Literary studies: plays and playwrights Books

Book SynopsisThis new edition of one of Shakespeare's greatest history plays offers a freshly considered text fully alert to its intense theatrical aspects. A helpful Introduction discusses the play's structure, language, and performance history, and the notes provide an illuminating commentary on details of the text.Trade ReviewThe text pages clearly differentiate text, collation, and notes; the documentation is full but inconspicuous; and it has been well proof-read ... Dr Weis provides an economical but illuminating discussion of Shakespeare's sources ... The annotations throughout are lucid and economical, responsive to both levels of plot. ... Rene Weis's edition can be recommended as a thoughtful and sensitive response to the play, which ranks alongside the outstanding 1966 New Arden edition by R A Humphreys. * Brian Vickers, ROES, vol 50 no 200 (1999) *Table of ContentsLIST OF ILLUSTRATIONS; INTRODUCTION; EDITORIAL PROCEDURES; TEXT; INDEX

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Book SynopsisThe Royal Shakespeare Company''s choice of The Two Noble Kinsmen to open the Swan Theatre in 1986 demonstrated that this long-neglected play has at last come into its own as a stageworthy, humorous, and moving dramatization of the conflicting claims of love and friendship. It was first published in 1634 as `by the memorable worthies of their time, Mr John Fletcher, and Mr William Shakespeare, Gent'' and was probably first performed soon after the wedding of Princess Elizabeth, daughter of the company''s patron James I, to the Elector Palatine in February 1613. The exceptionally full introduction to this edition explains the relevance to the play of ideas of chivalry and of the classical idea of friendship. The edition (which is illuminatingly illustrated) also offers a discussion of the centuries-long debate about the play''s authorship and a clarification of its stage action.Trade Review'This is an important scholarly edition and will obviously be indispensable for advanced study of the play.' Ann Thompson, Liverpool University'The Oxford Shakespeare is an admirably scholarly edition, immaculately presented, offering close attention to possibilities of staging as well as meaning.' Dr D. Sedge, Exeter University'An excellent edition, with a good introduction.' Roger Prior, Queen's University, Belfast'Professional edition with introduction which states clearly the case for collaborative composition. R. N. Alexander, Queen Mary Westfield, London'Stanley Wells' OUP Complete Works of Shakespeare is now eight years old and has spawned a new Oxford Shakespeare which appears now in splendidly affordable volumes in that nonpareil of libraries of good reading The World's Classics.' The Oxford Times

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Book SynopsisA study of religion through the lens of Peter Shaffer's play Equus. In Unbridled, William Robert uses Equus, Peter Shaffer's enigmatic play about a boy passionately devoted to horses, to think differently about religion. For several years, Robert has used Equus to introduce students to the study of religion, provoking them to conceive of religion in unfamiliar, even uncomfortable ways. In Unbridled, he is inviting readers to do the same. A play like Equus tangles together text, performance, practice, embodiment, and reception. Studying a play involves us in playing different roles, as ourselves and others, and those roles, as well as the imaginative work they require, are critical to the study of religion. By approaching Equus with the reader, turning the play around and upside-down, Unbridled transforms standard approaches to the study of religion, engaging with themes including ritual, sacrifice, worship, power, desire, violence, and sexuality, as well as thinkers including JTrade Review"Unbridled treats Equus as a prism through which to reimagine the study of religion, asking urgent questions and inviting us to critically rethink methods as openings. With an inviting mix of confidence and humility, Robert reinvigorates pedagogical discussions, delivering insights about the difference between reverence and devotion, the meaning of critique, and the nature of literature. Every page provokes thoughts about how we teach and think about religion, and how we might do it otherwise.” -- Constance M. Furey, coauthor of Devotion: Three Inquiries in Religion, Literature, and Political Imagination“Unbridled is a compelling, engaging, sophisticated provocation for how the study of religion might be done differently. Keeping his eyes fixed on Equus, Robert touches on themes central to the study of religion—performance, ritual, embodiment, sacrifice, image, worship, sexuality, violence—while also defamiliarizing the operation of these terms by following what Equus prompts us to think about them.” -- Kent Brintnall, author of Ecce Homo: The Male-Body-in-Pain as Redemptive FigureTable of ContentsPlaybill Program Notes Cast Prologue Act 1 1.1 Mise-en-scène 1.2 Imagination 1.3 Literature 1.4 Performance 1.5 Case 1.6 Terms 1.7 Problems 1.8 Question Act 2 2.1 Staging 2.2 Performance-Text 2.3 Inter- 2.4 Mask 2.5 Play 2.6 Acting 2.7 Make-Believe 2.8 Play-in-Play Act 3 3.1 Casting 3.2 Relations 3.3 Image 3.4 Human-Horse-Divinity 3.5 Devotion 3.6 Sexuality 3.7 Queer 3.8 Nude Act 4 4.1 Directing 4.2 Passion 4.3 Pain 4.4 Normal 4.5 Tragedy 4.6 Sacrifice 4.7 Ending 4.8 Value Epilogue Encore Credits Notes References Index

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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 vol

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Book SynopsisFrom the Royal Shakespeare Company a fresh new edition of Shakespeare''s much-loved comedy of the battle between the sexesTHIS EDITION INCLUDES: An illuminating introduction to Much Ado About Nothing by award-winning scholar Jonathan Bate The play - with clear and authoritative explanatory notes on each page A helpful scene-by-scene analysis and key facts about the play An introduction to Shakespeare''s career and the Elizabethan theatre A rich exploration of approaches to staging the play featuring photographs of key productionsThe most enjoyable way to understand a Shakespeare play is to see it or participate in it. This unique edition presents a historical overview of Much Ado About Nothing in performance, recommends film versions, takes a detailed look at specific productions and includes interviews with two leading directors and an actor Nicholas Hytner, Marianne Ell

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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 bothTrade Review'Informative, thought-provoking and humane.' - Dr Colin Burrow, University of Oxford, UKTable of ContentsIntroduction About the Text Key Facts The Tragedy of Othello, the Moor of Venice Textual Notes Quarto Passages That do not Appear in the Folio Scene-by-scene Analysis Othello in Performance: the RSC and Beyond Four Centuries of Othello: An Overview At the RSC Director and Actor: Interviews with Trevor Nunn, Michael Attenborough and Anthony Sher Shakespeare's Career in the Theatre Shakespeare's Works: A Chronology Further Reading and Viewing Acknowledgements and Picture Credits

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Book SynopsisIn Theater of the Word: Selfhood in the English Morality Play, Julie Paulson sheds new light on medieval constructions of the self as they emerge from within a deeply sacramental culture. The book examines the medieval morality play, a genre that explicitly addresses the question of what it means to be human and takes up the ritual traditions of confession and penance, long associated with medieval interiority, as its primary subjects.The morality play is allegorical drama, a theater of the word, that follows a penitential progression in which an everyman figure falls into sin and is eventually redeemed through penitential ritual. Written during an era of reform when the ritual life of the medieval Church was under scrutiny, the morality plays as a whole insist upon a self that is first and foremost performedconstructed, articulated, and known through ritual and other communal performances that were interwoven into the fabric of medieval life.This fascinating loTrade Review“An insightful and elegant approach to late medieval and early modern morality plays, ritual practice, and selfhood, this book offers a much needed study of the morality play. It is beautifully written and full of thoughtful, and sometimes brilliant, readings. It should find a ready and enthusiastic audience.”—Shannon Gayk, associate professor of English and director of the Medieval Studies Institute, Indiana University "According to Theater of the Word, English morality plays perform spectacles of penitence that fashion religious pedagogy out of a carefully crafted dramaturgy. Paulson innovatively approaches these dramas as both responses to late medieval religious debates and unlikely illustrations of Wittgenstein’s notion of the embodied, social nature of verbal meaning. Along the way, this book makes a coherent and compelling case for the construction of medieval penitential selves through the dynamic medium of theatrical performance." —Theresa Coletti, University of Maryland“In her remarkable new study, Julie Paulson turns our assumptions about the medieval morality play—as well as medieval selfhood—inside out. Taking her cue from the work of Ludwig Wittgenstein and Stanley Cavell, Paulson argues that these plays depict an embodied, ritual performance of penance that produces a recognition of the self as a being created by God: a self constituted communally, rather than individually; a self whose body reveals rather than conceals the soul within. Theater of the Word crucially revises both the history of English drama and the history of the self: it will be essential reading for anyone studying medieval and Renaissance theater, literature, or history.” —Maura Nolan, University of California, Berkeley"This is a careful study, rich in readings of theology, philosophy, and literature, illustrating how the medieval Christian subject emerges from the rites and relationships that structure penance rather than from the self-scrutiny of confession. Theatre of the Word is essential reading because of its compelling articulation of the centrality of performance to medieval understandings of the self but also because it is a trenchant articulation of the tenacity of Cartesian dualism, even in medieval studies, and a call to attend to the words and worlds of human interaction." —Patricia Badir, University of British Columbia“Looking at this oft-forgotten genre of theatre, readers will learn more about medieval drama and how religious rule affected human actions and performances.” —Playbill“Paulson views the English morality play and a selection of related Reformation dramas through the lens of Wittgenstein’s philosophy of language as verbally and publicly performed constitutions of selfhood. . . . The analysis that follows illustrates this new approach to morality plays and related drama.” —ChoiceTable of ContentsIntroduction 1. The Castle of Perseverance and Penitential Platea 2. A Theater of the Soul’s Interior: Contemplative Literature and Penitential Education in Wisdom 3. Speaking for Mankind Everyman and Community 4. A New Theater of the Word: The Morality Play and the English Reformation Conclusion: Morality Drama Inside Out Works Cited

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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 Tragicomedies, includes the following plays: All’s Well That Ends Well, Measure for Measure and The Merchant of Venice.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. All's Well That Ends Well 6. All's Well That Ends Well: suggested cast list and character assignments for a small cast 7. Measure for Measure 8. Measure for Measure: suggested cast list and character assignments for a small cast 9. The Merchant of Venice 10. The Merchant of Venice: suggested cast list and character assignments for a small cast

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Book SynopsisThe most extensive new collection in this field published in more than three decades, English Renaissance Drama: A Norton Anthology surveys the astonishing, and astonishingly varied, dramatic works written and performed in Elizabethan and Jacobean England.

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Book SynopsisThe play tells the story of three sisters and their brother who live in a provincial Russian town. Michael Frayn has successfully recreated the naturalness of the original text in this translation and included are notes, commentary and questions for students.

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Book SynopsisMichael Wood was born in Manchester and educated at Manchester Grammar School and Oriel College, Oxford, where he did post-graduate research in Anglo-Saxon history. A broadcaster and film-maker, he is the author of several highly praised books on English history, including In Search of the Dark Ages, Domesday and recently In Search of England. He has over eight documentary films to his name, including Art of the Western World, Legacy, In the Footsteps of Alexander the Great and the highly acclaimed Conquistadors. The writer behind three BBC films about Shakespeare's early history plays, he was a contributor to Shakespearean Perspective (1985). Michael Wood is a fellow of the Royal Historical Society.Trade ReviewWood's is an honest, well-organised account that will serve the reader well. * Independent on Sunday *Thanks to the author's gifts of story-teller, populariser and interpreter, Shakespeare's world is brought to life more vividly than in any other biography of him I have read. All the latest professional scholarship on the question on Shakespeare and Catholicism is effectively incorporated in the book, but where Wood has made genuine finds of his own is in the area of the dramatist's day-to-day life. * Sunday Telegraph *In this enthralling book Michael Wood evokes the physical and intellectual environment in which Shakespeare lived and worked with vivid and original immediacy. -- Professor Stanley Wells, Editor of The Oxford ShakespeareWood is a perceptive, entertaining and enthusiastic companion. * Sunday Times *Shakespeare emerges from the book as the master general he must have been. -- Clive James * Times Literary Supplement *

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Book SynopsisDo you want to know why Beckett has become a figure of such continuing influence and importance in the theatre? Are you studying his plays and looking for help with interpretation? Do you teach Beckett and need a reliable guide to his plays? A Faber Critical Guide to Samuel Beckett''s major work gives all this and more:An introduction to the distinctive features of the playwright''s workThe significance of the playwright in the context of modern theatreA detailed analysis of each of the classic plays: language, structure and characterfeatures of performanceselect bibliographyCompiled by experts in their field, for use in classroom, college or at home, Faber Critical Guides are the essential companions to the work of all leading dramatists.Also in this series: Faber Critical Guides to the major works of Sean O''Casey, Brian Friel, Harold Pinter and Tom Stoppard.

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Book SynopsisChristopher Marlowe's story of a Scythian shepherd who through using his brutality, lust for power and also his charm becomes a mighty conqueror and the King of Persia.

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Book SynopsisArgues that Shakespeare's plays present secularization not only as a historical narrative of progress but also as a hermeneutic process that unleashes complex and often problematic transactions between sacred and secular. These transactions shape ideas about everything from pastoral government to wonder and the spatial imagination.

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Book SynopsisFrom the authors of the successful Grand-Guignol and London’s Grand Guignol - also published by UEP – this book includes translations of a further eleven plays, adding significantly to the repertoire of Grand-Guignol plays available in the English language. Trade Review From reviews of Grand-Guignol: The French Theatre of Horror (UEP, 2002) ‘Richard J. Hand and Michael Wilson . . . manage in a number of telling ways to make the subject their own. . . . Hand and Wilson’s main interest in Grand Guignol is . . . that of present-day theatre practitioners seeking to understand how these pieces might be able to work for fresh audiences. . . . they also prove themselves to be highly astute when it comes to examining these works in the light of contemporary (especially post-Freudian) critical theory. . . . performance practice is continually interrogated by critical and historical insight.’ (Gothic Studies, August 2003) ‘… the genre has left more of a mark on British and American culture than we may imagine.’ (Gothic Studies, May 2004) From reviews of London’s Grand Guignol and the Theatre of Horror (UEP, 2007) ‘...Richard J. Hand and Michael Wilson, who have previously written on the French Grand Guignol for this excellent series from the University of Exeter Press, now turn to the English variant...’ ‘...London’s Grand Guignol is a fine introduction to a neglected corner of the twentieth-century arts world.’ (Times Literary Supplement, 18 April 2008) ‘...London’s Grand Guignol allows Hand and Wilson to make a persuasive case for Grand Guignol’s place not only in modern theatre history, but also in the film history of thrillers and horror films. This book will be useful as a hands-on theatre history and practice text for programs where one might imagine offering students an opportunity to apply their creativity to the same challenges Jose Levy faced.’ (Theatre Survey, Vol. 50/2, November 2009) Table of ContentsPreface A note on the scripts Section I: A Brief History of the Théâtre du Grand-Guignol Section II: The Grand-Guignol Laboratory Section III: Prefaces and Plays First Programme The Haunted House (La Maison hantée) by Marc Bonis-Charancle The Kama Sutra or Never Play with Fire… (Kama Soutra, ou Il ne faut pas joer avec le feu) by Régis Gignoux Blind Man’s Buff by Charles Hellem and Pol d’Estoc The Light in the Tomb (Gott mit uns! (La Lumière dans la tombeau))by René Berton Second Programme Progress by St. John Ervine A Silk Dress (Une Robe de Soie) by Henriette Charasson The Great Terror (La Grande épouvante) by André de Lorde and Henri Bauche Third Programme The Wax Museum (Figures de Cire) by André de Lorde and Georges Montignac The Lovers (Les Amants) by Octave Mirbeau The Man Who Met the Devil (L’homme qui a vu le diable) by Gaston Leroux The Man Who Killed Death (L’homme qui a tué la mort) by René Berton

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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 SynopsisA new translation of Shakespeare's great tragedy that renews it for today's audiences. Marcus Gardley's translation of King Lear renews the language of one of Shakespeare's most frequently staged tragedies for a modern audience. Gardley's update allows audiences to hear the play anew while still finding themselves in the tragic midst of Shakespeare's play. This translation of King Lear was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of The Bard in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in printa new First Folio for a new era.Table of ContentsAct 1Act 2Act 3Act 4Act 5

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Book SynopsisBoy Actors in Early Modern England: Skill and Stagecraft in the Theatre provides a new approach to the study of early modern boy actors, offering a historical re-appraisal of these performers'' physical skills in order to reassess their wide-reaching contribution to early modern theatrical culture. Ranging across drama performed from the 1580s to the 1630s by all-boy and adult companies alike, the book argues that the exuberant physicality fostered in boy performers across the early modern repertory shaped not only their own performances, but how and why plays were written for them in the first place. Harry R. McCarthy''s ground-breaking approach to boy performance draws on detailed analysis of a wide range of plays, thorough interrogation of the cultural contexts in which they were written and performed, and present-day practice-based research, offering a critical reimagining of this important and unique facet of early modern theatrical culture.

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Book SynopsisHarold Pinter provides an up-to-date analysis and reappraisal concerning the work of one of the most studied and performed dramatists in the world.Drawing extensively from The Harold Pinter Archive at the British Library as well as reviews and other critical materials, this book offers new insights into previously established views about his work. The book also analyses and reappraises specific key historical and contemporary productions, including a selection of Pinter's most significant screenplays. In particular, this volume seeks to assess Pinter's critical reputation and legacy since his death in 2008. These include his position as a political writer and political activist from disassociation and neutrality on the subject until relatively late in his career when his drama sought to explicitly address questions of political dissent and torture by totalitarian regimes. The book revisits some familiar territories such as Pinter's place as a British absurdist and tTable of ContentsPart 1: Life, Career, Critical Reputation 1. Life & Career: From Hackney to Holland Park 2. Pinter’s Critical Reputation, Legacy, and Afterlife 3. Intruders & Rooms 4. Gender Trouble 5. Memory & Politics Part 2: Key Plays/Productions 6. The Birthday Party 7. The Caretaker 8. The Homecoming

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Book SynopsisFor this updated critical edition of King Lear, Lois Potter has written a completely new introduction, taking account of recent productions and reinterpretations of the play, with particular emphasis on its afterlife in global performance and adaptation. The edition retains the Textual Analysis of the previous editor, Jay L. Halio, shortened and with a new preface by Brian Gibbons. Professor Halio, accepting that we have two versions of equal authority, the one derived from Shakespeare''s rough drafts, the other from a manuscript used in the playhouses during the seventeenth century, chooses the Folio as the text for this edition. He explains the differences between the two versions and alerts the reader to the rival claims of the quarto by means of a sampling of parallel passages in the Introduction and by an appendix which contains annotated passages unique to the quarto.Trade Review'Only Lois Potter is capable of writing an introduction like this: she combines her vast experience of performance history with her unparalleled ability to read plays dramaturgically. As a result the introduction is as penetratingly astute on theme and structure as it is stimulating and eye-opening about theatre. No mere performance history, the introduction uses moments from production choices across the centuries to illustrate precise critical points, from the play's tragic crises to its general tone, from individual character to political atmosphere. Using her encyclopaedic knowledge of drama in performance, Lois Potter provides a brilliant hands-on guide to the play and an effortless introduction to theatre history.' Professor Laurie Maguire, University of Oxford'Lois Potter combines her unparalleled knowledge of Shakespeare in theatrical performance and her scrupulously scholarly attention to detail in the NCS King Lear. Her new introduction provides up-to-the-minute accounts of the play in performance while also offering a clear historical perspective. Potter describes the way productions of King Lear have changed over the course of the centuries and especially how current efforts to create more diverse theatrical casts have valuably added further dimension to the key issues of the play. Invaluably too, she provides an account of recent developments both critical, imaginative, and political, including eco-criticism and feminist criticism, re-writings of Shakespeare, as well as Lear in the global context. This is a must-read for anyone interested in the play.' Dympna C. Callaghan, University Professor and William L. Safire Professor in Modern Letters, Syracuse University'The updated New Cambridge critical edition of The Tragedy of King Lear provides a sensitive analysis of the afterlife of the play in a brand-new Introduction written by Lois Potter. There is … plenty in this Introduction to inspire new work on Lear … Potter's Introduction brings the edition and the play into the twenty-first century, and Gibbons' preface to Halio's 'Textual Analysis' helps to translate an edition ideal for graduate students and scholars of the play into an edition that will also appeal to readers approaching textual criticism for the first time.' Emma Depledge, Shakespeare SurveyTable of ContentsIntroduction; Textual Analysis; Preface by Brian Gibbons; Textual Analysis, Part 1; A Note on the Text; List of Characters; The Play; Textual Analysis, Part 2; Appendix: Passages Unique to the First Quarto; Reading List.

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Book SynopsisBlack Nikki doesn't think her dad is a racist He just cares deeply about his community But when a Zimbabwean family move in over the road, the dog won't stop barking The local kids start lobbing stones And her dad starts laying down the law.Black is a hard-hitting play about racial tensions in the UK todayShe''s Leaving HomeAt 15, Kelsey has her whole life in front of her and feels that she has everything she wants: good mates, a supportive family and big ambitions. But as the years roll by she slowly realises that leaving home to fulfill her dreams isn't as easy as she first imagined.She's Leaving Home was commissioned by Culture Liverpool as part of the 50th Anniversary of the Beatles seminal album Sgt. Pepper's Lonely Hearts Club Band.With bracing insight into the worlds of two young women with very different struggles, Keith Saha's Black and She's Leaving Home force the issues of modern Britain to take centre stage. This edition was pubTrade Review[She's Leaving Home] prises open cracks in the ordinary...The terraced house in which we sit transforms into a magical realist world, sensitively realised under Julia Samuels’s direction. Keith Saha’s script catches the cadences of teenage speech, flecked with poetry...The setting beautifully amplifies the intimacy of our immersion in this life, but this production would succeed equally in other spaces. It certainly deserves a life beyond the festival. * Clare Brennan on She's Leaving Home, Guardian, 2017 *“RARELY IS A PLAY SO FRESH SEEN ON THE LIVERPOOL STAGE. AN ABSOLUTE TRIUMPH. 10/10.” * Marc Waddington on Ghost Boy, Liverpool Echo *There is an attitude, a lyricism and a sharp observational humour in Saha's writing that you don't get to see and hear every day, and this play's ability to make you laugh one minute and be on the verge of tears the next is the mark of great theatre. * Marc Waddington on Melody Loses her Mojo, Liverpool Echo, 2013 *

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Book Synopsis25 February 1964: 22-year-old Cassius Clay, soon to be Muhammad Ali, has just won the world heavyweight boxing title. Instead of hitting the town, he chooses to celebrate in a Miami hotel room with three close friends - activist Malcolm X, singer Sam Cooke and American football star Jim Brown.This fictional account of a real night imagines what might have happened in that tiny hotel room. As the Civil Rights movement stirs outside, and the melody of ''A Change is Gonna Come'' hangs in the air, four men will emerge from that one night ready to define a new world.Kemp Powers'' award-winning debut play One Night in Miami... deftly combines the personal and the political at a pivotal moment in history; it received the Ted Schmitt Award 2013 for its world premiere, and went on to be adapted into a critically acclaimed film directed by Regina King in 2020. It is published here in Methuen Drama''s Modern Classics series with a brand new introduction by Matthew Xia.Trade ReviewCrackling good dialogue and timely themes … Powers weaves together multiple strains of plot and character with a seasoned pro’s skill. His mission to present a believable slice-of-life with contemporary resonance is, like Clay’s, achieved in a decisive knockout. * Variety *An astounding debut for playwright Kemp Powers … Superb across the board … breathtakingly good. There just aren’t enough superlatives. Powerful, funny, exhilarating — what a play. * ArtsBeatLA *In less than ninety minutes, a long, difficult chapter of American history seems to sweep by. The mind keeps flashing back and forward, even as the play grips us with the immediacy of the hotel room. Great theater hits you hard and in many places. That’s exactly what you get from the powers of this play. * Baltimore Sun *

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Book SynopsisGood evening, I'm Inspector Carter. Take my case. This must be Charles Haversham! I'm sorry, this must've given you all a damn shockThe original version of the global hit play created by Mischief.After benefiting from a large and sudden inheritance, the inept and accident-prone Cornley Polytechnic Drama Society embark on producing an ambitious 1920s murder mystery. Hilarious disaster ensues and the cast start to crack under the pressure. Can they get the production back on track before the final curtain falls?This one-act version of Mischief's world famous The Play That Goes Wrong originally premiered at the Old Red LionTheatre in London in 2012. Since then, the expanded two-act version has taken the world by storm and has been performed in over 35 countries across 5 continents, winning multiple awards including the WhatsOnStage and Olivier Award for Best New Comedy plus a Tony and Drama Desk Award for Best Scenic Design of a Play.This edition featureTrade ReviewA gut busting hit * New York Times *It's as though The Mousetrap has been taken over by 'Monty Python' * WhatsOnStage *A masterpiece of malfunction * Times of London *

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Book SynopsisThis book is a brief history of the end of the world as seen through the eyes of theatre. Since its inception, theatre has staged the fall of empires, floods, doomsdays, shipwrecks, earthquakes, plagues, environmental degradations, warfare, nuclear annihilation, and the catastrophic effects of climate change. Using a wide range of plays alongside contemporary thinkers, this study helps guide and galvanize the reader in grappling with the climate crisis. Kulick divides this litany of theatrical cataclysms into four distinct historical phases: the Ancients, including Euripides and Bhasa, the legendary Sanskrit dramatist; the Age of Belief, with the anonymous authors of the medieval mystery cycles, Shakespeare, and Pushkin; the Moderns, with Ibsen, Chekhov, Brecht, Beckett, and Bond; and, finally, the way the world might end now, encompassing Caryl Churchill, Tony Kushner, and Anne Washburn. In tandem with the insights gleaned from these playwrights, the book draws upon the work Trade ReviewIt's odd to call a book about the apocalypse delightful. It's odd to encounter a book about plays, a work of literary and philosophical inquiry, that has the urgency and force of a political tract, that's unashamedly, and persuasively, a call to action. It's almost as odd to encounter a rigorous scholarly work of extraordinary erudition that's also grippingly, compellingly readable. Staging The End Of The World is all these things; I've never read anything like it. Jonathan Schell, Amitav Ghosh, Hannah Arendt, Asja Lacis, Arne Naess, Thich Nhat Hanh, Davids Benatar and Graeber, Kant and Levinas are just a few among the legions assembled by the author to engage with, expand upon and illuminate the works of a host of playwrights, from Aeschylus to Anne Washburn, for a deeply serious exploration of the most serious subject imaginable. These pages are often heartbreaking, frightening, disturbing, and they contain passages of dark despair, but they're suffused with generosity, clarity and a strange, original spirit of grief-stricken determination and joy. Brian Kulick, a great theater artist who's also a glorious thinker and writer, has written a book that's an important contribution to our understanding of how plays work on us and what they can tell us about ourselves and our overwhelming, imperiled world; and more than that, he's offered magnificent proof of the necessity of playfulness, even in the face of the direst circumstances, if we hope to discover paths forward and to create change. * Tony Kushner *Brian Kulick’s latest book is a marvel and a delight. Staging the End of the World uses theatre to examine humanity's most chilling fears and deepest hopes. Kulick’s brilliant mind refuses to accept traditional intellectual boundaries. This is a wonderful book about the theatre which is also a mesmerizing philosophical study and an urgent response to climate change. Kulick is the most incisive and widely learned mind in the American theatre, and he has written an indispensable book. * Oskar Eustis, Artistic Director, Public Theater, New York City, USA *A thought-provoking and timely analysis of theatre’s preoccupation with the end of the world and eco-catastrophe from antiquity to the present. * Chris Megson, Royal Holloway, University of London, UK *Table of ContentsAcknowledgements Introduction: On Transforming Our Social Imaginary PART ONE: THIS IS THE WAY THE WORLD ENDS IN ANCIENT TIMES 1. Lessons Amongst the Ruins; Or, What Survives and Why: How the Cultural Detritus of the Ancients Can Become a Kind of First Philosophy 2. Slouching Toward Kurukshetra: A Brief Look at the Mahabharatas of Bhasa, Bharati, and Brook 3. Diasporas Old and New: What Euripides' Children of Herakles Can Tell Us About the Coming Climate Wars and Resulting Refugee Crisis PART TWO: THIS IS THE WAY THE WORLD ENDS IN THE AGE OF FAITH 4. Noahs, Arks, and Floods: Why Medieval Mystery Plays Still Have Something to Say About Our Modern Day “End of Days” 5. Shipwrecks, Recursion, and the Necessity of Deep Ecology: Surviving Shakespeare’s The Tempest and the Breaking of Our Anthropocene Ways 6. On Earthquakes and Metaphors: Bouilly’s Disaster of Lisbon and the Fukushima Variation PART THREE: THIS IS THE WAY THE WORLD ENDS IN MODERN TIMES 7. Plague’s Threat to Our Immune and Belief Systems: A Look at Pushkin’s A Feast in the Time of Plague 8. A Canary in the Bourgeois Coal Mine, Part One: Pollution and Direct Critique in Ibsen’s An Enemy of the People 9. A Canary in the Bourgeois Coal Mine, Part Two: Denial and Indirect Critique in Chekhov’s The Cherry Orchard PART FOUR: THIS IS THE WAY THE WORLD ENDS NOW 10. Ethics During Dark Times: Brecht’s He Who Says Yes and He Who Says No 11. On the Other Side of the Apocalypse: The Broken Worlds of Beckett and Bond 12. Nostalgia for the Future: The Fraught Tomorrows of Rivera, Churchill, Washburn, and Kushner Coda: And in the End Notes Index

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Book SynopsisThe city is sweet and summered and partly asleep. The city is angry. And tonight: one of us is going to die.On the eve of the biggest deal of her career, Saskia, an uber-successful property developer runs from the meeting, all the way home down the Grand Union Canal. Plagued by phone calls and ghosts, she meets a myriad of characters looking to make or break her. She realises, as her shiny life unravels, that she doesn't know herself anymore or the city she once loved. Can she still save a little piece of it?From the award-winning, Offie-nominated writer of Rainer, Max Wilkinson''s Union is a wildly hilarious odyssey through London, in all its brilliant, booze-soaked yuppified but still punk glory. Just as Saskia fears she is losing her own soul to greed, it's about the fear that London is losing that same battle but is still defined by a beautiful beating heart and the people who live in it. Born from creative workshops led for several years by Max with local comm

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Book Synopsis''She's like no one I've ever met... She's like fire and water all at once.''Warwickshire, 1582. Agnes Hathaway, a natural healer, meets the Latin tutor, William Shakespeare. Drawn together by powerful but hidden impulses, they create a life together and make a family.As William moves to London to discover his place in the world of theatre, Agnes stays at home to raise their three children but she is the constant presence and purpose of his life.When the plague steals 11-year-old Hamnet from his loving parents, they must each confront their loss alone. And yet, out of the greatest suffering, something of extraordinary wonder is born.This new play based on Maggie O''Farrell''s best-selling novel and adapted by award-winning playwright Lolita Chakrabarti (Life of Pi, Red Velvet, Hymn), pulls back a curtain on the imagined family life of the greatest writer in the English language. Hamnet is a love letter to passion, birth, grief and the magic of nature.

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Book SynopsisKing Lear is a towering drama of personal and national tragedy. This accessible introduction offers a springboard into the play, taking a hands-on, performance-based approach, exploring the challenges and the rewards it presents to actors, audiences and students. Springboard Shakespeare: King Lear has a three-part structure: whether you''re watching or reading, Ben Crystal takes you through exactly what you need to know Before, During and After the play. He combines a genuine passion and understanding of Shakespeare with his experience as an actor, giving the reader a clear route to thinking about, understanding and enjoying King Lear.Trade ReviewHaving Crystal as a companion through the stickier parts of Hamlet and Macbeth is like going to the theatre with an intelligent friend. * The Independent *How different it might have been if we’d had Ben Crystal’s sparky little books to introduce us. My Shakespearean epiphany would have come much sooner...[the books] lead newcomers into the play in question in a gentle, upbeat, unpretentious way. Fresh and slim, they’re about as far as could be from dusty, dry study guides relating to school exams...much better than the average theatre programme...I’d like to see them on sale in theatre bookshops, and/or wherever there’s a production of one of these plays...I’d also recommend them for classroom use. -- Susan Elkin * The Independent on Sunday *A highly worthwhile series, which should prove to be valuable for directors, actors and students…This formula really works. As an experiment, your dedicated reviewer tried out Macbeth in preparation for and following on from the Eve Best production of the Globe. The experience was definitely improved, with some of the tips on words and language proving especially helpful and enlightening… These really are excellent little guides that will prove informative to almost anybody with an interest in the subject. -- Philip Fisher * British Theatre Guide *

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Book SynopsisAn essential resource for anyone studying Leave Taking by Winsome Pinnock for GCSE English Literature – featuring a complete guide to the text, plus sample questions and answers to help you prepare for assessment. Get to grips with Leave Taking with expert, easy-to-follow breakdowns and analyses of key aspects of the play – including the characters, plot, structure, themes, setting and language – along with a clear explanation of the historical context. This guide also contains prompts for further reflection and research, to help you get the most out of your study and revision, whether at home or in the classroom. Featuring insights from playwright Winsome Pinnock, colour photographs of the play in performance, and extensive quotes and extracts from the text, this GCSE Study Guide will strengthen your understanding, build your confidence and boost your chances of success. It is also an invaluable resource for teachers approaching the play.

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Book SynopsisShakespeare's absolute pre-eminence is simply unparalleled. His plays pack theatres and provide Hollywood with block-buster scripts; his works inspire mountains of scholarship and criticism every year. He has given us many of the very words we speak, and even some of the thoughts we think.Nick Groom and Piero explore how Shakespeare became so famous and influential, and why he is still widely considered the greatest writer ever. They investigate how the Bard has been worshiped at different times and in different places, used and abused to cultural and political ends, and the roots of intense controversies which have surrounded his work. Much more than a biography or a guide to his plays and sonnets, Introducing Shakespeare is a tour through the world of Will and concludes that even after centuries, Shakespeare remains the battlefield on which our very comprehension of humanity is being fought out.

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Book Synopsis‘She has, to my knowledge, an almost unblemished record in never having failed to spot a great new play…’ Philip Howard, from his Foreword Joyce McMillan has been writing about theatre in Scotland for more than three decades. As drama critic successively for The Guardian, Scotland on Sunday and The Scotsman, she has reviewed thousands of plays. During that time she has borne witness to an extraordinary cultural and political renaissance in Scotland, reflected in the newfound confidence of its playwrights, in the vibrancy of its theatre culture and in its recent outburst of new theatre companies. Compiled by McMillan and the theatre director, Philip Howard, Theatre in Scotland is a panoramic history of modern Scottish theatre, reported from the frontline. It traces the remarkable journey of Scottish theatre towards its new self-confidence: the road to 1990, when Glasgow was European Capital of Culture; followed by the explosive expansion of the 1990s; culminating in the emergence of the National Theatre of Scotland and its drive to bring theatre culture right into the heart of the nation. Gathered here are the leading Scottish playwrights, from John Byrne to Liz Lochhead, from David Greig to David Harrower, as well as the full breadth of English playwrights, from Shakespeare to Pinter. There are reflections on the great Scottish plays, classic – Ane Satyre of the Thrie Estaitis, Men Should Weep – and modern – Black Watch, The James Plays. There are reports not only from the urban theatre centres of Edinburgh and Glasgow but from all over Scotland; and from the feast that is the Edinburgh Festival, to the nourishing A Play, A Pie and A Pint. A leading thinker and writer about Scotland, McMillan has an incomparable ability to detect the wider cultural resonances in Scottish theatre, and to reveal what it can tell us about Scotland as a whole. Her book serves as a portrait of a nation and a shared cultural life, where visions of ‘what we have been, what we are, and what we might become’ are played out in sharp focus on its stages. ‘When Scottish theatre works [its] magic over the coming years, I will be there, to try to catch the moment in print, and to tell it as it was. And believe me, on the good nights and the bad ones, the privilege will be mine: to be paid to go looking for joy, and occasionally to find it.’ Joyce McMillan 'Joyce has an unrivalled passion and hunger for theatre - to be surprised by it, challenged by it, moved by it. Her prose when describing something which has done just this is inspiring and affecting.' Vicky FeatherstoneTrade Review'A superb collection… it is McMillan's impassioned ability to contextualise the work which makes this book of interest to those who wish to read about theatre but also contemporary political history' * Drama Magazine *'A wonderful book… a work of historical, sociological and political as well as artistic relevance, and also one which is hugely enjoyable… what most shines through these pages is McMillan’s spirit: erudite, curious, generous and with a blood-pumping passion for democracy and the value of theatre' * Bella Caledonia *'A very valuable resource indeed… [an] important book, as well as an invaluable reference work and a jolly good read' * The Herald *'A stimulating and excellent work which covers the decades when McMillan had the joy – her word – to cover Scottish theatre in what is the most exhilarating and fruitful period in its history… a work on Scottish theatre’s past which is of value for today and tomorrow' * Scottish Review of Books *'Our most essential voice on the artform and its relationship to our social and political landscape… an expertly edited compilation' * The Skinny *'Fascinating... a detailed and eclectic picture of how Scottish theatre, and indeed, Scottish life has changed and developed over three decades' * The Stage *'A worthy and most enjoyable collection' * British Theatre Guide *'An extraordinary range… a thoroughly uplifting collection, reinforcing the reputation of a cultural gatekeeper but more importantly celebrating Scottish theatre... vital to anyone seeking to understand Scotland’s cultural life in the last 30 years' * AllEdinburghTheatre.com *

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Book SynopsisThe text of a talk given by renowned theatre director Peter Brook in Berlin in 1998, addressing essential questions about performing Shakespeare today. Brook invites us to consider the actual conditions of the Elizabethan theatre and the actual qualities of Shakespeare's language. Published as part of the Dramatic Contexts series: important statements on the theatre by major figures in the theatre.

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Book SynopsisA fresh look at a play usually regarded as the first component of a three-part historical epic, this edition argues that Henry VI Part 1 is a 'prequel', a freestanding piece that returns for ironic and dramatic effect to a story already familiar to its audience. The play's ingenious use of stage space is closely analysed, as is its manipulation of a series of setpiece combats to give a coherent syntax of action. Discussion of the dramatic structure created by the opposing figures of Talbot and Jeanne la Pucelle, and exploration of the critical controversies surrounding the figure of Jeanne, lead to a reflection on the nature of the history play as genre in the 1590s.

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Book SynopsisThis edition celebrates King Henry VI Part 2 as one of the most exciting and dynamic plays of the English renaissance theatre, with its exploration of power politics and social revolution and its focus on the relationship between divine justice and sin. An extensive discussion of performance history traces the play's progress on stage from abridgement and adaptation to full historical epic. A survey of criticism discusses the wide range of responses provoked by the play's handling of its historical theme, and concludes by focusing on the element of burlesque in the attempted social revolution portrayed.

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Book SynopsisA well-known English playwright and poet of the 17th century, Ben Jonson wrote the humorous drama Every Man in His Humour. The play, which is set in London, has a varied ensemble of individuals in a number of hilarious and sarcastic scenarios. A character's humour, which refers to their major personality attribute or temperament, differs depending on who they are. Jonson expertly captures the follies and eccentricities of human nature via clever conversation, mistaken identities, and humorous miscommunications. The comedy Every Man in His Humour makes fun of the social mores, ambitions, and pretenses of the day. It paints a realistic and engaging picture of Elizabethan life, complete with recognizable class distinctions, efforts to assimilate, and social mobility. The drama examines themes of self-discovery, change, and the negative effects of having lofty goals and aspirations. It illustrates the absurd results that occur when people attempt to change who they are in order to fit in, which eventually results in mayhem and bewilderment. Every Man in His Humour is an important work of English literature that demonstrates Ben Jonson's skill for character development, razor-sharp humor, and social satire.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisBoth a witty satire of literary cliché and a tender meditation on the varieties of love, As You Like It continues to be one of Shakespeare’s most beloved and widely performed comedies. In the introduction to this new edition, David Bevington traces the complex relationships between the characters in the play, and explores the history of its criticism from Samuel Johnson to the twenty-first century.As part of the newly launched Broadview Press / Internet Shakespeare Editions series, this edition features a variety of interleaved materials—from facsimile pages, diagrams, and musical scores to illustrations and extended discussions of myth and folklore—that provide a context for the social and cultural allusions in the play. Appendices offer excerpts from Shakespeare’s key sources and influences, including Thomas Lodge’s Rosalind and Ben Jonson’s Every Man in His Humor.A collaboration between Broadview Press and the Internet Shakespeare Editions project at the University of Victoria, the editions developed for this series have been comprehensively annotated and draw on the authoritative texts newly edited for the ISE. This innovative series allows readers to access extensive and reliable online resources linked to the print edition.Trade Review“With its wealth of contextual material, and linked to the extensive resources online, this edition of one of Shakespeare’s most engaging plays will be particularly welcome in the undergraduate classroom. Editor David Bevington draws on a long and distinguished career to situate the play in its literary, intellectual, and historical contexts, furnishing a well-stocked Introduction that can be navigated readily by students new to the field. A feature that makes this edition especially attractive as a teaching text is the inclusion of nearly two dozen “interleavings” to supplement the traditional footnotes—extended, and often illustrated, glosses on key passages and references that might prove obscure for readers today.” — Judith Owens, University of ManitobaTable of ContentsACKNOWLEDGEMENTSINTRODUCTIONSHAKESPEARE’S LIFESHAKESPEARE’S THEATERWILLIAM SHAKESPEARE: A BRIEF CHRONOLOGYA NOTE ON THE TEXTABBREVIATIONSAS YOU LIKE ITAPPENDIX A: SOURCES AND INFLUENCES From Thomas Lodge, Rosalind (1590) From “The Tale of Gamelyn” (14th Century) From “Robin Hood and the Beggar” From John Lyly, Galatea (1592) From Ben Jonson, Every Man in His Humor (1598) From Joseph Hall, Satires (1598) APPENDIX B: CLASSICAL MYTHS IN AS YOU LIKE ITBIBLIOGRAPHY

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Book SynopsisSalome is Oscar Wilde’s most experimental—and controversial—play. In its own time, the play, written in French, was described by a reviewer as “an arrangement in blood and ferocity, morbid, bizarre, repulsive.” None, however, could deny the importance of Wilde’s creation. Contemporary audiences and reviewers variously regarded Salome as the symbol of a thrilling modernity, a challenge to patriarchy, a confession of desire, a sign of moral decay, a new form of art, and a revolt against the restraints of Victorian society. Less well known than Wilde’s beloved comedies, Salome is as enduringly modern and relevant.This edition uses the English translation done by Wilde’s lover, Lord Alfred Douglas, and overseen and corrected by Wilde himself. Appendices detail the play’s sources and provide extensive materials on its contemporary reception and dramatic productions.Trade Review“Salome illuminated! This edition presents Salome as a formally complex, richly intertextual, and generative phenomenon of international modernism. Kimberly Stern sets a superbly annotated text between an extensive introduction and several appendices documenting the play’s literary, cultural, and visual sources, its reception, and its translation, illustration, and performance histories. The edition offers copious source materials to augment the text, some requisite and some unexpected. Stern’s adept and unprecedented selection of contextual sources enhances the powerful and recurrent fascination of a play that has continuously spawned adaptations as well as controversy. This is where all students of Salome should start.” — Heidi Hartwig, Central Connecticut State UniversityTable of ContentsAcknowledgementsIntroductionOscar Wilde: A Brief ChronologyA Note on the TextSalomeAppendix A: Sources Matthew 14:1-12, The Bible: Authorized King James Versionwith Apocrypha (2008) “Descent of the Goddess Ishtar into the Lower World,”The Sacred Books and Early Literature of the East (1917) From Heinrich Heine, Atta Troll (1843) From J.C. Heywood, Herodias: A Dramatic Poem (1867) From Oscar Wilde, “Review of J.C. Heywood’s Salome,”Pall Mall Gazette (15 February 1888) From Stéphane Mallarmé, “La scéne: Nourrice—Hérodiade”(1864-67) From Gustave Flaubert, “Hérodias” (1877) William Wilde, “Salome” (1878) From Joris-Karl Huysmans, Á Rebours (1884) From Maurice Maeterlinck, La Princesse Maleine (1889) Appendix B: A Visual History Gustave Moreau, “The Apparition” (1876) Aubrey Beardsley, Design for the Title Page to the English Edition of Salome (1894) Aubrey Beardsley, Final Design for the Title Page (1894) Aubrey Beardsley, “The Woman in the Moon” (1894) Aubrey Beardsley, “The Climax” (1894) Appendix C: Contemporary Responses From Edgar Saltus, Oscar Wilde: An Idler’s Impression (1917) Pierre Louÿs, “Salomé: à Oscar W.” (30 June 1892) Letter from Oscar Wilde to Richard Le Gallienne (22/23 February 1893) From a Letter from Bernard Shaw to Oscar Wilde (28 February 1893) From a Letter from Max Beerbohm to Reginald Turner (February 1893) From “Salomé,” The Times (23 February 1893) From a Review of Salomé, Pall Mall Gazette (27 February 1893) Letter from Stéphane Mallarmé to Oscar Wilde (March 1893) From William Archer, “Mr. Oscar Wilde’s New Play,”Black and White (11 May 1893) From Lord Alfred Douglas, “Salomé: A Critical Overview,” The Spirit Lamp (1893) Appendix D: Translation History Letter from Lord Alfred Douglas to John Lane (30 September 1893) From a Letter from Lord Alfred Douglas to John Lane (16 November 1893) From a Letter from Oscar Wilde to Lord Alfred Douglas (January-March 1897) From a Letter from Robert Ross to Frank Harris (undated) From Lord Alfred Douglas, Autobiography (1929) Translation Chart Appendix E: Performance History From Charles Ricketts, Self-Portrait (1939) From Graham Robertson, Time Was (1931) Photograph of Sarah Bernhardt in Costume as Salome (1891) From a Letter from Oscar Wilde to William Rothenstein (July 1892) “Mr. Oscar Wilde on Salome,” The Times (2 March 1893) From Oscar Wilde, “The Censure and Salome,” Pall Mall Budget (30 June 1892) Bernard Partridge, “A Wilde Idea,” Punch Magazine (9 July 1892) From a Letter from Max Beerbohm to Reginald Turner (June 1892) Oscar Wilde, “Plan de la scene” (1891) From M.J. du Tillet, “Théâtres” [review of the Paris premiere of Salome], Revue bleue politique et littéraire (1896) From Jean de Tinan, “Théâtre de l’oeuvre: Salomé” [review of the Paris premiere], Mercure de France (March 1896) From “Salome,” The Saturday Review (13 May 1905) Photograph of Alice Guszalewicz in Costume as Salome (c. 1910) “The Cult of the Clitoris,” The Vigilante (16 February 1918) From the Verbatim Report of the Trial of Noel Pemberton Billington, MP, on a Charge of Criminal Libel (1918) Select Bibliography

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