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Revisiting Shakespeare’s Italian Resources: Memory and Reuse (Anglo-Italian Renaissance Studies)
by Silvia BigliazziRevisiting Shakespeare’s Italian Resources is about the complex dynamics of transmission and transformation of the Italian sources of twelve Shakespearean plays, from The Two Gentlemen of Verona to Cymbeline. It focuses on the works of Sir Giovanni Fiorentino, Da Porto, Bandello, Ariosto, Dolce, Pasqualigo, and Groto, as well as on commedia dell’arte practices. This book discusses hitherto unexamined materials and revises received interpretations, disclosing the relevance of memorial processes within the broad field of intertextuality vis-à-vis conscious reuses and intentional practices.
Revisiting Shakespeare’s Lost Play
by Deborah C. PayneThis collection of essays centres on Double Falsehood, Lewis Theobald's 1727 adaptation of the "lost" play of Cardenio, possibly co-authored by John Fletcher and William Shakespeare. In a departure from most scholarship to date, the contributors fold Double Falsehood back into the milieu for which it was created rather than searching for traces of Shakespeare in the text. Robert D. Hume's knowledge of theatre history permits a fresh take on the forgery question as well as the Shakespeare authorship controversy. Diana Solomon's understanding of eighteenth-century rape culture and Jean I. Marsden's command of contemporary adaptation practices both emphasise the play's immediate social and theatrical contexts. And, finally, Deborah C. Payne's familiarity with the eighteenth-century stage allows for a reconsideration of Double Falsehood as integral to a debate between Theobald, Alexander Pope, and John Gay over the future of the English drama.
Revisiting The Tempest
by Silvia Bigliazzi Lisanna CalviRevisiting The Tempest offers a lively reconsideration of how The Tempest encourages interpretation and creative appropriation. It includes a wide range of essays on theoretical and practical criticism focusing on the play's original dramatic context, on its signifying processes and its present-time screen remediation.
Revival: The Theatre (Routledge Revivals)
by Carl Francis GlasenappThird volume of Carl Francis Glasenapp's Life of Richard Wagner.
Revival: Opera and Drama (Routledge Revivals)
by Carl Friedrich GlasenappThe second volume of Carl Friedrich Glasenapp's Life of Richard Wagner.
Revived with Care: John Fletcher’s Plays on the British Stage, 1885–2020
by Peter MalinThis book presents a ground-breaking, comprehensive study of the modern performance history of plays in the John Fletcher canon, excluding his collaborations with Shakespeare. It examines how seventeen of Fletcher’s plays have been interpreted in British productions. In addition, the book offers a consideration of the contexts in which these productions took place, from the early twentieth century ‘Elizabethan Revival’ to the more politicized theatrical cultures of the 1960s and beyond. Revived with Care opens a window on some of the theatrical developments of the past 135 years, in the context of radical changes in the presentation and reception of early modern drama, while for theatre practitioners it provides ideas and inspiration for exploring little-known but powerful plays in exciting new productions. The book will be of great interest to students, scholars and practitioners working in the field of theatre and performance studies.
The Revolution in German Theatre 1900-1933 (Routledge Revivals)
by Michael PattersonFirst published in 1981, this book represents the first work in English to give a comprehensive account of the revolutionary developments in German theatre from the decline of Naturalism through the Expressionist upheaval to the political theatre of Piscator and Brecht. Early productions of Kaiser’s From Morning till Midnight and Toller’s Transfiguration are presented as examples of Expressionism. A thorough analysis of Piscator’s Hoppla, Such is Life! And Brecht’s Man show the similarities and differences in political theatre. In addition, elements of stage-craft are examined — illustrated with tabulated information, an extensive chronology, and photographs and designs of productions.
A Revolution in Three Acts: The Radical Vaudeville of Bert Williams, Eva Tanguay, and Julian Eltinge
by David Hajdu John CareyBert Williams—a Black man forced to perform in blackface who challenged the stereotypes of minstrelsy. Eva Tanguay—an entertainer with the signature song “I Don’t Care” who flouted the rules of propriety to redefine womanhood for the modern age. Julian Eltinge—a female impersonator who entranced and unnerved audiences by embodying the feminine ideal Tanguay rejected. At the turn of the twentieth century, they became three of the most provocative and popular performers in vaudeville, the form in which American mass entertainment first took shape.A Revolution in Three Acts explores how these vaudeville stars defied the standards of their time to change how their audiences thought about what it meant to be American, to be Black, to be a woman or a man. The writer David Hajdu and the artist John Carey collaborate in this work of graphic nonfiction, crafting powerful portrayals of Williams, Tanguay, and Eltinge to show how they transformed American culture. Hand-drawn images give vivid visual form to the lives and work of the book’s subjects and their world.This book is at once a deft telling of three intricately entwined stories, a lush evocation of a performance milieu with unabashed entertainment value, and an eye-opening account of a key moment in American cultural history with striking parallels to present-day questions of race, gender, and sexual identity.
Revolutionary Acts: Amateur Theater and the Soviet State, 1917-1938
by Lynn MallyDuring the Russian Revolution and Civil War, amateur theater groups sprang up in cities across the country. Workers, peasants, students, soldiers, and sailors provided entertainment ranging from improvisations to gymnastics and from propaganda sketches to the plays of Chekhov. In Revolutionary Acts, Lynn Mally reconstructs the history of the amateur stage in Soviet Russia from 1917 to the height of the Stalinist purges. Her book illustrates in fascinating detail how Soviet culture was transformed during the new regime's first two decades in power. Of all the arts, theater had a special appeal for mass audiences in Russia, and with the coming of the revolution it took on an important role in the dissemination of the new socialist culture. Mally's analysis of amateur theater as a space where performers, their audiences, and the political authorities came into contact enables her to explore whether this culture emerged spontaneously "from below" or was imposed by the revolutionary elite. She shows that by the late 1920s, Soviet leaders had come to distrust the initiatives of the lower classes, and the amateur theaters fell increasingly under the guidance of artistic professionals. Within a few years, state agencies intervened to homogenize repertoire and performance style, and with the institutionalization of Socialist Realist principles, only those works in a unified Soviet canon were presented.
Revolutionary Theatre
by Robert LeachRevolutionary Theatre is the first full-length study of the dynamic theatre created in Russia in the aftermath of the Bolshevik Revolution. Fired by social and political as well as artistic zeal, a group of directors, playwrights, actors and organisers collected around the charismatic Vsevolod Meyerhold. Their aim was to achieve in the theatre what Lenin and his comrades had achieved in politics: the complete overthrow of the status quo and the installation of a radically new regime. Until now the efforts and influence of this idealistic group of theatrical avant-gardists have been largely unacknowledged; the oppressive reign of Stalin condemned many of them to death and their work to oblivion. In this enlightening work Robert Leach uncovers in fascinating detail their roots, their achievements and their legacy.
Reworking the Ballet: Counter Narratives and Alternative Bodies
by Vida L. MidgelowChallenging and unsettling their predecessors, modern choreographers such as Matthew Bourne, Mark Morris and Masaki Iwana have courted controversy and notoriety by reimagining the most canonical of Classical and Romantic ballets. In this book, Vida L. Midgelow illustrates the ways in which these contemporary reworkings destroy and recreate their source material, turning ballet from a classical performance to a vital exploration of gender, sexuality and cultural difference. Reworking the Ballet: Counter Narratives and Alternative Bodies articulates the ways that audiences and critics can experience these new versions, viewing them from both practical and theoretical perspectives, including: eroticism and the politics of touch performing gender cross-casting and cross-dressing reworkings and intertextuality cultural exchange and hybridity.
Rewrites: A Memoir
by Neil SimonBarefoot in the Park, The Odd Couple, Plaza Suite, The Goodbye Girl, The Out-of-Towners, The Sunshine Boys -- Neil Simon's plays and movies have kept many millions of people laughing for almost four decades. Today he is recognized not only as the most successful American playwright of all time, but also as one of the greatest. More than the humor, however, it is the humanity of Neil Simon's vision that has made him America's most beloved playwright and earned him such enduring success. Now, in Rewrites, he has written a funny, deeply touching memoir, filled with details and anecdotes of the writing life and rich with the personal experiences that underlie his work. Since Come Blow Your Horn first opened on Broadway in 1960, few seasons have passed without the appearance of another of his laughter-filled plays, and indeed on numerous occasions two or more of his works have been running simultaneously. But his success was something Neil Simon never took for granted, nor was the talent to create laughter something that he ever treated carelessly: it took too long for him to achieve the kind of acceptance -- both popular and critical -- that he craved, and the path he followed frequently was pitted with hard decisions. All of Neil Simon's plays are to some extent a reflection of his life, sometimes autobiographical, other times based on the experiences of those close to him. What the reader of this warm, nostalgic memoir discovers, however, is that the plays, although grounded in Neil Simon's own experience, provide only a glimpse into the mind and soul of this very private man. In Rewrites, he tells of the painful discord he endured at home as a child, of his struggles to develop his talent as a writer, and of his insecurities when dealing with what proved to be his first great success -- falling in love. Supporting players in the anecdote-filled memoir include Sid Caesar, Jerry Lewis, Walter Matthau, Robert Redford, Gwen Verdon, Bob Fosse, Maureen Stapleton, George C. Scott, Peter Sellers, and Mike Nichols. But always at center stage is his first love, his wife Joan, whose death in the early seventies devastated him, and whose love and inspiration illuminate this remarkable and revealing self-portrait. Rewrites is rich in laughter and emotion, and filled with the memories of a sometimes sweet, sometimes bittersweet life.
Rewriting Narratives in Egyptian Theatre: Translation, Performance, Politics (Routledge Advances in Theatre & Performance Studies)
by Sirkku Aaltonen Areeg IbrahimThis study of Egyptian theatre and its narrative construction explores the ways representations of Egypt are created of and within theatrical means, from the 19th century to the present day. Essays address the narratives that structure theatrical, textual, and performative representations and the ways the rewriting process has varied in different contexts and at different times. Drawing on concepts from Theatre and Performance Studies, Translation Studies, Cultural Studies, Postcolonial Studies, and Diaspora Studies, scholars and practitioners from Egypt and the West enter into dialogue with one another, expanding understanding of the different fields. The articles focus on the ways theatre texts and performances change (are rewritten) when crossing borders between different worlds. The concept of rewriting is seen to include translation, transformation, and reconstruction, and the different borders may be cultural and national, between languages and dramaturgies, or borders that are present in people’s everyday lives. Essays consider how rewritings and performances cross borders from one culture, nation, country, and language to another. They also study the process of rewriting, the resulting representations of foreign plays on stage, and representations of the Egyptian revolution on stage and in Tahrir Square. This assessment of the relationship between theatre practices, exchanges, and rewritings in Egyptian theatre brings vital coverage to an undervisited area and will be of interest to developments in theatre translation and beyond.
El rey Lear
by William ShakespeareLos mejores libros jamás escritos. «Sé cuándo alguien ha muertoy cuándo vive:tan muerta está como la tierra.» El rey Lear es el mayor logro de Shakespeare y una de las obras más radicales que ha dado la literatura occidental. Lear es un viejo rey que decide de pronto dividir su reino entre sus tres hijas pidiéndoles a cambio que les expresen su grado de amor. Goneril y Regan se deshacen hipócritamente en halagos y Cordelia, la pequeña y favorita, contesta que no dirá nada, una respuesta que desata la furia de su padre y el principio de un viaje hasta lo más hondo de la condición humana. Desnudo ante el mundo, Lear se verá despojado de sus dominios, de su autoridad, de su cordura y de lo que más ha querido. Nada hay en esta obra que no sea interrogado. Cuando se cumplen cuatrocientos años de la muerte de Shakespeare, publicamos una nueva edición y traducción de esta magna tragedia al cuidado del editor y crítico Andreu Jaume.
El rey Lear
by William ShakespeareLa tragedia del Rey Lear fue escrita probablemente entre 1605 y 1606. Su protagonista es un anciano monarca que, antes de dividir el reino entre sus tres hijas, les pide que halaguen su vanidad. Mientras Regan y Goneril lo complacen, la tercera, Cordelia, rechaza obrar con hipocresía. Tal actitud desata la hybris del rey y lo lleva a destruir la felicidad de su familia, de sus súbditos y la suya propia. La historia secundaria, la del Duque de Gloucester y sus hijos Edmundo y Edgardo, pone en escena un conflicto similar al principal, Tanto Lear como Gloucester llegarán a la verdad sólo al término de una serie de padecimientos. Con un lenguaje coherente, poético y vital, los personajes de las obras de Shakespeare nos hablan desde lo más hondo de su situación existencial: ciegos de amor, consumiéndose de celos, agitados por la duda, devorados por la ambición y el remordimiento, debatiéndose entre el bien y el mal, ebrios de fanfarronería, y, lo que resulta más inquietante, sin ninguna finalidad moral.
Rhapsodies
by Rosary Hartel O'NeillWings of Madness:Short Play, Southern DramaCharacters: 1 female. Interior Set. Set in a tacky funeral parlor on a highway outside New Orleans, a murdered beauty taunts the audience, exposing her bare unshrouded back, and explaining why she was murdered. Other imaginary characters--her husband and daughter--add an eerie quality to her already surreal tale.Turtle Soup: Short Play, Southern Comedy. Characters: 1 male, 1 female. Interior Set. A young woman fights for her inheritance. Her "dying" uncle mocks her life, as well as that of her actor husband. A tirade occurs over Turtle Soup that culminates in its spillage and her Uncle's guffaws over his prank. He reminds her that it's April first --All Fools Day--and he is playing a joke on her.
Rhetoric and Power: The Drama of Classical Greece (Studies in Rhetoric/Communication Series)
by Nathan CrickAn examination of how intellectuals and artists conceptualized rhetoric as a medium of power in a dynamic age of democracy and empire. <p><p> In Rhetoric and Power, Nathan Crick dramatizes the history of rhetoric by explaining its origin and development in classical Greece, beginning with the oral displays of Homeric eloquence in a time of kings, following its ascent to power during the age of Pericles and the Sophists, and ending with its transformation into a rational discipline with Aristotle in a time of literacy and empire. Crick advances the thesis that rhetoric is primarily a medium and artistry of power, but that the relationship between rhetoric and power at any point in time is a product of historical conditions, not the least of which is the development and availability of communication media. <p><p>Investigating major works by Homer, Heraclitus, Aeschylus, Protagoras, Gorgias, Thucydides, Aristophanes, Plato, Isocrates, and Aristotle, Rhetoric and Power tells the story of the rise and fall of classical Greece while simultaneously developing rhetorical theory from the close criticism of particular texts. As a form of rhetorical criticism, this volume offers challenging new readings to canonical works such as Aeschylus's Persians, Gorgias's Helen, Aristophanes's Birds, and Isocrates's Nicocles by reading them as reflections of the political culture of their time. Through this theoretical inquiry, Crick uses these criticisms to articulate and define a plurality of rhetorical genres and concepts, such as heroic eloquence, tragicomedy, representative publicity, ideology, and the public sphere, and their relationships to different structures and ethics of power, such as monarchy, democracy, aristocracy, and empire. <p><p>Rhetoric and Power thus provides a foundation for rhetorical history, criticism, and theory that draws on contemporary research to prove again the incredible richness of the classical tradition for contemporary rhetorical scholarship and practice.
Rhinoceros and Other Plays: Includes: The Leader; The Future Is In Eggs; It Takes All Kinds To Make A World (Books That Changed the World)
by Eugène Ionesco“With outrageous comedy” this classic of Absurdist drama “attacks the most serious subjects: blind conformity and totalitarianism, despair and death” (The New York Times).In Rhinoceros, as in his other plays, Eugene Ionesco startles audiences with a world that invariably erupts in explosive laughter and nightmare anxiety. A rhinoceros suddenly appears in a small town, tramping through its peaceful streets. Soon there are two, then three, until the “movement” is universal. This is not an invasion of wild animals, but a transformation of average citizens into beasts, as they learn to move with the times. As the curtain comes down, only one desperate man remains.Rhinoceros is a commentary on the absurdity of the human condition made tolerable only by self-delusion. It shows us the struggle of the individual to maintain integrity and identity in a world where all others have succumbed to the “beauty” of brute force and mindlessness.
Rich is Better
by Jack SharkeyComedy / 2m, 2f / Interior / Nona is unaware that her husband Gino owns the company for which she does telephone sales he posed as a laborer during their courtship, fearful of being married for his money, and has yet to explain. When Gino's secretary Pam shows up with papers he forgot to sign, he introduces her as a co worker seeking advice on a romantic problem. Generous Nona insists Pam bring her lover to dinner. Pam cons her chiropodist into coming on what he thinks is a house call. By the time the disastrous dinner party occurs, Nona's misguided gossip has caused a strike she wonders why Gino won't join the picket lines and Gino inadvertently gives Nona the impression that Pam is his big romance. This comedy was written for Kaye Ballard.
Rich Man's Revenge
by Tessa RadleyHell-bent on revenge, Italian businessman Rico D'Alessio would stop at nothing to destroy the Sinclair family. Taking eldest daughter Danielle Sinclair as his bride was a start. Making her pregnant with his heir would prove the ultimate payback. But falling for his bride of revenge? Even this most cunning of rich men had not counted on that turn of events or the secrets such a shocking union would reveal.
A Rich Man's Touch
by Anne MatherA wealth of passion...The arrival of wealthy businessman Gabriel Webb in Rachel's life is about to change everything....Gabriel seems sincere in wanting to help single mom Rachel and her young daughter. But she isn't prepared when he touches emotions in her that she had carefully hidden away. Can she allow herself to open up her heart-and her bed-to him? Or is Gabriel interested in only a fleeting affair?
Richard Foreman: An American (Partly) in Paris
by Neal SwettenhamRichard Foreman has been writing, directing and designing avant-garde theatre in New York since he first founded his Ontological-Hysteric company there in 1968. In all that time, few directors have taken up the challenge of staging his problematic, rewarding texts, and Foreman's work remains under-explored by other practitioners. Richard Foreman: An American (Partly) in Paris argues that Foreman can productively be viewed as a (partly) European artist, whose thinking and theatre-making have been radically shaped by contact with Europe. Through a detailed account of his European productions, interviews with Foreman himself, a set of practical strategies for staging the plays and the full text of Foreman's previously unpublished play Georges Bataille’s Bathrobe (1983), Neal Swettenham introduces the director’s work to a new generation of readers and theatre-makers.
Richard Harding Bush, or the Roco Coco Bean
by Cleve HauboldTYA, Children's Theatre / 7m, 3f, plus extras / The King is knitting a zebra, a rococo coco bean plays music, and an extraordinarily talented bush plots the downfall of diabolical Inigo Snurl, the most ineffective villain since Captain Hook. The Royal Gardens are the setting for this imaginative play in which King Trembley and Richard Harding Bush, a remarkable inhabitant of the gardens, outwit conniving Prime Minister Snurl. Queen Rotunda, her dour handmaiden Persimmia, the pompous Doctor Lipfondly, and a pair of would be revolutionaries add to the fun, which is climaxed by a royal masquerade party.
Richard II
by A. R. Braunmuller Frances E. Dolan Stephen Orgel William ShakespeareThe acclaimed Pelican Shakespeare series, now in a dazzling new series design The Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare’s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With stunning new covers designed by Manuja Waldia, definitive texts, and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come.This edition of Richard II is edited with an introduction by Francis E. Dolan.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.From the Trade Paperback edition.
Richard II: New Critical Essays (Shakespeare Criticism)
by Jeremy LopezArguably the first play in a Shakespearean tetralogy, Richard II is a unique and compelling political drama whose themes still resonate today. It is one of the few Shakespeare plays written entirely in verse and its format presents unique theatrical challenges. Politically engaged and controversial, it raises crucial debates about the relationship between early modern art, audience response and state power. This collection provides a comprehensive and up-to-date survey of the critical and theatrical history of the play. The substantial introduction surveys the history of critical interpretations of Richard II since the eighteenth century. The eleven newly written critical essays by leading and emerging scholars in the field then adopt an eclectic range of critical approaches that encourage scholars and students to pursue new and imaginative directions with the text.