- Table View
- List View
The Happy Prince
by Caroline Dooley16 principals, chorus / Unit Set / A touching musical based on the well-loved story by Oscar Wilde...the golden statue of the Happy Prince stands high above the city looking down on the misery and poverty beneath him. Desperate to bring hope and happiness to the poor people, he asks a swallow to distribute his gold and jewels to them. The generosity of the Happy Prince and the courage of the swallow help to overcome the greed of the powerful mayor and we are shown that the most precious things in life are often the least obvious.
Haptic Allegories: Kinship and Performance in the Black and Green Atlantic
by Kathleen GoughFirst published in 2013. Routledge is an imprint of Taylor & Francis, an informa company.
Harkee the Cat
by Cleve HauboldHarkee the Cat / Cleve Haubold / Comedy / 5m, 4f with ensemble / This award-winning comedy for all ages tells the story of the citizens of the village of Farnstall, who, much to their alarm, are visited by a royal messenger. With banners unfurled and trumpets blowing, he announces the bad news that the villagers must make ready for a visit from the King-- and his royal guard of 843 gentlemen-at-arms! This hungry procession will eat the poor villagers out of house and home. Every sausage, crumpet and cake will disappear from their shops, and they'll not get a single farthing in exchange! What despair-- until clever Harkee the Cat shows an usual and hilarious solution to the problem. A cast, which includes an uproarious drum-beating shrew, her timid husband, a mischievous apprentice, a pompous royal lord, a busy-body messenger, and a warm-hearted shopkeeper, keep the story romping along in unexpected directions to a funfilled climax. / First Prize Winner in the Atlantic Junior League Children's Theatre Playwriting Contest
Harlan Ellison's Movie: The Screenplay
by Harlan EllisonHerein lies in written form Harlan Ellison's Movie, the full-length feature film Ellison created when a producer at 20th Century-Fox said, "If we gave you the money, and no interference, what sort of movie would you write?" Well, that producer is no longer at the studio; he left the entire venue of moviemaking after Harlan Ellison's Movie was seen by the Suits. There is no use even trying to describe what the film is about, except to confirm the long-standing rumor that it contains a scene in which a 70-foot-tall boll weevil chews and swallows an entire farmhouse and silo on-camera. (It is Scene 33C.)
Harlequin
by Ana Bowlova Ana Claudia AntunesThird book in the series "Pierrot Love" begins with a pinch of pepper and Talita brooding inside for not being in a few scenes that Giovanni filmed.Now Talita screamed angry because her scenes were all cut. And Giovanni already can not bear too her whining and sends her to strolling, literally, to take a breath which she obeys promptly. And then she goes on to stun the small Anne filling her even more with her messages that leaves Anne even more terrified. Anne does not know what to do to get rid of the damned messages. She then goes as to be more devotes to the art of acting. Once she comes into contact with the magical world of theater she becomes even more persuaded and persecuted for this ethereal being because she is the one who insists on pursuing her everywhere. Talita finds an even better form of telepathy as a communication channel in the theater is a way to express all her fury, influencing Anne to tell her story in an exemplary manner. The two now seem to benefit from contact with each other but here comes a new villain on the scene. Harlequin has take the place of Pierrot and does succumb to her eternal beloved Colombina and so passionate, now he starts to compel her to believe in him, revealing Pierrot´s dark past.
Harlequin in Hogtown: George Luscombe and Toronto Workshop Productions
by Neil CarsonA history of Toronto's first alternative theater company during its 30-year run, 1959-89, pivoting on its artistic director Luscombe. He brought techniques from London and started in a factory basement with collective plays and original European works. The company acquired a reputation and in 1967 its own building. But in the early 1970's nationalist sentiments and newer forms of alternative theatre left the TWP backstage without cues. Canadian card number: C95-930446-0. Annotation copyright by Book News, Inc. , Portland, OR
Harold Bloom's Shakespeare
by Robert J. Sawyer Christy DesmetEighteen essays from Desmet (U. of Georgia), Sawyer (East Tennessee State U.) and other scholars consider the sources and impact of Harold Bloom's Shakespearean criticism. The volume includes contributions from well known critics as well as younger writers. Topics include, for example, Bloom's promotion of a new secular humanism, his criticism of Shakespeare's characters, and his exploration of the playwright's place in literary geography. Annotation c. Book News, Inc., Portland, OR (booknews.com)
Harold Pinter (Routledge Modern and Contemporary Dramatists)
by Graham SaundersHarold Pinter provides an up-to-date analysis and reappraisal concerning the work of one of the most studied and performed dramatists in the world. Drawing extensively from The Harold Pinter Archive at the British Library as well as reviews and other critical materials, this book offers new insights into previously established views about his work. The book also analyses and reappraises specific key historical and contemporary productions, including a selection of Pinter’s most significant screenplays. In particular, this volume seeks to assess Pinter’s critical reputation and legacy since his death in 2008. These include his position as a political writer and political activist – from disassociation and neutrality on the subject until relatively late in his career when his drama sought to explicitly address questions of political dissent and torture by totalitarian regimes. The book revisits some familiar territories such as Pinter’s place as a British absurdist and the role memory plays in his work, but it also sets out to explore new territories such as Pinter’s changing attitudes towards gender in the light of #MeToo and queer politics and how in particular a play such as The Caretaker (1960) through several key productions has brought the issues of race into sharper focus. Part of the Routledge Modern and Contemporary Dramatist series, Harold Pinter provides an essential and accessible guide to the dramatists’ work.
A Harold Pinter Chronology
by William BakerThe most detailed chronological account of Harold Pinter to appear, this new volume in the Author Chronologies series traces the daily activities of the Nobel Prize winning author. It is based upon published and unpublished materials, and discussion with his close friends, and is a basic reference tool for all Pinter students and scholars.
Harold Pinter's Party Time (The Fourth Wall)
by White G. D.‘All you have do is shut up and enjoy the hospitality.’ Terry Harold Pinter’s Party Time (1991) is an extraordinary distillation of the playwright’s key concerns. Pulsing with political anger, it marks a stepping stone on Pinter’s path from iconic dramatist of existential unease to Nobel Prize-winning poet of human rights. <P><P> G. D. White situates this underrated play within a recognisably ‘Pinteresque’ landscape of ambiguous, brittle social drama while also recognising its particularity: Party Time is haunted by Augusto Pinochet’s right-wing coup against Salvador Allende’s democratically elected government in Chile. <P><P> This book considers Party Time and its confederate plays in the dual context of Pinter’s literary career and burgeoning international concern with human rights and freedom of expression, contrasting his uneasy relationship with the UK’s powerful elite with the worldwide acclaim for his dramatic eviscerations of power.
Harold Pinter's Shakespeare: Shakespeare's Influence on the Work of Harold Pinter (Routledge Advances in Theatre & Performance Studies)
by Charles MortonThis book charts the impact of Shakespeare’s works on Harold Pinter’s career as a playwright. This exploration traces Shakespeare’s influence through Pinter’s pre-theatre writings (1950-1956), to his collaboration with Sir Peter Hall (starting properly at the RSC in 1962 and continuing until 1983), and a late, unpublished screenplay for an adaptation of The Tragedy of King Lear (2000). Adding to studies of playwrights such as Samuel Beckett and James Joyce as significant influences on Harold Pinter’s work, this study aims to highlight the significant and lasting impact that Shakespeare had both formatively and performatively on the playwright’s career. Through exploring this influence, Morton gains not only a greater understanding of the shaping of Pinter’s artistic outlook and how this affected his writing, but it also sheds light on the various forms of Shakespeare’s continued influence on new writing, and what can be gained from this. This study will be of great interest to students and scholars in theatre and performance studies.
Harrison Birtwistle's Operas and Music Theatre
by David BeardDavid Beard presents the first definitive survey of Harrison Birtwistle's music for the opera house and theatre, from his smaller-scale works, such as Down by the Greenwood Side and Bow Down, to the full-length operas, such as Punch and Judy, The Mask of Orpheus and Gawain. Blending source study with both music analysis and cultural criticism, the book focuses on the sometimes tense but always revealing relationship between abstract musical processes and the practical demands of narrative drama, while touching on theories of parody, narrative, pastoral, film, the body and community. Each stage work is considered in terms of its own specific musico-dramatic themes, revealing how compositional scheme and dramatic conception are intertwined from the earliest stages of a project's genesis. The study draws on a substantial body of previously undocumented primary sources and goes beyond previous studies of the composer's output to include works unveiled from 2000 onwards.
Harry Partch: An Anthology of Critical Perspectives (Contemporary Music Review #Vol. 19)
by David DunnThis anthology of writings about the American experimental composer Harry Partch is the most comprehensive collection of commentaries about the composer and his work ever assembled. Eleven major figures of contemporary music voice their views on Partch (1901-1974) and his radical contributions to twentieth-century music. These include composers and theorists who worked closely with him and important comments from his contemporaries and musical inheritors.
Harry Potter and the Cursed Child: Parts One and Two (Special Rehearsal Edition)
by J. K. Rowling Jack Thorne John TiffanyBased on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, a new play by Jack Thorne, Harry Potter and the Cursed Child is the eighth story in the Harry Potter series and the first official Harry Potter story presented on stage.
Harrying: Skills of Offense in Shakespeare's Henriad
by Harry BergerHarrying considers Richard III and the four plays of Shakespeare’s Henriad—Richard II, Henry IV Part 1, Henry IV Part 2, and Henry V. Berger combines close reading with cultural analysis to show how the language characters speak always says more than the speakers mean to say. Shakespeare’s speakers try to say one thing. Their language says other things that often question the speakers’ motives or intentions. Harrying explores the effect of this linguistic mischief on the representation of all the Henriad’s major figures. It centers attention on the portrayal of Falstaff and on the bad faith that darkens the language and performance of Harry, the Prince of Wales who becomes King Henry V.
Harvest
by Manjula Padmanabhan`A modern morality play. A bitter, savagely funny vision of the cannibalistic future that awaits the human race...? ? OUTLOOK A searing portrayal of a society bereft of moral and spiritual anchors, Manjula Padmanabhan?s fifth play, Harvest, won the Onassis Award for Original Theatrical Drama in 1997, the first year in which the prize was awarded. Following its international premiere in Greece in 1999, the play has been performed over the years by theatre groups, both amateur and professional, around the world. A dark satire, Harvest tells the story of an impoverished family and the Faustian contract they enter into with a shadowy international corporation: fabulous wealth in exchange for the organs of one of its members. As Ginni, the glamorous American woman who hopes to receive the organs, invades their one-room home via an interactive video device the play lays bare the transactional nature of human relationships ? even the most intimate ones. This edition includes, for the first time, a gender-reversed version of the play ? an experiment by the author that provides startling insight into the stereotypes and societal constructs ingrained deep in the human psyche and, indeed, into how we perceive gender.
The Harvest of Tragedy (Routledge Revivals)
by Thomas Rice HennUpon initial publication in 1956, this book was an attempt to re-state certain problems concerning the aesthetics and ethics of the tragic form; to examine these in relation to contemporary work in psychology and anthropology; to enquire into the significance of ‘the fact or experience called tragedy’ in the modern world; and to suggest a synthesis in terms of the Christian tradition. This is a reissue of the corrected second edition of the work, first published in 1966.
A Harvest Truce: A Play (Harvard Library of Ukrainian Literature #9)
by Serhiy ZhadanBrothers Anton and Tolik reunite at their family home to bury their recently deceased mother. An otherwise natural ritual unfolds under extraordinary circumstances: their house is on the front line of a war ignited by Russian-backed separatists in eastern Ukraine. Isolated without power or running water, the brothers’ best hope for success and survival lies in the declared cease fire—the harvest truce. But such hopes are swiftly dashed, as it becomes apparent that the conflagration of war will not abate.With echoes of Waiting for Godot, Serhiy Zhadan’s A Harvest Truce stages a tragicomedy in which the commonplace experiences of death, birth, and the cycles of life marked by the practices of growing and harvesting food are rendered futile and farcical in the wake of the indifferent juggernaut of war.
Hassan: The Story of Hassan of Baghdad and How He Came to Make the Golden Journey to Samarkand
by James Elroy FleckerNone.
Hat Tricks
by Dori AppelDramatic Comedy / Flexible casting, 3-12 f / Unit Set / 2008 Finalist for the Oregon Book Awards, Angus Bowmer Award in Drama / Hat Tricks is an exciting compilation of six scenes and three monologues designed for performance by mature actresses. Covering a range of women's experiences in the second half of life, these nine pieces range from the purely comedic to those that combine humor with thoughtful and sometimes poignant explorations. This is a richly varied collection featuring a single intriguing commonality: Every scene or monologue includes the presence and compelling use of a HAT!
Haunted City: Three Centuries of Racial Impersonation in Philadelphia
by Christian DucombHaunted City explores the history of racial impersonation in Philadelphia from the late eighteenth century through the present day. The book focuses on select historical moments, such as the advent of the minstrel show and the ban on blackface makeup in the Philadelphia Mummers Parade, when local performances of racial impersonation inflected regional, national, transnational, and global formations of race. Mummers have long worn blackface makeup during winter holiday celebrations in Europe and North America; in Philadelphia, mummers’ blackface persisted from the colonial period well into the twentieth century. The first annual Mummers Parade, a publicly sanctioned procession from the working-class neighborhoods of South Philadelphia to the city center, occurred in 1901. Despite a ban on blackface in the Mummers Parade after civil rights protests in 1963–64, other forms of racial and ethnic impersonation in the parade have continued to flourish unchecked. Haunted City combines detailed historical research with the author’s own experiences performing in the Mummers Parade to create a lively and richly illustrated narrative. Through its interdisciplinary approach, Haunted City addresses not only theater history and performance studies but also folklore, American studies, critical race theory, and art history. It also offers a fresh take on the historiography of the antebellum minstrel show.
Haunted Dreams: Fantasies of Adolescence in Post-Soviet Culture (NIU Series in Slavic, East European, and Eurasian Studies)
by Jenny KaminerHaunted Dreams is the first comprehensive study in English devoted to cultural representations of adolescence in Russia since the end of the Soviet Union in 1991. Jenny Kaminer situates these cultural representations within the broader context of European and Anglo-American scholarship on adolescence and youth, and she explores how Russian writers, dramatists, and filmmakers have repeatedly turned to the adolescent protagonist in exploring the myriad fissures running through post-Soviet society. Through close analysis of prose, drama, television, and film, this book maps how the adolescent hero has become a locus for multiple anxieties throughout the tumultuous years since the end of the Soviet experiment. Kaminer also directly addresses some of the pivotal questions facing scholars of post-Soviet Russia: Have Soviet cultural models been transcended? Or do they continue to dominate? The figure of the adolescent, an especially potent and enduring source of cultural mythology throughout the Soviet years, provides provocative material for exploring these questions. In Haunted Dreams, Kaminer employs a historical approach to reveal how fantasies of adolescence have mutated and remained constant across the Soviet/post-Soviet divide, focusing on violence, temporality, and gender and the body. Some of the works discussed present the possibility of salvaging the model of the heroic adolescent for a new society. Others, by contrast, relegate this figure to the dustbin of history by evoking disgust or horror, or by unmasking the tragic consequences that ensue from the combination of adolescence, violence, and fantasy.
Haunting History Onstage: Shakespeare in the USA and Canada (Elements in Shakespeare Performance)
by Regina BuccolaIn 2016, Chicago Shakespeare Theater and the Stratford Festival of Canada mounted marathons through Shakespearean history to commemorate the 400th anniversary of the death of Shakespeare with Tug of War and Breath of Kings. Both productions invited parallels to contemporary political events in their promotion and design, just as the original performances of these works in the Shakespearean era used past events to comment on present realities. Endurathons for cast and audience alike, Tug of War and Breath of Kings used double-casting, stylized treatments of violence and 'firsts' for each company to sweeten the bitter pill of these historical narratives.
The Haunting of Lin-Manuel Miranda
by Ishmael Reed&“That&’s a lot of horse hockey, Hamilton.&” Described by the New York Times as &“classic activist theater&” and &“a cross between &‘A Christmas Carol&’ and a trial at The Hague&’s International Criminal Court.&” "In this, his latest work, the protean Ishmael Reed--the legendary artist and prolific writer--continues to burnish his already sterling reputation by dismantling the 'Creation Myth' of the founding of the U.S., as represented in the incredibly profitable play and musical, Hamilton. Reed, a verbal acrobat of global renown, demonstrates here why he is widely considered to be the leading intellectual in the U.S. today." -Gerald Horne, author of The Counter-Revolution of 1776: Slave Resistance and the Origins of the USA This powerful play, originally produced at the Nuyorican Poets Café, comprehensively dismantles the phenomenon of Lin-Manuel Miranda and Hamilton. Reed uses the musical&’s crimes against history to insist on a radical, cleareyed way of looking at our past and our selves. Both durable and timely, this goes beyond mere corrective – it is a meticulously researched rebuttal, an absorbing drama, and brilliant rallying cry for justice. The perfect tie-in to both the success of and backlash to Hamilton, it is the major voice in contrast to the recent movie. It captures both the earnest engagement that fans of the musical desire, as well as the exhausted disbelief of those who can&’t stand it. Teachers, students and fans of drama, literature, and history will find much to love. It is written by one of America&’s most respected and original writers, who is eagerly promoting it, and who is long overdue for a renaissance.
Havana is Waiting and Other Plays
by Eduardo Machado"The existential pain of exile, the confusions of sexual identity and the complex legacies of the Cuban revolution are predominant [in] Mr. Machado's writing," -The New York TimesEduardo Machado explores his lifelong themes with humor and passion in Havana Is Waiting (a writer returns to Cuba after thirty years), Kissing Fidel (a comedy set in Miami funeral parlor), The Cook (chronicling Cuban history), and Crocodile Eyes (inspired by Federico García Lorca).Eduardo Machado is the author of more than forty plays. Born in Cuba, his plays have been widely performed. He is artistic director of INTAR Theatre and head of playwriting at New York University.