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This major work brings together, for the first time in a single volume, all the recognized sources of Marlowe's dramatic work. Many of the forty-two texts presented here are of outstanding interest in their own right. Together they illuminate the cultural milieu which fostered Marlowe's talent, and deepen our appreciation of his dramatic methods. * Each of the texts is accessibly presented for the modern reader and is fully annotated. * Works in Latin or foreign vernaculars are translated, many for the first time, and modern spelling and punctuation are used throughout. * The sources for each play are examined individually and are thoroughly edited. Few libraries provide the range of sources contained in this one volume. The editors include texts of works such as the English Faust-Book from which Marlowe borrowed heavily, and provide substantial extracts from other books with which he was no doubt familiar. This book is an invaluable resource for all those interested in Marlowe and the development of Elizabethan theatre. eBook available with sample pages: 0203379837
This major work brings together, for the first time in a single
volume, all the recognized sources of Marlowe's dramatic work. Many
of the forty-two texts presented here are of outstanding interest
in their own right. Together they illuminate the cultural milieu
which fostered Marlowe's talent, and deepen our appreciation of his
dramatic methods. * Each of the texts is accessibly presented for
the modern reader and is fully annotated. * Works in Latin or
foreign vernaculars are translated, many for the first time, and
modern spelling and punctuation are used throughout. * The sources
for each play are examined individually and are thoroughly edited.
Few libraries provide the range of sources contained in this one
volume. The editors include texts of works such as the English
Faust-Book from which Marlowe borrowed heavily, and provide
substantial extracts from other books with which he was no doubt
familiar. This book is an invaluable resource for all those
interested in Marlowe and the development of Elizabethan theatre.
Stand at the rim of Palo Duro Canyon or look down from any vista
along the caprock, and let your imagination take over. Beneath an
endless canopy of blue, you find yourself at the edge of an
enormous island of rippling grassland that stretches from the New
Mexico borderlands down through the Texas Panhandle.The Llano
Estacado, Coronado's legendary "staked plains," comprises all or
part of thirty-three counties in Texas and four in New Mexico. It
covers approximately 32,000 square miles of arid prairie used
primarily today for ranching and farming. It lies atop the vast
Ogalalla Aquifer--its primary source of water--and partially covers
the oil-bearing Permian Basin. Its population, outside of four
mid-sized cities, is sparse.The Llano has always required and
appealed to discerning eyes. The artists and writers gathered here
are hardly the first to have felt the pull of this place or the
urgency to capture its essence. Yet the idiosyncrasies and ideals,
the successes and failures, the strangeness and beauty and power of
the land and its people beckon fresh discovery. Look at the Llano
with eyes open to possibility, and you will encounter the
unexpected, a keener understanding of the ways in which landscape
and life are always inescapably intertwined, thrumming, as Barry
Lopez suggests, the eternal questions: Where are we? And where do
we go from here?
This volume brings together a wide selection of primary source
materials from the theatrical history of the Middle Ages. The focus
is on Western Europe between the fall of the Roman Empire and the
emergence of markedly Renaissance forms in Italy. Early sections of
the volume are devoted to the survival of Classical tradition and
the development of the liturgical drama of the Roman Catholic
Church, but the main concentration is on the genesis and growth of
popular religious drama in the vernacular. Each of the major
medieval regions is featured, while a final section covers the
pastimes and customs of the people, a record of whose traditional
activities often only survives in the margins of official
recognition. The documents are compiled by a team of leading
scholars in the field and the over 700 documents are all presented
in modern English translation.
This is the only volume available to bring together a wide selection of primary sources from the theatrical history of the Middle Ages. The focus is on Western Europe between the fall of the Roman Empire and the emergence of Renaissance forms in Italy. Coverage includes the survival of Classical tradition and development of the liturgical drama, the growth of popular religious drama in the vernacular, and the pastimes and customs of the people. Each of the major medieval regions is featured and documents are presented in modern English translation.
This 1996 book is a study of Oscar Wilde's Salome, a play now
regarded as central to his artistic achievement. Often drawing on
little-known sources, the authors provide a detailed stage-history
of this controversial work, and its transformation into opera,
dance and film. Beginning with Sarah Bernhardt's aborted production
of 1892, the book surveys Salome's principal realisations in the
European theatre, including Lugne-Poe's Parisian premiere of 1896,
Reinhardt's Berlin productions of 1902-3, attempts at presentation
in pre-revolutionary Russia, and the play's impact on the English
stage between 1911 and 1990. A separate chapter explores a wealth
of further interpretations, including Aubrey Beardsley's
challenging illustrations, Strauss's operatic version and the
provocative films created by Alla Nazimova and Ken Russell.
This 1996 book is a study of Oscar Wilde's Salome, a play now
regarded as central to his artistic achievement. Often drawing on
little-known sources, the authors provide a detailed stage-history
of this controversial work, and its transformation into opera,
dance and film. Beginning with Sarah Bernhardt's aborted production
of 1892, the book surveys Salome's principal realisations in the
European theatre, including Lugne-Poe's Parisian premiere of 1896,
Reinhardt's Berlin productions of 1902-3, attempts at presentation
in pre-revolutionary Russia, and the play's impact on the English
stage between 1911 and 1990. A separate chapter explores a wealth
of further interpretations, including Aubrey Beardsley's
challenging illustrations, Strauss's operatic version and the
provocative films created by Alla Nazimova and Ken Russell.
'After years of sham heroics and superhuman balderdash, Caste
delighted everyone by its freshness, its nature, its humanity.'
Thus, after watching a revival in 1897, did Shaw generously
recognize the impact made thirty years earlier by Tom Robertson's
best-known play. Yet, in spite of the acknowledged importance of
these seminal dramas, they are not easily accessible in print, and
this edition therefore comprises four of Robertson's most
successful comedies: Society (1865), Ours (1866), Caste (1867) and
School (1869). Beginning his career as a theatrical
hack-of-all-trades, Robertson ultimately found his niche with the
Bancrofts at the Prince of Wales's Theatre, establishing a vogue
for comedies of everyday Victorian life, and creating vehicles for
casts whose particular talents he learnt to exploit. The
playwright's distinctive trademarks - fairytale contrivance and
domestic realism, tender romance and mild debunking of convention -
offered a refreshing change from the prevailing genres of burlesque
and melodrama. William Tydeman's substantial introduction follows
each phase of Robertson's creative development, stressing the
historical significance of his works as well as their intrinsic
merits as drama.
Popular and scholarly works on the Elizabethan stage have long
familiarised readers and playgoers with the main features of a
typical Shakespearian playhouse, yet medieval stage conditions
remain far less well known, despite the amount of research in this
area recently. In this survey of findings and theories (some
unavoidably controversial), William Tydeman covers central aspects
of western European theatre from the Dark Ages to the building of
the first public theatres towards the end of the sixteenth century.
The book begins by examining the ancient rituals from which drama
sprang, the legacy bequeathed by the Roman stage to popular
entertainers of the Middle Ages, and the r le of the histrionic
impulse in Christian worship. Subsequent chapters describe in some
detail the varying methods of medieval staging - indoors,
processional, and al fresco - settings, costumes, and effects, the
way performers were chosen and organised, how the plays were
financed and how their audiences responded. Half-tone and line
illustrations clarify various points of theatrical detail in the
text.
Each Macmillan Casebook concerns a classic of English Literature or
a significant modern work. (Occasional volumes in the series will
deal with closely related works.) Each Casebook brings together the
best of modern criticism, along with a generous selection of
earlier review and comment and any useful information that readers
might need. The Introduction discusses the critical reputation of
the work from the time of its publication to the present day. Each
volume aims to give its readers a heightened sense of the interest
and vitality of the work under discussion, and of the value of a
critical response.
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