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London Opera Observed 1711-1844, Volume II: 1763-1782
by Michael BurdenThe thrust of these five volumes is contained in their title, London Opera Observ’d. It takes its cue from the numerous texts and volumes which — during the seventeenth, eighteenth and nineteenth centuries — used the concept of ‘spying’ or ‘observing’ by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them — placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.
London Opera Observed 1711-1844, Volume III: 1783-1792
by Michael BurdenThe thrust of these five volumes is contained in their title, London Opera Observ’d. It takes its cue from the numerous texts and volumes which — during the seventeenth, eighteenth and nineteenth centuries — used the concept of ‘spying’ or ‘observing’ by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them — placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.
London Opera Observed 1711-1844, Volume IV: 1799-1821
by Michael BurdenThe thrust of these five volumes is contained in their title, London Opera Observ’d. It takes its cue from the numerous texts and volumes which — during the seventeenth, eighteenth and nineteenth centuries — used the concept of ‘spying’ or ‘observing’ by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them — placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.
London Opera Observed 1711-1844, Volume V: 1821-1844
by Michael BurdenThe thrust of these five volumes is contained in their title, London Opera Observ’d. It takes its cue from the numerous texts and volumes which — during the seventeenth, eighteenth and nineteenth centuries — used the concept of ‘spying’ or ‘observing’ by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them — placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.
Lone Star Love Potion
by Michael ParkerFarce / 3m, 4f / The wealthy owner of a 200,000 acre Texas ranch has died. His butler Jarvis, an alluring maid, the rancher's niece his only living relative and her husband are gathered for the reading of the will. Oddly, Miss Tammy Jo Harper, a neighbor, has also been invited. As expected, the niece inherits everything. Jarvis then produces from the safe a reputed love potion. Does it work? Before long, everyone is sipping the sample with hilarious results. As the audience vacillates between thinking the potion is potent and believing it's a ruse, they are drawn into the mystery and hilarity. The flow of characters in, out and from under the beds reaches a frenetic pace before the startling truth is revealed.
Lonelyhearts: The Screwball World of Nathanael West and Eileen McKenney
by Marion MeadeA &“breezily entertaining&” look at the comic couple who hobnobbed with Dorothy Parker, S. J. Perelman, Bennett Cerf, and other luminaries of their day (The New York Times Book Review). Nathanael West—author, screenwriter, playwright—was famous for two masterpieces: Miss Lonelyhearts and The Day of the Locust, which remains one the most penetrating novels ever written about Hollywood. He was also one of the most gifted and original writers of his generation, a scathing satirist whose insight into the brutalities of modern life proved prophetic. Eileen McKenney—accidental muse, literary heroine—grew up corn-fed in the Midwest and moved to Manhattan&’s Greenwich Village when she was twenty-one. The inspiration for her sister Ruth&’s stories in the New Yorker under the banner of &“My Sister Eileen,&” she became an overnight celebrity, and her star eventually crossed with that of the man she would impulsively marry. Together, Nathanael and Eileen had entrée into a social circle that included F. Scott Fitzgerald, Dashiell Hammett, Katharine White, and many of the literary, theatrical, and film luminaries of the era. But their carefree, offbeat Broadway-to-Hollywood love story would flame out almost as soon as it began. Now, with &“a great marriage of scholarship and gossip&” (Minneapolis Star-Tribune), this biography restores West and McKenney to their rightful place in the popular imagination, offering &“a shrewd portrait of two people who in their different ways were noteworthy participants in American culture during one of its liveliest periods&” (Los Angeles Times). &“Opens a window onto the lives of writers in 1930s America as they struggled with anxieties, pretensions, temptations and myths that confound our culture to this day.&” —Salon.com &“The first to fully chronicle and entwine these careening lives, Meade forges an engrossing, madcap, and tragic American story of ambition, reinvention, and risk.&” —Booklist, starred review
Lonesome West
by Martin McDonaghValene and Coleman, two brothers living alone in their father’s house after his recent death, find it impossible to exist without massive and violent disputes over the most mundane and innocent of topics. Only father Welsh, the local young priest, is prepared to try to reconcile the two before their petty arguments spiral into vicious and bloody carnage. Methuen Drama Modern Classics span the period in drama literature from the 1950s to present day. These are the most often taught plays in college and graduate studies and many Modern Classic editions feature an academic Introduction essay.
Long Day's Journey Into Night
by Eugene O'Neill William Davies King Jessica LangeEugene O'Neill's autobiographical play Long Day's Journey into Night is regarded as his masterpiece and a classic of American drama. With this new edition, at last it has the critical edition that it deserves. William Davies King provides students and theater artists with an invaluable guide to the text, including an essay on historical and critical perspectives; glosses of literary allusions and quotations; notes on the performance history; an annotated bibliography; and illustrations.<P> "This is a worthy new edition, one that I'm sure will appeal to many students and teachers. William Davies King provides a thoughtful introduction to Long Day's Journey into Night--equally sensitive to the most particular and most encompassing of the play's materials. "--Marc Robinson
Long Day's Journey Into Night (SparkNotes Literature Guide Series)
by SparkNotesLong Day's Journey Into Night (SparkNotes Literature Guide) by Eugene O'Neill Making the reading experience fun! Created by Harvard students for students everywhere, SparkNotes is a new breed of study guide: smarter, better, faster. Geared to what today's students need to know, SparkNotes provides: *Chapter-by-chapter analysis *Explanations of key themes, motifs, and symbols *A review quiz and essay topicsLively and accessible, these guides are perfect for late-night studying and writing papers
Long Day's Journey into Night
by Eugene O'Neill<P>Eugene O'Neill's autobiographical play Long Day's Journey into Night is regarded as his finest work. <P>First published by Yale University Press in 1956, it won the Pulitzer Prize in 1957 and has since sold more than one million copies. <P>This edition, which includes a new foreword by Harold Bloom, coincides with a new production of the play starring Brian Dennehy, which opens in Chicago in January 2002 and in New York in April.
Long Day's Journey into Night
by Eugene O'Neill Harold BloomEugene O'Neill's autobiographical play Long Day's Journey into Night is regarded as his finest work. First published by Yale University Press in 1956, it won the Pulitzer Prize in 1957 and has since sold more than one million copies. This edition, which includes a new foreword by Harold Bloom, coincides with a new production of the play starring Brian Dennehy, which opens in Chicago in January 2002 and in New York in April.
Long Suffering: American Endurance Art as Prophetic Witness
by Karen Gonzalez RiceLong Suffering productively links avant-garde performance practices with religious histories in the United States, setting contemporary performances of endurance art within a broader context of prophetic religious discourse in the United States. Its focus is on the work of Ron Athey, Linda Montano, and John Duncan, American artists whose performances involve extended periods of suffering. These unsettling performances can disturb, shock, or frighten audiences, leaving them unsure how to respond. The book examines how these artists work at the limits of the personal and the interpersonal, inflicting suffering on themselves and others, transforming audiences into witnesses, straining social relations, and challenging definitions of art and of ethics. By performing the death of self at the heart of trauma, strategies of endurance signal artists' attempts to visualize, legitimize, and testify to the persistent experience of being wounded. The artworks discussed find their foundations in artists' early experiences of religion and connections with the work of reformers from Angelina Grimké to Rev. Martin Luther King, Jr., who also used suffering as a strategy to highlight social injustice and call for ethical, social, and political renewal.
Long, Tall Texans: Callaghan & Matt (Long, Tall Texans)
by Diana PalmerEnjoy two classic Lone Star romances from New York Times bestselling author Diana Palmer!CallaghanRugged as an oak, moody as a thundercloud, rancher Callaghan Hart awed women and intimidated men. So how could one scrappy little redhead nearly bring Callaghan to his knees? Easy! Tess Brady, the ranch's new housekeeper, was soft and sweet. Her youthful innocence drew him like a moth to a flame. But there was no way Callaghan would ever consider marriage, and a casual fling was out of the question. Somehow, he had to resist her, no matter how tempting she was….MattMatt Caldwell must be the hardest-hearted man in the Lone Star State. The last thing he wants to do is open up to a woman—let alone trust her! —and risk getting hurt. So he's sworn off spending any time with a member of the fairer sex…until his beautiful new assistant walks through the office door. What's a mogul to do?
Look Away
by Jerome KiltyDrama / 2f / Interior / Based on Mary Todd Lincoln: Her Life and Letters by Justin G. Turner and Linda Levitt Turner. Geraldine Page and Maya Angelou took the leading roles on Broadway in Look Away, a compelling theatrical duet set in an insane asylum on Mrs. Lincoln's last night of residence, imagining she is once more at home in the White House and that her seamstress is with her. Elizabeth Keckley, who wrote a book about her experiences, is the companion and a pillar of strength and wisdom to her irascible and often difficult friend who rants about the mistreatment accorded her by a penurious Senate and by her one surviving son who lobbied for her commitment.
Look Back in Gender: Sexuality and the Family in Post-War British Drama (Routledge Revivals)
by Michelene WandorIn this challenging book, first published in 1987, Michelene Wandor looks at the best-known plays in the thirty years prior to publication, from Look Back in Anger onwards. Wandor investigates the representation of the family and different forms of sexuality in these plays and re-reviews them from a perspective that throws into sharp relief the function of gender as an important determinant of plot, setting and the portrayal of character. Juxtaposing the period before 1968, when statutory censorship was still in force, with the years following its abolition, Wandor scrutinises the key plays of, among others, Osborne, Pinter, Wesker, Arden, and Delaney. Each one is analysed in terms of its social context: the influence of World War II, the testing of gender roles, the development of the Welfare State and changes in family patterns, and the impact of feminist, Left-wing and gay politics. Throughout the period, two generations of playwrights and theatregoers transformed the theatre into a forum in which they could articulate and explore the interaction of their interpersonal relationships with the wider political sphere. These changes are explored in this title, which will allow readers to re-evaluate their view of post-war British drama.
Look Who's Laugh: Gender and Comedy
by FinneyFirst Published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.
Look, I Made a Hat: Collected Lyrics (1981-2011) with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany
by Stephen SondheimPicking up where he left off in "Finishing the Hat", Sondheim richly annotates his lyrics with personal and theatre history, discussions of his collaborations, and exacting, charming dissections of his work -- both the successes and the failures.
Looking
by Norm FosterComedy / 2m, 2f / From one of Canadas most popular playwrights comes this hilarious comedy. Val is an O.R. nurse, Andy is in the storage business, Nina is a police officer and Matt is the host of a morning radio show. Theyre middle-aged, single and looking. Val agrees to meet Andy after answering his personal ad in the newspaper and Nina and Matt are coaxed into joining their friends for support. What follows is hilarious, touching and so very true to life.
Looking at Movies: An Introduction to Film
by Richard Barsam Dave MonahanLooking at Movies; the most effective introduction to film analysis available.
Looking at Movies: An Introduction to Film
by Richard Barsam Dave MonahanStudents love watching movies. Give them the tools to understand why. <p><p>Building on students’ enthusiasm for screened entertainment, Looking at Movies is more successful than any other text at motivating students to understand and analyze what they see onscreen. The Seventh Edition features new and refreshed video, assessment, and interactive media, making the book’s pathbreaking media program more assignable and gradable than ever before. Looking at Movies gives instructors all they need to inspire students to graduate from passive watching to active looking.
Lorca's Experimental Theater: Breaking the Guardrails of Convention (New Hispanisms: Cultural and Literary Studies)
by Andrew A. AndersonCritical and historical discussions of the life and work of Federico García Lorca, Spain’s foremost poet and playwright of the twentieth century, often obscure the author’s more avant-garde dramatic works. In Lorca’s Experimental Theater, Andrew A. Anderson focuses on four of Lorca’s most challenging plays—Amor de don Perlimplín con Belisa en su jardín, El público, Así que pasen cinco años, and El sueño de la vida (previously known as Comedia sin título)—and on the surrounding context in which they came to be written and in only one case performed during his lifetime. While none of Lorca’s plays can be considered conventional, these four works stand out in his corpus for challenging theatrical conventions most forcefully, both thematically and technically.With discussions of stagecraft, artistic modernism, and the historical avant-garde, Lorca’s Experimental Theater provides detailed interpretive readings of the four plays, surveys their textual and performative history, and examines the most important contemporary influences on Lorca’s creation of these expressive, innovative works.
Lord Strange's Men and Their Plays
by Prof. Lawrence Manley Prof. Sally-Beth MacLeanIn this major contribution to theater history and cultural studies, authors Lawrence Manley and Sally-Beth MacLean paint a lively portrait of Lord Strange's Men, a daring company of players that dominated the London stage for a brief period in the late Elizabethan era. During their short theatrical reign, Lord Strange's Men helped to define the dramaturgy of the era, performing the works of William Shakespeare, Christopher Marlowe, Thomas Kyd, and others in a distinctive and spectacular style, exploring innovative new modes of impersonation while intentionally courting political and religious controversy.
Los demonios y otras adaptaciones teatrales
by Albert CamusUn novedoso volumen con las seis obras que adaptó Albert Camus en su labor teatral, cuatro de ellas inéditas en castellano. Además de escribir cuatro obras originales, Albert Camus llevó a cabo una intensa labor como adaptador y director teatral. Ese trabajo poco conocido lo ocupó desde sus días de estudiante en Argelia hasta poco antes de su muerte, y las seis obras reunidas en este volumen dan testimonio de la pasión con que lo llevó a cabo. Una de ellas procede de un clásico francés del siglo XVI, dos son versiones de obras de Calderón y Lope de Vega, una cuarta retoma una pieza de Dino Buzzati y las dos restantes llevan a escena novelas de Faulkner y Dostoievski. El conjunto no solo ofrece un complemento perfecto de las obras del autor que hemos reunido con el título de Teatro, sino que muestra toda su versatilidad en el ámbito amplio de la escena, uno de los pocos lugares del mundo donde, en sus palabras, era feliz. «El teatro me ofrece la comunidad que necesito -escribió-. Aquí todos estamos vinculados sin que nadie deje de ser libre: ¿no es una buena fórmula para la sociedad futura?».
Losing It: Staging the Cultural Conundrum of Dementia and Decline in American Theatre
by Dorothy ChanskyThis monograph is a study of American (U.S.) stage representations of dementia mounted between 1913 and 2019. Its imbricated strands are playtexts; audiences as both the targets of the productions (artifacts in the marketplace) and as anticipated determinants of legibility; and medical science, both as has been (and is) known to researchers and, more importantly, as it has been (and is) known to educated general audiences. As the Baby Boom generation finds itself solidly in the category of “Senior,” interest in plays that address personal and social issues around cognitive decline as a potentially frightening and expensive experience, no two iterations of which are identical, have, understandably, burgeoned. This study shines a spotlight on eleven dementia plays that have been produced in the United States over the past century, and seeks, in the words of medical humanities scholar Anne Whitehead, to “open up, and to hold open, central ethical questions of responsiveness, interpretation, responsibility, complicity and care.”
Loss and the Literary Culture of Shakespeare’s Time (Early Modern Literature in History)
by Matthew Steggle Roslyn L. Knutson David McInnisAs early modernists with an interest in the literary culture of Shakespeare’s time, we work in a field that contains many significant losses: of texts, of contextual information, of other forms of cultural activity. No account of early modern literary culture is complete without acknowledgment of these lacunae, and although lost drama has become a topic of increasing interest in Shakespeare studies, it is important to recognize that loss is not restricted to play-texts alone. Loss and the Literary Culture of Shakespeare’s Time broadens the scope of the scholarly conversation about loss beyond drama and beyond London. It aims to develop further models and techniques for thinking about lost plays, but also of other kinds of lost early modern works, and even lost persons associated with literary and theatrical circles. Chapters examine textual corruption, oral preservation, quantitative analysis, translation, and experiments in “verbatim theater”, plus much more.