More than fifty specialists have contributed to this new edition of volume 4 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.
Susan’s Breasts ‘Gems’s piece is a bitter dissection of the heroin generation, where bright young things attempt to maintain their rigid codes of personal freedom and loveless sex ... Sparky, sexy, sterile Susan is the object of Gems’s despair, and the object of desire for her predatory he-admirers – a loutish intellectual, a wise-cracking, good-time restaurateur, and a fi lm-maker with acute semiotics-disease. It is only the old-fashioned romantic love professed by Lemon, a Romeo-cum-seer, which makes the eponymous breasts swell with maternity. Sharply observed and often carrying a charge of rich comic irony.’ – Time Out Naked Robots ‘An extremely well-written evocation of life in the style-conscious world of popular music.’ – The Sunday Times The Paranormalist ‘The climax of The Paranormalist has Denholm Elliott in spotlit levitation above a bickering family in a suburban living room. Dishevelled in baggy cardy and slippers, Elliott gives an affectionate and authoritative portrayal as an English eccentric. It’s a brilliant performance in an exhilarating new play which interweaves drawing-room farce with a witty use of the paranormal.’ – Ann McFerran, Time Out
The Portuguese visual artist Paula Rego has inspired this trilogy of plays. Her paintings Crivelli’s Garden, The Prey and Breaking China became the catalyst for writing by theatre maker Fiona Graham. Commissioned by Theatre Centre and Komedia, these three new plays were developed for specific audiences through a series of artist/audience residencies and collaborations. These works have toured Britain and been re-staged in Portugal and Singapore. Crivellis’s Garden was created for a 16+ audience and explores rites of passage as two young women decide whether they should stay or leave their fishing village to go to university in Portugal. Between Friends is for 7 -11 year olds and examines the politics of friendship between three young people when they are shipwrecked and abandoned in a lighthouse. Breaking China is for 4-8 year olds and shows the importance of creative play and storytelling when making sense of change and adversity. About the author DR FIONA GRAHAM Fiona teaches dramaturgy at Goldsmiths University. Previously she spent over a decade in New Zealand writing and teaching at Auckland University. Her plays include: Passage (The Herald Theatre, Auckland 2010), Breaking China (Theatre Centre, 2002 and Singapore’s International Festival, 2004) and Legacy (for Massive Theatre Company, 1998). Most recently she worked as dramaturge with Otago University and Talking House Theatre Company on Be/Longing and Hush, with Red Leap Theatre Company on Paper Sky and Sea, with playwright Mei-Lin Hansen on The Mooncake And The Kumara, with Winning Productions on I Wanna Be -- Ponsonby and Carol Brown on 1000 Lovers and the Pah Collective. Her book Catalyst For Change: The Interventions of the Dramaturge was published in New Zealand in 2017. Reviews: ‘Graham’s poetically eloquent script flows like molten silver and should give students, teachers and other theatregoers much to think about’ (on Crivelli’s Garden) – The Stage ‘A prime example of how an excellent script innovatively directed and beautifully performed can be applied to a wide age range. This joyful production provides much food for thought.’ (on Breaking China) – The Stage
This collection contains Gogol's three completed plays The Government Inspector, which satirises a corrupt society was regarded by Nabokov as the greatest play in the Russian language and is still widely studied in schools and universities: "I resolved to gather into one heap everything that was bad in Russia which I was aware of at that time, all the injustices being perpetrated in those places, and in those circumstances that especially cried out for justice, and tried to hold them all up to ridicule, at one fell swoop." (Nikolai Gogol) Marriage is a comedy about the business of matchmaking and matrimony; The Gamblers is an exoriating piece about the excesses of the Moscow aristocracy. "Two and two make five, if not the square root of five, and it all happens quite naturally in Gogol's world... Gogol was a strange creature, but then genius is always strange" (Vladimir Nabokov)
One of the greatest playwrights of Ancient Greece, the works of Euripides (484-406 BC) were revolutionary in their depiction of tragic events caused by flawed humanity, and in their use of the gods as symbols of human nature. The three plays in this collection show his abilities as the sceptical questioner of his age. Alcestis, an early drama, tells the tale of a queen who offers her own life in exchange for that of her husband; cast as a tragedy, it contains passages of satire and comedy. The tragicomedy Iphigenia in Tauris melodramatically reunites the ill-fated children of Agamemnon, while the pure tragedy of Hippolytus shows the fatal impact of Phaedra's unreasoning passion for her chaste stepson. All three plays explore a deep gulf that separates man from woman, and all depict a world dominated by amoral forces beyond human control.
Essay from the year 2011 in the subject English Language and Literature Studies - Literature, grade: B, King`s College London, language: English, abstract: This essay explores the controversial endings of the following plays: The Taming of the Shrew A midsummer Night’s Dream The Merchant of Venice. Paying particular attention to the language in the last scenes and Shakespeare's enigmatic representation of the female characters with regards to gender roles.
Three Grim Fairy Tales and a Happy Ending is based on personal experience and insight of an active straight advocate in the Gay, Lesbian, Bisexual, Transsexual (GLBT) Community. Debi Lowry's son, Ian, is gay and the organizations she supports and contributes to support the rights of those individuals. Some of the storylines used in this book are drawn from the experiences of people she has met. None of the fictional parts are based solely on one individual, but on a composite of many of the people who she has encountered over the years. Being the openly accepting parent of a gay child is not easy. Parents who do not hide the fact they have a gay child run the risk of seeing a broad range of reactions. People will often ask, "What are you going to do?" "How did it happen?" They will offer apologies and sympathy. They will suggest seeking help from clergy or mental health professionals. They whisper and speak in hushed tones to others when the topic of sexuality comes up. They make comments about not having grandchildren. There is not so much concern about how the gay child is doing, but more about what will be thought of the family of the gay child.
This volume provides a comprehensive survey of the English Bibles of Shakespeare's day, notes their similarities and differences, and indicates which version the playwright knew best. The biblical references in each of Shakespeare's plays are then carefully analyzed, as are Shakespeare's references to the Prayer Book and the homilies. The thorny question of what constitutes a valid biblical reference is also discussed.
THE STORIES: HAPPY ENDING. The story of two sisters, Ellie and Vi, who work as maid and laundress for the wealthy Harrisons. As the play begins they are sitting at the kitchen table in a tenement apartment in Harlem, lamenting the end of their good
Information about 1,500 selected, nonmusical, full-length plays in English, covering all dramatic periods from 400 B.C. to 1985.
Sixteen-year-old Mel encounters a tangled web of relationships and her first romance when she is cast in a local theater company's production. Reprint.
Problem Plays' has been an awkward category for those Shakespeare plays that don't fit the conventional groupings. Expanding from the traditional three plays to six, the book argues that they share dramatic structures designed intentionally by Shakespeare to disturb his audience by frustrating their expectations.
Anton Chekhov offers a critical introduction to the plays and productions of this canonical playwright, examining the genius of Chekhov's writing, theatrical representation and dramatic philosophy. Emphasising Chekhov’s continued relevance and his mastery of the tragicomic, Rose Whyman provides an insightful assessment of his life and work. All of Chekhov’s major dramas are analysed, in addition to his vaudevilles, one-act plays and stories. The works are studied in relation to traditional criticism and more recent theoretical and cultural standpoints, including cultural materialism, philosophy and gender studies. Analysis of key historical and recent productions, display the development of the drama, as well as the playwright’s continued appeal. Anton Chekhov provides readers with an accessible comparative study of the relationship between Chekhov's life, work and ideological thought.