Literary studies: plays and playwrights Books

Trade Review'...his treatment is admirably sane and judicious, and the material which he presents together with his own sound treatment of it will be of great value to critics of the text. He writes clearly and concisely...' Huhh Lloyd-Jones, The classical Review, 1983. '...un ouvrage de référence indispensable.' Fabienne Clinquart, Les Études Classiques, 1985. '...a useful piece of work for which students of Sophocles will have much cause to be grateful.' A.L. Brown, Jrnl. of Hellenic St., 1984. '...ouvrage dont l'utilité ne sera mise en doute par personne.' H. van Looy, L'Antiquité Classique, 1984.

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Book SynopsisThis book contains an introduction to the text of and a commentary on the fragments of two plays by Euripides, the Kresphontes (ca. 424 B.C.) and the Archelaos (ca. 408/7 B.C.) Fragments of both plays are preserved in quotations by other writers and in recently published papyri. The introduction discusses aspects of the background and of the contents of the plays, such as, for example, their first performances, the relation of the Kresphontes with the plays about Orestes, and Euripides' motives in writing the Archelaos (politics or flattery?). The commentary to each play deals with the interpretation of the fragments and testimonia, with textual problems and with typical elements of Euripides' style. This is the first full-scale treatment of both plays and offers, thanks to modern papyrus finds, some new evidence on their composition and context. The text of the papyrus fragments is based on personal inspection of the papyri concerned, which has resulted in a number of new readings.

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Book SynopsisThe work is limited to the question of knowledge in Euripides' Hippolytus and seeks to show that one of the major themes of the Hippolytus, as of the Oedipus, is knowledge. In successive chapters these subjects are treated: (1) the witness theme, seeing and knowing, what the senses reveal; (2) fantasies of other worlds created by the characters and how these fantasies reavel the character's perceptions of the world; (3) how Euripides causes his characters to become aware of the shifting meanings of words and how it happens that one statement and its opposite can be predicated of the same individual or act; (4) the desire for and fear of knowledge and the choice of ignorance; (5) the use of generalization as a kind of ignorance; (6) the relation of the character's knowledge to that of the audience. The work offers a new perception of the drama through a detailed examination of this important question that was so warmly debated among the early Sophists.

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Trade Review'Cette étude précise, consciencieuse, qui s'appuie sur une bonne connaissance de l'ensemble de l'oeuvre de Sénèque, rendra service à tous ceux qui s'intéressent à la langue, et plus spécialement aux lexique, des oeuvres de cet auteur.' Claude Moussy, Revue des Etudes Latines, 69 'Félicitons notre savante collègue pour la disposition progressive et rigoureuse de son catalogue.' Pol Tordeur, L'Antiquité Classique, 1990.Table of ContentsDie erneuten Bemühungen um ein genaues Textverständnis der Seneca-Tragödien zeigen, wie dringend Sprache und Stil dieser Dramen der Untersuchung bedürfen. Im Teil über den Wortschatz weist diese Studie nach, was Seneca neu gegenüber seinen Vorbildern Vergil, Horaz und Ovid aus der Dichtersprache, der Prosa oder in geringerem Umfang als Neubildungen in seine poetische Diktion einbrachte. In den Beobachtungen zur Syntax verdeutlichen Beispiele aus dem Gebrach des Ablativs die Entwicklung zum Nominalstil. Die zehn stilistischen Kapitel erhellen den rhetorischen Charakter der Tragödien. Zudem entwickeln sie Entscheidungskriterien für die Beurteilung des überlieferten Texts, wo mangelhaftes Verständnis für Senecas Neigung zu Variation und Abundanz wiederholt sprachlich und metrisch einwandfreie Verse als Interpolationen aussonderte. Die Anhänge zum Hercules Oetaeus und zur Octavia untersuchen den Wortschatz und geben neue Anhaltspunkte für die Echtheits- und Datierungsfragen. Ausführliche Sach- und Wortregister sowie ein vollständiger Stellenindex erschliesseb den Gebrauch der Studie auch für übergreifende Probleme der lateinischen Dichtersprache.

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Book SynopsisThis study shows that the Ecclesiazusae is an affirmation of the importance of persuasion in the fourth- century democracy. Praxagora, the attractive and articulate female protagonist, virtually personifies peitho, the realm of both political persuasion and erotic seduction. The ability of peitho to address both public and private motivations makes it the perfect instrument to resolve the tension in the fourth century between selfishness and civic participation. This is, after all, the central issue in the later episodes of the play.Trade Review'This study is to be warmly welcomed, and one may hope that it will provoke further interpretative work on aspects of the play...' Alan H. Sommerstein, the Classical Review, 1991. '...a most readable and thoght-provoking book...has succeeded in making explicit one of the major sources of humour in the play....A welcome contribution to the study of the Ecclesiazusae...' Ineke Sluiter, Mnemosyne, 1992.

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Book SynopsisThe language of early Greek epic, exemplified primarily by Homer, contains numerous descriptions of inner states and uses a specific vocabulary to do so. Scholars understand these descriptions in a general way; but the precision of the expressions remains a mystery. In this work, one of the most important of these words, thumos, is examined in each of its contexts. This synchronic formulaic analysis is carried out according to the contexts of thumos: the cognitive/intellectual, the emotional, and the physical. Two additional contexts, deliberation and motivation, are discussed separately. Within the discussion of each context, the functional synonyms of thumos, particulary phren/phrenes, and other frequent associates of thumos, are examined. Thumos has associations with words relating to winds and storms, a fact which helps clarify its significance in all contexts. Because this work is a discussion of thumos in all contexts, and also contains an appendix of the relevant passages, it should be useful to scholars engaged in research on Homeric vocabulary.Trade Review'This is a book to be savoured and savoured at leisure.' Greece and Rome, 1991.

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Book SynopsisThis is the first commentary to be written in English on Seneca's Phoenissae, an intriguing work on account of its unusual structure and state of incompletion. The substantial introduction deals, inter alia, with the question of the unity and purpose of the work; the absence of an ending and of choral lyrics; the philosophical, rhetorical, and political content; Seneca's treatment of the Theban legend. The commentary is primarily a literary analysis of the text, but textual, linguistic, metrical, and grammatical difficulties are also elucidated. With the resurgence of interest in Senecan drama in the last two decadese, this book is a valuable addition to English commentaries that appeared on most of the plays.

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Book SynopsisThis well-illustrated work is the first attempt to bridge the gap between several specialized discourses concerning Japanese theatre. Central are problems of scholarly and practical reception of Japanese theatre forms in the West. The essays by a careful selection of internationally well-reputed scholars range widely through Japanese theatre, from the ancient to the postmodern, or, one might say, from kagura to angura. It deals with reception of Japanese theatre in the West, the treatment of the body in stage art and drama, Western influence, the impact of Japanese theatre practice and theory upon the actor’s training, and stage directing in the West. Readers will come across a wide variety of intriguing topics, such as lion dances, kabuki, nôh, folk theatre, taishu engeki, and several important modern playwrights, etc. This book truly promises to intensify future dialogue between the many disciplines concerned with Japanese theatre.

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Book SynopsisBrill’s Companion to the Reception of Aeschylus explores the various ways Aeschylus’ tragedies have been discussed, parodied, translated, revisioned, adapted, and integrated into other works over the course of the last 2500 years. Immensely popular while alive, Aeschylus’ reception begins in his own lifetime. And, while he has not been the most reproduced of the three Attic tragedians on the stage since then, his receptions have transcended genre and crossed to nearly every continent. While still engaging with Aeschylus’ theatrical reception, the volume also explores Aeschylus off the stage--in radio, the classroom, television, political theory, philosophy, science fiction and beyond.Trade Review''Although, as Kennedy (Denison Univ.) states, this is not a comprehensive volume, it certainly lives up to her hope, which is that readers “come away with some sense of the scope of Aeschylus’ influence in the world."'' - H.M. Roisman, in: Choice 2018.55.10 "Brill’s Companion to the Reception of Aeschylus is bold in charting new territories of reception and questioning what we think we know about the process of reception itself." - D.R. Alley, in: Bryn Mawr Classical Review 2019.01.10 "[A]ltogether, the book is a thoroughly satisfying read.(...) Special mention should also go to the stimulating pair of chapters that conclude the volume (...). These contributions not only point to where fertile soil has been found, but, gratifyingly for any classicist, also illustrate how these ancient texts may have more to offer in new fields, suggesting new questions for the study of the humanities at large." - Lucy Jackson, in: Translation and Literature 28 (2019) "This valuable contribution to the burgeoning library on the receptions of Greek literature is the second Brill collection on the afterlife of Aeschylus, providing both a useful adjunct to that book[1] and an interesting take on the current state of reception studies in the English-speaking world (where all but four of its twenty-eight contributors teach). Its range is vast." - Peter Burian, Duke University, in: CJ-Online 2021.03.02.Table of ContentsAcknowledgements List of Figures List of Abbreviations Author Biographies Introduction: The Reception of Aeschylus  Rebecca Futo Kennedy Part 1: Pre-Modern Receptions 1 The Reception of Aeschylus in Sicily  David G. Smith 2 The Comedians’ Aeschylus  David Rosenbloom 3 Aristotle’s Reception of Aeschylus: Reserved Without Malice  Dana Lacourse Munteanu 4 Aeschylus in the Hellenistic Period  Sebastiana Nervegna 5 Aeschylus in the Roman Empire  George W. M. Harrison 6 Aeschylus in Byzantium  Christos Simelidis Part 2: Modern Receptions 7 Aeschylus and Opera  Michael Ewans 8 Aeschylus in Germany  Theodore Ziolkowski 9 Inglorious Barbarians: Court Intrigue and Military Disaster Strike Xerxes, “The Sick Man of Europe”  Gonda Van Steen 10 Transtextual Transformations of Prometheus Bound in Percy Bysshe Shelley’s Prometheus Unbound: Prometheus’ Gifts to Humankind  Fabien Desset 11 Aeschylus and Frankenstein, or The Modern Prometheus, by Mary Shelley  Ana González-Rivas Fernández 12 An Aeschylean Waterloo: Responding to War from the Oresteia to Vanity Fair  Barbara Witucki 13 Form and Money in Wagner’s Ring and Aeschylean Tragedy  Richard Seaford 14 Eumenides and Newmenides: Academic Furies in Edwardian Cambridge  Patrick J. Murphy and Fredrick Porcheddu 15 The Broadhead Hypothesis: Did Aeschylus Perform Word Repetition in Persians?  Stratos E. Constantinidis 16 Persians On French Television: An Opera—Oratorio Echoing the Algerian War  Gabriel Sevilla 17 Aeschylus’ Oresteia on British Television  Amanda Wrigley 18 Orestes On Trial in Africa: Pasolini’s Appunti Per un’Orestiade Africana and Sissako’s Bamako  Tom Hawkins 19 Reception of the Plays of Aeschylus in Africa  Kevin J. Wetmore, Jr. 20 In Search of Prometheus: Aeschylean Wanderings in Latin America  Jacques A. Bromberg 21 Avatars of Aeschylus: O’Neill to Herzog/Golder  Marianne McDonald 22 The Overlooked οἰκονομία of Aeschylus’ Agamemnon and Stanley Kubrick’s The Shining  Geoffrey Bakewell 23 “Now Harkonnen Shall Kill Harkonnen”: Aeschylus, Dynastic Violence, and Twofold Tragedies in Frank Herbert’s Dune  Brett M. Rogers 24 “Save Our City”: The Curious Absence of Aeschylus in Modern Political Thought  Arlene W. Saxonhouse 25 Political Theory in Aeschylean Drama: Ancient Themes and their Contemporary Reception  Larissa Atkison and Ryan K. Balot Index

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Book SynopsisBrill's Companion to the Reception of Euripides provides a comprehensive account of the influence and appropriation of all extant Euripidean plays since their inception: from antiquity to modernity, across cultures and civilizations, from multiple perspectives and within a broad range of human experience and cultural trends, namely literature, intellectual history, visual arts, music, opera and dance, stage and cinematography. A concerted work by an international team of specialists in the field, the volume is addressed to a wide and multidisciplinary readership of classical reception studies, from experts to non-experts. Contributors engage in a vividly and lively interactive dialogue with the Ancient and the Modern which, while illuminating aspects of ancient drama and highlighting their ever-lasting relevance, offers a thoughtful and layered guide of the human condition.Trade Review"This collection is a wonderful volume, because it presents a complex approach, studying the reception of Sophoclean plays up until recent years. The book is useful for researchers, interested in a specific topic, but it is particularly useful for beginners, because all the papers analyse their materials, sources and adaptations exhaustively, without omitting arguments and ideas that are essential." Sonia Francisetti Brolin, eisodos – Zeitschrift für Literatur und Theorie, 2018 (2) Herbst.Table of ContentsContents Preface and Acknowledgements List of Contributors Introduction: The Life of Euripides Elizabeth W. Scharffenberger PART 1 - The Tragedies of War and Its Aftermath: The Trojan Cycle 1 Iphigenia at Aulis Mary-Kay Gamel 2 Trojan Women Rosanna Lauriola 3 Hecuba Eric Dugdale 4 Andromache James H. Kim On Chong-Gossard 5 Helen Maria de Fátima Silva PART 2 - Cursed Royal Families: The Mycenaean and Theban Cycle 6 Electra Cecelia E. Luschnig 7 Orestes Cecelia E. Luschnig 8 Iphigenia in Tauris Sophie Mills 9 Phoenician Women Elizabeth W. Scharffenberger 10 Suppliant Women Rosanna Lauriola PART 3 - The ‘Fatal’ Power of Love 11 Alcestis Hanna M. Roisman 12 Medea Rosanna Lauriola 13 Hippolytus Rosanna Lauriola PART 4 - Questioning Gods and Religion 14 Bacchant Women Simon Perris 15 An Appendix: Ion: A Quest Karelisa V. Hartigan PART 5 - The Tragic Side of Heracles’ Life 16 Heracles Rosie Wyles 17 The Children of Heracles (Heraclidae) Rosie Wyles PART 6 - Beyond Tragedy: A Satyr Drama 18 Cyclops Simone Beta Appendix: List of Modern Adaptations Index Locorum Index of Subjects

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Book SynopsisIn Brill's Companion to the Reception of Senecan Tragedy, Eric Dodson-Robinson incorporates essays by specialists working across disciplines and national literatures into a subtle narrative tracing the diverse scholarly, literary and theatrical receptions of Seneca's tragedies. The tragedies, influential throughout the Roman world well beyond Seneca's time, plunge into obscurity in Late Antiquity and nearly disappear during the Middle Ages. Profound consequences follow from the rediscovery of a dusty manuscript containing nine plays attributed to Seneca: it is seminal to both the renaissance of tragedy and the birth of Humanism. Canonical Western writers from Antiquity to the present have revisited, transformed, and eviscerated Senecan precedents to develop, in Dodson-Robinson's words, "competing tragic visions of agency and the human place in the universe."Trade Review"The collection provides a concise yet thorough picture of Seneca’s tragedies throughout the centuries and contributes both to contextualizing the history of classical reception and to understanding how European drama developed and continues to reinvent itself today." - Mary Hamil Gilbert, in: Religious Studies Review 42 (2016) 3 "[U]n précieux outil de référence pour tous ceux qui s’intéressent à l’histoire des tragédies et du théâtre latin en général, à la diffusion de Sénèque, à la circulation des idées et des formes artistiques antiques du Moyen- ge à nos jours.(...) Nous saluerons la clarté de la présentation ainsi que le soin apporté à l’orthographe et à la ponctuation, tel que nous n’avons relevé aucune coquille." - P. Paré-Rey, in: BMCR 2017.07.49 "[A] praiseworthy and beneficial publication, which should also be valued for the English translations from Latin and other languages – this makes the book accessible to a wider circle of readers. (...) [T]hroughout the collection of all texts a red thread weaves, bringing the fascinating realization that, with the exception of certain periods (middle ages and partly 19th century, when his influences was temporarily muted), Seneca “is a perennial contemporary and that his drama is like a cracked mirror in which almost any unsettled age finds its reflection” (R. Remshardt, p. 300)." - Daniela Čadková, in: Eirene LIV 2018Table of ContentsContents List of Contributors 1 Introduction Eric Dodson-Robinson Part 1 - Antiquity 2 Imago res mortua est: Senecan Intertextuality Christopher Trinacty 3 Seneca Tragicus and Stoicism Christopher Star 4 Senecan Tragedy and the Politics of Flavian Literature Peter J. Davis Part 2 - Renaissance and Early Modern 5 Seneca Rediscovered: Recovery of Texts, Reinvention of a Genre Gianni Guastella 6 The Reception of Seneca in the Crowns of Aragon and Castile in the Fourteenth and Fifteenth Centuries 101 Tomas Martinez Romero 7 The Reception of the Tragedies of Seneca in the Sixteenth and Seventeenth Centuries in France Florence de Caigny, Translated by Eric Dodson-Robinson 8 Germany and the Netherlands: Tragic Seneca in Scholarship and on Stage Joachim Harst Early ‘English Seneca’: From ‘Coterie’ Translations to the Popular Stage Jessica Winston 10 Shakespeare vs. Seneca: Competing Visions of Human Dignity Patrick Gray Part 3 - Seneca in the Modern Age and Beyond 11 Senecan Gothic Helen Slaney 12 Nineteenth- and Early Twentieth-Century Receptions of Seneca Tragicus Francesco Citti 13 Seneca Our Contemporary: The Modern Theatrical Reception of Senecan Tragedy Ralf Remshardt 14 Rereading Seneca: The Twenty-First Century and Beyond Siobhan McElduff Index

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Book SynopsisBrill’s Companion to the Reception of Aristophanes provides a substantive account of the reception of Aristophanes (c. 446-386 BC) from Antiquity to the present. Aristophanes was the renowned master of Old Attic Comedy, a dramatic genre defined by its topical satire, high poetry, frank speech, and obscenity. Since their initial production in classical Athens, his comedies have fascinated, inspired, and repelled critics, readers, translators, and performers. The book includes seventeen chapters that explore the ways in which the plays of Aristophanes have been understood, appropriated, adapted, translated, taught, and staged. Careful attention has been given to critical moments of reception across temporal, linguistic, cultural, and national boundaries.Trade Review"Consistently thoughtful and frequently quite useful, Philip Walsh’s edited volume on the reception of Aristophanes, part of Brill’s Companions to Classical Reception series, is a model of the form. (...) this book should be a touchstone for future work on Aristophanes in the longue durée. (...) This is a handsomely produced volume, enhanced by the colorful inclusion of nearly forty recent Lysistrata posters compiled by Mitchell, one of which also graces the cover. (...) Walsh’s useful and engaging volume on the reception of Aristophanes is a testament to the maturity of the approach." A. C. Duncan, Bryn Mawr Classical Review 2017.03.35Table of ContentsContents Preface and Acknowledgements Philip Walsh Notes on Contributors PART 1 - Aristophanes, Ancient and Modern: Debates, Education, and Juxtapositions 1 Aristophanes in Antiquity: Reputation and Reception Niall W. Slater 2 Modern Theory and Aristophanes Charles Platter 3 Aristophanes, Gender, and Sexuality James Robson 4 Aristophanes, Education, and Performance in Modern Greece Stavroula Kiritsi 5 Teaching Aristophanes in the American College Classroom John Given and Ralph M. Rosen 6 The “English Aristophanes”: Fielding, Foote, and Debates over Literary Satire Matthew J. Kinservik 7 Teknomajikality and the Humanimal in Aristophanes’ Wasps Mark Payne 8 Branding Irony: Comedy and Crafting the Public Persona Donna Zuckerberg PART 2 - Outreach: Adaptations, Translations, Scholarship, and Performances 9 Aristophanes in Early-Modern Fragments: Le Loyer’s La Néphélococugie (1579) and Racine’s Les Plaideurs (1668) Cécile Dudouyt 10 Aristophanes and the French Translations of Anne Dacier Rosie Wyles 11 The Verbal and the Visual: Aristophanes’ Nineteenth-Century English Translators Philip Walsh 12 Comedy and Tragedy in Agon(y): The 1902 Comedy Panathenaia of Andreas Nikolaras Gonda Van Steen 13 J.T. Sheppard and the Cambridge Birds of 1903 and 1924 C.W. Marshall 14 Murray’s Aristophanes Mike Lippman 15 “Attic Salt into an Undiluted Scots”: Aristophanes and the Modernism of Douglas Young Gregory Baker 16 Classical Reception in Posters of Lysistrata: The Visual Debate Between Traditional and Feminist Imagery Alexandre G. Mitchell 17 Afterword David Konstan General Bibliography Index Nominum et Rerum

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Book SynopsisTerence between Late Antiquity and the Age of Printing investigates the Medieval and Early Renaissance reception of Terence in highly innovative ways, combining the diverse but interrelated strands of textual criticism, illustrative tradition, and performance. The plays of Terence seem to have remained unperformed until the Renaissance, but they were a central text for educators in Western Europe. Manuscripts of the plays contained scholarship and illustrations which were initially inspired by Late Antique models, and which were constantly transformed in response to contemporary thought. The contributions in this work deal with these topics, as well as the earliest printed editions of Terence, theatrical revivals in Northern Italy, and the readership of Terence throughout the Early Middle Ages.Table of ContentsContents Preliminary Matter Preface List of Figures List of Abbreviations List of Contributors Chapter 1: Introduction Text and Images Chapter 2: Bernard J. Muir, “Terence’s Comedies: Development, Transmission, and Transformation” Chapter 3: Beatrice Radden-Keefe, “Illustrating the Manuscripts of Terence” Chapter 4: James H. Kim On Chong-Gossard, “Thais Walks the German Streets: Text, Gloss, and Illustration in Neidhart’s 1486 German Edition of Terence’s Eunuchus” Scholarship Chapter 5: Salvatore Monda, “Terence Quotations in Latin Grammarians: Shared and Distinguishing Features” Chapter 6: Andrew J. Turner, “Problems with the Terence Commentary Traditions: The Oedipus Scholion in BnF, lat. 7899” Text and Performance Chapter 7: Chrysanthi Demetriou, “Donatus’ Commentary: The Reception of Terence’s Performance” Chapter 8: Gianni Guastella, “Ornatu prologi: Terence’s Prologues on the Stage/on the Page” Chapter 9: Giulia Torello-Hill, “The Revival of Classical Roman Comedy in Renaissance Ferrara: From the Scriptorium to the Stage” Readerships Chapter 10: Claudia Villa, “Terence’s Audience and Readership in the Ninth to Eleventh Centuries” Bibliography

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Book SynopsisThrough a comparison with theatrical performance the argument develops that in both theatre and fiction the concepts of performance and performativity transform classical Indian mythic poetics. In the mythic symbiosis of performance and storytelling in Indian tradition, myth becomes a liberating space of consciousness, where rigid categories and boundaries are transcended.Table of ContentsAcknowledgements Introduction: Metamorphoses of the Self on the Border between ‘East’ and ‘West’ Chapter ONE. Writing in English: A Performative Act in Contemporary Indian Fiction Chapter TWO. Changes and Challenges in the Novel Form: From Myth to Performance to Nomadic Textuality Chapter THREE. Intercultural Epic in Performance: Peter Brook and Girish Karnad Chapter FOUR. Reperformed Traditions: Indian Theatre and Its Contemporary Avatars Chapter FIVE. Repositioning Scheherazade: From Storytelling to Performance in Salman Rushdie’s Midnight’s Children Chapter SIX. Storying the Fatwa: From The Satanic Verses to Haroun and the Sea of Stories Chapter SEVEN. Migrant Identity Performance Politics in Salman Rushdie’s The Satanic Verses Chapter EIGHT. Writing the Unspoken: Exclusion and Arundhati Roy’s Écriture Féminine in The God of Small Things Chapter NINE. Performances of Marginality in Arundhati Roy’s The God of Small Things Chapter TEN. Postmodern Scheherazades between Storytelling and the Novel Form: Vikram Chandra’s Red Earth and Pouring Rain Chapter ELEVEN. Performance, Performativity and Nomadism in Vikram Chandra’s Red Earth and Pouring Rain Conclusion Bibliography Index

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Book SynopsisDans L'Elaboration du mythe de soi, Solveig Hudhomme démontre comment les oeuvres de Samuel Beckett construisent leur propre intériorité, lieu d'images et de mythes créateurs. In L'Elaboration du mythe de soi Solveig Hudhomme highlights how Samuel Beckett's works build their own inner space, their own image and mythology.Trade Review“Au cours des neuf chapitres de cette étude, l’auteur analyse les différentes parties ou “constituants” du discours mythique beckettien. Son analyse porte, par conséquent, sur l’œuvre entière, mais privilégie le genre narratif qui se prête plus aisément à l’analyse structurale du récit telle qu’elle est pratiquée ici. […] D’autres motifs narratifs participant de cette architecture mythique sont aussi analysés dans certains récits (Compagnie, Le Dépeupleur, Mercier et Camier, L’Innommable, Molloy), et montrent comment l’œuvre participe de sa propre mythification en créant ses propres réseaux de signification et ses propres thématiques.” - Nadia Louar, in La Revue des Lettres Modernes, No. 7 2020Table of ContentsIntroduction : Écriture du/de soi : l’élaboration d’une entité mythique. Mythologies beckettiennes Circonscrire le mythe De la pluralité des personnages à la permanence de l’archétype Motif de la pénultième La fable des « vieilles histoires » Les « vieilles histoires » La fondation du soi : « conte », « féerie » et autres « fantaisies » Fable et compagnie Le temps du mythe « Présent mythologique » : le temps des limbes L’anticipation comme principe d’annulation La nominalisation du récit : un « aujourd’hui sans avant ni après » Le mythe de l’œil L’Œil personnage « L’inspection » : motif du regard inquisiteur « The eye suicide » : Naissance de l’image « Qu’est-ce que j’appelle voir et revoir ? » Forcer l’image « La folle du logis » La perception comme scène Les « écarquillés » L’utopie du crâne Le cylindre : mise en image du soi Négociation du soi L’observation de soi Géométrie du soi L’Abandonné Polyphonie pour un soi Le mythe d’une voix L’entreprise polyphonique : le mythe du ventriloque Variations pronominales et avènement du soi Une parole en soi Mythe et « aséité » « Soi soi-disant » Conclusion : Mythe et écriture, l’acte narratif en question Bibliographie

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Book SynopsisAgainst a background which included revolutionary changes in religious belief, extensive enlargement of dramatic styles and the technological innovation of printing, this collection of essays about biblical drama offers innovative approaches to text and performance, while reviewing some well-established critical issues. The Bible in the fifteenth and sixteenth centuries appears in a complex of roles in relation to the drama: as an authority and centre of belief, a place of controversy, an emotional experience and, at times, a weapon. This collection brings into focus the new biblical learning, including the re-editing of biblical texts, as well as classical influences, and it gives a unique view of the relationship between the Bible and the drama at a critical time for both. Contributors are: Stephanie Allen, David Bevington, Philip Butterworth, Sarah Carpenter, Philip Crispin, Clifford Davidson, Elisabeth Dutton, Garrett P. J. Epp, Bob Godfrey, Peter Happé, James McBain, Roberta Mullini, Katie Normington, Margaret Rogerson, Charlotte Steenbrugge, Greg Walker, and Diana Wyatt.Trade ReviewReview by Roser López Cruz, King's College London, in: Anuario Lope de Vega, 2018, pp. 451-457. DOI: https://doi.org/10.5565/rev/anuariolopedevega.287Table of ContentsPeter Happé Introduction Clifford Davidson Memory and Remembering: Sacred History and the York Plays Margaret Rogerson Audience responses and the York Corpus Christi Play Philip Butterworth The Bible and the Towneley Plays of Isaac and Iacob Diana Wyatt Play Titles without Play Texts: What can they tell us, and how? An Investigation of the Evidence for the Beverley Corpus Christi Play Roberta Mullini The Norwich Grocers’ Play(s) (1533, 1565): Development and Changes in the Representation of Man’s Fall Katie Normington “Have here a Drink full good”: A Comparative Analysis of Staging Temptation in the Newcastle Noah Play Peter Happé Staging the Resurrection Charlotte Steenbrugge Preaching Penance on the Stage in Late Medieval England: The Case of John the Baptist David Bevington Staging and Liturgy in The Croxton Play of the Sacrament Bob Godfrey Herod’s Reputation and the Killing of the Children: Some Theatrical Consequences Philip Crispin Passion Play: Staging York’s The Conspiracy and Christ before Annas and Caiaphas James McBain “Alle out of hir self”: Mary, Effective Piety and the N-Town Crucifixion Sarah Carpenter Performing the Scriptures: Biblical Drama after the Reformation Greg Walker Blurred Lines? Religion, Reform, and Reformation in Sir David Lyndsay’s Ane Satyre of the Thrie Estaitis Elisabeth Dutton and Stephanie Allen Seeing and Recognizing in the Sacred and New: The Latin Scriptural Plays of Nicholas Grimald Garrett P. J. Epp “Be ye thus trowing”: Medieval Drama and Make-Belief

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Book SynopsisThe Samarites by Petrus Papeus offers an effective blending of gospel narrative and ancient Roman comedy, combining manner of Plautus and Terence with the didacticism of medieval allegory and morality plays and the poetic diction of Renaissance humanism. In the Samarites they are the ingredients that present both moral and doctrinal teachings related to the gospel parables of the Prodigal Son and Good Samaritan. Papeus’ work is an excellent example not only of the early modern school play, but also of the shifting conceptions of drama in Europe at that time. Daniel Nodes presents a critical edition and translation of the play together with a humanist commentary produced in Toledo by Alexius Vanegas three years after the play’s first printing in Antwerp.Trade Review“Nodes has produced a fine text that materially adds to our knowledge of Neo-Latin drama and a relatively unknown Neo-Latin dramatist, and through the inclusion of Vanegas' commentary, gives us insight into traditional methods of commenting and interpreting.” Mark Riley, California State University, Sacramento. In: Bryn Mawr Classical Review, 2017.12.32.Table of ContentsAbbreviations Introduction: Plautine Piety and Monastic Wit in the Samarites comedia of Petrus Papeus (1539) Petrus Papeus The Argumentum or Plot of Samarites comoedia The Samaritan Story and its Exegetical Tradition The Patristic basis The Medieval Legacy Literary Hybrids The Fusion of Parables Medieval Compendiums Applying Elements from the Roman Comedies to the Bible under the New Humanism Assessment of the Resulting Compositions Predecessors of Papeus Contemporaries of Papeus and the Exegetical Tradition Papeus’s Samarites Comoedia: The Characters Papeus’s Special Handling of the Subject Matter The Commentary by Alejo Vanegas The Early Printings Modern Edition Petri Papei Samarites comoedia de Samaritano Euangelico Epistola nuncupatoria Dramatis Personae Argumentum Prologus Actus primi scaena prima Actus primi scaena secunda Actus primi scaena tertia Actus primi scaena quarta Actus secundi scaena prima Actus secundi scaena secunda Actus secundi scaena tertia Actus secundi scaena quarta Actus tertii scaena prima Actus tertii scaena secunda Actus tertii scaena tertia Actus tertii scaena quarta Actus tertii scaena quinta Actus quarti scaena prima Actus quarti scaena secunda Actus quarti scaena tertia Actus quarti scaena quarta Actus quinti scaena prima Actus quinti scaena secunda Actus quinti scaena tertia Actus quinti scaena quarta Actus quinti scaena quinta Actus quinti scaena sexta Actus quinti scaena septima Morio Peroratio Appendix: Alexii Vanegas Commentarius Cardinalis Ioannis Tauera ut Excuderetur Indulsit Petri Papei Samarites comoedia de Samaritano Euangelico Fernandus Lunar a Secretis Capituli Sanctae Ecclesiae Toletanae Lectori Salutem Alexius Vanegas Toletanus studiosissimo uiro Fernando de Lunar a secretis Capituli Sanctae ecclesiae Toletanae salutat Emendationes Alexii Vanegas Toletani in Samaritem Comoediam nuper editam, scholia tumultuaria humanissimo simul et studiosissimo uiro musarum Herculi suoque Mecoenati Fernando Lunar a secretis capituli Toletani nuncupata foeliciter comoediae fores aperiunt Dramatis personarum interpretatio Metrorum dramatis ratio Argumentum Prologus Actus Primi Scaena Prima Actus Primi Scaena Secunda Actus Primus Scaena Tertia Actus Primi Scena Quarta Actus Secundi Scaena Prima Actus Secundi Scaena Secunda Actus Secundi Scaena Tertia Actus Secundi Scaena Quarta Actus Tertii Scaena Prima Actus Tertii Scaena Secunda Actus Tertii Scaena Tertia Actus Tertii Scaena Quarta Actus Tertii Scaena Quinta Actus Quarti Scaena Prima Actus Quarti Scaena Secunda Actus Quarti Scaena tertia Actus Quarti Scaena Quarta Actus Quinti Scena Prima Actus Quinti Scaena Secunda Actus Quinti Scaena Tertia Actus Quinti Scaena Quarta Actus Quinti Scaena Quinta Actus Quinti Scaena Sexta Actus Quinti Scaena Septima Morio Peroratio Bibliography Primary Sources Secondary Sources Index

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Book SynopsisSixteenth century Elizabethan treatises on rhetoric in the vernacular are relatively rare. Guillaume Coatalen offers annotated editions of Richard Reynolds’s The Foundacion of Rhetorike (1563), which has not been edited since the 1945 facsimile edition, and of William Medley’s unknown Brief Discourse on Rhetoricke which survives in a single manuscript dated 1575. While Reynolds’s work is an English adaptation of Aphthonius's Progymnasmata and a preparation for Thomas Wilson’s influential Arte of Rhetoricke (1560), Medley’s is broader in scope and contains the only full treatment of periodic prose in English in the period. Both works are essential to understand how Elizabethan rhetoric in the vernacular evolved, in particular in aristocratic circles, and its links with Continental developments, notably German.Table of ContentsContents Preface Acknowledgements List of Figures Sigla and Abbreviations Introduction Richard Reynolds, The Foundacion of Rhetorike (1563) William Medley, A Brief Discourse of Rhetorike (1575), Cecil Papers MS 238/6 Bibliography Index Nominum Index Rerum

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Book SynopsisIn his pioneering study The Philosophical Baroque: On Autopoietic Modernities, Erik S. Roraback argues that modern culture, contemplated over its four-century history, resembles nothing so much as the pearl famously described, by periodizers of old, as irregular, barroco. Reframing modernity as a multi-century baroque, Roraback steeps texts by Shakespeare, Henry James, Joyce, and Pynchon in systems theory and the ideas of philosophers of language and culture from Leibniz to such dynamic contemporaries as Luhmann, Benjamin, Blanchot, Deleuze and Guattari, Lacan, and Žižek. The resulting brew, high in intellectual caffeine, will be of value to all who take an interest in cultural modernity—indeed, all who recognize that “modernity” was (and remains) a congeries of competing aesthetic, economic, historical, ideological, philosophical, and political energiesTrade Review"Erik Roraback's The Philosophical Baroque: On Autopoietic Modernities is a great book that will engage an energetic and important subfield of scholarship." – William Egginton, Andrew W. Mellon Professor in the Humanities, The Johns Hopkins University, author of The Theater of Truth: The Ideology of (Neo) Baroque AestheticsTable of ContentsIntroduction: Re-Framing Modernity Part I. A Philosophical & Sociological-Dramatic Baroque § 1 Niklas Luhmann & Autopoietic Forms of the Neo (baroque) Modern; or: Structure, System, & Contingency § 2 Toward another Minor Globality to Come; or, The Folds of Desire’s (Dis)contents of Orson Welles, Lacan, & Shakespeare’s King Lear (c. 1606) § 3 The Monad of Deleuze’s Many-Tiered High Baroque G.W. Leibniz Part II. A Literary-Philosophical Baroque § 4 A Multiplicity of Folds of An Unconscious & Autopoietic Monad of Henry James, Benjamin, & Blanchot § 5 Modern and Postmodern Baroque Conceptual Intersections & Interventions: Finnegans Wake (1939), Gravity’s Rainbow (1973) & L’Écriture du désastre (The Writing of the Disaster) (1980) § 6 Autopoietic Neobaroque Vectors: Artistic Authority, Interpretation, & Economic Un-Power of Finnegans Wake § 7 Autopoietic & Joyous Folds: Deleuze’s Le pli: Leibniz et le baroque (The Fold: Leibniz and the Baroque) (1988) & Joyce’s ‘stohong baroque’ Finnegans Wake (1939) § 8 An Autopoietic Baroque; or, the Little Experiment Orientations of Joyce’s Finnegans Wake (1939) § 9 Folding Blanchot onto Pynchon: Enlightenment Reason, the Global System, & World Citizenship 9.1 The Crying of Lot 49 (1966) 9.2 Gravity’s Rainbow (1973) 9.3 Mason & Dixon (1997) Part III. A Philosophical-Psychoanalytic Baroque § 10 Catastrophe, Allegory, & the Philosophical Baroque: A Spiritual Quartet of Benjamin-Lacan & Joyce-Pynchon Conclusions Works Cited Index

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Book SynopsisPolitics and Aesthetics in European Baroque and Classicist Tragedy is a volume of essays investigating European tragedy in the seventeenth century, comparing Shakespeare, Vondel, Gryphius, Racine and several other vernacular tragedians, together with consideration of neo-Latin dramas by Jesuits and other playwrights. To what extent were similar themes, plots, structures and styles elaborated? How is difference as well as similarity to be accounted for? European drama is beginning to be considered outside of the singular vernacular frameworks in which it has been largely confined (as instanced in the conferences and volumes of essays held in the Universities of Munich and Berlin 2010-12), but up-to-date secondary material is sparse and difficult to obtain. This volume intends to help remedy that deficit by addressing the drama in a full political, religious, legal and social context, and by considering the plays as interventions in those contexts. Contributors are: Christian Biet, Jan Bloemendal, Helmer J. Helmers, Blair Hoxby, Sarah M. Knight, Tatiana Korneeva, Frans-Willem Korsten, Joel B. Lande, Russell J. Leo, Howard B. Norland, Kirill Ospovat, James A. Parente, Jr., Freya Sierhuis, Nienke Tjoelker and Emily Vasiliauskas.Trade Review“The collection vividly demonstrates the appeal of tragedy, whether classicist or Baroque, to both Catholics and Protestants. Biblical, classical, and modern histories made possible the staging of thinly (or not so thinly) veiled criticism, guidance, and warnings for modern rulers—and their subjects.” Annette Tomarken, University of Kent. In: Renaissance Quarterly, Vol. 70, No. 4 (Winter 2017), pp. 1622-1624. “This is a first-rate collection of articles that adds significantly to the understanding of Baroque and Classicist tragedy and its politics and aesthetics within a broad European context. It explores the nuances underlying longstanding assumptions and offers exemplary original research.” Yolanda Rodríguez Pérez, University of Amsterdam. In: Bulletin of the Comediantes, Vol. 69, No 1 (2017), pp. 123-127. “[This] collection forms a strong and timely reminder of the benefits of an international and inclusive approach to literary studies.” Astrid Stilma, Canterbury Christ Church University. In: Tijdschrift voor Nederlandse Taal & Letterkunde, Vol. 133, No. 4 (September 2017), pp. 1-2.Table of ContentsIntroduction Sovereignty Frans-Willem Korsten – What Roman Paradigm for the Dutch Republic? Baroque Tragedies and Ambiguities Concerning Dominium and Torture Russ Leo – Grotius Among the Dagonists: Joost van den Vondel’s Samson, of Heilige Wraeck, Revenge and the Ius Gentium Freya Sierhuis – Performing the Medieval Past: Vondel’s Gysbreght van Aemstel (1637) Religion Howard B. Norland – Political Martyrdom at the English College in Rome James A. Parente, Jr. – Historical Tragedy and the End of Christian Humanism: Nicolaus Vernulaeus (1583–1649) Blair Hoxby – The Baroque Tragedy of the Roman Jesuits: Flavia and Beyond Ethics Emily Vasiliauskas – Mortal Knowledge: Akrasia in English Renaissance Tragedy Sarah Knight – A fabulis ad veritatem: Latin Tragedy, Truth and Education in Early Modern England Tatiana Korneeva – The Political Theatre and Theatrical Politics of Andrea Giacinto Cicognini: Il Don Gastone di Moncada (1641) Christian Biet – French Tragedy During the Seventeenth Century: From Cruelty on a Scaffold to Poetic Distance on Stage and Critical Judgment Mobility Joel Lande – German Trauerspiel and its International Nexus: On the Migration of Poetic Forms Helmer Helmers – The Politics of Mobility: Shakespeare’s Titus Andronicus, Jan Vos’ Aran and Titus and the Poetics of Empire Nienke Tjoelker – French Classicism in Jesuit Theatre Poetics of the Eighteenth Century Kirill Ospovat – Scenario of Terror: Royal Violence and the Origins of Russian Tragic Drama Index

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Book SynopsisThe Reception of Aeschylus' Plays through Shifting Models and Frontiers addresses the need for an integrated approach to the study and staging of Aeschylus’ plays. It offers an invigorating discussion about the transmission and reception of his plays and explores the interrelated tasks of editing, translating, adapting and remaking them for the page and the stage. The volume seeks to reshape current debates about the place of his tragedies in the curriculum and the repertory in a scholarly manner that is accessible and innovative. Each chapter makes a significant and original contribution to its selected topic, but the collective strength of the volume rests on its simultaneous appeal to readers in theatre studies, classical studies, performance studies, comparative studies, translation studies, adaptation studies, and, naturally, reception studies.Trade Review''This is the first study to address the reception of Aeschylus holistically, and although the plays of the Oresteia trilogy are understandably explored in most detail, it is good to see all the extant plays discussed as well as a number of fragments. (...) Overall, this is an exceptionally coherent and well-conceived collection, edited by an expert hand. The chapters speak both to the central concerns of the volume and to each other, with authors clearly engaged with and cross-referencing each other’s work. This book will be indispensable for anyone interested in the reception history of Aeschylus, and has much of value to say, more generally, about the politics of translation and adaptation in the remaking of Greek tragedy.'' Isabel Torrance, The Classical Review 68.1.

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Book SynopsisIn Australian Theatre after the New Wave, Julian Meyrick charts the history of three ground-breaking Australian theatre companies, the Paris Theatre (1978), the Hunter Valley Theatre (1976-94) and Anthill Theatre (1980-94). In the years following the controversial dismissal of Gough Whitlam’s Labor government in 1975, these ‘alternative’ theatres struggled to survive in an increasingly adverse economic environment. Drawing on interviews and archival sources, including Australia Council files and correspondence, the book examines the funding structures in which the companies operated, and the impact of the cultural policies of the period. It analyses the changing relationship between the artist and the State, the rise of a managerial ethos of ‘accountability’, and the growing dominance of government in the fate of the nation’s theatre. In doing so, it shows the historical roots of many of the problems facing Australian theatre today. “This is an exceptionally timely book... In giving a history of Australian independent theatre it not only charts the amazing rise and strange disappearance of an energetic, radical and dynamically democratic artistic movement, but also tries to explain that rise and fall, and how we should relate to it now.” — Prof. Justin O’Connor, Monash University “This study makes a significant contribution to scholarship on Australian theatre and, more broadly… to the global discussion about the vexed relationship between artists, creativity, government funding for the arts and cultural policy.” — Dr. Gillian Arrighi, The University of Newcastle, AustraliaTable of ContentsPreface. Brief History of Australian Theatre Acknowledgements List of Illustrations List of Abbreviations Note on Sources Brief Chronology Introduction   The Whitlam Era   Cultural Subsidy in Australia   Accounting for Australian Theatre: Different Approaches   Badiou and Truth 1 The Origins of Alternative Theatre   Alternative Theatre   Two Moments 2 The Paris Theatre 1978   The Sydney ‘Scene’   The Paris Narrative   The Paris Reviewed   The Meaning of the End 3 The Hunter Valley Theatre Company 1976–1994   Steel City   The Neeme Era   Into the 1980s with Brent McGregor   The Governmentalisation of the Arts   Last Years of the hvtc   The Group of Six   The Meaning of the End 4 Australian Nouveau Theatre 1980–85   The No. 1 Tram   In Search of a Company   ant and the Event of Artaud   Mignon’s Return   ant’s Place in the World 5 Australian Nouveau Theatre 1986–89   From Triumph to Disaster   Chekhov and Beyond: Integrating the New Wave Legacy   Loss of Funding   The Refused Artist Accepted 6 Australian Nouveau Theatre 1990–91   The Ghosts of Emerald Hill   The Company Reborn   The Funding Game 7 Australian Nouveau Theatre 1992–94   The Move to Gasworks Theatre ant, Ruined 8 Australian Nouveau Theatre: The Meaning of the End   Internal Problems   External Problems   The Destruction of Fellowship: ant vs. Playbox   Creative Nation: Culture with the Art Left Out Conclusion   The Logic of Culture: The Fate of the ‘New’   The Post-Whitlam Era   (No) End of an Idea Select Bibliography Interviewees Index

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Book SynopsisEthical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre. In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.Table of ContentsAcknowledgments List of Figures List of Contributors Introduction: Othering Sameness Emer O'Toole and Andrea Pelegr¡ Kristi? PART 1: Culpable Dramaturgies 1 The Ethics of the Representation of the Real People and Their Stories in Verbatim Theatre Stuart Young 2 The Witness Turn in the Performance of Violence, Trauma, and the Real Suzanne Little PART 2: Adaptive Politics 3 Re-Routing Ibsen: Adaptation as Tenancy/Occupation in Simon Stone's The Wild Duck and Thomas Ostermeier's An Enemy of the People Glenn D'Cruz 4 Intercultural Adaptation: The Ethics of Peter Brook's 11 and 12 Emer O'Toole PART 3: Collaborative Ethics 5 Ethical Challenges in Adaptation: Gothic Eurico from Novel to Performance Gra‡a P. Corrˆa 6 The Nomadic Dramaturge: Negotiating Subjectivity, Multicultural Translation, and Dramaturgical Composition Fiona Graham PART 4: Stolen in Translation-Ambiguity and Omission 7 One Problem Play, Two Measures: Translatability of Christian Ethics in Two Adaptations of Measure for Measure Jenny Wong 8 The Poetics and Politics of Un/translatability in Timberlake Wertenbaker's New Anatomies Carol L. Yang 9 From Greek into Neutral: Translating Contemporary Greek Theatre during the Eurozone Crisis Maria Mytilinaki Kennedy PART 5: Postdramatic Dramaturgies, Ethical "Realities" 10 A Dramaturgy of Montage and Dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel Jonathan W. Marshall 11 Staging the Ethical Dilemma of Liveness: John Jesurun's Divergent Play with Convergence Christophe Collard Index

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Book SynopsisInexhaustible Beckett: even as his oeuvre continues to mark today’s literary, dramatic and other arts, the man and artist remain alive in the memories of those who knew him personally. Collected here are conversations with the author recalled by translators, scholars, artists, and theatre and media practitioners drawing on unpublished notes of meetings and uncollected (mostly) correspondence with him. Through the varied lenses of their reminiscences, readers will appreciate Beckett’s remarkable art of letter writing, his conversation punctuated by pregnant pauses, his exceptional humor and talent for friendship, and his punctilious concern for the translations, interpretations, and performance of his works. The readers of this volume will come to share the exhilaration the encounters with Beckett produced in the writers of these memoirs. Inépuisable Beckett… Non seulement son œuvre reste vivante et laisse son empreinte dans la littérature, le théâtre et les arts actuels, mais sa personnalité d’homme et d’artiste continue à marquer ceux qui l’ont connu personnellement. Ce sont les témoignages de plusieurs d’entre eux que nous reproduisons ici. A travers leurs diverses perspectives, le lecteur pourra apprécier cet art épistolaire propre à Beckett, celui de sa conversation ponctuée de silences lourds de sens, son humour exceptionnel ainsi que son talent pour l’amitié, autant que la rigueur pointilleuse qu’il apportait aux traductions, interprétations et mises en scène de ses œuvres. Nous espérons que les lecteurs de ce volume pourront partager l’enchantement ressenti par les auteurs de ces mémoires lors de leurs rencontres avec Beckett.Trade ReviewRhys Tranter has interviewed coeditor Angela Moorjani on this collection which recounts Samuel Beckett’s meetings with scholars, translators, and theatre practitioners (July 2017): https://rhystranter.com/2017/07/12/samuel-beckett-conversation/Table of ContentsContributors / Auteurs Introduction  Angela Moorjani and Danièle de Ruyter Academic Translators Reflecting Happy Years: Translating Beckett with Beckett  Erika Tophoven Reminiscences of a Late Friendship  Antonia Rodríguez-Gago Academics Reminiscing My Conversations with Samuel Beckett  John Fletcher Recollecting Sam-ness and Watt-ness  Angela Moorjani The Many-Body Problem  Kishin Moorjani Partially Purged in Montparnasse  John Pilling On Meeting Samuel Beckett  John O’Brien Memories of Meeting Beckett  Linda Ben-Zvi “For the usual, at the usual”: Meeting Beckett in the Fourteenth Arrondissement  Gerry Dukes Rencontre avec Samuel Beckett  Ahmad Kamyabi Mask Artists and Theatre-, Television-, Radio Practitioners Remembering Remembering (Almost Not Meeting) Beckett  Peter Gidal “Come back soon!”  Anne Madden le Brocquy Quelqu’ un de tellement discret  Bernadette Le Saché Beckett Listens: Sound Production for the 1977 Geistertrio  Konrad Körte Bothering Him with My Questions …  Marek Kędzierski “From one world to another”: Beckett’s Radio Plays  Everett C. Frost Addendum Un après-midi avec Samuel Beckett  Nadia Kamel

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Book SynopsisPathos as Communicative Strategy in Late-Medieval Religious Drama and Art explores the strategies employed to trigger emotional responses in late-medieval dramatic texts from several Western European traditions, and juxtaposes these texts with artistic productions from the same areas, with an emphasis on Britain. The aim is to unravel the mechanisms through which pathos was produced and employed, mainly through the representation of pain and suffering, with mainly religious, but also political aims. The novelty of the book resides in its specific linguistic perspective, which highlights the recurrent use of words, structures and dialogic patterns in drama to reinforce messages on the salvific value of suffering, in synergy with visual messages produced in the same cultural milieu.Trade Review"Pathos in Late-Medieval Drama and Art identifies a ‘pathos formula’ in the Middle Ages. Whilst there are certain techniques unique to specific genres and art-forms, which Mazzon pinpoints and critiques, she is persuasive in her argument that there is a unified attempt by the Church to use pathos as a communicative strategy, evident in both art and literature." -Hetta Elizabeth Howes, City University of London, in Emotions: History, Culture, Society, Vol. 3, No. 1 (2019) pp. 180-181Table of ContentsContents Acknowledgements List of Figures Introduction 1 Words and Images in the late Middle Ages: the Social Functions of Drama and Art  1.1 Iconography and Textual Studies  1.2 The Development of Visual Narratives and New Images  1.3 The Word Enacted  1.4 ‘Modern Piety’ and Identification: the Importance of Presence  1.5 Witnessing and Social Control: the Value of Memory 2 The Codification of the Public Display of Emotions  2.1 Emotions and Public Communication  2.2 Looking at the Language  2.3 Reading the Visual Arts  2.4 Talking to the Congregacyoun  2.5 Writing Paths to Salvation 123 3 Verbal and Visual Rhetoric: Lexicon and Grammar  3.1 The Rhetoric of Parental Love  3.2 The Rhetoric of Crime and Punishment  3.3 The Rhetoric of Social Structure: the Powerful and the Rejected  3.4 The Rhetoric of Pain and Memory  3.5 The Rhetoric of Mourning and Glory 4 The Outward Gaze: Effective Audience Engagement Conclusion Bibliography Index

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Book SynopsisMarguerite Duras. Un théâtre de voix / A Theatre of Voices propose une relecture originale du théâtre de Marguerite Duras. Les travaux ici réunis témoignent des dernières avancées de la recherche, particulièrement dans les domaines de la voix et du son, et démontrent que le théâtre durassien est parmi les plus novateurs du vingtième siècle. Marguerite Duras. Un théâtre de voix / A Theatre of Voices presents a radical reappraisal of the plays of Marguerite Duras. Cutting-edge research, particularly in relation to the vocal and auditory dimensions of her plays, establishes Duras as a leading innovator in twentieth-century theatre.Trade Review"The writing here is refreshingly technical, preoccupied as it is with the substance of some of the intermedial and genre-defying techniques that make the author so modern and that leave her work open to new and developing modes of interpretation." -Anne Brancky, Vassar College, in H-France Review, Vol. 19, No. 252 (November 2019) "This is a rich, enterprising, and immaculately edited collection bringing together scholars and practitioners engaging with Marguerite Duras’s work for the theatre, conceived compellingly in terms of 'voices' (dramatic, textual, collaborative, authorial). [...] The final section is devoted to a fascinating interview with Duras in 1985 by Helga Finter, published for the first time in its original version and notable more for Duras’s insistence on the sacrificial nature of theatre and her passion for Chekhov than for any immediately new perspectives on her own project." -James S. Williams, Royal Holloway, University of London, in French Studies, Vol. 74, Iss. 1 (January 2020)Table of ContentsPreface Notes on Contributors Première Partie: Les Voix du texte 1 Genèse de la voix adressée dans Agatha. Du dialogue au récitatif  Joëlle Pagès-Pindon 2 Auditory Perception and Auditory Imagination in the Late Plays of Marguerite Duras  Mary Noonan 3 Marguerite Duras et la « lumière théâtrale » : scène, sens et vision dans L’Eden cinéma, Savannah Bay et La Musica deuxième  Julien Botella 4 Marguerite Duras et les variations de La Musica : parier sur l’ex-sistence et sur la relance  Laurent Camerini 5 Les ombres du jardin : La mise en scène des marginaux dans le théâtre de Marguerite Duras  Neil Malloy Deuxième Partie: Les Voix de la scène 6 Les archives sonores de L’Amante anglaise (Paris, TNP, 1969). L’enregistrement contre la mémoire ?  Marie-Madeleine Mervant-Roux 7 Perspectives dramaturgiques : l’écrit à l’épreuve de quelques mutations de la scène contemporaine  Sabine Quiriconi 8 Enjeux dramaturgiques et scénographiques de la figuration de l’invisible dans Le Théâtre de l’Amante anglaise et Savannah Bay  Aurélie Coulon 9 Negotiating Theatrical Space in Performances of Marguerite Duras’s Later Plays  Lib Taylor 10 Marguerite Duras et Claude Régy : une rencontre dans l’histoire des représentations  Quentin Rioual 11 Marguerite Duras et la Compagnie Renaud-Barrault, une rencontre féconde. Le cas de Des journées entières dans les arbres  Vincenzo Mazza Troisième Partie: Témoignages scéniques 12 Comme un battement de la page sur l’écran : silence et parole dans Nathalie Granger  Isabelle Denhez 13 Écrire pour la scène : Le silence ou comment Marguerite Duras aborde le quotidien comme force poétique  Marie-Pierre Cattino 14 Le Silence des Musica(s)  Denise Schröpfer Quatrième Partie: Entretien avec Marguerite Duras, le 9 mai 1985 15 Marguerite Duras : « Le point de fuite du théâtre, c’est moi » : Entretien avec Helga Finter le 9 mai 1985  Helga Finter Index

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Book SynopsisShakespeare as German Author, edited by John McCarthy, revisits in particular the formative phase of German Shakespeare reception 1760-1830. Following a detailed introduction to the historical and theoretical parameters of an era in search of its own literary voice, six case studies examine Shakespeare’s catalytic role in reshaping German aesthetics and stage production. They illuminate what German speakers found so appealing (or off-putting) about Shakespeare’s spirit, consider how translating it nurtured new linguistic and aesthetic sensibilities, and reflect on its relationship to German Geist through translation and cultural transfer theory. In the process, they shed new light, e.g., on the rise of Hamlet to canonical status, the role of women translators, and why Titus Andronicus proved so influential in twentieth-century theater performance. Contributors are: Lisa Beesley, Astrid Dröse, Johanna Hörnig, Till Kinzel, John A. McCarthy, Curtis L. Maughan, Monika Nenon, Christine Nilsson.Trade Review"The collection as a whole appears well-structured, coherent and highly informative and should thus be added to any future reading done by those interested in German Shakespeare Studies and/or German Translation Studies." -Form for Modern Language Studies, vol. 55, iss. 2, April 2019 "[Shakespeare as German Author] is ultimately an important and new approach to Shakespeare's reception in German culture. Shakespeare's plays are viewed as a complex case of cultural transfer in which the practices of translation, adaptation, and performances are embedded...this book [is] both rewarding and comfortable for scholars." -Peter Höyng , Emery University, in Goethe Yearbook of North America, vol. 27 (2020), pp. 374-75 "[Shakespeare as German Author] reveals the importance of early translations for the process of cultural transfer, but the chapters also chart how quickly translation becomes transformation, and the book is at its most interesting when considering the theatrical and performance contexts that move us beyond translation and towards adaptation, or even co-authorship. In doing so, the volume reveals how processes of cultural transfer not only empowered early Shakespeare reception, but continue to drive Germany’s cultural relationship with Shakespeare today." - Benedict Schofield, King's College London, in Monatshefte, vol 112, iss. 3 (2020), pp. 537-539Table of ContentsPreface Notes on Contributors 1 The “Great Shapesphere”: German Shakespeare Reception, Cultural Transfer and Translation Theory. An Introduction  John A. McCarthy 2 Johann Joachim Eschenburgs Shakespeare zwischen Regelpoetik und Genieästhetik  Till Kinzel 3 Christoph Mvartin Wielands Hamletübersetzung und ihre Bühnenwirkung: Zu Franz von Heufelds und Friedrich Ludwig Schröders Hamlet-Adaptionen  Monika Nenon 4 Übersetzung als Dialog: Christoph Martin Wielands Ein St. Johannis Nachts-Traum und August Wilhelm von Schlegels Der Sommernachtstraum  Lisa Beesley 5 Schiller zähmt Shakespeare. Der Weimarer Macbeth (1800/1801) im Licht der Kulturtranstransfer-Forschung  Astrid Dröse 6 Dorothea Tieck und Shakespeares Macbeth: Weibliche Aspekte des Kulturtransfers  Johanna Hörnig 7 Who Owns Hamlet? Gerhart Hauptmann’s Reconstruction of the Danish Prince  Curtis L. Maughan 8 Schändung, eine “Übermalung.” Botho Strauss’ theatralische Transformation einer Übersetzung  Christine Nilsson Bibliography Index

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Book SynopsisOscar Wilde in Vienna is the first book-length study in English of the reception of Oscar Wilde’s works in the German-speaking world. Charting the plays’ history on Viennese stages between 1903 and 2013, it casts a spotlight on the international reputation of one of the most popular English-language writers while contributing to Austrian cultural history in the long twentieth century. Drawing on extensive archival material, the book examines the appropriation of Wilde's plays against the background of political crises and social transformations. It unravels the mechanisms of cultural transfer and canonisation within an environment positioned — like Wilde himself — at the crossroads of centre and periphery, tradition and modernity.Trade Review"This is not only a fascinating and lucid study suitable for those interested in Wilde’s plays on the stage and in theatre history more generally, but is also ideal for those with an interest in the narratives of appropriation of literature across times and cultures." -Forum for Modern Language Studies, Volume 55, Issue 3, July 2019, Pages 355–356, 17 July 2019.Table of ContentsList of Illustrations Acknowledgements Introduction: Oscar Wilde and the Art of Creating a Great Sensation  The Stage as Meeting Place of the Arts: Charting Theoretical and Methodological Territory 1 An Artefact of Commodified Culture: Trading Wilde in the Literary Marketplace  A ‘First- Rate Theatrical Fashion Item’: Wilde En vogue in Fin-de-Siècle Vienna  More Conformist than Rebel? Wilde in the Context of Late- Nineteenth- Century Literary Culture  Writing to be Popular: Wilde as a Professional Playwright  Pleasing and Teasing the Audience: Wilde’s Society Comedies as Artistic Compromise? 2 Curtain Up: Wilde Enters the Viennese Stage  Literary Cosmopolitanism: Wilde and Fin- de- Siècle Viennese Artistic Networks  Agents of Mediation: Examples of Wilde’s Early Viennese Popularisation 3 Forging the Construct: Wilde the Playwright in Early-Twentieth-Century Vienna  “Midway between Fact and Legend”: Converging Images of Wilde’s Life and Work  Visions of Salome, Visions of Wilde: Biographical Readings of Wilde’s ‘Symbolist Relic’ on Viennese Stages  Intellectual Elegance – Elegant Intellectuality: The Early Viennese Reception of Wilde’s Society Comedies  Like a Parody Parodied: The Importance of Being Earnest in Early- Twentieth- Century Vienna 4 Consolidating the Construct: The Canonisation of Wildean Drama on Viennese Stages before 1938  A Triumph of ‘Old Theatre’: Wilde’s ‘Phosphorescent Salon Philosophy’ in the Contexts of Critical Reception and Audience Success  Viennese Theatre as Actors’ Theatre: Transforming Lady Bracknell into a ‘Woman of Some Importance’  A ‘Paradoxical Englishman’ in Vienna: Wilde Reception and National Identity  London Dandy Meets Viennese Bonvivant: The Cultural ‘Other’ in Wilde’s Comedies on Pre- World War II Viennese Stages 5 Modifying vs Preserving the Construct: The Viennese Wilde Revival after 1945  A Case of ‘Historico- Cultural Reminiscence’: Wildean Drama and Patterns of Continuity in Postwar Austrian Theatre Practice and Criticism  Classic or Déclassé: Wildean Comedy in Defence of its Canonicity  Noblesse, Nostalgia, and Viennese Bonhomie: Wilde’s Comedies at the Theater in der Josefstadt 6 Remodelling the Construct: Wildean Drama and the Politics of Disambiguation at the Turn of the Twenty- First Century  ‘Comedy Exorcism’ between ‘Punchline Pornography’ and ‘Popmodern Parody’: Elfriede Jelinek Goes Wilde  A Wild(e) Treatment: The ‘Jelinekisation’ of The Importance of Being Earnest  Viennese Travesties of Wilde: Gender Deconstruction and Neoliberal Criticism in Commercial and Fringe Wilde Productions Conclusion: Literary Reputation(s) and the Promise of Canonical Survival, or In Pursuit of the ‘Real’ Wilde Appendix: Viennese Productions of Oscar Wilde’s Works, 1903–2013 Bibliography Index

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Book SynopsisIn Modern and Contemporary Political Theater from the Levant, A Critical Anthology, Robert Myers and Nada Saab provide a sense of the variety and complexity of political theater produced in and around the Levant from the 1960s to the present within a context of wider discussions about political theater and the histories and forms of performance from the Islamic and Arab worlds. Five major playwrights are studied, ʿIsam Mahfuz, from Lebanon; Muhammad al-Maghut and Saʿd Allah Wannus, from Syria; Jawad al-Asadi, from Iraq, Syria and Lebanon; and Raʾida Taha, from Palestine. The volume includes translations of their plays The Dictator, The Jester, The Rape, Baghdadi Bath and Where Would I Find Someone Like You, ʿAli?, respectively.

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Book SynopsisMarie Vieux Chauvet’s Theatres: Thought, Form, and Performance of Revolt at once reflects and acts upon the praxis of theatre that inspired Haitian writer Marie Vieux Chauvet, while at the same time provides incisively new cultural studies readings about revolt in her theatre and prose. Chauvet – like many free-minded women of the Caribbean and the African diaspora – was banned from the public sphere, leaving her work largely ignored for decades. Following on a renewed interest in Chauvet, this collection makes essential contributions to Africana Studies, Theatre Studies, Performance Studies, Postcolonial Studies, and Global South Feminisms. Contributors are: Alessandra Benedicty-Kokken, Stéphanie Bérard, Christian Flaugh, Gabrielle Gallo, Jeremy Matthew Glick, Kaiama L. Glover, Régine Michelle Jean-Charles, Cae Joseph-Massena, Nehanda Loiseau, Judith G. Miller, Lizabeth Paravisini-Gebert, Anthony Phelps, Ioana Pribiag, Charlee M. Redman Bezilla, Guy Régis Jr, and Lena Taub Robles. This collection is a beautiful gathering of voices exploring Chauvet’s theatrical work, along with the role of theatre in her novels. The richly textured and evocatively written essays offer many new and necessary insights into the work of one of Haiti’s greatest writers. — Laurent Dubois, Marcello Lotti Professor of Romance Studies and History, Duke University. Author of Haiti: The Aftershocks of History This collection draws necessary critical attention to how theatre and performance animate the work of a key figure in Caribbean fiction and drama. Using an innovative scholarly and artistic approach, the collection incorporates leading and new voices in Haitian studies and Francophone studies on Chauvet’s depictions of revolt. — Soyica Diggs Colbert, Professor of African American Studies and Theater & Performance Studies, Georgetown University. Author of Black Movements: Performance and Cultural PoliticsTable of ContentsForeword IX  Lizabeth Paravisini-Gebert Acknowledgements Xi Notes on Contributors Xiii List of Illustrations Xix Introduction Part 1: Gestures of Black and Brown Subjectivities  1 Perceiving the Relationships in Nature: An Ecofeminist Reading of La Légende des Fleurs  Régine Michelle Jean-Charles  2 Re-staging the Haitian Revolution Narrative: The Tragic Mulatta’s Dissonance and Eziliphonics in Dance on the Volcano  Cae Joseph-Massena  3 Dirty Love: Marie Chauvet, Guy Régis Jr, and Enfleshed Performances of Revolting Subjects  Christian Flaugh Part 2: Theatres and Aesthetics: Crossings of Her Revolt  4 The Carnivalesque Theatre of Revolt in Marie Vieux-Chauvet’s Folie  Charlee M. Redman Bezilla  5 La Danse sur le volcan: Marie Chauvet Tells "Her-Story" of Theatre in Saint-Domingue at the Dawn of the Revolution  Stéphanie Bérard   Interlude: “She was a Legba”  Anthony Phelps Part 3: Actionable Thought, Policing Acts  6 “To Live with Her Revolt”: Dance on the Volcano’s Diegetic Pivot  Jeremy Matthew Glick  7 The Crime Narrative as Social Commentary: Justice and Power in Marie Chauvet’s “Birds of Prey” and Lucha Corpi’s Eulogy for a Brown Angel  Gabrielle Gallo  8 Spectacle and Surveillance in Marie Vieux-Chauvet’s Colère  Ioana Pribiag Part 4: Revolt’s Theatrical Returns  9 Theatricalizing Amour, Colère, et Folie: José Pliya “Adapts” and “Adjusts” Marie Vieux Chauvet  Judith G. Miller  10 Love: Translation of José Pliya’s Amour, as Adapted from Marie Vieux-Chauvet’s Amour, with Notes from the Translator  Lena Taub Robles  11 “To Fire”: A Process of Dramatically Adapting Depictions of Eighteenth-Century Haiti  Nehanda Loiseau  12 “Bloodied Flower”: On Translating the Burden of the Floral in Marie Chauvet’s La Légende des Fleurs  Alessandra Benedicty-Kokken  After-Words: A Dialogue with Kaiama L. Glover and Guy Régis Jr

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Book SynopsisEdward Albee as Theatrical and Dramatic Innovator offers eight essays and a major interview by important scholars in the field that explore this three-time Pulitzer prize-winning playwright’s innovations as a dramatist and theatrical artist. They consider not only Albee’s award-winning plays and his contributions to the evolution of modern American drama, but also his important influence to the American theatre as a whole, his connections to art and music, and his international influence in Spanish and Russian theatre. Contributors: Jackson R. Bryer, Milbre Burch, David A. Crespy, Ramon Espejo-Romero, Nathan Hedman, Lincoln Konkle, Julia Listengarten, David Marcia, Ashley Raven, Parisa Shams, Valentine VasakTable of ContentsNotes on Contributors Editors’ Introduction  David A. Crespy and Lincoln Konkle Designing Edward/Edward Designing: A Brief History of Edward Albee’s Role in Theatrical Design  David A. Crespy Theatrical Thanatology: Direct Address, Gestural Storytelling, and the Triple Goddess in Three Plays about Dying by Edward Albee  Milbre Burch The Glee of Vulnerability: Becoming Kin with Edward Albee’s Goat  Parisa Shams A Queer Reading of Love in Edward Albee’s Counting the Ways  Ashley Raven Albee Stages Secular Epiphany  Nathan Hedman Art Is a Hammer: Aura, Textual Awareness, and Comedy in Albee  David Marcia Affecting the Lives of “Others”: The Journey of Albee’s Plays in the Soviet Union  Julia Listengarten The (Mis)Representation of Edward Albee in Spain, 1963–2010  Ramón Espejo Romero Inside the Black Box: Albee’s Visual Aesthetics of Obscurity  Valentine Vasak “I Trap People”: An Interview with Edward Albee  Jackson R. Bryer Bibliography Index

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Book SynopsisConrad’s Drama: Contemporary Reviews and Observations collects both book reviews and performance reviews of Conrad’s three plays: The Secret Agent, One Day More, and Laughing Anne. These reviews and observations show how Conrad’s plays were received by his contemporaries. More than this, however, Conrad’s Drama reveals the larger conversations surrounding his plays: the state of British drama in the early 20th century, the role the drama critic has in a play’s reception, and the difficulty most fiction writers experience in trying to write for the stage. No other reference work exists for those studying Conrad’s plays, and this volume should prove to be an indispensable reference work for those working on this topic. Conrad’s Drama received an Honorable Mention in the Joseph Conrad Society of America’s Adam Gillon Book Prize in Conrad Studies for books published 2018-2020.Trade Review"To say that for Conradians Peterson's [sic] edition will be an essential source in their investigation of Conrad’s oeuvre seems an obvious compliment, but it will also be an invaluable tool in the hands of theatre historians and theoreticians, a precious guide to the twentieth-century tensions and discussions on art, aesthetics and sense of humour, as well as on politics. This book makes its readers ponder why Conrad’s plays were appreciated in the States and disregarded in Germany, why the context so vivid to the recalled critics disappears from the contemporality of twenty-first-century perspective, and why the interpretation of the female characters in Conrad’s plays differs so drastically between reviews—ranging from omission and neglect to placing them at the heart of the drama." - Anna M. Szczepan-Wojnarska, Cardinal Stefan Wyszyński University, Poland, in Yearbook of Conrad Studies Vol. 14, 2019 pp. 123–124 "John G. Peters has done a brilliant job in collating the reviews and observations of Conrad’s drama, exploring their reception both as works on the page and on the stage. The fact that the volume is over 450 pages long makes us realise how important this ‘obscure’ aspect of Conrad’s oeuvre truly is." - Richard J. Hand, The Conradian, 2021 "John Peters has meticulously assembled a collection of reviews and observations on Joseph Conrad’s contributions to theatre that will be welcome to scholars and students undertaking investigations in this area and may also deserve the attention of those who contemplate developments and trends in criticism." - Michael John DiSanto, Joseph Conrad Today, Fall 2021

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Book SynopsisEric Dodson-Robinson’s Revenge, Agency, and Identity from European Drama to Asian Film challenges critical readings of drama, film, and literature that downplay agency. From Attic tragedy, through Seneca and Shakespeare, and into Japanese and Korean film, the book pursues the agent of vengeance in her fury to reconstruct an identity shattered by trauma. Tragic revenge is an imaginary theater only partly encompassed by disciplines, institutions, and discourses. In this theater, violence becomes contagious and potentially transformative as performance gives birth to the agent of vengeance: a complex, emergent agent who is more than the sum of the actors, auteur, tradition, and audience, all of whom infiltrate, and strive to control, her will. The agent of vengeance, determined to outdo past exemplars, exacts traumatic excess, not equivalence.Table of ContentsIntroduction 1 The Psychic Body 2 The Body Politic 3 The Dramatic Corpus 1 Violence, Revenge, and Metaphor in Aeschylus’s Oresteia 2 Rending others: Ethical Contagio in Seneca’s Thyestes 1 Stoic Intertexts: Contagio and Ethical Agency 2 Foreclosure and the Senecan Logic of Revenge 3 Reges Scaenici 3 Failures of Language in Thomas Kyd’s the Spanish Tragedy and Their Relation to Senecan Revenge Drama 4 Self, State, and Conscience in Titus Andronicus and Hamlet 1 Self and State in Titus Andronicus 2 Self and Conscience: Hamlet 5 Karma, Revenge, Apocalypse: Ran’s Violent Victim-Agent through Japanese and Western Contexts 6 Agents of the Other in Chan-wook Park’s the Vengeance Trilogy 1 Body Politics of Mr. Vengeance: Harvesting Organs 2 The Riddle of the Chaebol 3 Park kata Aeschylou Epilogue References General Index

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Book SynopsisThis is the first edition since its original publication of Daniel Heinsius’ Latin tragedy Auriacus, sive Libertas saucia (Orange, or Liberty Wounded, 1602), with an introduction, a parallel English translation, and a commentary. Centering on the assassination of William of Orange, one of the leaders of the Dutch Revolt against King Philip II of Spain, Auriacus was Heinsius’ history drama, with which he aimed to raise Dutch drama to the level of classical drama. Highly influential, the tragedy contributed to the construction of a national identity in the Low Countries and launched Heinsius’ long career as an internationally celebrated poet and professor at Leiden University.Trade Review“The present edition is not merely a monumental study of one hitherto overlooked crucial play by a major figure in European letters. Its aesthetic vitality and political acuity open the door to a full-scale reconsideration of early modern European drama in Latin and in the vernacular languages, and further reassessment of seventeenth-century neo-Latin verse.” Nigel Smith, Princeton UniversityTable of ContentsAcknowledgments Abbreviations Introduction  1 Life and Work of Daniel Heinsius till 1602  2 Genesis and Printing of Auriacus and Its Performance  3 The Political-Historical Context  4 The Literary Context  5 Summary and Structure  6 Characters  7 Style  8 Metres  9 Reception of Auriacus  10 This Edition Text and Translation  Conspectus Siglorum  Daniel Heinsius, Auriacus Commentary Appendix I: Paratexts to Auriacus and Texts from the Iambi Added to the Play, and From Heinsius’ Seneca Edition (1601) Relevant for Auriacus Appendix II: Texts Regarding the Reception of Auriacus Index

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Book SynopsisSince the beginning of theatre history, scandals have taken place and the variety of causes, processes and types of interactions makes them an interesting object of study. Theatre scandals often indicate clashes with a dominant ideology or with the ideology of a particular group in society. Sometimes, following a scandal, the attacked ideology changes and incorporates the possibility of the aesthetics or themes that caused the clash. In this way, scandals can cause dynamic changes within cultural systems. Next to theoretical considerations the contributors, all members of the IFTR Theatrical Event Working Group, present in their various case studies a wide cultural and chronological diversity of theatre scandals, all of which were experienced as very shocking moments in theatre history.Table of ContentsContents Acknowledgements List of Illustrations Notes on Contributors Introductions 1 General Introduction Willmar Sauter and Henri Schoenmakers 2 Spreading Like Wildfire: the Genesis and Evolution of Theatre Scandals Peter Eversmann 3 Scandalous Theatrical Events: Concerns and Emotions Henri Schoenmakers Scandals Starting during Theatrical Events 4 The Hamburg Theatre Scandal of 1801: Political, Economic and Aesthetic Conflicts on Stage Martin Schneider 5 Burning the Bridge while Bridging the Gap: Riotous Pedagogy in ``The Plough and the Stars'' – Riot of 1926 Bess Rowen 6 Shit, Idealism and Contingency: Terror in God’s Theatre Janne Tapper Scandals Starting Outside and around Theatrical Events 7 The Ejima-Ikushima Scandal Tove Bjoerk 8 Scandal and Rebellion in the Theatrical Event: the Maltese Carnival of 1846 Vicki Ann Cremona 9 Why Rainer Werner Fassbinder’s Play Garbage, the City, and Death Could Not Be Performed in Germany Beate Schappach 10 Swiss-Swiss Democracy: the Making of Scandal as Play and Counter Play Andreas Kotte 11 Israeli-Palestinian Conflict on the Israeli Stage Arousing Scandal: the Case of Return to Haifa Naphtaly Shem-Tov 12 Mike Daisey’s False Witness Joshua Edelman Scandals and Beyond 13 Cleopatra – between Historical and Movie Scandals Willmar Sauter 14 Censorship as a Tool for the Prevention and Suspension of Scandals Anneli Saro 15 The School for Scandal Marvin Carlson Index

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Book SynopsisJapan on the Jesuit Stage offers a comprehensive overview of the representations of Japan in early modern European Neo-Latin school theater. The chapters in the volume catalog and analyze representative plays which were produced in the hundreds all over Europe, from the Iberian Peninsula to present-day Croatia and Poland. Taking full account of existing scholarship, but also introducing a large amount of previously unknown primary material, the contributions by European and Japanese researchers significantly expand the horizon of investigation on early modern European theatrical reception of East Asian elements and will be of particular interest to students of global history, Neo-Latin, and theater studies.Table of ContentsList of Figures Part 1: Preliminaries Introduction  Maria Maciejewska, Haruka Oba, Florian Schaffenrath and Akihiko Watanabe 1 Found in Translation: The Jesuit Japan Letters as a Source of Early Modern European Images of Japan  Patrick Reinhart Schwemmer 2 Christianomachia Iaponensis: The Japanese Martyr on Stage  Mirjam Döpfert Part 2: Geographical Overviews 3 Japanese Martyrs in French Jesuit Drama (Late Seventeenth–Early Eighteenth Century): Between Violence and Bienséance  Hitomi Omata Rappo 4 Titus Iapon on the Jesuit Stage in the Provincia Flandro-Belgica: Neo-Latin Intertextuality and the Economics of Jesuit Drama  Nicholas De Sutter and Goran Proot 5 Japan and the Japanese in Jesuit School Plays from the Bohemian Province of the Society of Jesus  Kateřina Bobková-Valentová and Magdaléna Jacková 6 Traces of Japan in Croatian Latin School Drama, 1600–1800  Nina Čengić and Neven Jovanović 7 Not Only Titus the Japanese: Japan and the Japanese on the Jesuit Stage in the Polish-Lithuanian Commonwealth in the Seventeenth and Eighteenth Centuries  Monika Miazek-Męczyńska 8 Early Christian Japanese Sources of Jesuit Theater in the Polish-Lithuanian Commonwealth  Justyna Łukaszewska-Haberkowa Part 3: Case Studies 9 Majesty and Silence: An Honorable, Bald Old Man Named Japan  Margarida Miranda 10 The Development of Jesuit Drama on Japan in Bavaria: The Historical Context of the Play Victor, Staged in Munich in 1665  Haruka Oba 11 The Japanese Senex Iratus: The Munich Victor Play  Akihiko Watanabe

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Book SynopsisEastern and Western Synergies and Imaginations: Texts and Histories is a product of east-west studies crossed with adaptation studies: it goes beyond evaluation of cultural interactions and discussion of forms and manners of adaptation. This volume brings together critical discourses from various cultural locales which have developed from and thrived on the notion of “East meets West” or “West meets East”. The 10 chapters trace and investigate cross-, trans- or multi-cultural interpretations of fictional and non-fictional narratives that feature people and events in cities and regions which thrive, or have thrived, as East-West hubs, thereby expounding multiple layers of relationship between source texts and new texts. An allegorical play, The Three Ladies of Macao, premièred in December 2016, is now published as appendix in this volume.Table of ContentsAcknowledgement List of Illustrations Notes on Contributors Introduction  Katrine K. Wong 1 “A Being … from a Different World”: Yung Wing and the Making of a Global Subjectivity  Patricia P. Chu 2 Maritime Links, Imperialism, and Diaspora in the Ibis  Shilpa Daithota Bhat 3 Utopia and History: Os Lusíadas (Camões) and Uma viagem à Índia (G. Tavares)  Helena Carvalhão Buescu 4 “Orientalism from within” in Goa: Local Textual Production in Light of the Legal and Administrative Framework of the Overseas Populations  Everton V. Machado 5 Present Absences: the East in the Story of a Port Town on the Western Coast of the Black Sea  Onoriu Colacel 6 Pragmatism and Politics Intertwined: the West, the East, the Suez Crisis, and Inter/national Hegemony in James Graham’s Eden’s Empire  Önder Çakirtas 7 A Dog of Flanders: of Triumphant Heroes and Heroic Losers  Etienne Boumans 8 Yeats, Noh Theatre, and the Traditions of Asia  Matthew Gibson 9 David Henry Hwang’s Yellow Face in Postracial Times  Keith Appler 10 Imagining Robert Wilson’s The Three Ladies of London in Macao  Katrine K. Wong Appendix: The Three Ladies of Macao (2016)  Katrine K. Wong Index

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Book SynopsisLycurgus, the king of the Thracian tribe of the Edonians, is the hero of the first attested Greek myth about the resistance against the god Dionysus. According to many scholars, Lycurgus was worshipped as a god among the Thracians, Phrygians, and Syrians. His myth might have been used as a hieros logos in the initiations into the ‘Bacchic’ and ‘Orphic’ mysteries in Greece and Rome. This book focuses on Aeschylus’ tragic tetralogy Lycurgeia and Naevius’ tragedy Lycurgus, the two most important texts that shaped the tradition of the Lycurgus myth, and offers a new and, at times, radically different interpretation of these fragmentary plays and related cultural texts.Table of ContentsAcknowledgments List of Figures Introduction  Shape of This Book 1 The Lycurgus Myth before Theatre  1.1 Iliad 6.130–140: Who Are You, My Dear?  1.2 Eumelus and the Early Dionysian Saga  1.3 Presuppositions of the Homeric Passage: All that We Will Never Know about Life, Death, and Lycurgus  1.4 Stesichorus’ fr. 276 (Finglass): The Gift of Dionysus  1.5 Conclusions 2 Aeschylus’ Lycurgeia  2.1 Introduction  2.2 Tragic Trilogy  2.3 The End of Lycurgus in Sophocles, Aeschylus, and Related Texts  2.4 Orpheus in Fabula  2.5 Reconstruction of the Lycurgeia  2.6 Lycurgus satyricus  2.7 Appendix I: Euripides’ Bacchae and Its Role in Dionysian Imagery  2.8 Appendix II: Between Lycurgus’ and Pentheus’ Iconography 3 Naevius’ Lycurgus  3.1 Fragments  3.2 Beyond Fragments  3.3 An Outline of the Plot  3.4 The Readership of Naevius 4 Lost in Translation: Lycurgus between Aeschylus, Naevius, Poetry, and the Visual Arts  4.1 From Aeschylus to Naevius  4.2 Aeschylus’ Afterlife  4.3 Plays with Lycurgus in the Title  4.4 Iconography  4.5 Instead of Conclusions  4.6 Appendix: The Location of Lycurgus’ Kingdom and the Chronology of His Myth 5 Lycurgus monocrepis  5.1 Introduction  5.2 Lycurgus’ Self-Mutilation in Greek Texts  5.3 Lycurgus’ Self-Mutilation in Latin Texts  5.4 The Iconography of Lycurgus monocrepis  5.5 The History of Research  5.6 Conclusions General Conclusions Bibliography Index

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Book SynopsisLonguement, la question de la productivité du mouvement surréaliste français sur l’œuvre de Samuel Beckett fut débattue, polarisée entre rejet et acceptation péremptoire. Cette possible influence trouve un point d’appui important dans Samuel Beckett dans les marges du surréalisme, découvrant une œuvre faite de reprises et d’emprunts de la poésie surréaliste. Par un dépouillement attentif des archives beckettiennes incluant correspondance, cahiers préparatoires et publications en revue, Bernard-Olivier Posse propose une méthode philologique mêlant analyse littéraire et perspective sociologique propice à reconsidérer la posture auctoriale de Samuel Beckett. The question of how influential the French surrealist movement has been on the work of Samuel Beckett has been debated for a long time but the answers were only made of peremptory oppositions : either rejection or acceptation. Samuel Beckett dans les marges du surréalisme aims to demonstrate the (ambiguous) way Beckett works with surrealist poetry by a play of quotations which are always repeated, always altered. Based on research on Beckettian archives such as his correspondence, preparatory notes and publications in journals, this book combines literary analysis and sociological perspective in order to understand how Beckett deals with his self-representation as a writer.Table of ContentsListe d’abréviations des œuvres de Samuel Beckett 1 Introduction 2 La méthodologie à l’estomac  1 Lecture surréaliste de Proust, lecture proustienne du surréalisme  2 Dream of Fair to Middling Women en exemple  3 Les traductions surréalistes de Beckett : du supplément à la défiguration 3 Le « less », l’objet et l’« objectless »  1 « A shape that matters » : pour une poétique du « -less »  2 « Chess game » ou « less game » : Murphy  3 « Aimant l’amour », ou le principe de falsification  4 ‘Wordshed’, ‘misdiagnosed’ et ‘indifférence’ : Beckett et la poésie 4 Transition hors et dans transition  1 Watt ou l’asile verbal : interlude littéraire  2 Interlude pictural : le surréalisme, l’hystérie et l’indéterminé 5 Mythe du dédoublement de l’origine de l’œuvre beckettienne  1 Le mythe de la double origine de l’œuvre beckettienne  2 ‘Intercessions’ selon Samuel Beckett 6 Conclusion : Beckett ou l’écriture du rocking chair Bibliographie 283 Index 295

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Book SynopsisBeckett’s Voices / Voicing Beckett uses ‘voice’ as a prism to investigate Samuel Beckett’s work across a range of texts, genres, and performance cultures. Twenty-one contributors, all members of the Samuel Beckett Working Group of the International Federation for Theatre Research, discuss the musicality of Beckett’s voices, the voice as ‘absent other’, the voices of the vulnerable, the cinematic voice, and enacted voices in performance and media. The volume engages not only with Beckett’s history and legacy, but also with many of the central theoretical issues in theatre studies as a whole. Featuring testimonies from Beckett practitioners as well as emerging and established scholars, it is emblematic of the thriving and diverse community that is twenty-first century Beckett Studies. Contributors: Svetlana Antropova, Linda Ben-Zvi, Jonathan Bignell, Llewellyn Brown, Julie Campbell, Thirthankar Chakraborty, Laurens De Vos, Everett C. Frost, S. E. Gontarski, Mariko Hori Tanaka, Nicholas E. Johnson, Kumiko Kiuchi, Anna McMullan, Melissa Nolan, Cathal Quinn, Arthur Rose, Teresa Rosell Nicolás, Jürgen Siess, Anna Sigg, Yoshiko Takebe, Michiko TsushimaTable of ContentsContents Preface and Acknowledgements List of Figures Notes on Contributors ‘All the Dead Voices’: Introduction Laurens De Vos, Mariko Hori Tanaka and Nicholas E. Johnson Listening to the Inner Voice in Watt: Innovations in Narrative Form Julie Campbell Musicality of Voices Sound Matters in Beckett Linda Ben-Zvi Revealing the Limit of Language in Relation to Music Michiko Tsushima Embers: A Polyphonic Piece for Radio Jürgen Siess Voices of an Absent Other Samuel Beckett, Quickening the ‘Dead Voices’: From Waiting for Godot to That Time Llewellyn Brown Scratching the Surface: The Dramaturgical Oxymoron in Beckett’s Silences Laurens De Vos Why Is ‘Listener’ Named ‘Souvenant’?: The Role of the Spectator in a Bilingual Reading of That Time/Cette fois Kumiko Kiuchi Un-bodied Voices, the Thing Itself and Beckett’s Neural Theatre S. E. Gontarski Voices of the Vulnerable Pacing as Repressed Memory of Embodiment and Enactment in Footfalls Svetlana Antropova ‘Rock Her Off’: The Paradoxical Tension of the Split Voice in Rockaby Teresa Rosell Nicolás Technology and the Voices of the More than Human in Beckett’s All That Fall Anna McMullan A Creamy Work: Schiller and Beckett Arthur Rose Cinematic Voices Filmic Perspectives in Speaker’s Narrative of A Piece of Monologue Mariko Hori Tanaka Cinematic Adaptations of Beckett’s Breath Anna Sigg Translating Silence: Ashish Avikunthak’s Cinematographic Version of Come and Go Thirthankar Chakraborty Enacted Voices in Performance and Media Without Colour: Beckett and the Stage Voice Nicholas E. Johnson and Cathal Quinn Beckett in Performance: The Body of a Beckettian Actor Melissa Nolan Translating Beckett’s Voices in Different Cultures Yoshiko Takebe Articulations of Voice and Medium in Beckett’s Screen Work Jonathan Bignell All That Fall as a Case Study in the Possibilities and Problematics of Re-routing Samuel Beckett’s Radio Plays for Performance in Other Media Everett C. Frost Index

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Book SynopsisIn two of his most famous plays, Britannicus and Bérénice, Racine depicts the tragedies of characters trapped by the ideals, desires, and cruelties of ancient Rome. This international collection of essays deploys cutting-edge research to illuminate the plays and their contexts. For Racine, Rome is more than a location, it is a set of values and traditions, a space of opportunity and oppression. The contributors to this volume examine Racine’s stagecraft, his exploration of time and space, sound and silence, and the ways in which he develops his own distinctive understanding of tragedy. The reception of his plays by contemporaries and subsequent generations also features. In Racine’s hands, Rome becomes a state of mind, haunted by both past and future. This book's dedicatee, Richard Parish, passed away on January 1st 2022, just before publication. We would like to dedicate this collection of essays to his memory.Table of ContentsNotes on Contributors Introduction: Racine’s Imagined Rome  Nicholas Hammond and Paul Hammond Part 1: Defining Tragedy 1 Britannicus et Bérénice : tragédies aristotéliciennes ?  Tristan Alonge 2 Britannicus, the Tragic Family, and the Problem of the Hero  John D. Lyons 3 Stones Wrapped in String: The Paths Not Taken in Racine’s Bérénice  Paul Hammond Part 2: Sound, Metatheatre, and Theatrical Space 4 ‘Mille bruits’: Listening to Britannicus  Nicholas Hammond 5 Noises Off? Bérénice’s Echo Chamber  Joseph Harris 6 Le public fragmenté de Titus : la métaphore théâtrale dans Bérénice  Delphine Calle 7 Bérénice: Disoriented in Rome  John D. Lyons 8 Staging Britannicus and Bérénice: Problems in Spatial Dynamics  Michael Hawcroft Part 3: Ambiguity, Concealment, and Duplicity 9 Naissance des monstres : Le mal et ses doubles dans Britannicus  Tony Gheeraert 10 Mendacity in Racine’s Britannicus  Emilia Wilton-Godberfforde 11 ‘D’un voile d’amitié j’ai couvert mon amour’: Homoerotic Subtexts in Bérénice  Paul Scott Part 4: Racine and His Rivals 12 Bérénice: Racine between Corneille and Barthes  Michael Moriarty 13 La Bataille des Bérénice : une concurrence repensée  Hélène Bilis 14 Pradon and the ‘Parodie de Bérénice’  Jan Clarke Part 5: Sources and Translations 15 Painting and Silence: Racine and His Classical Sources for Britannicus and Bérénice  Susan Reynolds 16 ‘If Neither Faith nor Tears nor Means Can Move’: Translating Emotion from Racine’s Bérénice (1670) to Otway’s Titus and Berenice (1676)  Suzanne Jones 17 The Place of Breath in Alan Hollinghurst’s Berenice  Denis Flannery Bibliography Index

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Book SynopsisIn T. S. Eliot’s Ascetic Ideal, Joshua Richards charts an intellectual history of T. S. Eliot’s interaction with asceticism. This history is drawn from Eliot’s own education in the topic with the texts he read integrated into detailed textual analysis. Eliot’s early encounters with the ascetic ideal began a lifetime of interplay and reflection upon self-denial, purgation, and self-surrender. In 1909, he began a study of mysticism, likely, in George Santayana’s seminar, and thereafter showed the influence of this education. Yet, his interaction with the ascetic ideal and his background in mysticism was not a simple thing; still, his early cynicism was slowly transformed to an embrace.Trade Review“In this study, Joshua Richards refuses to allow “mysticism” to stand in as a vague placeholder for complicated theology and instead offers a meticulous and revealing account of T. S. Eliot’s lifelong engagement with Christian asceticism, a key component of the Christian mystical tradition more broadly.” -Ann Marie Jakubowski, Washington University, in Time Present: The Newsletter of the International T. S. Eliot Society, vol. 103, 2021, pp. 6-17

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Book SynopsisAfter the strikingly beautiful Peony Pavilion, how could one write about love and the ideal of emotional authenticity (qing) in the chuanqi genre? This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations. By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.

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Book SynopsisDeparting from earlier studies which regarded incest as a literary topos or dramatic metaphor foregrounding political, social, or legal issues, Words and Deeds: The Spectacle of Incest in English Renaissance Tragedy argues that the presence of incest on the Renaissance stage is a strategy for the enactment of the spectator’s tragic experience. Incest is explored neither as a sin nor as a crime, but as an “unspeakable” experience filtered through dramatic words and deeds. The incitement of desire, visual pleasure, and unconscious fantasy, as well as traumatic rejection, pain, and horror, are all aspects of this paradoxical and uncanny experience. Aristotelian theory of tragedy, Freudian and Lacanian psychoanalysis, and Michel Foucault’s notions of the deployment of sexuality and alliance, concur in the analysis of plays where incest is a central or a secondary motif – Ford’s ’Tis Pity She’s a Whore, Beaumont and Fletcher’s Cupid’s Revenge, Webster’s The Duchess of Malfi – and others where incest is an effect of language and mise-en-scène – Sackville and Norton’s Gorboduc, Shakespeare’s King Lear. The variety of topics and the combination of critical perspectives makes In Words and Deeds an attractive book for students and teachers of Renaissance drama, as well as for those with a special interest in psychoanalytic and other new theoretical approaches to the literary text.Trade Review"…an impressive combination of scholarship and critical sophistication […] Erudite, closely argued, … this book will be most useful to readers seriously interested in psychoanalytic criticism or performance history." - in: MLR, 99.2 (2004), pp. 466-7 "… it offers stimulating readings of one of the most puzzling and popular motifs of the period’s literature." - in: Studies in English Literature 1500-1900, Vol. 44, No. 2 (Spring 2004)Table of ContentsAcknowledgements Introduction The Stage on Incest/Incest on the Stage: What for, Why, and How? Chapter One The Play of Incest: Toward a Poetics of Desire Chapter Two The House and the Stage Chapter Three Plots of Tyrants and the Place of Desire: Gorboduc and King Lear Chapter Four “Look Well Upon ‘t:” Incest as Tragic Spectacle in Stuart Domestic Drama Chapter Five Tragic Character: “Incestuous Persons” Postscript “An Explicable Place” Bibliography Index

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