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Shawn's Fundamentals of Dance (Language of Dance)
by Ann Hutchinson GuestFirst Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.
Shaw’s Ibsen: A Re-Appraisal (Bernard Shaw and His Contemporaries)
by Joan TempletonThis book argues that Shaw was a masterful reader of Ibsen's plays both as texts and as the cornerstone of the modern theatre. Dismantling the notion that Shaw distorted Ibsen to promote his own view of the world, and establishing Shaw’s initial interest in Ibsen as the poet of Peer Gynt, it chronicles Shaw’s important role in the London Ibsen campaign and exposes the falsity of the tradition that Shaw branded Ibsen as a socialist. Further, this study shows that Shaw’s famous but maligned The Quintessence of Ibsenism reflects Ibsen’s own anti-idealist notion of his work and argues that Shaw’s readings of Ibsen’s plays are pioneering analyses that anticipate later criticism. It offers new readings of Shaw’s “Ibsenist” plays as well as a comprehensive account of Ibsen’s importance for Shaw’s dramatic criticism, from his early journalism to Our Theatres of the Nineties, both as a weapon against the inanities of the Victorian stage and as the standard bearer for modernism.
Shaw's People: Victoria to Churchill
by Stanley WeintraubShaw's opinions of, or actual relationships with notable Victorians including the Queen. Includes extensive quotes from a man whose life spanned later Victorian Britain and the first fifty years of the twentieth century.
A Shayna Maidel
by Barbara LebowSeparated for twenty years, Rose White is reunited with her sister, Lusia, a Holocaust survivor, in 1946
She Hath Been Reading: Women and Shakespeare Clubs in America
by Katherine West ScheilIn the late nineteenth century hundreds of clubs formed across the United States devoted to the reading of Shakespeare. From Pasadena, California, to the seaside town of Camden, Maine; from the isolated farm town of Ottumwa, Iowa, to Mobile, Alabama, on the Gulf coast, Americans were reading Shakespeare in astonishing numbers and in surprising places. Composed mainly of women, these clubs offered the opportunity for members not only to read and study Shakespeare but also to participate in public and civic activities outside the home. In She Hath Been Reading, Katherine West Scheil uncovers this hidden layer of intellectual activity that flourished in American society well into the twentieth century.Shakespeare clubs were crucial for women's intellectual development because they provided a consistent intellectual stimulus (more so than was the case with most general women's clubs) and because women discovered a world of possibilities, both public and private, inspired by their reading of Shakespeare. Indeed, gathering to read and discuss Shakespeare often led women to actively improve their lot in life and make their society a better place. Many clubs took action on larger social issues such as women's suffrage, philanthropy, and civil rights. At the same time, these efforts served to embed Shakespeare into American culture as a marker for learning, self-improvement, civilization, and entertainment for a broad array of populations, varying in age, race, location, and social standing.Based on extensive research in the archives of the Folger Shakespeare Library and in dozens of local archives and private collections across America, She Hath Been Reading shows the important role that literature can play in the lives of ordinary people. As testament to this fact, the book includes an appendix listing more than five hundred Shakespeare clubs across America.
She Speaks!: What Shakespeare's Women Might Have Said
by Harriet WalterNew parts for thirty of Shakespeare's women, letting them speak their minds, written by famed stage and screen actress, Dame Harriet Walter DBE'Bold and original... a book that anyone who cares about Shakespeare will want to own, and share' JAMES SHAPIRO'With her gravitas, empathy, intellect and absolute belly laugh wit, the unheard voices soar. A real celebration of her life and art' PHYLLIDA LLOYD'Harriet Walter's years of inhabiting and imbibing so many of those great roles gives her a special licence to speak for them. But the wit of these delightful poems also belies frustration, exasperation, and like a true "Lover's Complaint", real affection' GREG DORANDame Harriet Walter, renowned for her wonderful portrayals in Succession and Killing Eve, among others, is one of Britain's most esteemed Shakespearean actors. Now, having played most of Shakespeare's female characters, audaciously, she lets them speak their minds.With new parts for thirty Shakespearean women, written in 'Shakespearean' verse and prose, Harriet Walter goes between the lines of the plays to let us hear what she imagines - sometimes playfully and sometimes searchingly - these women were really thinking.Here's what Gertrude longed to say; why Lady MacBeth felt she should be King; how Juliet's nurse bemoaned her loss; why Ariel is anxious about freedom and what Cleopatra's handmaidens really thought of her. Ophelia surprises us, Olivia surprises herself and Miranda glimpses the future; these pieces are alongside other brilliant insights, from the servants to the sovereigns.Harriet Walter says 'Shakespeare's mind and words have been the backbone of our culture and they have seeped into my bloodstream over the decades that I have been privileged to speak them. As Ben Jonson said, he is a man for all times, but he is also a man of his time and there's the rub. Though his empathy for his female creations is miraculous, his plays mirror the hierarchy and patriarchy of his day with the result that women are seldom centre stage, have far fewer lines, and their function in the plot is always and solely in relation to a man. But not in these pages...'
She Speaks!: What Shakespeare's Women Might Have Said
by Harriet WalterNew parts for thirty of Shakespeare's women, letting them speak their minds, written by famed stage and screen actress, Dame Harriet Walter DBE'Bold and original... a book that anyone who cares about Shakespeare will want to own, and share' JAMES SHAPIRO'With her gravitas, empathy, intellect and absolute belly laugh wit, the unheard voices soar. A real celebration of her life and art' PHYLLIDA LLOYD'Harriet Walter's years of inhabiting and imbibing so many of those great roles gives her a special licence to speak for them. But the wit of these delightful poems also belies frustration, exasperation, and like a true "Lover's Complaint", real affection' GREG DORANDame Harriet Walter, renowned for her wonderful portrayals in Succession and Killing Eve, among others, is one of Britain's most esteemed Shakespearean actors. Now, having played most of Shakespeare's female characters, audaciously, she lets them speak their minds.With new parts for thirty Shakespearean women, written in 'Shakespearean' verse and prose, Harriet Walter goes between the lines of the plays to let us hear what she imagines - sometimes playfully and sometimes searchingly - these women were really thinking.Here's what Gertrude longed to say; why Lady MacBeth felt she should be King; how Juliet's nurse bemoaned her loss; why Ariel is anxious about freedom and what Cleopatra's handmaidens really thought of her. Ophelia surprises us, Olivia surprises herself and Miranda glimpses the future; these pieces are alongside other brilliant insights, from the servants to the sovereigns.Harriet Walter says 'Shakespeare's mind and words have been the backbone of our culture and they have seeped into my bloodstream over the decades that I have been privileged to speak them. As Ben Jonson said, he is a man for all times, but he is also a man of his time and there's the rub. Though his empathy for his female creations is miraculous, his plays mirror the hierarchy and patriarchy of his day with the result that women are seldom centre stage, have far fewer lines, and their function in the plot is always and solely in relation to a man. But not in these pages...'
She Speaks!: What Shakespeare's Women Might Have Said
by Harriet WalterNew parts for thirty of Shakespeare's women, letting them speak their minds, written by famed stage and screen actress, Dame Harriet Walter DBE'Bold and original... a book that anyone who cares about Shakespeare will want to own, and share' JAMES SHAPIRO'With her gravitas, empathy, intellect and absolute belly laugh wit, the unheard voices soar. A real celebration of her life and art' PHYLLIDA LLOYD'Harriet Walter's years of inhabiting and imbibing so many of those great roles gives her a special licence to speak for them. But the wit of these delightful poems also belies frustration, exasperation, and like a true "Lover's Complaint", real affection' GREG DORANDame Harriet Walter, renowned for her wonderful portrayals in Succession and Killing Eve, among others, is one of Britain's most esteemed Shakespearean actors. Now, having played most of Shakespeare's female characters, audaciously, she lets them speak their minds.With new parts for thirty Shakespearean women, written in 'Shakespearean' verse and prose, Harriet Walter goes between the lines of the plays to let us hear what she imagines - sometimes playfully and sometimes searchingly - these women were really thinking.Here's what Gertrude longed to say; why Lady MacBeth felt she should be King; how Juliet's nurse bemoaned her loss; why Ariel is anxious about freedom and what Cleopatra's handmaidens really thought of her. Ophelia surprises us, Olivia surprises herself and Miranda glimpses the future; these pieces are alongside other brilliant insights, from the servants to the sovereigns.Harriet Walter says 'Shakespeare's mind and words have been the backbone of our culture and they have seeped into my bloodstream over the decades that I have been privileged to speak them. As Ben Jonson said, he is a man for all times, but he is also a man of his time and there's the rub. Though his empathy for his female creations is miraculous, his plays mirror the hierarchy and patriarchy of his day with the result that women are seldom centre stage, have far fewer lines, and their function in the plot is always and solely in relation to a man. But not in these pages...'
She Stoops to Conquer
by Oliver GoldsmithThis charming comedy has delighted audiences for over two centuries. First performed in 1773, it concerns Kate Hardcastle, a young lady who poses as a serving girl to win the heart of a young gentleman too shy to court ladies of his own class. A number of delightful deceits and hilarious turns of plot must be played out before the mating strategies of both Kate Hardcastle and her friend Constance Neville conclude happily. Along the way, there is an abundance of merry mix-ups, racy dialogue and sly satire of the sentimental comedies of Goldsmith's day.The extraordinary humor and humanity with which Goldsmith invested this play have made it one of the most read, performed, and studied of all English comedies. It is now available in this inexpensive Dover edition, based on the text of the fourth edition, published in the year of the play's first staging.
She stoops to conquer
by Oliver GoldsmithOliver Goldsmith's comedy She Stoops to Conquer was originally produced in London in 1773. A young lady, Kate Hardcastle, poses as a serving girl to win the heart of Charles Marlow, a young gentleman too shy to court ladies of his own class. Many deceits and turns of plot must be played out before the play concludes happily.
She Was Lost, and Is Found
by Richard HensleyDrama \ Richard Hensley \ 1 m, 2 f \ Int. \ Ellen and Dan Clark anxiously await the return of their daughter, a teenage runaway. They search through their past attempting to explain her behavior but find no simple answers. Their anxiety increases when their older daughter, a model of obedience and achievement, reacts irritably toward her sisters expected return. All three face realities about themselves and their relationship with each other, and resolve to make new efforts to reconcile their family.
Shelley's Radical Stages: Performance and Cultural Memory in the Post-Napoleonic Era
by Dana Van KooyDana Van Kooy draws critical attention to Percy Bysshe Shelley as a dramatist and argues that his dramas represent a critical paradigm of romanticism in which history is 'staged'. Reading Shelley's dramas as a series of radical stages - historical reenactments and theatrical reproductions - Van Kooy highlights the cultural significance of the drama and the theatre in shaping and contesting constructions of both the sovereign nation and the global empire in the post-Napoleonic era. This book is about the power of performance to challenge and reformulate cultural memories that were locked in historical narratives and in Britain's theatrical repertoire. It examines each of Shelley's dramas as a specific radical stage that reformulates the familiar cultural performances of war, revolution, slavery and domestic tyranny. Shelley's plays invite audiences to step away from these horrors and to imagine their lives as something other than a tragedy or a melodrama where characters are entrapped in cycles of violence or struck blind or silent by fear. Although Shelley's dramas are few in number they engage a larger cultural project of aesthetic and political reform that constituted a groundswell of activism that took place during the Romantic period.
Sheridan And Goldsmith (English Dramatists)
by Katharine WorthEach generation needs to be introduced to the culture and great works of the past and to reinterpret them in its own ways. This series re-examines the important English dramatists of earlier centuries in the light of new information, ew interests and new attitudes. The books will be relevant to those interested in literatire, theatre and cultural history, and to threatre-goers and general readers who want an up-to-date view of these dramatists and their plays, with the emphasis on performance and relevant culture history. This book explores the reasons for the deep and lasting appeal of Sheridan's and Goldsmith's comedies, showing how they operate at the profound imaginative level and draw on their author's experience as Irish wits in an English scene. Their subtle dramatic techniques are examined in relation to physical features of the eighteenth-century stage. A chapter on sentimental comedy relates to plays such as Hugh Kelly's False Delicacy to the balance of irony and sentiment in Goldsmith's The Good Natur'd Man and Sheridan's A Trip to Scarborough. The continuing freshness of the comedy of mistakes, masks and Harlequin-like role playing which the two playwrights draw from the operatic and theatrical conventions of their day is illustrated from modern productions. These have helped to illuminate the psychological truth and social awareness underlying the sparkling surfaces of Sheridan's and Goldsmith's classic comedies.
The Shewing-up of Blanco Posnet and Fanny's First Play
by Dan Laurence George Bernard Shaw‘A tearing, flaring, revivalist drama’ was how Desmond MacCarthy described The Shewing-up of Blanco Posnet. Set in America’s Wild West and aptly subtitled ‘A Sermon in Crude Melodrama’, this single-act play concerns the conversion of a horse thief desperate to ‘keep the devil’ in him and die game. Published in 1909, it brought Shaw into conflict with the Lord Chamberlain of England, who banned it on the grounds of alleged blasphemy, and it was twelve years before the play was performed in a London theatre. In an interview Shaw commented, ‘I am sorry that Fanny’s First Play has destroyed the cherished legend that I am an unpopular playwright … for the first time I have allowed a play of mine to run itself to death … And the worst of it is it will not die.’ First performed in 1911, the play is a delightful farce in which Shaw debates some of his favourite subjects: middle-class morality, marriage, parents and children and women’s rights. And, deliberately concealing his authorship, Shaw took the opportunity to satirize contemporary drama critics who, he claimed, ‘do not know dramatic chalk from dramatic cheese when it is no longer labelled for them.’
Shifting Corporealities in Contemporary Performance: Danger, Im/mobility And Politics (Avant-gardes In Performance)
by Aneta Stojnić Marina GržinićThis book investigates how contemporary artistic practices engage with the body and its intersection with political, technological, and ethical issues. Departing from the relationship between corporeality and performing arts (such as theater, dance, and performance), it turns to a pluriversal understanding of embodiment that resides in the extra violent conditions of contemporary global necro-capitalism in order to conduct a thorough analysis that goes beyond arts and culture. It brings together theoretical academic texts by established and emerging scholars alike, exposing perspectives form different fields (philosophy, cultural studies, performance studies, theater studies, and dance studies) as well as from different geopolitical contexts. Through a series of thematic clusters, the study explores the reactivation of the body as a site of a new meaning-making politics.
Shine!: The Horatio Alger Musical
by Richard SeffCharacters: 13 male, 6 female. . Various sets. Winner! 2010 New York Musical Theatre Festival Award for ExcellenceWinner! National Music Theatre Network Award!. This charming rags to riches romp with a melodic score follows Ragged Dick, Horatio Alger's first best selling hero, from penniless bootblack to budding Wall Street entrepreneur. His adventures bring him face to face with scheming ex convicts, vicious comic villians, kind benefactors and a world of colorful street characters. Set in the New York Centennial summer of 1876, this full of hopes and dreams musical is perfect for the whole family. "A charming, feel-good musical. The work's tremendous heart and unabashed celebration of Alger's popular stories are in ample evidence in this appealing musical about the rise from rags to riches." - Meredith Lee, Theatermania"SHINE! is one of those wonderful musicals where an audience cares deeply for the hero. Richard Seff's book and Lee Goldsmith's lyrics perfectly capture the Horatio Alger spirit ...Composer Roger Anderson's ballads are strikingly beautiful. As for his up-tempo songs, to call each a toe-tapper would only be 10% accurate ..." - Peter Filichia, The Star-Ledger"Awfully close to the sort of musical that made the form nationally beloved in the Rodgers and Hammerstein era." - Marc Miller, Backstage"Highly tuneful...A friendly show of considerable good humor." - Playbill
Shining Mountains
by Dale WassermanComedy Drama / 8m, 1f, 1 boy. / Comp. interior/exterior / At a deserted mountain cabin, a wandering minstrel sings a ballad that evokes events 15 years past. The three fur trappers who lived there adopted a boy, the sole survivor of a wagon train attacked by Indians. A missionary couple claim the boy, who is finally won over by the motherly woman. The trappers decided to make the trek west-- to protect them. Finally the balladeer's identity is revealed. / "Funny, touching, delightful.... An original play with knife edged characterizations." - New York Daily News.
Shiny Red Ball
by Cleve HauboldComedy / 2 m. / Interior / Charlie and Johnny wander in to do a day's work. At a signal, they don their buyer and seller suits to play out a hilarious game of trading for a shiny red ball. Each tries every trick he can devise to outwit the other-- alternately friendly, angry, subtle, doubtful, savage and indifferent. When the sale is made, they rest for a moment and then trade places to begin again.
A Ship Made of Paper: A Novel
by Scott SpencerDaniel Emerson lives with Kate Ellis, and he is like a father to her daughter, Ruby. But he cannot control his desire for Iris Davenport, the African-American woman whose son is Ruby's best friend. During a freak October blizzard, Daniel is stranded at Iris's house, and they begin a sexual liaison that eventually imperils all their relationships, Daniel's profession, their children's well-being, their own race-blindness, and their view of themselves as essentially good people.
A Ship Without A Sail: The Life of Lorenz Hart
by Gary MarmorsteinAn unforgettable portrait of an exuberant yet troubled artist who so enriched the American songbook "Blue Moon, " "Where or When, " "The Lady Is a Tramp," "My Funny Valentine," "Isn't It Romantic?," "My Romance," "There's a Small Hotel," "Falling in Love with Love," "Bewitched, Bothered and Bewildered"--lyricist Lorenz Hart, together with composer Richard Rodgers, wrote some of the most memorable songs ever created. More than half a century after their collaboration ended, Rodgers & Hart songs are indispensable to the repertoire of nightclub singers everywhere. A Ship Without a Sail is the story of the complicated man who was Lorenz Hart. His lyrics spin with brilliance and sophistication, yet at their core is an unmistakable wistfulness. The sweetness of "My Romance" and "Isn't It Romantic?" is unsurpassed in American song, but Hart's lyrics could also be cynical, funny, ironic. He brought a unique wit and elegance to popular music. Larry Hart and Richard Rodgers wrote approximately thirty Broadway musicals and dozens of songs for Hollywood films. At least four of their musicals--On Your Toes, Babes in Arms, The Boys from Syracuse, and Pal Joey-- have become classics. But despite their prodigious collaboration, Rodgers and Hart were an odd couple. Rodgers was precise, punctual, heterosexual, handsome, and eager to be accepted by Society. Hart was barely five feet tall, alcoholic, homosexual, and more comfortable in a bar or restaurant than anywhere else. Terrified of solitude, he invariably threw the party and picked up the check. His lyrics are all the more remarkable considering that he never sustained a romantic relationship, living his entire life with his mother, who died only months before he died at age forty-eight. Gary Marmorstein's revelatory biography includes many of the lyrics that define Hart's legacy--those clever, touching stanzas that still move us or make us laugh.
A Ship without a Sail: The Life of Lorenz Hart
by Gary MarmorsteinAn unforgettable portrait of an exuberant yet troubled artist who so enriched the American songbook "Blue Moon, " "Where or When, " "The Lady Is a Tramp," "My Funny Valentine," "Isn't It Romantic?," "My Romance," "There's a Small Hotel," "Falling in Love with Love," "Bewitched, Bothered and Bewildered"--lyricist Lorenz Hart, together with composer Richard Rodgers, wrote some of the most memorable songs ever created. More than half a century after their collaboration ended, Rodgers & Hart songs are indispensable to the repertoire of nightclub singers everywhere. A Ship Without a Sail is the story of the complicated man who was Lorenz Hart. His lyrics spin with brilliance and sophistication, yet at their core is an unmistakable wistfulness. The sweetness of "My Romance" and "Isn't It Romantic?" is unsurpassed in American song, but Hart's lyrics could also be cynical, funny, ironic. He brought a unique wit and elegance to popular music. Larry Hart and Richard Rodgers wrote approximately thirty Broadway musicals and dozens of songs for Hollywood films. At least four of their musicals--On Your Toes, Babes in Arms, The Boys from Syracuse, and Pal Joey-- have become classics. But despite their prodigious collaboration, Rodgers and Hart were an odd couple. Rodgers was precise, punctual, heterosexual, handsome, and eager to be accepted by Society. Hart was barely five feet tall, alcoholic, homosexual, and more comfortable in a bar or restaurant than anywhere else. Terrified of solitude, he invariably threw the party and picked up the check. His lyrics are all the more remarkable considering that he never sustained a romantic relationship, living his entire life with his mother, who died only months before he died at age forty-eight. Gary Marmorstein's revelatory biography includes many of the lyrics that define Hart's legacy--those clever, touching stanzas that still move us or make us laugh.
The Shipment and Lear
by Young Jean Lee"A subversive, seriously funny new theater piece by the adventurous playwright Young Jean Lee. . . . Ms. Lee does not shy away from prodding the audience's racial sensitivities--or insensitivities--in a style that is sometimes sly and subtle, sometimes as blunt as a poke in the eye."--Charles Isherwood, The New York Times"Lee is a facetious provocateur; she does whatever she can to get under our skins--with laughs and with raw, brutal talk . . . [and with] so ingenious a twist, such a radical bit of theatrical smoke and mirrors, that we are forced to confront our own preconceived notions of race."--Hilton Als, The New YorkerWith The Shipment, her latest work taking on identity politics, Young Jean Lee "confirms herself as one of the best experimental playwrights in America" (Time Out New York). The Korean American theater artist has taken on cultural images of black America, in a play that begins with sketches of African American clichés--an angry, foul-mouthed comedian; an aspiring young rapper who ends up in prison--and ends with a seemingly naturalistic parlor comedy, which slyly reveals the larger game Lee is playing, leaving us to consider the many ways that we see the world through a racial lens.Young Jean Lee is a playwright, director, and artistic director of her own OBIE Award-winning theater company, which as been producing her plays since 2003. Her other works include Songs of Dragons Flying to Heaven, Church, The Appeal, and Pullman, WA, and they have been produced across the country and internationally.
Shipwrecked!
by Donald Margulies"A deft literate narrative folded into a vaudevillian romp."--Los Angeles TimesDonald Margulies aims to invigorate the imagination of theatergoers with a story about the nature of storytelling. Based on a Victorian hoaxer's tale of being a castaway in the South Pacific--complete with buried treasure, a giant killer octopus, and cannibals--Margulies revisits themes of authenticity and loss as he returns to what theater does best.Donald Margulies received the 2000 Pulitzer Prize for Drama for Dinner with Friends, which has been produced throughout the world. Other plays include Sight Unseen (winner of an OBIE Award), Brooklyn Boy, and Collected Stories, among many others.
Shogun Macbeth
by John R. BriggsDrama \ 12 m., 6 f. \ Unit set. \ This brilliant adaptation of Shakespeare's classic tragedy was produced by Pan Asian Rep in New York to great acclaim. In 13th century Japan, General Macbeth is victorious in battle and awarded the title of Ryoshu of Akita. Almost immediately he is visited by the legendary witches called the Three Yojos. In the thrall of their spell, he is consumed by ruthless ambition. He instigates a plot to become the new Shogun and, with the help and incitement of his wife, begins to slaughter his way to the royal crown and ultimately to meet his doom. \ "Shogun Macbeth is a Kurosawa film on stage." N.Y. Times.