and Immigration at the New Italian Theatre in Francei?1/2 by Matthew McMahan i?1/2The Waterloo Summer of the Prince of Wales's Theatre: New Writing, Old Friends, and Early Realism in the Victorian Theatrei?1/2 by Shannon Epplett i?1/2Chekhov's Three Sisters: A Proto-Poststructuralist Experimenti?1/2 by Sarah Wyman i?1/2Historicizing Shakesfear and Translating Shakespeare Anewi?1/2 by Lezlie C. Cross i?1/2A New Noble Kinsmen: The Play On! Project and Making New Plays Out of Oldi?1/2 by Martine Kei Green-Rogers and Alex N. Vermillion i?1/2Making New Theatre Together: The First Writers' Group at the Royal Court Theatre and Its Legacy Within the Young Writers' Programmei?1/2 by Nicholas Holden i?1/2New Writing in a Populist Context: A Play,a Pie, and a Pinti?1/2 by Deana Nichols i?1/2American Playwriting and the Now Newi?1/2 by Todd London The Robert A. Schanke Award-Winning Essay: i?1/2Black Folk's Theatre to Black Lives Matter: The Black Revolution on Campusi?1/2 by La Donna L. Forsgren

A compelling, compact novel about a woman who walks out of her life and washes up in an out-of-season seaside town - from a powerful new Canadian-British voice After a sudden, devastating loss, Mara flees her family and ends up adrift in a wealthy coastal town. Mired in her grief, Mara's first few days are spent alone, surviving on what scraps of food she can find, and swimming at night in the ocean. When her money runs out and the tourist season comes to a close, Mara finds a job in a local wine store and meets its owner, Simon, a man whose loneliness she immediately recognises as a mirror to her own. As Mara dances around her growing attraction to Simon, she is forced to reckon with both her present desires and her past errors, and with the compulsion she feels to both make and unmake herself. Tides is a spare, visceral portrait of a woman nearly pulled under by loss and desire. It is an unforgettable introduction to a debut writer of uncommon literary power.

This is a story about a scientist that created the world's most deadly and contagious bio weapon known to man. It released from the lab with a little help and spreads around the world like wildfire. The infected become like enraged beasts and attacks everyone in sight. These infected, enraged beasts soon out number the survivors. A small group of people struggle to survive in a world gone mad. Is this the end of the human race? This is not a story of the undead rising. This is a story of humans being driven mad with a thirst for blood. This is a real live Zombie Apocalypse.

America once a thriving and prosperous nation, now an empty decaying wasteland-everything changed in the blink of an eye. In Grid Down Reality Bites, a high-altitude nuclear blast causing an EMP (electrical magnetic pulse) destroys the power grid, catapulting life as they knew it, back to the 1800's. The saga continues in Grid Down Perceptions of Reality (volume 2, part 1), as Amy, Preston, Michael, Joe, and Jane desperately struggle to survive the chaos that ensues. Now a post-apocalyptic world, they must rely on their primal instincts to escape destruction, disease and death. In response to readers, Grid Down Perception of Reality, is being released as a 3 part series. Part 2, which continues the story of Mark and Eric, is scheduled for release July of 2013. Part 3, scheduled for release December 2013, completes the series of Volume 2, with Clint and Junior. New updated book March 31st Professional Edited by Dr. Marian. 280 pages

Revised and updated. This is 3 novels in 1. Over 345,000 words. A fictional account of the end of the world after an Electro Magnetic Pulse Bomb (EMP) hits America and takes out the entire electrical grid. Americans fall into chaos, and survival of the fittest is the only way to turn. Three different group try to survive the collapse of America.

Modern British Playwriting: The 1980s equips readers with a fresh assessment of the theatre and principle playwrights and plays from a decade when political and economic forces were changing society dramatically. It offers a broad survey of the context and of the playwrights and companies such as Complicite and DV8 that rose to prominence at this time. Alongside this it provides a detailed examination based on fresh research of four of the most significant playwrights of the era and considers the influence they had on later work. The 1980s volume features a detailed study by four scholars of the work of four of the major playwrights who came to prominence: Howard Barker (by Sarah Goldingay), Jim Cartwright (David Lane), Sarah Daniels (Jane Milling) and Timberlake Wertenbaker (Sara Freeman). Essential for students of Theatre Studies, the series of six decadal volumes provides a critical survey and study of the theatre produced from the 1950s to 2009. Each volume features a critical analysis of the work of four key playwrights besides other theatre work from that decade, together with an extensive commentary on the period. Readers will understand the works in their contexts and be presented with fresh research material and a reassessment from the perspective of the twenty-first century. This is an authoritative and stimulating reassessment of British playwriting in the 1980s.