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The Homecoming: The Homecoming; Old Times; No Man's Land (Modern Plays Ser.)
by Harold PinterAfter having lived in the United States for several years, Teddy brings his wife, Ruth, home for the first time to meet his working-class family in North London, where he grew up and which she finds more familiar than their arid academic life in America. Much sexual tension occurs as Ruth teases Teddy's brothers and father and the men taunt one another in a game of oneupmanship, resulting in Ruth's staying behind with Teddy's relatives as "one of the family" and Teddy and their three sons returning home
The Honest Whore: With The Humours Of The Patient Man, And The Loving Wife (classic Reprint) (Globe Quartos)
by Thomas DekkerFirst Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.
The Horror Plays of the English Restoration (Studies in Performance and Early Modern Drama)
by Anne HermansonA decade after the Restoration of Charles II, a disturbing group of tragedies, dubbed by modern critics the horror or the blood-and-torture villain tragedies, burst onto the London stage. Ten years later they were gone - absorbed into the partisan frenzy which enveloped the theatre at the height of the Exclusion Crisis. Despite burgeoning interest, until now there has been no full investigation into why these deeply unsettling plays were written when they were and why they so fascinated audiences for the period that they held the stage. The author’s contention is that the genre of horror gains its popularity at times of social dislocation. It reflects deep schisms in society, and English society was profoundly unsettled and in a (delayed) state of shock from years of social upheaval and civil conflict. Through recurrent images of monstrosity, madness, venereal disease, incest and atheism, Hermanson argues that the horror dramatists trope deep-seated and unresolved anxieties - engaging profoundly with contemporary discourse by abreacting the conspiratorial climate of suspicion and fear. Some go as far as to question unequivocally the moral and political value of monarchy, vilifying the office of kingship and pushing ideas of atheism further than in any drama produced since Seneca. This study marks the first comprehensive investigation of these macabre tragedies in which playwrights such as Nathaniel Lee, Thomas Shadwell, Elkanah Settle, Thomas Otway and the Earl of Rochester take their audience on an exploration of human iniquity, thrusting them into an examination of man’s relationship to God, power, justice and evil.
The Hours That Remain
by Keith BarkerDenise has spent the last five years dedicated to uncovering the truth behind her sister Michelle's disappearance. Haunted by loose ends, she begins seeing visions of Michelle, who gradually guides her in the right direction. As Denise's marriage and sanity crumble around her, she remains committed to unearthing an unfathomable truth, and coming to terms with a painfully crucial realization—one she has been desperately avoiding.
The House of Atreus
by AeschylusAeschylus was a Greek playwright considered to be the founder of the tragedy. Aeschylus along with Sophocles and Euripides are the three major Greek tragedians whose plays have survived. Before Aeschylus, characters in a play only interacted with the chorus. Aeschylus expanded the number of actors allowing for interaction among the characters. Seven of his 92 plays have survived. The Persian invasion of Greece, which took place during his lifetime, influenced many of his plays. The Oresteia is a trilogy of Greek tragedies written by Aeschylus, which concerns the end of the curse on the House of Atreus. The plays were "Agamemnon," "Choephorae" (The Libation-Bearers), and the "Eumenides" (Furies).
The House of Blue Leaves and Chaucer in Rome: Two Plays
by John GuareFrom an American playwright who “is in a class by himself,” two acclaimed plays linked by a character who comes of age in the sixties. (The New York Times)In John Guare’s classic play The House of Blue Leaves, winner of the New York Drama Critics Circle Award for best play, the Pope is visiting New York, and eighteen-year-old Ronnie goes AWOL from the army to come home to New York and blow up the Pope as he passes his house. In his new play, Chaucer in Rome, it is the year 2000, and Ron and his wife come to Rome to search for their son. With his inimitable wit and understanding, Guare has written two scathingly funny satires on the warping hunger for fame, and the betrayal involved in creating art.Praise for The House of Blue Leaves:“Splendid . . . a joyful affirmation of life and of John Guare’s artistry.” —The New York Times“A woozy, fragile, hilarious heartbreaker . . . the writing is lush with sad, ironic wisdom about fame, love, and deluded values.” —USA TodayPraise for Chaucer in Rome:“Guare makes us become voyeurs even as we scorn voyeurism—thus offering a titillating, troubling commentary on life.” —USA Today“Guare’s most disciplined, merciless yet lovable work since Six Degrees of Separation and maybe his best yet.” —New York Newsday
The House of the Swing - A real life story: A real life story
by Franklin A. Díaz LárezLuis had it all: money, respect, power and love. But when fate struck a harsh blow, he had to sacrifice money, respect and power in a fight to keep the most important thing: the love of his life. Luis and his wife had to leave their homeland of Venezuela with their three-year-old girl and move to Galicia, Spain to obtain treatment for her cancer. Besides the ravages of disease, they would face xenophobia, racism, discrimination, evil, and human cruelty. Their struggle would lead through hope and despair, and take Luis on a journey through memories of the past as he reached out toward the future. This story based on real life is, above all, the story of a desperate struggle to retain love through illness, loss of fortune and a very dysfunctional family. As Luis fights for the future of his family, he journeys through memory into the history of his Venezuelan family. His odyssey, narrated in first person, includes magic realism, brutal violence, lyrical beauty and sublime love.
The Human Touch: Redefining the Art of British Contemporary Improvisational Theatre (ISSN)
by Chloé ArrosThe Human Touch is a book focused on the creative processes at work in British contemporary improvisational theatre and how these processes draw on the humanity of the participants: their cognitive abilities, their lives, and their relationships to each other. Vulnerability is a main feature of both the book and of improvisational theatre, both part of the hurdles that improvisers face and a creative tool. Through a study of improvisation and vulnerability, the book teaches us both what makes improvisational theatre so human and opens the door to a reflection about how to use humanity and human emotions in performance. Most importantly, it delves into the cognitive and physiological processes at work in improvisation, a topic which is missing from most manuals and studies offered to students. This book is addressed to theatre students and provides both an important overview of the form’s history and a challenge to what is usually taught about improvisation.
The Humans
by Stephen Karam"A kind, warm, beautifully observed and deeply moving new play, a celebration of working-class familial imperfection and affection and a game-changing work for this gifted young playwright."-Chicago Tribune"Karam is in rare form here, showing a remarkable ear for the way families converse... For all the characters' woes, this is a warm, funny, sharply observed portrait of their abiding connections with one another." -Time Out ChicagoBreaking with tradition, Erik Blake has brought his Pennsylvania family to celebrate Thanksgiving at his daughter's apartment in lower Manhattan. Unfolding over a single scene, this "delirious tragicomedy" (Chicago Sun-Times) by acclaimed young playwright Stephen Karam "infuses the traditional kitchen-sink family drama with qualities of horror in his portentous and penetrating work of psychological unease" (Variety), creating an indelible family portrait.Stephen Karam's plays include Speech & Debate and Sons of the Prophet, a finalist for the 2012 Pulitzer Prize and the winner of the 2012 Drama Critics Circle, Outer Critics Circle, Lucille Lortel and Hull-Warriner awards for Best Play. Born and raised in Scranton, PA, he lives in New York City.
The Hunchback of Notre Dame (Adapted)
by Victor Hugo Malvina G. VogelThis novel has been adapted into 10 short chapters that will excite the reluctant reader as well as the enthusiastic one. Key words are defined and used in context. Multiple-choice questions require the student to recall specific details, sequence the events, draw inferences from story context, develop another name for the chapter, and choose the main idea. Let the Classics introduce Kipling, Stevenson, and H. G. Wells. Your students will embrace the notion of Crusoe's lonely reflections, the psychological reactions of a Civil War soldier at Chancellorsville, and the tragedy of the Jacobite Cause in 18th Century Scotland. In our society, knowledge of these Classics is a cultural necessity. Improves fluency, vocabulary and comprehension.
The Hutchinson Atlas of World War II Battle Plans: Before And After
by Stephen BadseyThis text contrasts 21 World War II battle plans with their actual outcome. Each in-depth battle essay is complemented by original maps, producing fresh insight into the technical aspects of warfare that drove the last worldwide conflict of the 20th century. An overall introduction gives a strategic overview of the whole of the war, and places the individual battles into context. The battles are presented in seven groups of three, and each group is introduced by a short essay on the common theme for the group.
The Hutchinson Dictionary of Ancient and Medieval Warfare
by HutchinsonFirst Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.
The Ice Cream Dream
by Dianna Cleveland Patricia FineA Playbook® Multi-colored and Multi-leveled Role-play Reading Story / Script, A Playbook® Multi-colored and Multi-leveled Role-play Reading Story / Script,A Playbook® Multi-colored and Multi-leveled Role-play Reading Story / Script
The Iceman Cometh
by Eugene O'NeillEugene O'Neill mined the tragedies of his own life for this depiction of a seedy, skid row saloon in 1912, peopled by society's failures: drifters, whores, pimps, and informers.
The Iceman Cometh
by Eugene O'NeillEugene O’Neill was the first American playwright to win the Nobel Prize in Literature. He completed The Iceman Cometh in 1939, but he delayed production until after the war, when it enjoyed a long run of performances in 1946 after receiving mixed reviews. Three years after O'Neill's death, Jason Robards starred in a Broadway revival that brought new critical attention to O’Neill’s darkest and most nihilistic play. In the half century since, The Iceman Cometh has gained enormously in stature, and many critics now recognize it as one of the greatest plays in American drama. The Iceman Cometh focuses on a group of alcoholics and misfits who endlessly discuss but never act on their dreams, and Hickey, the traveling salesman determined to strip them of their pipe dreams.
The Iceman Cometh
by Eugene O'NeillA critical edition of O&’Neill&’s most complex and difficult play, designed for student readers and performers This critical edition of Eugene O&’Neill&’s most complex and difficult play helps students and performers meet the work&’s demanding cultural literacy. William Davies King provides an invaluable guide to the text, including an essay on historical and critical perspectives; extensive notes on the language used in the play, and its many musical and literary allusions; as well as numerous insightful illustrations. He also gives biographical details about the actual people the characters are based on, along with the performance history of the play, to help students and theatrical artists engage with this labyrinthine work.
The Idea of Audience: Artists and the Task of Audience Development in the Era of Creative Industries
by Simon PieningWhat sort of relationship do artists want with their audience? What kind of role do they imagine for the performing arts in their community?Under the “creative industries”, the audience relationship has been increasingly defined and shaped by marketing and/or institutional interests. Wedged between the competing needs of the market, and their belief in the power of art to positively impact their communities, many artists and arts workers are caught in what Julian Meyrick describes as a “confused intellectual terrain”. While much audience scholarship has focused on understanding the motivations of audience members engaging with the arts, there has been considerably less research into the motivations of arts professionals with respect to their relationship with the audience. The Idea of Audience is a critical examination of the current fields of audience development and arts marketing, and explores the relationship between artists and audiences from the perspective of the artists themselves.The book will be of most interest to students and academics of audience development/arts marketing, theatre/performance, and audience studies. It is hoped that the reader will gain greater insight into what artists actually mean when they talk about their audience.
The Idea of the Theater in Latin Christian Thought: Augustine to the Fourteenth Century
by Donnalee DoxMedieval thinkers did not construe drama as theatrical performances, Dox (performance studies, Texas A&M U. ) argues, because of how thought was organized beginning with the late classical transmitters and through the Scholastics. Theater as a performance practice and institutional institution was distinguished from poetry, rhetoric, reading, and writing until the height of the Scholastic period, early in the 14th century, when this categorical distinction began to break down. She says her conclusions complement rather than challenge others derived from the same material. Annotation ©2004 Book News, Inc. , Portland, OR (booknews. com)
The Ides of March: A Novel (Modern Classics Ser.)
by Jerome KiltyHistory / 9m, 6f, extras / Platform stage / The action spans the year before and up to Caesar's assassination, introducing us to Cleopatra on her visit to Rome. Caesar has given some strict proscriptions; but all the same he falls in love with her again. This infuriates a patrician woman of Rome. Her attempts to have Antony seduce Cleopatra pay off when Caesar discovers them together. He is preparing to leave on a tour the Ides of March, but that morning he receives twenty-three stab wounds, and dies untended on the street.
The Idiot Box
by Michael Elyanow6m, 4f / Comedy / Interior / THE IDIOT BOX tells the story of six sitcom characters whose lives are shaken when reality crashes into their perfect world. As the artifice of their lives unravels, each character discovers powerful truths about race, love, sexuality and the America outside they never knew existed - resulting in a theatrical experience that, according to The Hollywood Reporter, "is a glittering absurdist farce...with a sinister undertow that takes hold early and never lets go."
The Iliad, The Odyssey, and All Of Greek Mythology in 99 Minutes or Less
by John Hunter Jay HopkinsComedy / 3m, 2f / On a simple stage, with the clock ticking in front of everyone's eyes, the cast speeds through all of Greek Mythology. Its funny, updated and made easy to understand. The Gods walk the Red Carpet. The Creation of Mankind is a botched subcontractors job. Man and Pandora try settling down despite an ominous wedding gift. Love stories are a dating show and the Greek Tragedies are sports highlights! And don't forget the two greatest stories ever told, The Iliad and The Odyssey. Kidnap Helen of Troy and you've got a 10 year slap-fight of epic proportions with pouty Achilles, war-hungry Agamemnon and clever Odysseus, destined to wander the seas for 10 more years fighting giants, seductresses and the Gods themselves. All the silly decisions, the absurd destinies, and the goofy characters are presented lightning-bolt fast with hysterical results as the clock is stopped with only seconds to spare.
The Illuminated Theatre: Studies on the Suffering of Images
by Joe KelleherWhat sort of thing is a theatre image? How is it produced and consumed? Who is responsible for the images? Why do the images stay with us when the performance is over? How do we learn to speak of what we see and imagine? And how do we relate what we experience in the theatre to what we share with each other of the world? The Illuminated Theatre is a book about theatricality and spectatorship in the early twenty-first century. In a wide-ranging analysis that draws upon theatrical, visual and philosophical approaches, it asks how spectators and audiences negotiate the complexities and challenges of contemporary experimental performance arts. It is also a book about how European practitioners working across a range of forms, from theatre and performance to dance, opera, film and visual arts, use images to address the complexities of the times in which their work takes place. Through detailed and impassioned accounts of works by artists such as Dickie Beau, Wendy Houstoun, Alvis Hermanis and Romeo Castellucci, along with close readings of experimental theoretical and art writing from Gillian Rose to T.J. Clark and Marie-José Mondzain, the book outlines the historical, aesthetic and political dimensions of a contemporary ‘suffering of images.’
The Illusion
by Pierre Corneille Tony KushnerAlready a favorite of theatres throughout the country, Tony Kushner's free adaptation of Pierre Corneille's most original, theatrical comedy, L'Illusion Comique, blends magic and truth, obsession and caprice, romance and murder, into an enticing exploration of the greatest illusion--love.
The Illustrated Shakespeare, 1709-1875
by Stuart SillarsIllustrations have been an important element of many of the most extensively read editions of Shakespeare's plays, from the frontispieces to Nicholas Rowe's 1709 edition to the multiple images placed within the text of Victorian editions. Through symbols the illustrations have explored language and character; by allusion to earlier paintings they have offered critical readings; and by gesture, setting and costume they have redesigned the plays within the visual vocabulary of their own times. In all these ways they offer important exchanges with contemporary social, aesthetic and critical concerns, and, despite being largely ignored by scholars, are central to the plays' reception. Highly illustrated, including many images not previously reproduced, the book allows the reader to share the experience of early readers of the plays. Building on the author's earlier work in Painting Shakespeare it offers a fresh address to the tradition of visual criticism and assimilation of Shakespeare's plays.