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Duologues for All Accents and Ages
by Jean Marlow Eamonn JonesFirst Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
Dust
by Billy Goda4m, 1f, with doubling / Thriller / Dust is an edge-of-your-seat thriller. Martin is an executive with money and a paunch. Zeke, a gifted young man torn down by drugs, is an ex-con with street smarts and a minimum wage position. Early one morning, in the fitness center of the Essex House, a battle-of-wills begins over the most trivial of requests. As described in The New York Times review: "Verbal sparring turns angry, posturing leads to entrenched positions, and out of nothing - out of dust - a grudge match is born." Once Martin's daughter Jenny becomes entangled, the stakes are raised even higher - escalating a war for respect into one for revenge and ultimately survival. / Who will be standing when the dust settles?
Dusty and the Big Bad World
by Cusi CramComedy / Characters: 1m, 3f, 1 girl Dusty and his animated friends hold a competition to find a model family based on letters written by children. The winning family will receive a visit from Dusty and will be filmed for an upcoming episode. Out of the 15,000 letters received, the producers pick Lizzie Goldberg-Jones and her family to be featured on the most popular animated PBS show in America. Her parents are exemplary role models - and they are two men. When word of that selection and the resulting episode reaches Marianne, Secretary of Education, she exercises her authority, deciding that the program should not be aired on public television because of its possible influence on children. Her decision, calling the episode "special interest TV", is a blow to Jessica and Nathan, the producers/writers of the show and to Karen, Marianne's secretary. Karen admires her boss' tenacity in overcoming a self-destructive past, but feels her decision to cancel the episode is definitely wrong. She secretly reveals that self-destructive past to Nathan and almost brings Marianne down, but not quite. Based on an actual incident that happened in 2005, Dusty and the Big Bad World is a very funny, no-holds-barred yet even-handed look at PBS, government bias, gay marriage, the right to privacy, children's allergies and the ability to survive in a small-minded world.
The Dutchman And The Slave: Two Plays
by Leroi JonesCentered squarely on the Negro-white conflict, both Dutchman and The Slave are literally shocking plays--in ideas, in language, in honest anger. They illuminate as with a flash of lightning a deadly serious problem--and they bring an eloquent and exceptionally powerful voice to the American theatre. Dutchman opened in New York City on March 24, 1964, to perhaps the most excited acclaim ever accorded an off-Broadway production and shortly thereafter received the Village Voice's Obie Award. The Slave, which was produced off-Broadway the following fall, continues to be the subject of heated critical controversy.
A Dybbuk
by Joachim Neugrochel Tony KushnerKushner's imaginative retelling of the classic mystical legend, The Dybbuk, by S. Ansky, the noted Russian and Yiddish-language folklorist, novelist and dramatist. Ansky formed an expedition which roamed throughout the Ukraine to preserve and collect Hasidic folktales. The Dybbuk was a product of that journey. Written before the outbreak of World War I, it wasn't produced until 1920, shortly after Ansky's death. It has been much-produced worldwide ever since.
Dyeing for Entertainment: Dyeing, Painting, Breakdown, and Special Effects for Costumes
by Erin CarignanDyeing for Entertainment encompasses a wide range of methods of theatrical painting and dyeing to create beautiful artistic products for theatre, film, TV, opera, and themed entertainment. Featuring examples from renowned international artisans in the field, this book provides a wealth of information on creating and changing colors, prints, and surface textures of fabric using traditional and nontraditional costume, scenic, fine-art, and metal-smithing techniques. It also includes new, safer materials and methods to minimize exposure to toxic materials and fumes. With more than 250 full-color images, this technical manual is designed to guide and inspire new artists in the collaborative art of painting, dyeing, ageing, and slinging blood and bling on costumes that is an essential part of creating characters for the entertainment industry. Written for undergraduate and graduate students of costume design and technology, professional dyers and breakdown artists, and cosplayers, this book can be used as a reference and springboard to create your own magical processes, custom fabrics, and unforgettable costumes. To access the online materials, including printable swatch sheets, a collection of relevant safety data sheets, and a source guide with links, visit www.routledge.com/9780815352327.
Dying City
by Christopher Shinn"The finest new American play I've seen in a long while . . . Dying City is a political play and also a psychodrama about what Arthur Miller called the politics of the soul. It's about public conscience and private grief, and real and symbolic catastrophes."--The New York Observer"Anyone who doubts that Mr. Shinn is among the most provocative and probing of American playwrights today need only experience the . . . sophisticated welding of form and content that is Dying City."--The New York TimesIn Christopher Shinn's new play Dying City, a young therapist, Kelly, whose husband Craig was killed while on military duty in Iraq, is confronted a year later by his identical twin Peter, who suspects that Craig's death was not accidental. Set in a spare downtown-Manhattan apartment after dark, scenes shift from the confrontation between Peter and Kelly, to Kelly's complicated farewell with her husband Craig. Shinn's creepy, sophisticated drama--infused with references to 9/11 and the war in Iraq--explores how contemporary politics and recent history have transformed the lives of these three characters.Christopher Shinn was born in Hartford, Connecticut, and lives in New York. His plays include Where Do We Live, Other People, What Didn't Happen, and On the Mountain, which have been widely produced in New York, across the United States, and in London. He is the recipient of an OBIE Award in Playwriting, as well as the Robert S. Chesney Award. He teaches playwriting at The New School for Drama.
The Dynamics of Inheritance on the Shakespearean Stage
by Michelle M. DowdEarly modern England's system of patrilineal inheritance, in which the eldest son inherited his father's estate and title, was one of the most significant forces affecting social order in the period. Demonstrating that early modern theatre played a unique and vital role in shaping how inheritance was understood, Michelle M. Dowd explores some of the common contingencies that troubled this system: marriage and remarriage, misbehaving male heirs, and families with only daughters. Shakespearean drama helped question and reimagine inheritance practices, making room for new formulations of gendered authority, family structure, and wealth transfer. Through close readings of canonical and non-canonical plays by Shakespeare, Webster, Jonson, and others, Dowd pays particular attention to the significance of space in early modern inheritance and the historical relationship between dramatic form and the patrilineal economy. Her book will interest researchers and students of early modern drama, Shakespeare, gender studies, and socio-economic history.
The Dynasts
by Thomas Hardy"The Dynasts" is an English-language drama in verse by Thomas Hardy. Hardy himself described this work as "an epic-drama of the war with Napoleon, in three parts, nineteen acts and one hundred and thirty scenes". Not counting the Forescene and the Afterscene, the exact total number of scenes is 131. The three parts were published in 1904, 1906 and 1908. Because of the ambition and scale of the work, Hardy acknowledged that The Dynasts was not a work that could be conventionally staged in the theatre, and described the work as "the longest English drama in existence". Scholars have noted that Hardy remembered war stories of the veterans of the Napoleonic wars in his youth, and used them as partial inspiration for writing The Dynasts many years later in his own old age. In addition, Hardy was a distant relative of Captain Thomas Hardy, who had served with Admiral Horatio Nelson at Trafalgar. Hardy consulted a number of histories and also visited Waterloo, Belgium, as part of his research. George Orwell wrote that Hardy had "set free his genius" by writing this drama and thought its main appeal was "in the grandiose and rather evil vision of armies marching and counter-marching through the mists, and men dying by hundreds of thousands in the Russian snows, and all for absolutely nothing."
Dynevor Terrace; Or, The Clue of Life -- Volume 1
by Charlotte M. YongeDynevor Terrace may be described as an extended family chronicle. All the main characters and many of the minor characters are either descendants of the Dynevors, an ancient Welsh family, or closely connected with them. The line had ended with three daughters, who all married in the 1 790s. In 1847, when the novel opens, only the eldest sister is still alive. Catherine has had a chequered life. Born the heiress of Cheveleigh, the family seat, she had married a Mr Frost who speculated in mines. At first his ventures were successful, and he invested some of the proceeds in Dynevor Terrace, built for letting in the small spa town of Northworld, near the seat of the earl of Ormersfield, who had married Catherine's younger sister. The earl involved himself in Mr Frost's speculations, and at his suggestion demolished the village adjoining his park, to improve his view. The villages were compelled to spend move some miles away to Marksedge, a desolate piece of heath land, where they grew unhealthy, impoverished and lawless.
Dynevor Terrace; Or, The Clue of Life -- Volume 2
by Charlotte M. YongeDynevor Terrace may be described as an extended family chronicle. All the main characters and many of the minor characters are either descendants of the Dynevors, an ancient Welsh family, or closely connected with them. The line had ended with three daughters, who all married in the 1 790s. In 1847, when the novel opens, only the eldest sister is still alive. Catherine has had a chequered life. Born the heiress of Cheveleigh, the family seat, she had married a Mr Frost who speculated in mines. At first his ventures were successful, and he invested some of the proceeds in Dynevor Terrace, built for letting in the small spa town of Northworld, near the seat of the earl of Ormersfield, who had married Catherine's younger sister. The earl involved himself in Mr Frost's speculations, and at his suggestion demolished the village adjoining his park, to improve his view. The villages were compelled to spend move some miles away to Marksedge, a desolate piece of heath land, where they grew unhealthy, impoverished and lawless.
Dyslexia and Drama
by Helen EadonFirst Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
The Earl's Forbidden Ward
by Bronwyn ScottInnocent debutante Tessa Branscombe senses that underneath her handsome guardian's cool demeanor there is an intensely passionate nature. The arrogant earl infuriates her—yet makes her want to explore those hidden depths….Peyton Ramsden, Earl of Dursley, has no time for girls—especially those who are suddenly given over to his care! Miss Tessa Branscombe, in particular, is trouble. She tempts this very proper earl to misbehave—and forbidden fruit always tastes that much sweeter.
Early American Children’s Clothing and Textiles: Clothing a Child 1600-1800
by Carey Blackerby HansonEarly American Children’s Clothing and Textiles: Clothing a Child 1600–1800 explores the life experiences of Indigenous, Anglo-European, African, and mixed-race children in colonial America, their connections to textile production, the process of textile production, the textiles created, and the clothing they wore. The book examines the communities and social structure of early America, the progression of the colonial textile industry, and the politics surrounding textile production beginning in the 1600's, with particular focus on the tasks children were given in the development of the American textile industry. The book discusses the concept of childhood in society during this time, together with documented stories of individual children. The discussion of early American childhood and textile production is followed by extant clothing samples for both boys and girls, ranging from Upper-class children's wear to children's wear of those with more humble means. With over 180 illustrations, the book includes images of textile production tools, inventions, and practices, extant textile samples, period portraits of children, and handmade extant clothing items worn by children during this time period. Early American Children’s Clothing and Textiles: Clothing a Child 1600–1800 will be of interest to working costume designers and technicians looking for primary historical and visual information for Early American productions, costume design historians, early American historians, students of costume design, and historical re-enactment costume designers, technicians, and hobbyists.
Early American Drama
by Various Jeffrey H. RichardsThis unique volume includes eight early dramas that mirror American literary, social, and cultural history: Royall Tylers The Contrast (1789); William Dunlap'sAndre (1798); James Nelson Barker's The Indian Princess (1808); Robert Montgomery Bird's The Gladiator (1831); William Henry Smith's The Drunkard(1844); Anna Cora Mowatt's Fashion (1845); George Aiken's Uncle Tom's Cabin(1852); and Dion Boucicault's The Octoroon (1859).
Early Modern Authorship and the Editorial Tradition: Shakespeare, Donne, Herbert, and Milton (Routledge Studies in Early Modern Authorship)
by Aleida AuldThis volume adds a new dimension to authorship studies by linking the editorial tradition to the transformative reception of early modern authors and their works across time. Aleida Auld argues that the editorial tradition provides privileged access to the reception of early modern literature, informing our understanding of certain reconfigurations and sometimes helping to produce them between their time and our own. At stake are reconfigurations of oeuvre and authorship, the relationship between the author and work, the relationship between authors, and the author’s own role in establishing an editorial tradition. Ultimately, this study recognizes that the editorial tradition is a stabilizing force while asserting that it may also be a source of strange and provocative reconceptions of early modern authors and their works in the present day. Scholars and students of early modern literature will benefit from this approach to editing as a form of reception that encompasses all the editorial decisions that are necessary to ‘put forth’ a text.
Early Modern Drama, 1576-1642
by Julie SandersEngaging and stimulating, this Introduction provides a fresh vista of the early modern theatrical landscape. Chapters are arranged according to key genres (tragedy, revenge, satire, history play, pastoral and city comedy), punctuated by a series of focused case studies on topics ranging from repertoire to performance style, political events to the physical body of the actor, and from plays in print to the space of the playhouse. Julie Sanders encourages readers to engage with particular dramatic moments, such as opening scenes, skulls on stage or the conventions of disguise, and to apply the materials and methods contained in the book in inventive ways. A timeline and frequent cross-references provide continuity. Always alert to the possibilities of performance, Sanders reveals the remarkable story of early modern drama not through individual writers, but through repertoires and company practices, helping to relocate and re-imagine canonical plays and playwrights.
Early Modern Drama and the Bible
by Adrian StreeteEarly modern drama is steeped in biblical language, imagery and stories. This collection of essays examines the extensive and pervasive presence of scripture on the early modern stage and considers a range of plays by writers such as Shakespeare, Marlowe, Middleton, Webster, Massinger and Heywood. The introduction situates the religious, political and ideological contexts within which the relationship between stage and book was negotiated. The individual essays then explore a variety of dramatic encounters with scripture, ranging from material and verbal presences, iconoclasm, political theology, the Bible and the law, the domestic, the religious and political controversy. In this way, the capacious and widespread dramatic engagement with the early modern Bible is reconsidered. These essays offer fresh and exciting readings of early modern drama by resituating the theatre as a site of public and communal engagement with, and interrogation of, scripture.
Early Modern Playhouse Manuscripts and the Editing of Shakespeare
by Paul WerstineEarly Modern Playhouse Manuscripts and the Editing of Shakespeare argues for editing Shakespeare's plays in a new way, without pretending to distinguish authorial from theatrical versions. Drawing on the work of the influential scholars A. W. Pollard and W. W. Greg, Werstine tackles the difficult issues surrounding 'foul papers' and 'promptbooks' to redefine these fundamental categories of current Shakespeare editing. In an extensive and detailed analysis, this book offers insight into the methods of theatrical personnel and a reconstruction of backstage practices in playhouses of Shakespeare's time. The book also includes a detailed analysis of nineteen manuscripts and three quartos marked up for performance - documents that together provide precious insight into how plays were put into production. Using these surviving manuscripts as a framework, Werstine goes on to explore editorial choices about what to give today's readers as 'Shakespeare'.
The Early Modern Theatre of Cruelty and its Doubles: Artaud and Influence (Avant-Gardes in Performance)
by Amanda Di PonioThis book examines the influence of the early modern period on Antonin Artaud’s seminal work The Theatre and Its Double, arguing that Elizabethan and Jacobean drama and their early modern context are an integral part of the Theatre of Cruelty and essential to its very understanding. The chapters draw links between the early modern theatrical obsession with plague and regeneration, and how it is mirrored in Artaud’s concept of cruelty in the theatre. As a discussion of the influence of Shakespeare and his contemporaries on Artaud, and the reciprocal influence of Artaud on contemporary interpretations of early modern drama, this book is an original addition to both the fields of early modern theatre studies and modern drama.
Early Modern Women in Conversation
by Katherine R. LarsonTo converse is, in its most fundamental sense, to engage with society. The potency of conversation as an early modern social networking tool is complicated, however, both by its gendered status in the period and by its conflation of verbal and physical interaction. Conversation was an embodied act that signified social intimacy, cohabitation, and even sexual intercourse. As such, conversation posed a particular challenge for women, whose virtuous reputation was contingent on sexual and verbal self-control. Early Modern Women in Conversation considers how five women writers from the prominent Sidney and Cavendish families negotiated the gendered interrelationship between conversation and the spatial boundaries delimiting conversational encounters to create opportunities for authoritative and socially transformative utterance within their texts. Conversation emerges in this book as a powerful rhetorical and creative practice that remaps women's relationship to space and language inearly modern England.
Early Plays
by Eugene O'Neill Jeffrey H. RichardsThis volume brings to readers a selection of Eugene O'Neill's early work, written between 1914 and 1921 and produced for the stage between 1916 and 1922. Included here are: seven one-act plays, The Moon of the Caribbees, Bound East for Cardiff, In the Zone, The Long Voyage Home, Ile, Where the Cross Is Made, and The Rope; and five full-length plays, Beyond the Horizon, The Straw, Anna Christie, and the classics The Emperor Jones and The Hairy Ape. The majority of the plays are heavily influenced by German expressionism-Freud, Nietzsche, Strindberg, and the radical leftist politics in which O'Neill was involved during his youth. Included in this unique collection is the little known and highly autobiographical play, The Straw, which draws on O'Neill's confinement in the Gaylord Farm Sanatorium.
Early Stages: Theatre in Ontario 1800 - 1914 (The Royal Society of Canada Special Publications)
by Anne SaddlemyerA circus, a production of Shakespeare, an evening of song and ventriloquism, a performance by a ‘learned pig’ – all of these offered an evening’s entertainment to the citizens of early nineteenth-century Upper Canada. Although the population in 1800 was only 90,000, a wide range of entertainers performed in towns across the province: touring companies, variety and animal acts, and theatrical troupes, professional and amateur, some home-grown and based in the garrisons, others from Montreal, New York, and London. By the end of the century, some 250 touring groups were on the road across Ontario, from Ottawa to Rat Portage (now Kenora). The lively theatre tradition of that century would extend into the next, beyond the appointment in 1913 of Ontario’s first official censor, until the outbreak the following year of the First World War. This collection of essays covers a number of facets of the growth of theatre in Ontario. Ann Saddlemyer’s introduction provides an overview of the period, and historian J.M.S. Careless focuses on the cultural environment. Novelist Robertson Davies writes on the dramatic repertoire of the period. Architect Robert Fairfield explores the structures that housed performances, from the small community halls to the grand opera houses. Theatre scholar and professional actor and director Geralrd Lenton-Young discusses variety performances. Leslie O’Dell, scholar, actor, and playwright, writes on garrison theatre, while Mary M. Brown, a teacher, actress, and director, covers travelling troupes. A chronology and bibliography, both by the theatre scholar Richard Plant, complete the work. A second volume, scheduled for future publication, will look at the development of theatre in Ontario in the twentieth century. (Ontario Historical Studies Series)
Early-Twentieth-Century Frontier Dramas on Broadway
by Richard WattenbergFrontier dramas were among the most popular and successful of early-twentieth-century Broadway type plays. The long runs of contemporary dramas not only indicate the popularity of these plays but also tell us that these plays offered views about the frontier that original audiences could and did embrace.
Earth Matters on Stage: Ecology and Environment in American Theater (Routledge Studies in Theatre, Ecology, and Performance)
by Theresa J. MayEarth Matters on Stage: Ecology and Environment in American Theater tells the story of how American theater has shaped popular understandings of the environment throughout the twentieth century as it argues for theater’s potential power in the age of climate change. Using cultural and environmental history, seven chapters interrogate key moments in American theater and American environmentalism over the course of the twentieth century in the United States. It focuses, in particular, on how drama has represented environmental injustice and how inequality has become part of the American environmental landscape. As the first book-length ecocritical study of American theater, Earth Matters examines both familiar dramas and lesser-known grassroots plays in an effort to show that theater can be a powerful force for social change from frontier drama of the late nineteenth century to the eco-theater movement. This book argues that theater has always and already been part of the history of environmental ideas and action in the United States. Earth Matters also maps the rise of an ecocritical thought and eco-theater practice – what the author calls ecodramaturgy – showing how theater has informed environmental perceptions and policies. Through key plays and productions, it identifies strategies for artists who want their work to contribute to cultural transformation in the face of climate change.