Literary studies: plays and playwrights Books

Book SynopsisJONATHAN BATE is Professor of Shakespeare and Renaissance Literature, University of Warwick, UK, and the editor of The RSC Shakespeare: The Complete Works. He has held visiting posts at Harvard, Yale and UCLA and is a Fellow of the Royal Society of Literature, a Fellow of the British Academy, an Honorary Fellow of St Catherine's College, Cambridge, and a Governor and Board member of the Royal Shakespeare Company. A prominent critic, award-winning biographer and broadcaster, he is the author of several books on Shakespeare, including The Genius of Shakespeare (Picador), which was praised by Sir Peter Hall, founder of the RSC, as the best modern book on Shakespeare. In June 2006 he was awarded a CBE by HM The Queen 'for services to Higher Education'. ERIC RASMUSSEN is Professor of English at the University of Nevada, USA, and the Textual Editor of The RSC Shakespeare: The Complete Works. He is co-editor of the Norton Anthology of English Renaissance Drama< and has edited volumes in both Trade Review'A triumphant addition to our times.' - Fiona Shaw, The TimesTable of ContentsIntroduction About the Text Key Facts The Two Gentlemen of Verona Textual Notes Scene-by-Scene Analysis The Two Gentlemen of Verona in Performance: The RSC and Beyond Four Centuries of The Two Gentlemen of Verona : An Overview At the RSC The Director's Cut: Interviews with David Thacker and Edward Hall Shakespeare's Career in the Theatre Shakespeare's Works: A Chronology Further Reading and Viewing References Acknowledgements and Picture Credits

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Book SynopsisEPUBTrade Review'The diversity of voices [in part 2 of the book] is a real strength...[and] provides a rich array of primary source material for all readers from undergraduates to professors...' - Patrick Duggan, New Theatre QuarterlyTable of ContentsContents List of Illustrations Acknowledgements Notes on Interview Contributors Introduction: Redefining Visceral Performance PART I Defining (Syn)aesthetics Connecting Theories (Syn)aesthetics in Practice PART II Introduction – A (Syn)aesthetic Exchange Felix Barrett& Maxine Doyle of Punchdrunk: In the P rae-sens of Body and Space - the (syn)aesthetics of Site-sympathetic Work Lizzie Clachan& David Rosenberg of Shunt Theatre Collective: A Door into Another World - The Audience and Hybridity Akram Khan: The Mathematics of Sensation - The Body as Site/Sight/Cite and Source Marisa Carnesky: Trapping the Audience in the Fantasy – Instinct, the Body& the Magic of the Experiential Naomi Wallace& Kwame Kwei-Armah: Desire, the Body and Transgressive Acts of Playwriting – on Writing and Directing Things of Dry Hours Linda Bassett: Bypassing the Logical – Performing Churchill's Far Away Jo McInnes: A Text That Demands to be Played With – Performing Kane's 4.48 Psychosis Graeae's Jenny Sealey& Playwright Glyn Cannon: Seeing Words and (Dis)comfort Zones – the Fusion of Bodies, Text and Technology in On Blindness Sara Giddens& Simon Jones of Bodies In Flight: The In-betweens, Where Flesh Utters and Words Move – On Flesh, Text, Space and Technologies Leslie Hill& Helen Paris of Curious: Embodied Intimacies - On (the) Scent, Memory and the Visceral-Virtual Bibliography Index

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Trade ReviewThrough a timeless character of legend and literature, we are allowed a ringside view of our most fascinating cultural--and gendered--history. India Today Thapar shows how it is possible to express complex ideas, rooted in philosophy and hermeneutics, without recourse to jargon. This book is a frontrunner for the prize of the best book on Indian history. Telegraph As fascinating as Sakuntala's journey is Thapar's retelling of it and her careful assumption of the role of a literary detective. Hindu Thapar's wide-ranging essays and monographs make a strong case for the urgency to historicize traditions and highlight the changing meanings of texts and oral cultures. Hindustan Times A virtuoso feat of historical and cultural analysis. Biblio Professor Thapar's book is not only significant in uncovering the historical impulses, often multiply driven, that empower certain readings or receptions of the story but also gives us in the process many of those forgotten stories -- Saswati Sengupta Religions of South AsiaTable of ContentsPreface 1. Preliminaries 2. The Narrative from the Mahabharata 3. The Abhijnana-sakuntalam of Kalidasa Sakuntala and the Ring of Recollection-the play by Kalidasa 4. Popular and high culture as historical parallels 5. Adaptations: another popular tradition and its role in another court 6. Translations: Orientalism, German romanticism and the image of Sakuntala 7. Translation: colonial views 8. Sakuntala from the perspective of middle-class nationalism 9. Conclusion Endnotes

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Book SynopsisLearning to Kneel locates noh drama’s influence on American and European writers, dancers, and composers. Carrie J. Preston’s work has been profoundly shaped by her training in noh performance. While her subjects are often criticized for Orientalist tendencies, Preston’s own journey reflects a more nuanced understanding of cultural exchange.Trade ReviewWhat drew Western writers to an arcane, highly stylized form of Japanese court theater? As a scholar, Carrie J. Preston answers this question by way of the archive, unearthing a global network of dancers and writers. But she also pursues this question as a student, subjecting herself to the rigors of noh training. The result is an unusual blend of both approaches, a magisterial study in cultural history that is also a compelling story of teaching and learning. -- Martin Puchner, Harvard University Eloquently, movingly, and persuasively, Preston traces modernism's fascination with noh through European and Japanese histories of poetry, drama, and performance. She asks us to reflect on the project of cross-cultural learning, what it means to know another culture as well as what it means to know one's own. A tour de force of memoir and scholarship, at once entertaining and erudite, Learning to Kneel shows us why mistranslation, partial fluency, and failing to understand have been crucial to the transnational history of modernism. -- Rebecca Walkowitz, Rutgers University Kneel before this humbling account of submission and, at times, personal but never sentimental antidote to both easy celebrations of multiculturalism and easy critiques of cultural appropriation. Sitting with calm strength at the intersections of performance, pedagogy, and the politics of 'global modernism,' Preston successfully reinvents the modernist reinvention of noh as a timely, urgent topic by asking what it means to succeed or fail. Don't fail to read it. -- Christopher Bush, Northwestern University In Learning to Kneel, Preston tells the story not only of the influence of Japanese culture and noh theater on modernist writers from Yeats to Beckett but also of her personal experience as a neophyte practitioner of noh. Together, these narratives brilliantly reframe received ideas about cross-cultural aesthetic transformation, the relation of success and failure in art, and the tension between subversion and tradition that underlies any form of training or pedagogy. -- Scott Klein, Wake Forest UniversityTable of ContentsPreface Acknowledgments Abbreviations Introduction to Noh Lessons 1. Ezra Pound as Noh Student 2. Theater in the "Deep": W. B. Yeats's At the Hawk's Well 3. Ito Michio's Hawk Tours in Modern Dance and Theater 4. Pedagogical Intermission: A Lesson Plan for Bertolt Brecht's Revisions 5. Noh Circles in Twentieth-Century Japanese Performance 6. Trouble with Titles and Directors: Benjamin Britten and William Plomer's Curlew River and Samuel Beckett's Footfalls/Pas Coda Notes Glossary Bibliography Index

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Book SynopsisAn introduction to the mysterious theater role of a dramaturg by a legend in the fieldTrade ReviewReceived Honor Mention for the 2022 Callaway Prize for the Best Book on Drama and TheatreHonorable Mention for the 2021 Outstanding Book Award from the Association for Theatre in Higher EducationCHOICE Outstanding Academic Title 2022“Anne Cattaneo creates a toolbox for dramaturgs, producers, and emerging arts leaders on how to be an exemplar in dramaturgy. This incredible work will be a fixture for this generation and future ones.”—Kristin Leahey, Boston University“Anne Cattaneo has had a very distinguished career, and this wise book will be in print for years and years.”—Adrienne Kennedy“Anne Cattaneo has written a fascinating and invaluable book on the theater from the dramaturg’s perspective. Whether you are a would-be dramaturg, a theater professional, or just a theater aficionado you will learn first-hand how productions come together from the page to the stage.”—James Lapine, winner of Tony Award and Pulitzer Prize“Cattaneo demystifies dramaturgy with the mastery of a great storyteller. This inspiring work reminds us why we need theater now more than ever. A must read for all thinkers, makers, and lovers of art.”—Rubén Polendo, New York University Tisch School of the Arts/Theater Mitu“Cattaneo’s love—and wide-ranging knowledge—of her subject shines through on every page. This is a book not just for dramaturgs, but for all makers and lovers of theater.”—Evan Yionoulis, Juilliard School

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Book Synopsis''Hasa Diga Eebowai''In 2011, a musical full of curse words and Mormon missionaries swept that year's Tony Awards and was praised as a triumphant return of the American musical. This book explores the inherent achievements (and failures) of The Book of Mormonone of the most ambitious, and problematic, musicals to achieve widespread success. The creative team membersMatt Parker, Trey Stone and composer Robert Lopezwere collectively known for their aggressive use of taboo subjects and crude, punchy humor. Using the metaphor of boxing, Granger explores the metaphorical punches the trio delivers and ruminates over the less-discussed ideological wounds that their style of shock absurdism might leave behind. This careful examination of where The Book of Mormon succeeds and fails is sure to challenge discussion of our understanding of musical comedy and our appreciation for this cultural landmark in theatre.Table of ContentsPreface: The Biggest Man-Balls on Broadway Introduction: Fit for the Ring—A Training Montage 1. Tradition versus Originality: Musical Theatre’s Titleholder and Its Number One Challenger (A Win) 2. The Fight America Wanted: Faith as Creative Self-Guidance Versus Faith as Dutiful Collective Obedience (A Win) 3. Cheap Shots: Western Representations of Africa Versus African Diaspora Realities (A Loss) 4. A Caution: Putting LGBTQ Advocacy on Queer Street Conclusion: Split Decision—Defending the Offending Champions

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Book SynopsisThe One-Hour Shakespeare series is a collection of abridged versions of Shakespeare’s plays, designed specifically to accommodate both small and large casts. This volume, The Tragedies, includes the following plays: Hamlet, Julius Caesar, Macbeth, Othello and Romeo and Juliet.Table of ContentsAcknowledgements 1. Introduction 2. One-Hour projects in performance: money-saving suggestions to consider with a minimal budget 3. Lesson Plan and Editing Exercise 4. Cross-gender casting suggestions 5. Hamlet 6. Hamlet: suggested cast list and character assignments for a small cast 7. Julius Caesar 8. Julius Caesar: suggested cast list and character assignments for a small cast 9. Macbeth 10. Macbeth: suggested cast list and character assignments for a small cast 11. Othello 12. Othello: suggested cast list and character assignments for a small cast 13. Romeo and Juliet 14. Romeo and Juliet: suggested cast list and character assignments for a small cast

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Book SynopsisIn this sustained full length study of Marlowe's plays, Andrew Duxfield argues that Marlovian drama exhibits a marked interest in unity and unification, and that in doing so it engages with a discourse of anxiety over social discord that was prominent in the 1580s and 1590s. In combination with the ambiguity of the plays, he suggests, this focus produces a tension that both heightens dramatic effect and facilitates a cynical response to contemporary evocations of and pleas for unity. This book has three main aims. Firstly, it establishes that Marloweâs tragedies exhibit a profound interest in the process of reduction and the ideal of unity. Duxfield shows this interest to manifest itself in different ways in each of the plays. Secondly, it identifies this interest in unity and unification as an engagement in a cultural discourse that was particularly prevalent in England during Marloweâs writing career; during the late 1580s and early 1590s heightened inter-confessional tension, the Trade Review"Christopher Marlowe and the Failure to Unify represents an original, well researched thesis investigating overlooked historical and critical sources. Undergraduates, academics, and interested readers will find in Duxfield’s book invaluable and entertaining insights into Marlowe’s plays."- Frank Swannack, University of Salford, UK"Duxfield’s argument that the plays of Christopher Marlowe show a tendency towards and an ultimate subversion of unity remains strong throughout the monograph and in his extensive coverage of the entirety of Marlowe’s dramatic works. While drawing on past scholarship in order to situate the thesis, Duxfield’s argument remains strong and clear throughout, and adds a fresh texture to the scholarly conversation on Marlowe’s plays."- Hayley Coble, University of Minnesota, USA"This is a significant and welcome addition to the canon of key critical interventions on the work of Christopher Marlowe."- Adam Hansen review: English, 66:252 (2017), pp. 88–91Table of ContentsIntroduction1 Building a Statelier Troy: Dido, Queen of Carthage2 Reduced to a Map: Tamburlaine the Great, Parts One and Two3 "Resolve me of all ambiguities": Doctor Faustus4 Individual and Multitude: The Jew of Malta and The Massacre at Paris5 True Contraties: Edward IIAfterword

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Book SynopsisWidely studied at A level, "Across Oka" was first staged by the Royal Shakespeare Company in 1988. This volume also includes a chronology of Holman's life and work, the background to the play, a discussion of themes and characters, and a selection of production photographs.

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Book SynopsisThis Student Edition of Chekhov's last and most elusive play, a study of the effect of social change on the values of individuals, includes notes on the life and career of the playwright, an introduction giving the background to the play and a guide to its interpretation.Trade Review'Frayn's translation, which strikes me as splendidly lucid and alive ... will be acted again and again' New Statesman

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Book SynopsisWronged and discarded by her husband, Medea gradually reveals her revenge in its increasing horror, while the audience is led to understand the incomprehensible. This Student Edition contains a full introduction, commentary and questions for study and includes J. Michael Walton's classic translation.

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Book SynopsisDavid Mamet was born in Chicago in 1947. He studied at Goddard College, Vermont - later becoming Artist in Residence - and at the Neighborhood Playhouse School of Theatre in New York. His first and many subsequent plays were first performed by the St Nicholas Theatre company, Chicago, of which he was a founding member and Artistic Director. In 1978 he became Associate Artistic Director of the Goodman Theatre, Chicago, where American Buffalo had been first staged in 1975, subsequently winning an Obie Award and opening on Broadway in 1977 and at the National Theatre in 1978. His greatest hits, Glengarry Glen Ross and Oleanna followed in 1983 and 1993 respectively.Trade ReviewThe finest American playwright of his generation Sunday Times A chillingly funny indictment of a world in which you are what you sell Guardian Nobody alive writes better American...Here at last, carving characters out of language, is a play with real muscle Observer David Mamet, screenwriter of The Verdict and The Postman Always Rings Twice, is alongside Sam Shepard and Michael Weller, one of the most distinctive voices on the contemporary American stage Michael Coveney, Financial Times

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Book SynopsisOscar Wilde (1854-1900). British dramatist whose works and wit often attracted scandalized protest. Writings include: The Happy Prince, The Picture of Dorian Gray, The Importance of Being Earnest.Table of ContentsGENERAL EDITOR’S PREFACE, ACKNOWLEDGMENTS, PREFACE, INTRODUCTION, Poems (1881) Vera; or the Nihilists (1883), The Happy Prince and Other Tales (1888), The Picture of Dorian Gray (1890) (first version), The Picture of Dorian Gray (1891) (second version), The Duchess of Padua (1891), Intentions (1891), Lord Arthur Savile’s Crime and Other Stories (1891), A House of Pomegranates (1891), Lady Windermere’s Fan (1892), Salomé (1893), A Woman of No Importance (1893), The Sphinx (1894), An Ideal Husband (1895), The Importance of Being Earnest (1895), The Ballad of Reading Gaol (1898), On the occasion of Wilde’s death (1900), De Profundis (1905), Collected Works (1908), BIBLIOGRAPHY, INDEX

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Book SynopsisTheatre's materiality and reliance on human actors has traditionally put it at odds with modernist principles of aesthetic autonomy and depersonalization. Spectral Characters argues that modern dramatists in fact emphasized the extent to which humans are fictional, made and changed by costumes, settings, props, and spoken dialogue.Trade ReviewAimed at scholars of theatre and of comparative literature, Spectral Characters convincingly argues that the modern stage, through its roots in nineteenth-century melodrama, inherited a number of features related to the supernatural that deeply influenced the making of character in this period." - Giuliano D'Amico, Centre for Ibsen Studies, University of Oslo"Spectral Characters offers a fresh way to think about realism and modernism, about literary and dramatic character, and about the relationship between narration and performance. It both situates those aesthetic concerns within the ideas of the authors' day and relates them to present-day theories that are shaping scholarship across the humanities and social sciences." - Sharon Marcus, Columbia University

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Book Synopsis''Believe me, my young friend, there is absolutely nothing half so much worth doing as simply messing about in boats. In them or out of them, it doesn''t matter. Whether you get away or you don''t, whether you arrive at your destination or whether you never get anywhere at all, you''re always busy.''Ever since the publication of Kenneth Grahame''s novel in 1908, the characters of Ratty, Mole, Toad and Badger have delighted generations of readers. Now Alan Bennett has written an adaptation for the stage, a version which is both true to the original and yet carries that distinctive Bennett hallmark.Alan Bennett introduces this edition, writing about the history of the project and the staging of the production.''Bennett is even able to inject the odd sly joke for the adult without bewildering the tots... the result is a delightful evening, a treat for anyone.'' The Times

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Book SynopsisThe comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences ca. 205–184 BC, are the earliest Latin works to survive complete and cornerstones of the European theatrical tradition from Shakespeare and Molière to modern times. Twenty-one of his plays are extant.Trade ReviewWolfgang de Melo has established an updated text and rendered Plautus into smooth, pleasantly readable prose for the Loeb Classical Library...De Melo makes the world of Plautinopolis intelligible without becoming too familiar. Footnotes succinctly explain references to Greek and Roman allusions. Sometimes the translation presents a clear modern analogue with the literal meaning footnoted...Several enhancements improve the presentation of the new edition...The overall product is quite impressive. -- Fred Franko * Bryn Mawr Classical Review *

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Book SynopsisTrade Review"One of the Times Literary Supplement's Books of the Year 2020""Finalist for the PROSE Award in Literature, Association of American Publishers""Shortlisted for the Parnassus Prize, Memoria College""Clever. . . . An incisive commentary on the pitfalls of contemporary American education. . . . A smart and valuable new book."---Daniel Blank, Los Angeles Review of Books"A wonderful new book."---Martha Barnette, public radio's A Way with Words"Newstok argues persuasively for a return to some of the pedagogical methods that proved so effective in the 1500s."---Paul Muldoon, Times Literary Supplement"With crisp, lapidary prose, Newstok writes authoritatively about the educational norms and practices that helped shape Shakespeare’s mind. . . . As Newstok essays the contours of a Renaissance education, he demonstrates with verve the effect it’s had on his own thinking. Put otherwise, the book is Newstok’s essay at thinking—and it’s a sterling attempt. . . . It will be of interest to any reader or teacher of Shakespeare—and it should be of interest to any serious reader or teacher. Watching Newstok think with Shakespeare is inspiring, and he proves an amiable guide."---Nathan M. Antiel, Principia: A Journal of Classical Education"Eminently sensible. . . . An emphatic appreciation of just how valuable the pedagogical insights of four centuries ago remain today."---David McInnis, Australian Book Review"Even in giving concrete, practical advice, Newstok displays a flexible virtuosity; he is a practiced craftsman at home in the workshop of language."---Joshua P. Hochschild, First Things"A delightful book. . . . Intelligent, perceptive, readable, useful."---Matthew Stewart, University Bookman"In 14 short, pithy chapters, Newstok shows how to recover the lost art of thinking."---Casey Chalk, American Conservative"Newstok convinces the reader that Shakespeare was indeed a great critical thinker, and was more creative, not less so, than we initially thought. What’s more, his many real-life examples show that the creativity and meaningful scrutiny attributed to Shakespeare are not only beneficial, but possible for all of us. How to Think like Shakespeare is a unique analysis of both Shakespeare’s formative education and his art, and will be useful for both educators seeking to break from current, quantitative, test-based pedagogical strategies and for creatives aspiring to hone their craft. It is also an insightful manual on how we can all improve our ability to think deeper and think better."---Melissa Johnson, Teachers College Record"This delightful book is an odd treasure. . . . [How to Think like Shakespeare is] an educational manifesto that should make for better people, better schools, colleges and universities, and better social relations between and among free citizens. There is a potential revolution in this odd treasure of a little book. Give it to some of your colleagues, if you think it isn't too late for them, but give it to all of your students. Let them know what they may have been missing – before it is too late."---Scott Crider, Ben Jonson Journal"An engaging, witty, wide-ranging critique of contemporary pedagogical fads and a spirited provocation to return to classical and Renaissance models. . . . A book of heavy import, lightly tossed, it is at once instructive and amusing, elucidating why and how Shakespeare is good to think with."---Louis J. Kern, Key Reporter"An absolutely delightful new book . . . a luscious and stimulating read."---Michael Cathcart, Stage Show, ABC Radio National"Scott Newstok’s latest book, How to Think like Shakespeare, could be just the game changer the teacher (and administrator should have) ordered. . . . I couldn’t help but be won over by his earnest enthusiasm for the subject and ended up wanting to hear still more."---Robert M. LoAlbo, PlayShakespeare.com"As a concise history of Western pedagogical development, How to Think like Shakespeare succeeds beautifully. . . . By the end of How To Think like Shakespeare, [Newstok] has us thoroughly convinced. To think and create effectively requires one to train and practice. By apprenticing ourselves to the past, we can ourselves become links in the glorious chain of human intellectual achievement."---Fernanda Moore, Chapter 16"How to Think like Shakespeare is not the work of an activist militating for his cause but a thinker reveling in his work. Newstok reminds us that this work is, above all, fun, and the calling on display is infectious."---Karl Schuettler, Patient Cycle"A lively and evocative new volume . . . a beautifully written, succinct description of educational principles derived from the best features of a renaissance education. The book is 'deliberately short,' but packed with quotations from the Bard and scores of great authors, all combined to make us think – and, with a little luck, to think more like 'our myriad-minded Shakespeare.' I highly recommend Newstok’s book for its pith, clarity, and insight – and the sheer breadth of its bibliography, including delightful footnotes, a bibliographic essay, and an index of Shakespearean cornucopia."---Rob Jackson, Institute for Classical Education"How to Think like Shakespeare by Scott Newstok attempts to capture what education really is, as well as what it ought to be, while also arguing where our modern system falls short, creating a disconnection from a life that is well-ordered and well-lived. . . . In an age of so much technology and lack of time for thoughtfulness, a conversation with the past might prove helpful, or at the very least expand our vocabulary."---Axie Barclay, San Francisco Book Review"Scott Newstok’s How to Think like Shakespeare: Lessons from a Renaissance Education really is a feel good book. A thick lather of the author’s enthusiasm, a comprehensive coverage of his subject matter, and the common sense inherent in his value judgments, work together to whip up a likeminded enthusiasm in his readers . . . I found the experience of reading Newstok nothing short of exhilarating"---Ian Lipke, Queensland Reviewers Collective"A playful, quote filled romp into the mind of Shakespeare." * Fourteen Lines blog *"Part humanist manifesto, part commonplace book, [How to Think like Shakespeare] combines erudition and accessibility in an inviting package that is a joy to read." * Sententiae Antiquae Reviews *"How to Think like Shakespeare is a book that does not fit neatly into any established genre. Above all it’s about how to think and how to teach people to think, but it’s not a how to manual. At a time when higher education is stampeding toward everything shiny, new, and up to date, this book is deliberately backward looking. It looks unapologetically to the past for ideas, models, and habits of mind that Newstok contends are just as relevant now as they were in Shakespeare’s time."---Erik Gilbert, BadAssessment.org"A clever new book."---Ian Warden, Canberra Times"[How to Think like Shakespeare is] a serious history of thinking, and although serious, it’s very readable, and even playful. . . . How To Think like Shakespeare is a refreshing book and a stimulating read. The lively writing is a great treat, with things to smile at as you read."---Ralph Goldswain, No Sweat Shakespeare"Great energy and clarity . . . [How to Think like Shakespeare] is entertaining throughout: the writer convinces us that he is learning with us, that we are learning with him… One of the great features of this eloquent, uplifting, enthusiastic yet realistic and beautifully produced book is its strong sense of moment."---Tony Voss, Shakespeare in Southern Africa"In fourteen concise essays, Scott Newstok endeavors to diagnose and treat, if not to cure, the most persistent and pernicious ills of American education. . . . Newstok is always gracious and never polemical . . . [How to Think like Shakespeare’s] most remarkable trait is its form, which is a multi-layered figure for the kind of education that Newstok hopes to revive. . . . Teachers will be refreshed to learn about the commonsense principles and practices of their lost intellectual heritage."---Christopher D. Schmidt, Moreana"What a joy it was to read a book about Renaissance literature and education that not only describes these things with full respect for their historical peculiarities, but also entertains the idea that they belong (or could belong) to us in the present, as equipment for living. . . . I thoroughly enjoyed this book and recommend that anyone who cares about teaching and learning read it again and again."---Sean Keilen, Cahiers Élisabéthains: A Journal of English Renaissance Studies"Clever"---John Warner, Chicago Tribune"The chief advantage of this book is the author’s replication of the Renaissance style he advocates. He makes his case with a hurricane of citations, references, and analogies that would have made Erasmus proud. . .This may be the strongest argument for rhetorical education: the Renaissance model may prepare students for the rough and tumble of social media far more effectively than the privatized, isolated pedagogy of the media based classroom."---John D. Schaeffer, Style"A bracing, witty argument for a pedagogy that is at once old and new. . . . What he demonstrates in his playful, infectiously enthusiastic pages is a more modest and more proximate idea of freedom: the kind that appears in the sheer joy of reading and learning. That joy, and the freedom it brings, come when we care about what we study. And no one has ever cared—not really—about a test."---Samuel Fallon, Renaissance Quarterly"Heavily but delightfully peppered with great quotes from great minds throughout history, How to Think like Shakespeare makes for a thoroughly enjoyable read. . . . through metaphor and wit, it makes just as compelling an argument as you’d expect from a mathematical proof. . . . All in all, this is a book I couldn’t do justice in any way in a simple review. Newstok has a deep and wide-ranging knowledge of literature, insight into why words have power, and an understanding of how to craft them. It presents valuable ideas in an engaging format, and will help you understand both our education systems and your own mind better."---Alexandru Micu, ZME Science"How to Think Like Shakespeare playfully juxtaposes early modern and contemporary habits of thought by way of wide-ranging examples. . . . Thought-provoking and enjoyable. . . . it is the type of book that I would like to recommend to my university students to read for pleasure—precisely because it is brief and lively and could easily engender serious reflection about how we think."---Michael Cop, Parergon"Newstok has a deep and wide-ranging knowledge of literature, insight into why words have power, and an understanding of how to craft them. [The book] presents valuable ideas in an engaging format, and will help you understand both our education systems and your own mind better. It will also give you the tools you need to guide the latter one better, and the insight as to where you want it to go. I thoroughly recommend you give this one a try."---Alexandru Micu, ZME Science"Newstok explains how Shakespeare’s generation was educated, and how we can return to these methods in this surprisingly enjoyable read. He romps through the world’s greatest thinkers and artists, drawing on their words and a good deal of humor to make his case. Think of Newstok as an erudite guide giving you a themed tour of his commonplace book. This was a great read."---Andrew Perlot, The Monthly Reading List

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Book SynopsisThomas Middleton (1570-1627) was an English dramatist, who excelled in both comedy and tragedy. Whilst his so-called 'city comedies' provide insight into 17th-century London life and manners, his tragedies are noted for their richly poetic verse, their emphasis on guilt and corruption, and their understanding of feminine psychology. He often worked in collaboration with other dramatists for the theatre owner Philip Henslowe, including Thomas Dekker and William Rowley. Middleton's works include A Trick to Catch the Old One (1604-05), A Chaste Maid in Cheapside (1619), the tragedy Women Beware Women (1621) and the political satire A Game of Chess (1624).Trade ReviewThomas Middleton's Jacobean drama spreads like a web around the the black- widow figure of Livia... it is clear that Livia's deviousness is a profoundly cynical response to the hipocrisy of a society in which women are powerless and men do as they please.' Sarah Hemming, Financial Times, 29.04.10 'Thomas Middleton's 17th- century study of self- survival and the destruction of innocence' Clare Allfree, Metro (London), 29.04.10 'A sardonic masterwork that admits one to the world of fuliginous cruelty.' Michael Billington, Guardian, 29.04.10 'Dark, decadent and immensely stylish, Women Beware Women makes you laugh even as you shiver.' Charles Spencer, Daily Telegraph, 29.04.10 'A fiercely felt, finely wrought, seldom-seen play by one of Shakespeare's contemporaries.' Susannah Clapp, Obcerver, 02.05.10

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Book SynopsisThis text is part of the New Mermaids series of modern spelling, fully-annotated editions of English plays. Each volume includes a critical introduction, biography of the author, discussions of dates and sources, textual details, a bibliography and information about the staging of the play.

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Book SynopsisThe Editor, Jean Chothia, is a Fellow of Selwyn College and Reader in Drama and Theatre in the University of Cambridge. Her books include Forging a Language: A Study of the Plays of Eugene O'Neill; English Drama of the Early Modern Period, 1890-1940, and, as editor, The New Woman' and Other Emancipated Woman Plays.

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Book SynopsisThe Editor, Brian Gibbons has been a General Editor of The New Mermaids since 1974 and also a General Editor of The New Cambridge Shakespeare since its inception. He is the author of many articles about English Drama, of two books, Jacobean City Comedy and Shakespeare and Multiplicity, and editor of editions in The New Mermaids as well as The Arden Shakespeare and The New Cambridge Shakespeare. Trade Review"How well our barbarous and sex-crazed times relate to the horrors and refined cruelties of Thomas Middleton's extraordinary Jacobean masterpiece...A drama that makes grim, poetic fun of lust-filled aristocrats and lesser folk up to plenty of bad, some of them steaming hot for sex, adultery, murder and revenge." Nicholas de Jongh, Evening Standard, 05.06.08 "There's a sardonic and even sadistic glee in his poetry and...a lot of dark, dangerous laughter to be found in the play." Benedict Nightingale, The Times, 06.06.08 "Middleton certainly had a sardonic eye for twisted and compromised morals...His poetry is a vibrant mix of the ornate and the blunt. His so-called tragedy boldly veers into morbid farce, sparking explosive laughter." Kate Bassett, Independent on Sunday, 08.06.08 "The Elizabethan and Jacobean revenge tragedies had more nasty killings and a higher body count than almost anything written by today's young pretenders, as well as a similarly steamy interest in perverse sex, too." Charles Spencer, Daily Telegraph, 06.06.08 "[Middleton] is black-blooded, foul-mouthed, casual, uncaring - a pioneer of our common tongue, Ossuary English." Ian Shuttleworth, Financial Times, 10.06.08

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Book SynopsisCloser is a play which views love and sex like politics: its not what you say that matters, still less what you mean, but what you do.

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Book SynopsisIan Ruffell is Lecturer in Classics at the University of Glasgow. His main research interest is Greek drama and he has worked most extensively on comedy. His monograph, Politics and Anti-Realism in Athenian Old Comedy: The Art of the Impossible, was published in 2011.Trade ReviewRuffell has provided a worthy contribution to this very useful series of companions to ancient tragedy. He covers all the bases with well-documented scholarship and eminent fairness to all sides of what has become in the last few decades a very perplexing and controversial drama… he argues his case well and does an admirable job of embedding the play within its political and intellectual context. -- Ian C. Storey, Trent University, Canada * Bryn Mawr Classical Review *Table of ContentsPreface Themes, Contexts and Receptions Gods and Other Monsters Technology and Civilisation Making a Spectacle The Radical Tradition Timeline Abbreviations and Select Bibliography References Index

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Book SynopsisThis analysis of the performance history of "Hamlet" recreates many productions from three centuries. The final chapters extend the analysis to a number of film versions, and to important European stage productions. It is intended both for students of Shakespearean theatre and for playgoers.Table of ContentsList of PlatesSeries editor’s prefaceAcknowledgements1. Performing Hamlet’s meanings2. Hamlet on stage 1600-19003. The 1920s: old ways meet new stagecraft4. Gielgud and Olivier in the 1930s5. Post-war Hamlets at Stratford-upon-Avon: 1948 and 19656. Royal Shakespeare and Royal Court in 19807. Hamlet at the movies: Olivier and Kozintsev8. Through the looking glass: Zeffirelli and the BBC9. TranslationsNotesAppendixBibliographyIndex

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Book SynopsisHyde Park is a striking Caroline example of London city comedy. This critical edition unpicks its valuable insights into the shifting nature of the genre and early modern conceptions of London and courtship.Table of ContentsAcknowledgementsList of abbreviationsIntroductionHYDE PARKAppendix

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Book SynopsisThe Family of Love is a rumbustious citizen comedy. Delivering farcical twists on familiar dramatic situations, it offers a glimpse of spiritual freedom in paraperopandemical times.Table of ContentsINTRODUCTIONThe TextLording Barry: Playwright, Pirate, GentlemanThe ‘Moment’ of The Family of Love, 1605-1606 The Authorship DebateSources and IntertextsStaging and StagecraftThe Play Genre ‘I hope my body has no organs’ (3.2.25): Language and Style ‘Efficacy in carnal mixtures’ (3.2.45): Marriage and Sexuality The Death of MelancholyTHE FAMILY OF LOVEAPPENDICES A Marginal Annotations in The Familie of LoveB ‘ “Marstonian? ’ Features of The Family of Loveidentified by Charles Cathcart C Representations of the Family of Love in King James I, Basilicon Doron (1603) and John Rogers, The Displaying of an Horrible Sect (1578). INDEX

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Book SynopsisOffers the first sustained examination of the relationship between law and selfhood in Shakespeare's work. Taking five plays and the sonnets as case studies, Kevin Curran argues that law provided Shakespeare with the conceptual resources to imagine selfhood in social and distributed terms, as a product of interpersonal exchange or as a gathering of various material forces.Trade ReviewCurran mobilizes for the study of Shakespeare a deep knowledge of Enlightenment and modern philosophy, and is equally adept at negotiating the complexities of early modern English law and culture."" - Luke Wilson, author of Theaters of Intention: Drama and the Law in Early Modern England

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Book SynopsisNew media are often greeted with suspicion by older media. The Fourth Estate at the Fourth Wall explores how, when the commercial press arrived in France in 1836, popular theatre critiqued its corruption, its diluted politics, and its tendency to orient its content toward the lowest common denominator.

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Book SynopsisRanging from Leonardo to Hobbes, The Storm at Sea: Political Aesthetics in the Time of Shakespeare argues that it is through an engagement with the problem of aesthetic autonomy that the early modern work most profoundly explores its relation to matters of law, state, sovereignty and political subjectivity.Trade Review"Drawing on a rich and wide-ranging selection of important works from Leonardo da Vinci to Thomas Hobbes's Leviathan, through the plays of Thomas Kyd, Christopher Marlowe, and Shakespeare, Christopher Pye makes a powerful case for the existence of an autonomous early modern aesthetic prior to Kant, through readings that are highly attentive to textual detail and theoretically informed by thinkers from philosophy, political theory, and psychoanalysis." -- -Philip Lorenz Cornell University "This is scholarship that does not hesitate to strike out against the errors of earlier critics. Pye goes in chosen directions that prove rewarding." -Bibliotheque d'Humanisme et Renaissance "A learned, ambitious, sharply argued, and consequential book. In a forceful reconsideration of 'the aesthetic' as itself a site of political thought, Pye is throwing down the gauntlet against the prevailing climate of historicist work in early modern literary criticism, which has placed the Renaissance before the arrival of 'the aesthetic' as a category." -- Drew Daniel Johns Hopkins UniversityTable of ContentsContents List of Figures Acknowledgments Preface Chapter 1: Introduction: Early Modern Political Aesthetics Chapter 2: Leonardo's Hand: Mimesis, Sexuality, and the Polis Chapter 3: Shakespeare Distracted: Aesthetics and Political Foundations from Spanish Tragedy to Hamlet Chapter 4: "To throw out our eyes for brave Othello" Chapter 5: Aesthetics and Absolutism in The Winter's Tale Chapter 6: The Beating Mind: The Tempest, Aesthetics and History Chapter 7: Hobbes and the Hydrophobes: The Fate of the Aesthetic in the Time of the State Notes Bibliography Index

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Book SynopsisPoetics of History places Rousseau at the origin of modern speculative philosophy by showing that his thinking on the theater, despite its dependence on a false and conventional reading of Aristotle, nonetheless articulates a radical thinking of originary mimesis, and, well before Hegel, an understanding of catharsis as Aufhebung.Table of ContentsPart I The Scene of Origin........................................... 1 Part II Anterior Theater............................................... 49 Notes....................................................................... 125

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Book SynopsisThe two-part tale of King Henry IV, rewritten with new language for the twenty-first century. Shakespeare's two Henry IV plays follow the exploits of King Henry IV after usurping the crown from his cousin Richard II. Featuring some of Shakespeare's most recognizable characters such as Prince Hal and the roguish Sir John Falstaff, Henry IV, Part 1 delves into complicated questions of loyalty and kingship on and off the battlefield. Henry IV, Part 2 follows Prince Hal as he grapples with his eventual ascent to the throne and his increasingly strained relationship with Falstaff. As the king falls sick and Hal's ascent appears imminent, Hal's decisions hold significant implications for all those around him. Modernizing the language of the two plays, Yvette Nolan's translation carefully works at the seeds sown by Shakespearebringing to new life the characters and dramatic arcs of the original. These translations of Henry IV were written as part of the Oregon Shakespeare Festival's PlTable of ContentsAct 1Act 2Act 3Act 4Act 5

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Book SynopsisEmile Zola's own stage adaptation of his taut, psychological thriller. An intense story of adultery, murder and revenge, streaked with social satire, in a translation byPip Broughton.Trade ReviewZola’s steamy story of a sexual passion that plumbs the murky depths of murder, revenge and retribution * City Limits *Broughton’s fine translation confirms this as a mesmerising drama of obsessive crime and passion committed in stultifying ambience of the Paris petite bourgeoisie * Time Out *Zola’s steamy story of a sexual passion that plumbs the murky depths of murder, revenge and retribution * City Limits *Broughton’s fine translation confirms this as a mesmerising drama of obsessive crime and passion committed in stultifying ambience of the Paris petite bourgeoisie * Time Out *Zola’s steamy story of a sexual passion that plumbs the murky depths of murder, revenge and retribution * City Limits *Broughton’s fine translation confirms this as a mesmerising drama of obsessive crime and passion committed in stultifying ambience of the Paris petite bourgeoisie * Time Out *Zola’s steamy story of a sexual passion that plumbs the murky depths of murder, revenge and retributionBroughton’s fine translation confirms this as a mesmerising drama of obsessive crime and passion committed in stultifying ambience of the Paris petite bourgeoisie‘Zola’s steamy story of a sexual passion that plumbs the murky depths of murder, revenge and retribution’ -- City Limits * City Limits *‘Broughton’s fine translation confirms this as a mesmerising drama of obsessive crime and passion committed in stultifying ambience of the Paris petite bourgeoisie’ Time Out * Time Out *

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Book SynopsisThis Element provides the first comprehensive study of William Davenant''s Shakespeare adaptations within the broader context of the Restoration repertory. Moving beyond scholarship that tends to isolate Restoration Shakespeare from the other plays produced alongside it, this Element reveals how Davenant adapted the plays in direct response to the institutional and commercial imperatives of the newly established theatre industry of the 1660s. Prompted by recent developments in early modern repertory studies, this Element reads Restoration Shakespeare as part of an active repertory of both old and new plays through which Davenant sought to realize a distinctive ''house style'' for the Duke''s Company. Finally, it shows how Restoration Shakespeare was mobilized as a key weapon in the intense competition between the two patent theatres until Davenant''s death in 1668.

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Book SynopsisThis Element is the first monograph to focus on the presence and popularity of autofiction in contemporary theatre, a mode characterised by its mixture of autobiographical and fictional materials and generally associated with the cutting edge of literary fiction. To do so, it brings frameworks from literary and theatre studies to bear on a recent upsurge in plays that explicitly mobilise lived experience and its fictionalisation to political ends. Considering a comparative corpus of state-subsidised productions in Britain and Europe since the mid 2010s ? both adaptations of literary works and plays written for the stage ? this Element attends to autofiction''s aesthetics and politics through its negotiation on stage of three conceptual binaries, each the focus of a section: fact/fiction, self/other, and inclusion/exclusion. By probing the mode''s critical potential and pitfalls, it sheds light on the stakes of self-fictionalising practices in today''s cultural markets and on the role of theatre therein.

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Book SynopsisThis Element investigates the framing ''texts'' of Shakespeare''s works in live theatre broadcasts produced by the Royal Shakespeare Company. Despite growing engagement from scholars of digital Shakespeares with the phenomenon of broadcast theatre and the aesthetics of filmed productions, the paratexts which accompany the live-streams - live or pre-recorded features, including interviews and short films - have largely been ignored. The Element considers how RSC live broadcasts of rarely performed, often critically maligned works are mediated for contemporary audiences, focusing on The Two Gentlemen of Verona (2014), Titus Andronicus (2017), and The Merry Wives of Windsor (2018). It questions the role of the theatre institution as a powerful broker in the (re)negotiation of hierarchies of value within Shakespeare''s canon. Individual sections also trace the longer genealogies of paratextual value-narratives in print, proposing that broadcast paratexts be understood as participating in a broader history of Shakespearean paratexts in print and performance.

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Book SynopsisEditing Archipelagic Shakespeare is a study of the power of names; more specifically, it is about the power of naming, asking who gets to choose names, for what reason, and to what effect. Shakespeare assigns names to over 1,200 characters and countless more sites and places, and these names, or versions of these names, have become familiar to generations of playgoers and play-readers. And because of their familiarity, Shakespeare''s names, most frequently anglicized versions of non-English names, have been accepted and repeated without further consideration. Approaching names from an archipelagic perspective, and focusing upon how Irish, Scottish, and Welsh characters and places are written by Shakespeare and treated by editors, this Element offers an expansive, and far-reaching, case study for non-anglophone and global studies of Shakespeare, textual scholarship, and early modern drama.

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Book SynopsisWinner of the AEDEAN Enrique García Díez Literature Research Award 2023Shakespeare's Sublime Pathos: Person, Audience, Language breaks new ground in providing a sustained, demystifying treatment of its subject and looking for answers to basic questions regarding the creation, experience, aesthetics and philosophy of Shakespearean sublimity. More specifically, it explores how Shakespeare generates experiences of sublime pathos, for which audiences have been prepared by the sublime ethos described in the companion volume, Shakespeare's Sublime Ethos. To do so, it examines Shakespeare's model of mutualistic character, in which entangled language brokers a psychic communion between fictive persons and real-life audiences and readers. In the process, Sublime Critical platitudes regarding Shakespeare's liberating ambiguity and invention of the human are challenged, while the sympathetic imagination is reinstated as the linchpin of the playwright's sublTrade Review"Complex, far-ranging, at times dazzling, there is nothing really comparable to the sweep of this work" - Clark Hulse, University of Illinois at Chicago"This is a magnum opus in every sense of the word […] A thorough, indeed breath-takingly thorough knowledge of Shakespearean writing is everywhere in evidence"- Andrew Hiscock, Bangor University"Complex, far-ranging, at times dazzling, there is nothing really comparable to the sweep of this work"--Clark Hulse, University of Illinois at Chicago"This is a magnum opus in every sense of the word […] A thorough, indeed breath-takingly thorough knowledge of Shakespearean writing is everywhere in evidence"--Andrew Hiscock, Bangor University"Taken together, then, these two works on Shakespeare’s sublime [Shakespeare’s Sublime Ethos and Shakespeare’s Sublime Pathos] represent an outstanding contribution not only to Shakespeare studies, but more broadly to intellectual history. In seeking to make intelligible the seemingly inexplicable, Sell has succeeded in revealing the secrets of the apparent magic of the sublime."--Rocío G. Sumillera, Universidad de Granada"The powerful categorizing of the sublime’s coefficients is proof of Sell’s immense merit and designates this monograph as superior research destined to become seminal in Shakespeare studies."--Zenón Luis-MartínezTable of ContentsIntroductionAims and "ethos"Plan of the workChapter 1. The Conundrum of Character, the Sublime MistookJudith’s faceAmbiguity, realism, sublimityAmbiguity, freedom, sublimityContemptus mundiChapter 2. Hollow MenLiberal humanist characterProtean personsThe moral coreFreedom of choice?Mutualistic characterMyriad mindsChapter 3. Sympathetic Imagination Sympathy and imagination Psychology and phantasiaPassionate playgoingChapter 4. Language of PassionCause and effect"Conceit deceitful"Thought in progressBotching wordsEntangled, obscure, baroqueChapter 5. The Mutualist’s DividendGoing mad with ShakespeareTranscendence?"The sticking place"General ConclusionsThe Shakespearean sublimeShakespeare’s originalityEnter perfection? Letting in the daylightEpilogue Mechanical dreamsOrsino’s luckIndex

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Book SynopsisIn New Dramaturgies: Strategies and Exercises for 21st Century Playwriting, Mark Bly offers a new playwriting book with nine unique play-generating exercises.These exercises offer dramaturgical strategies and tools for confronting and overcoming obstacles that all playwrights face. Each of the chapters features lively commentary and participation from Blyâs former students. They are now acclaimed writers and producers for media such as House of Cards, Weeds, Friday Night Lights, Warrior, and The Affair, and their plays appear onstage in major venues such as the Roundabout Theatre, Yale Rep, and the Royal National Theatre. They share thoughts about their original response to an exercise and why it continues to have a major impact on their writing and mentoring today. Each chapter concludes with their original, inventive, and provocative scene generated in response to Blyâs exercise, providing a vivid real-life example of Trade Review"Reading Bly’s book was a special treat [...] Many times, when you’re working on a problem and can’t come up with an answer, if you keep reading, the answer will come to you. Such was the case reading New Dramaturgies."- Edwin Wong, Doing Melpomene's WorkTable of ContentsForeword Introduction 1. The "Sum Forty Tales from the Afterlives" Exercise 2. Bly’s "Einstein’s Dream" Exercise 3. Bly’s "Character’s Greatest Fear" Exercise 4. Bly’s "Character’s Greatest Pleasure" Exercise 5. Bly’s "Kafka’s Train" Exercise 6. Bly’s "Music Memory" Exercise 7. Bly’s "Myth" Exercise 8. Bly’s "Nashville Film Overlapping Dialogue and Storyline" Exercise 9. Bly’s "Sensory Writing" Exercise Index

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Book SynopsisThis volume explores the relationship between the emphasis on performance in Elizabethan humanist education and the flourishing of literary brilliance around the turn of the sixteenth century. This study asks us what lessons we can learn today from Shakespeare's Latin grammar school. What were the cognitive benefits of an education so deeply rooted in what Demosthenes and Quintilian called actioacting? Because of the vast difference between educational practice then and now, we have not often followed one essential thread: the focus on performance. This study examines the connections relevant to the education offered in schools today. This book will be of great interest to teachers, scholars, and administrators in performing arts and education.Trade Review''I guarantee that Lessons from Shakespeare's Classroom will be the most surprising, most readable learning you will do all year, and that you will laugh out loud in every chapter. Zwounds!—hie thee to these pages most expeditiously.'' Eric Booth, Actor and author of "The Everyday Work of Art," "The Music Teachers' Bible," "Playing for Their Lives," and "Tending the Perennials."''Robin Lithgow has done anyone interested in Shakespeare or education (and more particularly those of us interested in both Shakespeare and education) a great service with her book. By detailing the classical grounding of Shakespeare’s writing she shows us the great tradition of which we are a part; a tradition that expands in its inclusivity as the world changes and evolves. This tradition is the "fertile soil" that contributed to the brilliance of Shakespeare’s generation and lights a path for our own. It is truly an "education for the benefit of the commonwealth," which we perhaps need now more than ever.'' Louis Fantasia, Artistic Associate, Shakespeare Center of Los Angeles''Lithgow’s book reanimates the Erasmian spirit of teaching in all the best ways: it’s artfully copious, humanely conversational, and models throughout a witty flair for drama. Her students were fortunate; now we are, too.''Scott Newstok, author of How to Think like ShakespeareTable of ContentsTimelineCast of CharactersAcknowledgementsIntroductionChapter 1. Time Travel: Setting the sceneChapter 2. Engagement before Information: Instruction in both colloquial and rhetorical language in Elizabethan schoolsChapter 3. Angels and Eaglets: Schoolboy actors set the sceneChapter 4. Good Behavior and Audacity: The training up of Elizabethan schoolboysChapter 5. The Lego Snap of Learning: Research in arts education and neuroscience Chapter 6. Context: The Hatch and Brood of Time: A brief history of the English ReformationChapter 7. Erasmus’ Egg: His life and his works in support of performing arts in educationChapter 8. The Delightful Mulcaster: Playmaking schoolmasters in Tudor EnglandChapter 9. Per Quam Figuram? Rhetoric in Shakespeare’s classroomChapter 10. Erasmus Writes Colloquies: Classroom training in Latin conversationChapter 11. The Little Eyases: Professional boy actors in the 16th centuryChapter 12. ConclusionBibliographyAppendix I: Performing the ColloquiesExamples of Erasmus’ Colloquies in Latin and English Proci and puellae (Courtship) Naufragium (The Shipwreck) Uxor (Marriage) Abattis et eruditae (The Abbot and the Learned Woman) Herilia (A Master’s Commands) Appendix II: Selection of Educational Drama Resources for Teachers Index

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Book SynopsisThis book examines the political alliances that are built across the diaspora in contemporary plays written by Black women playwrights in the UK.Through the concept of creative diasporic solidarity, it offers an innovative theoretical approach to examine the ways in which the playwrights respond creatively to the violence and marginalisation of Black communities, especially Black women. This study demonstrates that theatre can act as a productive space for the ethical encounter with the Other (understood in terms of alterity, as someone different from the self) by examining the possibilities of these plays to activate the spectators' responsibility and solidarity towards different types of violence experienced by Black women, offering alternative modes of relationality. The book engages with a range of contemporary works written by Black women playwrights in the UK, including Mojisola Adebayo, Theresa Ikoko, Diana Nneka Atuona, Gloria Williams, Charlene James or Yusra WarsamaTable of Contents1. Toward A Theoretical Model Of Solidarity in Black British Theatre 2. Choral Amplification and Theatrical Activism in The Interrogation of Sandra Bland 3. Interpellation and Immersive Theatre. The Limitations of Solidarity in Theresa Ikoko’s Girls and Diana Nneka Atuona’s Liberian Girl 4. “Let Us Start by Listening”. Oppositional Dialogues in Gloria William’s Bullet Hole, Charlene James’s Cuttin’ It, Cora Bissett and Yusra Warsama’s Rites and Mojisola Adebayo’s Stars 5. In Conversation with Mojisola Adebayo

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