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The Ecstasy of Rita Joe
by George RygaRita Joe is a Native girl who leaves the reservation for the city, only to die on skid row as a victim of white men's violence and paternalistic attitudes towards First Nations peoples. As perhaps the best-known contemporary Canadian play and a poetic drama of enormous theatrical power, The Ecstasy of Rita Joe had a major influence in awakening consciousness to the "Indian problem" both in whites and Natives themselves.Cast of five women and 15 men. With a preface by Chief Dan George.The Ecstasy of Rita Joe premiered November 23, 1967 at the Vancouver Playhouse.
Edge Case: A Novel
by YZ ChinA Recommended Read from: Entertainment Weekly * Buzzfeed * Good Morning America * USA Today * Harper's Bazaar * Fortune * A.V. Club * The Millions * Lit Hub * International Examiner * Publishers WeeklyWhen her husband suddenly disappears, a young woman must uncover where he went—and who she might be without him—in this striking debut of immigration, identity, and marriage.After another taxing day as the sole female employee at her New York City tech startup, Edwina comes home to find that her husband, Marlin, has packed up a suitcase and left. The only question now is why. Did he give up on their increasingly hopeless quest to secure their green cards and decide to return to Malaysia? Was it the death of his father that sent him into a tailspin? Or has his strange, sudden change in personality finally made Marlin and Edwina strangers to each other?As Edwina searches the city for traces of her husband, she simultaneously sifts through memories of their relationship, hoping to discover the moment when something went wrong. All the while, a coworker is making increasingly uncomfortable advances toward her. And she can’t hide the truth about Marlin’s disappearance from her overbearing, eccentric mother for much longer. Soon Edwina will have to decide how much she is willing to sacrifice in order to stay in her marriage and in America.Poignant and darkly funny, Edge Case is a searing meditation on intimacy, estrangement, and the fractured nature of identity. In this moving debut, YZ Chin explores the imperfect yet enduring relationships we hold to country and family.“Chin’s specificity and wonderfully drawn minor characters add depth and richness…. Not only a subtly provocative depiction of the tech industry, and this country, as tilting ever more off-kilter; but also a realistic portrayal of a woman in crisis.” —Lauren Oyler, The New York Times Book Review
Èdip Rei
by SófoclesMolts crítics consideren Èdip Rei l’obra mestra de Sòfocles. Èdip ha esdevingut rei de Tebes, després de vèncer l'Esfinx i de casar-se amb Iocasta, vídua del rei Laios. Sense saber-ho, Èdip ha mort el seu pare en una baralla quan tornava de Delfos de consultar l'oracle i s'ha casat amb la seva mare. Una terrible pesta s'ha ensenyorit de Tebes i Èdip cerca les causes de l'infortuni fent una consulta a l'oracle d'Apol·lo a Delfos i també a Tirèsias, el sacerdot endeví de Tebes. La resposta és clara: la pesta s'acabarà quan hagi estat venjada la mort de Laios. Èdip és l'heroi tràgic per antonomàsia: l’home just, intel·ligent, pietós envers els déus, que vol conèixer la veritat pel bé del seu poble, costi el que costi; i que no defalleix en l’intent de descobrir-la, malgrat que, a mesura que s’hi apropa, ja intueix que serà la causa de la seva ruïna. La solució diversa amb què Iocasta i Èdip afrontaran el coneixement de la veritat és també el reflex de dues maneres d’encarar les dificultats vitals.
Edipo rey (Los mejores clásicos)
by SófoclesLos mejores libros jamás escritos La tragedia clásica por excelencia Cuando Edipo, «el de los pies hinchados», hijo del rey de Corinto, descubre que hay un secreto en su origen, abandona el hogar y parte en pos de la verdad. El destino, por boca del oráculo de Delfos, le indica cuál será su suerte: matará a su padre y se desposará con su madre. En Tebas hallará a la esfinge y la respuesta a su existencia. Edipo Rey, la tragedia infinita de Sófocles, la reelaboración dramática de una de las leyendas más célebres de la literatura griega, ha fecundado la cultura occidental desde hace veinticinco siglos. En ella se encuentran cuestiones que jamás han perdido vigencia en el espíritu humano: la fatalidad, el tabú, la búsqueda de la verdad, la imposibilidad de expiación. Esta edición cuenta con la traducción y el prólogo del profesor emérito de la Universidad Complutense de Madrid Luis Gil, uno de los más importantes estudiosos de la literatura clásica griega de nuestro país. Además, incluye un epílogo realizado por los profesores de comunicación audiovisual de la Universidad Pompeu Fabra Jordi Balló y Xavier Pérez. «¡Ay, ay, desdichado de mí! ¿A qué tierra iré en mi dolor? ¿Adónde vuela mi voz arrebatadamente? ¡Ay, destino! ¿En dónde te precipitaste?»
Edith Wharton's The House of Mirth
by Dawn KeelerBased on the classic story that helped to establish Edith Wharton as the first great American woman novelist, this moving play vividly brings to the stage Lily Bart's flamboyant progress through the glorious whirl of New York's high society, circa 1905, and her tragic fall. The satirical love story is staged as a series of flashbacks over her coffin. Faithful to Edith Wharton's distinct style of dialogue, this dramatic version opened to acclaim in London.
Editing, Performance, Texts
by Jacqueline Jenkins Julie SandersThe essays in this volume challenge current 'givens' in medieval and early modern research around periodization and editorial practice. They showcase cutting-edge research practices and approaches in textual editing, and in manuscript and performance studies to produce new ways of reading and working for students and scholars.
Edo Kabuki in Transition: From the Worlds of the Samurai to the Vengeful Female Ghost
by Satoko ShimazakiSatoko Shimazaki revisits three centuries of kabuki theater and its dynamic representations of medieval Japanese tales and tradition, boldly reframing Edo kabuki as a key player in the formation of an early modern urban identity. Challenging the common understanding of kabuki as a subversive entertainment and a threat to shogunal authority, Shimazaki argues that kabuki actually instilled a sense of shared history in Edo's inhabitants, regardless of their class. It did this, she shows, by constantly invoking "worlds," or sekai, largely derived from medieval military chronicles, and overlaying them onto the present. Shimazaki explores the process by which, as the early modern period drew to a close, nineteenth-century playwrights began dismantling the Edo tradition of "presenting the past" by abandoning their long-standing reliance on the sekai. She then reveals how, in the 1920s, a new generation of kabuki playwrights, critics, and scholars reinvented the form yet again, "textualizing" kabuki so that it could be pressed into service as a guarantor of national identity, in keeping with the role that the West assigned to theater. Shimazaki's vivid and engaging reinterpretation of kabuki history centers on the popular and widely celebrated ghost play Tokaido Yotsuya kaidan (Ghost Stories at Yotsuya, 1825) by Tsuruya Nanboku. Along the way, she sheds fresh light on the emergence and development of the ubiquitous trope of the vengeful female ghost, linking it to the need to explore new themes at a time when the old samurai worlds were rapidly losing their relevance.
Edo Kabuki in Transition: From the Worlds of the Samurai to the Vengeful Female Ghost
by Satoko ShimazakiSatoko Shimazaki revisits three centuries of kabuki theater, reframing it as a key player in the formation of an early modern urban identity in Edo Japan and exploring the process that resulted in its re-creation in Tokyo as a national theatrical tradition. Challenging the prevailing understanding of early modern kabuki as a subversive entertainment and a threat to shogunal authority, Shimazaki argues that kabuki instilled a sense of shared history in the inhabitants of Edo (present-day Tokyo) by invoking "worlds," or sekai, derived from earlier military tales, and overlaying them onto the present. She then analyzes the profound changes that took place in Edo kabuki toward the end of the early modern period, which witnessed the rise of a new type of character: the vengeful female ghost.Shimazaki's bold reinterpretation of the history of kabuki centers on the popular ghost play Tokaido Yotsuya kaidan (The Eastern Seaboard Highway Ghost Stories at Yotsuya, 1825) by Tsuruya Nanboku IV. Drawing not only on kabuki scripts but also on a wide range of other sources, from theatrical ephemera and popular fiction to medical and religious texts, she sheds light on the development of the ubiquitous trope of the vengeful female ghost and its illumination of new themes at a time when the samurai world was losing its relevance. She explores in detail the process by which nineteenth-century playwrights began dismantling the Edo tradition of "presenting the past" by abandoning their long-standing reliance on the sekai. She then reveals how, in the 1920s, a new generation of kabuki playwrights, critics, and scholars reinvented the form again, "textualizing" kabuki so that it could be pressed into service as a guarantor of national identity.
Educational Theatre for Women in Post-World War II Italy
by Daniela CavallaroThis book explores an important moment in Italian women's theatre and cultural history: plays written for all-women casts between 1946 and the mid-1960s, authored for the most part by women and performed exclusively by women. Because they featured only female roles, they concentrated on aspects of specifically women's experience, be it their spirituality, their future lives as wives and mothers, their present lives as workers or students, or their relationships with friends, sisters and mothers. Most often performed in a Catholic environment, they were meant to both entertain and educate, reflecting the specific issues that both performers and spectators had to confront in the years between the end of the war and the beginning of the economic miracle. Drawing on material never before researched, Educational Theatre for Women in Post-World War II Italy: A Stage of Their Own recovers the life and works of forgotten women playwrights while also discussing the role models that educational theatre offered to the young Italian women coming of age in the post-war years.
Edward Albee: A Biography
by Mel GussowIn 1960, Edward Albee electrified the theater world with the American premiere of The Zoo Story, and followed it two years later with his extraordinary first Broadway play, Who's Afraid of Virginia Woolf? Proclaimed as the playwright of his generation, he went on to win three Pulitzer Prizes for his searing and innovative plays. Mel Gussow, author, critic, and cultural writer for The New York Times, has known Albee and followed his career since its inception, and in this fascinating biography he creates a compelling firsthand portrait of a complex genius.The book describes Albee's life as the adopted child of rich, unloving parents and covers the highs and lows of his career. A core myth of Albee's life, perpetuated by the playwright, is that The Zoo Story was his first play, written as a thirtieth birthday present to himself. As Gussow relates, Albee has been writing since adolescence, and through close analysis the author traces the genesis of Who's Afraid of Virginia Woolf?, Tiny Alice, A Delicate Balance, and other plays. After his early triumphs, Albee endured years of critical neglect and public disfavor. Overcoming artistic and personal difficulties, he returned in 1994 with Three Tall Women. In this prizewinning play he came to terms with the towering figure of his mother, the woman who dominated so much of his early life.With frankness and critical acumen, and drawing on extensive conversations with the playwright, Gussow offers fresh insights into Albee's life. At the same time he provides vivid portraits of Albee's relationships with the people who have been closest to him, including William Flanagan (his first mentor), Thornton Wilder, Richard Barr, John Steinbeck, Alan Schneider, John Gielgud, and his leading ladies, Uta Hagen, Colleen Dewhurst, Irene Worth, Myra Carter, Elaine Stritch, Marian Seldes, and Maggie Smith. And then there are, most famously, Elizabeth Taylor and Richard Burton, who starred in Mike Nichols's acclaimed film version of Who's Afraid of Virginia Woolf? The book places Albee in context as a playwright who inspired writers as diverse as John Guare and Sam Shepard, and as a teacher and champion of human rights.Edward Albee: A Singular Journey is rich with colorful details about this uniquely American life. It also contains previously unpublished photographs and letters from and to Albee. It is the essential book about one of the major artists of the American theater.
Edward Albee: A Casebook (Casebooks on Modern Dramatists #Vol. 29)
by Bruce MannFrom the "angry young man" who wrote Who's Afraid of Virginia Woolf in 1962, determined to expose the emptiness of American experience to Tiny Alice which reveals his indebtedness to Samuel Beckett and Eugene Ionesco's Theatre of the Absurd, Edward Albee's varied work makes it difficult to label him precisely. Bruce Mann and his contributors approach Albee as an innovator in theatrical form, filling a critical gap in theatrical scholarship.
Edward Albee: A Critical Introduction
by Matthew RoudanéEdward Albee (1928–2016) was a central figure in modern American theatre, and his bold and often experimental theatrical style won him wide acclaim. This book explores the issues, public and private, that so influenced Albee's vision over five decades, from his first great success, The Zoo Story (1959), to his last play, Me, Myself, & I (2008). Matthew Roudané covers all of Albee's original works in this comprehensive, clearly structured, and up-to-date study of the playwright's life and career: in Part I, the volume explores Albee's background and the historical contexts of his work; Part II concentrates on twenty-four of his plays, including Who's Afraid of Virginia Woolf? (1962); and Part III investigates his critical reception. Surveying Albee's relationship with Broadway, and including interviews conducted with Albee himself, this book will be of great importance for theatregoers and students seeking an accessible yet incisive introduction to this extraordinary American playwright. The only book to cover all of Albee's plays, making this the most thorough and up-to-date study of the playwright's work Contains material from personal interviews conducted with Albee, presenting unique insights from the man himself Accessibly written and chronologically ordered, it allows readers to easily follow the development of Albee's style and theatrical vision over the course of his career
Edward Albee's Who's Afraid of Virginia Woolf? (The Fourth Wall)
by Michael Y. BennettEdward Albee’s Who’s Afraid of Virginia Woolf? shocked audiences and critics alike with its assault on decorum. At base though, the play is simply a love story: an examination of a long-wedded life, filled with the hopes, dreams, disappointments, and pain that accompany the passing of many years together. While the ethos of the play is tragicomic, it is the anachronistic, melodramatic secret object—the nonexistent "son"—that upends the audience’s sense of theatrical normalcy. The mean and vulgar bile spewed among the characters hides these elements, making it feel like something entirely "new." As Michael Y. Bennett reveals, the play is the same emperor, just wearing new clothes. In short, it is straight out of the grand tradition of living room drama: Ibsen, Chekhov, Glaspell, Hellmann, O’Neill, Wilder, Miller, Williams, and Albee.
Edward Bond: A Critical Study
by Peter BillinghamThis new study of one of Britain's greatest modern playwrights represents the first major, extended discussion of Edward Bond's work in over twenty years. The book combines rigorous and stimulating analysis and discussion of Bond's plays and ideas about drama and society. For the first time, there is also discussion of selected plays from his later, post-2000 period, including Innocence and Have I None, alongside explorations of widely studied plays such as Saved.
Edward Bond: Letters 2
by Ian StuartFirst Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
Edward Bond: Letters 3
by Ian StuartFirst Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Edward Bond: Letters 4 (Contemporary Theatre Studies #Vol. 14.)
by Ian StuartEdward Bond Letters, Volume IV, focuses on four significant areas of Edward Bond's work: education, imagination and the child; theatre-in-education; At the Inland Sea; language and imagery. The letters represent a coruscating attack on our present society, as well as offering insights into how the situation might be improved. Bond's letters attack modern education, arguing that "children are being educated to sell themselves" and suggesting that social problems are caused by an oppression of the imagination. Many letters refer directly to a play - for instance Tuesday, which presents an assessment of the many difficulties faced by contemporary society. The language and imagery of one of Bond's most recent plays, In the Company of Men, is animatedly discussed, and Bond reminds us in a final description that "the good image is always absent, because it is present in the mind.
Edward Bond Letters: Volume 5 (Contemporary Theatre Studies #Vol. 14.)
by Ian StuartFirst Published in 1994. Edward Bond Letters, Volume V, contains over thirty letters and papers covering Bond's controversial views on violence and justice, plays, writers and directors, and a postscript that is Bond's discussion of the funeral of Diana, Princess of Wales. The explosive content of these letters applies to Bond's plays and society as a whole; Bond believes that all violence is the manifestation of an unbalanced and dangerous society. As with the four preceding volumes in this collection, Edward Bond is critical of present theatre, but at the same time his observations are useful in indicating how theatre can be changed. Bond's illustrations provide accompaniment to the letters.
Edward Gordon Craig: A Vision of Theatre
by Christopher InnesEdward Gordon Craig's ideas regarding set and lighting have had an enormous impact on the development of the theatre we know today. In this new and updated edition of his well-known study of Edward Gordon Craig, Professor Christopher Innes shows how Craig's stage work and theoretical writings were crucial to the development of modern theatre. This book contains extensive documentation and re-evaluates his significance as an artist, actor, director and writer. Craig is placed in historical context, and his productions are reconstituted from unpublished prompt-books, sketches, journals and correspondence. Most of the designs and photographs, and many of Craig's writings cited, are not available elsewhere in print. Readers will gain insight into a key period of theatrical history, the life of one of its most fascinating individuals, the nature of stage performance, and into revolutionary ideas that are still challenging today.
The Edward Tales
by Elizabeth SpencerIn conferring upon Mississippi native Elizabeth Spencer (1921–2019) the 2013 Rea Award for the Short Story, the jury said that at the then age of ninety-two, she “has thrived at the height of her powers to a degree that is unparalleled in modern letters.” Over a celebrated six-decade career, Spencer published every type of literary fiction: novels and short stories, a memoir, and a play. Like her best-known work, The Light in the Piazza, most of her narratives explore the inner lives of restless, searching southern women. Yet one mercurial male character, Edward Glenn, deserves attention for the way he insists on returning to her pages. Speaking of Edward in unusually personal terms, Spencer admitted a strong attraction to his type: the elusive, intelligent southern man, “maybe an unresolved part of my psyche.” In The Edward Tales, Sally Greene brings together the four narratives in which Edward figures: the play For Lease or Sale (1989) and three short stories, “The Runaways” (1994), “Master of Shongalo” (1996), and “Return Trip” (2009). The collection allows readers to observe Spencer’s evolving style while offering glimpses of the moral reasoning that lies at the heart of all her work. Greene’s critical introduction helpfully places these narratives within the context of Spencer’s entire body of writing. The Edward Tales confirms Spencer’s place as one of our most beloved and accomplished writers.
The Effect of Gamma Rays on Man-in-the-Moon Marigolds: A Drama in Two Acts
by Paul ZindelBeatrice was a mother...and the embittered ringmaster of the circus Hunsdorfer featuring three generations of crazy ladies living under the sloppiest big top on earth. Nanny was no problem. She sat and stared and stayed silent as a venerable vegetable should. Ruth was half-mad and easily bought with an occasional cigarette. But how is the world would Beatrice control Tillie--keeper of rabbits, dreamer of atoms, true believer in life, hope, and the effect of gamma rays on man-in-the-moon marigolds...<P><P> Pulitzer Prize Winner
Egad, the Woman In White (Sealed in a Madhouse)
by Tim KellyMelodrama / 4m, 6f or 3m, 7f / This laugh oriented, old fashioned melodrama is based on Wilkie Collins' classic and it's wild, fast and funny. It features a disreputable (and hilarious) villain who dispatches his adversaries with nefarious ease and even seals his wife in a madhouse to steal her vast fortune! He battles a wicked countess in one of the most uproarious fight scenes ever staged! When all else fails, he engineers mock funerals. But he's scared of the mysterious "woman in white" who's escaped from the asylum to seek him out. Abandoned wives, insolent servants, lawyers, hypochondriacs and manly drawing masters parade across the stage in gales of comedy terminating only when the villain is brought to justice in an audience cheering, outrageous and spectacular finale. Designed for an easy rehearsal schedule and simple production, this delight is suitable for all groups looking for a play that's fun to perform.
Egmont
by Johann Wolfgang Von GoetheEgmont is a play by Johann Wolfgang von Goethe, which he completed in 1788. Its dramaturgical structure, like that of his earlier 'Storm and Stress' play Götz von Berlichingen, is heavily influenced by Shakespearean tragedy.
Eight Great Comedies
by Sylvan Barnet Morton Berman William BurtonThe complete text of the world's great comedies from ancient times to the twentieth century.
Eight Great Tragedies
by Sylvan Barnet Morton Berman William BurtonEight Great Tragedies by Sylvan Barnet, Morton Berman, and William Burto