Plays, playscripts, drama

Book SynopsisThis work explores the best of contemporary Italian theatre, from Luigi Pirandello to Massimo Bontempelli. It covers the period from the end of the 19th century to the aftermath of World War II, and includes a number of translations of plays never before published in English.Table of ContentsGabriele d'Annunzio A Spring Morning's Dream (1897), Translated by Anthony Oldcorn Filippo Tommaso Marinetti Connecting Vessels (1916), Translated by Jane House They Are Coming (1915), Translated by Victoria Nes Kirby Feet (1915), Translated by Victoria Nes Kirby Ettore Petrolini Fortunello (1915), Translated by Jane House Music for Fortunello Raffaele Viviani Via Toleda by Night (1918), Translated from the Neopolitan-Italian by Martha King Music for Via Toledo by Night Pier Maria Rosso di San Secondo Puppets of Passion (1918), Translated by Jane House Federigo Tozzi The Casting (1919), Translated by Gisolfi D'Aponte and Jane House Massimo Bontempelli, Translated by Anthony Oldcorn Dea by Dea (1925), Translated by Anthony Oldcorn Music for Dea by Dea Achille Campanile The Inventor of the Horse (1925), Translated by Laurence Senelick Italo Svevo With Guilded Pen (1926), Translated by Anthony Oldcorn Alternative Versions and Dialogue Fragments Luigi Pirandello Why? (1892), Translated by Jane House Tonight We Improvise (1930), Translated, with notes, by J. Douglas Campbell and Leonard G. Sbrocchi Eduardo De Filippo The Nativity Scene (1931-36), Translated and adapted from the Neapolitan-Italian by Anthony Molino with Paul F Alternate Version of Act 3, Translated by Anthony Molino Ugo Betti Crime on Goat Island (1946), Translated by Henry Reed Alberto Savinio Emma B. Widow Jocasta (1949), Translated by Martha King Bibliography Contributors

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Book SynopsisA collection of twenty-five essays which explore the place of the stage within the larger society, as well as issues of performance and physical space. It examines the settings in which plays were acted; and juxtaposes the theater with such contemporary subcultures as the church, the city, and the court.Trade ReviewIt is a book that every serious student of early English drama will want to own. -- Alan Somerset Medieval and Renaissance Drama in England The twenty six essays in this valuable and much-needed work focus particularly on the social and material implications of performance spaces from street to court; the ways in which religious, civic, domestic, courtly, literary, and popular expectations affected the drama [prior to 1642]; and the conditions under which plays were produced and disseminated. The collection provides an accurate and authoritative overview of the early English drama, embeds it in the historical conditions of its production, and suggests directions for future study. The bibliography, index, and play index all cover the entire book, so that one can easily locate a topic wherever it appears. ChoiceTable of ContentsIntroduction: Demanding History World Pictures, Modern Periods, and the Early Stage, by Margreta de Grazia The English Church as Theatrical Space, by John M. Wasson, A Commonty a Christmas gambold or a tumbling trick: Household Theater, by Suzanne Westfall The Universities: Early Staging in Cambridge, by Alan H. Nelson Early Staging in Oxford, by John R. Elliott, Jr. Streets and Markets, by Anne Higgins The Theaters, by John Orrell Rowme of its Own: Printed Drama in Early Libraries, by Heidi Brayman Hackel Theater and Religious Culture, by Paul Whitfield White Wonderful Spectacles: Theater and Civic Culture, by Gordon Kipling, The Theater and Domestic Culture, by Diana E. Henderson Entertainments at Court, by Graham Parry The Theater and Literary Culture, by Barbara A. Mowat Theater and Popular Culture, by Michael D. Bristol Touring, by Peter H. Greenfield Cloathes worth all the rest: Costumes and Properties, by Jean MacIntyre and Garret P.J. Epp Censorship, by Richard Dutton Audiences: Investigation, Interpretation, Invention, by Ann Jennalie Cook Rogues and Rhetoricians: Acting Styles in Early English Drama, by Peter Thomson Personnel and Professionalization, by W.R. Streitberger Playwriting: Authorship and Collaboration, by Jeffrey Masten The Publication of Playbooks, by Peter W. M. Blaney Patronage and the Economics of Theater, by Kathleen E. McLuskie and Felicity Dunsworth The Revision of Scripts, by Eric Rasmussen The Repertory, by Roslyn L. Knutson Plays in Manuscript, by Paul Werstine

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Book SynopsisPresents a collection of three "Turk" plays namely "Selimus, Emperor of the Turks"; "A Christian Turned Turk"; and "The Renegado". It represents Islamic power and wealth in scenes of piracy on the high seas, on-stage execution by strangulation, and rites of religious conversion. It is useful for understanding the English identity.Table of Contents1. Selimus, Emperor of the Turks Notes 2. A Christian Turned Turk Notes 3. The Renegado Notes

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Book SynopsisTrade ReviewA much broader representation of Yuan zaju drama than previous translations offer. What's more, the editors do a marvelous job providing ample historical sources for the plays. These rich and detailed annotations make it especially useful for teaching purposes and for general readers. -- Tian Yuan Tan, School of Oriental and African Studies, University of London This magnificent collection represents the great variety in subject and style on the early Chinese stage. Almost all the translations are based on the early-seventeenth-century versions of these plays prepared by Zang Maoxun (d. 1621), who provided his contemporary readers with carefully prepared and lavishly produced editions. Eminently readable, these editions have ensured the place of Yuan drama in late-imperial and modern literature, and for almost four centuries they have shaped Chinese and foreign readers' image of these dramas. -- Wilt L. Idema, Research Professor of Chinese Literature, Harvard University A landmark in the translation of Chinese literature. Not only are the renditions exceptionally lively, engaging, and beautifully crafted, but the thematic range of the ten plays--each accompanied by an informative introduction--illustrates the richness of the early corpus of Chinese song-drama. Meticulously annotated and responsive to the complexities of the textual history, the translations will enchant scholars, undergraduates, and general readers alike. -- Patricia Sieber, Ohio State University A joy to read. Journal of Asian StudiesTable of ContentsAcknowledgments Introduction Part 1. Historical Plays 1. Ji Junxiang, The Zhao Orphan, translated by Pi-twan Huang and Wai-yee Li The Zhao Orphan in Yuan Editions, by Wai-yee Li 2. Anonymous, Tricking Kuai Tong, translated by Wai-yee Li Part 2. Crime and Punishment 3. Anonymous, Selling Rice in Chenzhou, translated by Richard C. Hessney 4. Meng Hanqing, The Moheluo Doll, translated by Jonathan Chaves Part 3. Folly and Consequences 5. Qin Jianfu, The Eastern Hall Elder, translated by Robert E. Hegel and Wai-yee Li 6. Li Zhifu, The Tiger Head Plaque, translated by Yoram Szekely, C. T. Hsia, Wai-yee Li, and George Kao Part 4. Female Agency 7. Guan Hanqing, Rescuing a Sister, translated by George Kao and Wai-yee Li 8. Shi Junbao, Qiu Hu Tries to Seduce His Wife, translated by John Coleman, James M. Hargett, Kuan-fook Lai, Gloria Shen, and Wang Ming Part 5. Romantic Love 9. Bai Pu, On Horseback and Over the Garden Wall, translated by Jerome Cavanaugh and Wai-yee Li 10. Li Haogu, Scholar Zhang Boils the Sea, translated by Allen A. Zimmerman Bibliography

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Book SynopsisTrade ReviewA much broader representation of Yuan zaju drama than previous translations offer. What's more, the editors do a marvelous job providing ample historical sources for the plays. These rich and detailed annotations make it especially useful for teaching purposes and for general readers. -- Tian Yuan Tan, School of Oriental and African Studies, University of London This magnificent collection represents the great variety in subject and style on the early Chinese stage. Almost all the translations are based on the early-seventeenth-century versions of these plays prepared by Zang Maoxun (d. 1621), who provided his contemporary readers with carefully prepared and lavishly produced editions. Eminently readable, these editions have ensured the place of Yuan drama in late-imperial and modern literature, and for almost four centuries they have shaped Chinese and foreign readers' image of these dramas. -- Wilt L. Idema, Research Professor of Chinese Literature, Harvard University A landmark in the translation of Chinese literature. Not only are the renditions exceptionally lively, engaging, and beautifully crafted, but the thematic range of the ten plays--each accompanied by an informative introduction--illustrates the richness of the early corpus of Chinese song-drama. Meticulously annotated and responsive to the complexities of the textual history, the translations will enchant scholars, undergraduates, and general readers alike. -- Patricia Sieber, Ohio State University A joy to read. Journal of Asian StudiesTable of ContentsAcknowledgments Introduction Part 1. Historical Plays 1. Ji Junxiang, The Zhao Orphan, translated by Pi-twan Huang and Wai-yee Li The Zhao Orphan in Yuan Editions, by Wai-yee Li 2. Anonymous, Tricking Kuai Tong, translated by Wai-yee Li Part 2. Crime and Punishment 3. Anonymous, Selling Rice in Chenzhou, translated by Richard C. Hessney 4. Meng Hanqing, The Moheluo Doll, translated by Jonathan Chaves Part 3. Folly and Consequences 5. Qin Jianfu, The Eastern Hall Elder, translated by Robert E. Hegel and Wai-yee Li 6. Li Zhifu, The Tiger Head Plaque, translated by Yoram Szekely, C. T. Hsia, Wai-yee Li, and George Kao Part 4. Female Agency 7. Guan Hanqing, Rescuing a Sister, translated by George Kao and Wai-yee Li 8. Shi Junbao, Qiu Hu Tries to Seduce His Wife, translated by John Coleman, James M. Hargett, Kuan-fook Lai, Gloria Shen, and Wang Ming Part 5. Romantic Love 9. Bai Pu, On Horseback and Over the Garden Wall, translated by Jerome Cavanaugh and Wai-yee Li 10. Li Haogu, Scholar Zhang Boils the Sea, translated by Allen A. Zimmerman Bibliography

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Book SynopsisWondrous Brutal Fictions presents eight seminal works from the seventeenth-century Japanese sekkyō and ko-jōruri puppet theaters, many translated into English for the first time.Trade ReviewThe tales included in this collection fill a significant gap in our understanding of the intersection of itinerant Buddhist storytelling tradition and the early puppetry in Japanese religion and society. Kimbrough's introduction is informative and his translation is gripping and accessible... A must read. -- Jane-Marie Law Japanese Language and Literature Kimbrough has been most active as a scholar of medieval religious literature, and his erudition is evident in these excellent translations of the sekkyo classics. -- William Lee Japanese Journal of Religious Studies This collection is of great value to theatre history, religious studies, and cultural studies... [Wondrous Brutal Fictions] should be celebrated for making connections between the performative, the religious, and the textual. -- Kevin J. Wetmore, Jr. Japanese StudiesTable of ContentsAcknowledgments Notes on the Translation Introduction Sansho Dayu Karukaya Shintokumaru Oguri Sayohime Aigo-no-waka Amida's Riven Breast Goo-no-hime Appendix 1. Major Sekkyo Chanters Appendix 2. Works in This Volume Glossary Bibliography

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Book SynopsisWondrous Brutal Fictions presents eight seminal works from the seventeenth-century Japanese sekkyō and ko-jōruri puppet theaters, many translated into English for the first time.Trade ReviewThe tales included in this collection fill a significant gap in our understanding of the intersection of itinerant Buddhist storytelling tradition and the early puppetry in Japanese religion and society. Kimbrough's introduction is informative and his translation is gripping and accessible... A must read. -- Jane-Marie Law Japanese Language and Literature Kimbrough has been most active as a scholar of medieval religious literature, and his erudition is evident in these excellent translations of the sekkyo classics. -- William Lee Japanese Journal of Religious Studies This collection is of great value to theatre history, religious studies, and cultural studies... [Wondrous Brutal Fictions] should be celebrated for making connections between the performative, the religious, and the textual. -- Kevin J. Wetmore, Jr. Japanese StudiesTable of ContentsAcknowledgments Notes on the Translation Introduction Sansho Dayu Karukaya Shintokumaru Oguri Sayohime Aigo-no-waka Amida's Riven Breast Goo-no-hime Appendix 1. Major Sekkyo Chanters Appendix 2. Works in This Volume Glossary Bibliography

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Book SynopsisTrade ReviewModern Korean Drama is a long overdue publication for English-speaking readers. These plays, as the editor rightly claims, are truly representative of modern Korean drama written by Korean writers and presented for Korean audiences. Subject matter is drawn from Korean history, culture, wars, and more, yet they are written under the influence of diverse past theaters-traditional Korean performing arts, Western-influenced realism, the Korean version of the theater of cruelty, and the Theater of the Absurd. This publication is an ultimate triumph not only for the authors, translators, editor, and publisher but also for students of Korean drama and potential audiences in English-speaking theater communities. -- Oh-Kon Cho, State University of New York at Brockport If one has to pick just one book, either to be initiated into the modern dramatic tradition of Korea or to teach Korean drama in classes such as world theater or Korean cultural studies, this is the right volume.Journal of Asian Studies -- Suk-Young Kim Journal of Asian Studies Finely produced and meticulously edited.Taipei Times -- Bradley Winterton Taipei Times an invaluable reference for anyone interested in Korean theatre -- Jan Creutzenberg Acta Koreana This text will be useful to those seeking a textbook on Korean modern drama because it includes background and playable, accessible translations. Asian Theatre JournalTable of ContentsPreface Acknowledgments Editor's Notes Introduction Ch'a Pomsok, Burning Mountain (Sanbul, 1962) Pak Choyol, O Chang-gun's Toenail (O Chang-gun ui palt'op, 1974) Yi Manhui, Please Turn Off the Lights (Pul chom kko chuseyo, 1992) O T'aesok, Bellflower (Toraji, 1994) Yi Kangbaek, A Feeling, Like Nirvana (Nuggim kugnak kat'un, 1998) Pak Kunhyong, In Praise of Youth (Ch'ongch'un yech'an, 1999) Pae Samshik, Ch'oe Sunghui (Ch'oe Sunghui, 2004) Appendix: Theater in Seoul Bibliography Translators

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Book SynopsisThis condensed anthology reproduces close to a dozen plays from Xiaomei Chen’s well-received original collection, along with her critical introduction to the historical, cultural, and aesthetic evolution of twentieth-century Chinese spoken drama.Trade ReviewThe Columbia Anthology of Modern Chinese Drama's excellent selection, colloquial and stage-friendly translations, and illuminating introduction undoubtedly make the volume the authoritative choice in teaching and reading modern Chinese drama for the foreseeable future. PRI's The World Xiaomei Chen's monumental anthology of modern Chinese drama admirably fulfills a major need in the field. Students, teachers, and innovative producers will find that this impressive collection expands their cultural horizons. -- Marvin Carlson, The Graduate Center, City University of New York The Columbia Anthology of Modern Chinese Drama is a great piece of historical and analytical scholarship, evincing a breadth of history and depth of ideological critique hard to find in critics preoccupied with body and performance. The plays are not simply material for historical survey; their line-up forms an argument on China's pursuit of modernity, social justice, and equality. -- Ban Wang, Stanford UniversityTable of ContentsAcknowledgments Introduction 1. Hu Shi, The Main Event in Life (1919), translated by Edward M. Gunn 2. Tian Han, The Night the Tiger Was Caught (1922-1923), translated by Jonathan S. Noble 3. Ouyang Yuqian, After Returning Home (1922), translated by Jonathan S. Noble 4. Ding Xilin, A Wasp (1923), translated by John B. Weinstein and Carsey Yee 5. Bai Wei, Breaking Out of Ghost Pagoda (1928), translated by Paul B. Foster 6. Cao Yu, Thunderstorm (1934), translated by Wang Tso-liang and A. C. Barnes, revised translation by Charles Qianzhi Wu, with a translation of prologue and epilogue 7. Xia Yan, Under Shanghai Eaves (1937), translated by George Hayden 8. Lao She, Teahouse (1958), translated by Ying Ruocheng, revised by Claire Conceison 9. Tian Han, Guan Hanqing (1958), retranslated by Amy Dooling 10. Chen Yun, The Young Generation (1965), translated by Constantine Tung and Kevin A. O'Connor 11. Weng Ouhong and A Jia,, revised by the China Peking Opera Troupe, The Red Lantern (1970), translated by Brenda Austin and John B. Weinstein 12. Gao Xingjian, The Bus Stop (1983), translated by Shiao-Ling Yu 13. Sha Yexin, Jiang Qing and Her Husbands (1990), translated by Kirk A. Denton Glossary Contributors

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Book SynopsisCh’ae Manshik is one of the most accomplished writers of modern Korea yet is underrepresented in English translation because of the challenges posed by his distinctive voice and colloquial style.Trade ReviewSunset offers a wonderful introduction to the wide variety of writing being published in colonial and postcolonial Korea, all through the lens of the writer Ch'ae Manshik. Ch'ae is best known and loved today for his novels, but here we rediscover him as a man of many talents, whose work managed to cross the lines between popular style and social critique with great success. -- Janet Poole, author of When the Future Disappears: The Modernist Imagination in Late Colonial Korea Sunset embraces the sheer diversity of this major author's oeuvre without shying away from critical questions raised by his literary practice and politics in both the colonial and post-liberation contexts. Spanning genres and literary modes, the volume mirrors the imaginative scope and intertextuality of Ch'ae's writing and will be of great interest in the classroom and for the general reader of modern literature alike. This is a welcome addition to the expanding catalogue of Korean literature in translation. -- Christopher P. Hanscom, author of The Real Modern: Literary Modernism and the Crisis of Representation in Colonial Korea Sunset is a seminal work of translation for researchers, teachers, and students who are interested in modern Korean literature. Not only does it introduce English-language readers to an excellent selection of texts that illuminate the complexity and significance of the writings of Ch'ae, one of the most important modern Korean writers, it also sets an example for ensuing endeavors to showcase individual writers of the Korean language. -- Serk-Bae Suh, author of Treacherous Translation: Culture, Nationalism, and Colonialism in Korea and Japan from the 1910s to the 1960s A remarkable, indispensable addition to the growing English-language canon of modern Korean literature, masterfully selected and translated. Eighteen works by a virtuoso writer of satire give us extraordinary insight into various aspects of the Korean peninsula's modernity, through Ch'ae's signature style: darkly humorous and penetrating critique of all things and every viewpoint. -- Jin-kyung Lee, author of Service Economies: Militarism, Sex Work and Migrant Labor in South KoreaTable of ContentsPreface Introduction 1. Sunset 2. In Three Directions 3. Ungrateful Wretch 4. Skewered Beef 5. Egg on My Face 6. A Writing Worm's Life 7. Travel Sketches 8. Challenges Facing Today's Writers 9. Yujong and I 10. Whatever Possessed Me? A Play in One Act 11. Juvesenility 12. A Man Called Hungbo 13. My "Flower and Soldier" 14. The Grasshopper, the Kingfisher, and the Ant 15. A Three-Way Conversation on Kungmin Literature 16. Mister Pang 17. Blind Man Shim: A Play in Three Acts 18. Angel for a Day

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Book SynopsisCh’ae Manshik is one of the most accomplished writers of modern Korea yet is underrepresented in English translation because of the challenges posed by his distinctive voice and colloquial style.Trade ReviewSunset offers a wonderful introduction to the wide variety of writing being published in colonial and postcolonial Korea, all through the lens of the writer Ch'ae Manshik. Ch'ae is best known and loved today for his novels, but here we rediscover him as a man of many talents, whose work managed to cross the lines between popular style and social critique with great success. -- Janet Poole, author of When the Future Disappears: The Modernist Imagination in Late Colonial Korea Sunset embraces the sheer diversity of this major author's oeuvre without shying away from critical questions raised by his literary practice and politics in both the colonial and post-liberation contexts. Spanning genres and literary modes, the volume mirrors the imaginative scope and intertextuality of Ch'ae's writing and will be of great interest in the classroom and for the general reader of modern literature alike. This is a welcome addition to the expanding catalogue of Korean literature in translation. -- Christopher P. Hanscom, author of The Real Modern: Literary Modernism and the Crisis of Representation in Colonial Korea Sunset is a seminal work of translation for researchers, teachers, and students who are interested in modern Korean literature. Not only does it introduce English-language readers to an excellent selection of texts that illuminate the complexity and significance of the writings of Ch'ae, one of the most important modern Korean writers, it also sets an example for ensuing endeavors to showcase individual writers of the Korean language. -- Serk-Bae Suh, author of Treacherous Translation: Culture, Nationalism, and Colonialism in Korea and Japan from the 1910s to the 1960s A remarkable, indispensable addition to the growing English-language canon of modern Korean literature, masterfully selected and translated. Eighteen works by a virtuoso writer of satire give us extraordinary insight into various aspects of the Korean peninsula's modernity, through Ch'ae's signature style: darkly humorous and penetrating critique of all things and every viewpoint. -- Jin-kyung Lee, author of Service Economies: Militarism, Sex Work and Migrant Labor in South KoreaTable of ContentsPreface Introduction 1. Sunset 2. In Three Directions 3. Ungrateful Wretch 4. Skewered Beef 5. Egg on My Face 6. A Writing Worm's Life 7. Travel Sketches 8. Challenges Facing Today's Writers 9. Yujong and I 10. Whatever Possessed Me? A Play in One Act 11. Juvesenility 12. A Man Called Hungbo 13. My "Flower and Soldier" 14. The Grasshopper, the Kingfisher, and the Ant 15. A Three-Way Conversation on Kungmin Literature 16. Mister Pang 17. Blind Man Shim: A Play in Three Acts 18. Angel for a Day

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Book SynopsisThis essential collection of Andrei Platonov's plays presents The Hurdy-Gurdy, Fourteen Little Red Huts, and Grandmother's Little Hut. Written in 1930 and 1933, respectively, The Hurdy-Gurdy and Fourteen Little Red Huts constitute an impassioned and penetrating response to Stalin's assault on the Soviet peasantry.Trade ReviewPart horror story, part ideological stand-up comedy, Platonov's plays depict an absurd, nightmarish world in which hope and cynicism are inextricable. Their publication in this appropriately clever and meticulously annotated translation serves as an important contribution to our understanding of one of the twentieth century's most tragic chapters. Platonov, whose complex prose has already established him as Russia's closest equivalent to Faulkner, here emerges as a dramatist who can easily enter into conversation with Beckett. -- Eric Naiman, author of Nabokov, Perversely Absurd, grotesque and seemingly surreal, the topsy-turvy world of Platonov's plays captures the disturbing reality of Stalin's Russia in the 1930's with precision, irreverence and verbal virtuosity! The stunning translation offers a unique opportunity for English-speaking readers and audiences to encounter one of the most uncompromising and visionary Russian writers of the last century. -- Irina Brown, Opera and Theatre Director This collection of three plays by Andrei Platonov brings still more of his remarkable output to the attention of an English-language readership. Marginalized by Soviet literary officialdom, Platonov was an instinctive modernist who produced a series of prose works that are by turns hauntingly disturbing and beautiful. So too in the handful of works he wrote for the stage: in response to the grotesque Stalinist reality around him, his deformative instincts produced plays that anticipate Kharms, Becket, and Ionesco. These translations by Robert Chandler, Jesse Irwin, and Susan Larsen deftly render them in idiomatic English. -- Thomas Seifrid, author of A Companion to Andrei Platonov's The Foundation Pit I squint back on our century and I see six writers I think it will be remembered for. They are Marcel Proust, Franz Kafka, Robert Musil, William Faulkner, Andrei Platonov and Samuel Beckett... They are summits in the literary landscape of our century... What's more, they don't lose an inch of their status when compared to the giants of fiction from the previous century. -- Joseph Brodsky In Russia it is Platonov who is increasingly described as the best writer of the post-revolutionary epoch. -- Victor Erofeyev, Times Literary Supplement Platonov's little-known 1930s dramas give us a chilling snapshot of times that echo our own in curious ways... Working with fellow translators, [Robert Chandler] has brought many of Platonov's works, which were censored and suppressed during his lifetime, to Anglophone readers. -- Phoebe Taplin Russia Beyond the Headlines These vital plays are richly Russian and subversively anti-Stalin. Absurd, horror-laden and even grim, they offer an incomparably vivid porthole into that dark era of Russian history. -- Paul E. Richardson Russian LifeTable of ContentsIntroduction The Hurdy-Gurdy Fourteen Little Red Huts Grandmother's Little Hut Afterword Acknowledgments A Note on Names Notes Further Reading

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Book SynopsisThis essential collection of Andrei Platonov's plays presents The Hurdy-Gurdy, Fourteen Little Red Huts, and Grandmother's Little Hut. Written in 1930 and 1933, respectively, The Hurdy-Gurdy and Fourteen Little Red Huts constitute an impassioned and penetrating response to Stalin's assault on the Soviet peasantry.Trade ReviewPart horror story, part ideological stand-up comedy, Platonov's plays depict an absurd, nightmarish world in which hope and cynicism are inextricable. Their publication in this appropriately clever and meticulously annotated translation serves as an important contribution to our understanding of one of the twentieth century's most tragic chapters. Platonov, whose complex prose has already established him as Russia's closest equivalent to Faulkner, here emerges as a dramatist who can easily enter into conversation with Beckett. -- Eric Naiman, author of Nabokov, Perversely Absurd, grotesque and seemingly surreal, the topsy-turvy world of Platonov's plays captures the disturbing reality of Stalin's Russia in the 1930's with precision, irreverence and verbal virtuosity! The stunning translation offers a unique opportunity for English-speaking readers and audiences to encounter one of the most uncompromising and visionary Russian writers of the last century. -- Irina Brown, Opera and Theatre Director This collection of three plays by Andrei Platonov brings still more of his remarkable output to the attention of an English-language readership. Marginalized by Soviet literary officialdom, Platonov was an instinctive modernist who produced a series of prose works that are by turns hauntingly disturbing and beautiful. So too in the handful of works he wrote for the stage: in response to the grotesque Stalinist reality around him, his deformative instincts produced plays that anticipate Kharms, Becket, and Ionesco. These translations by Robert Chandler, Jesse Irwin, and Susan Larsen deftly render them in idiomatic English. -- Thomas Seifrid, author of A Companion to Andrei Platonov's The Foundation Pit I squint back on our century and I see six writers I think it will be remembered for. They are Marcel Proust, Franz Kafka, Robert Musil, William Faulkner, Andrei Platonov and Samuel Beckett... They are summits in the literary landscape of our century... What's more, they don't lose an inch of their status when compared to the giants of fiction from the previous century. -- Joseph Brodsky In Russia it is Platonov who is increasingly described as the best writer of the post-revolutionary epoch. -- Victor Erofeyev, Times Literary SupplementTable of ContentsIntroduction The Hurdy-Gurdy Fourteen Little Red Huts Grandmother's Little Hut Afterword Acknowledgments A Note on Names Notes Further Reading

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Book SynopsisAlexander Griboedov’s Woe from Wit is one of the masterpieces of Russian drama. A verse comedy set in Moscow high society after the Napoleonic wars, it offers sharply drawn characters and clever repartee, mixing meticulously crafted banter and biting social critique.Trade ReviewEnjoyable, clever, and very amusing, Woe from Wit deserves to be better-known and more widely performed beyond Russia. -- M. A. Orthofer * The Complete Review *For those of you who feel the urge to broaden your horizon of the Russian classics, Woe from Wit offers a few hours of light and satisfying entertainment that I highly recommend. * Lossi36 *A wonderfully entertaining read, with laugh-out-loud lines and memorable set pieces. * Kaggsy's Bookish Ramblings *Certain masterpieces seem to defy translation. Griboedov’s scintillating verse comedy of manners, Woe from Wit, is thought to be one of them. Betsy Hulick’s translation comes as close to nullifying that notion as any. It is accurate, sprightly, inventive, and eminently playable. She has captured the sharp characterizations and aphoristic dialogue of the original. Her version deserves to be on the same shelf as Richard Wilbur’s Tartuffe and the Cyrano of Anthony Burgess. -- Laurence Senelick, Tufts UniversityThe picture of Russia reflected in Griboedov’s great play in the nineteenth century has been brilliantly realized in Betsy Hulick’s twenty-first century translation. This paradoxically contemporary classic, with its far-seeing themes, will be a welcome contribution to the English speaking stage. -- Sergei Kakovkin, Honored Artist of the Russian Federation, playwright, director, actorFinally: an eminently stageable translation of Griboedov’s Woe from Wit! The play truly comes to life in English and the dialogue that created so many Russian catchphrases comes through as lively, effortlessly colloquial, and often hilariously funny. -- Julia Trubikhina, City University of New YorkBetsy Hulick’s recent translation is, like the original, rhymed and intended for the stage. . . the fluidity of the text has been preserved with minimal losses. -- Anna Aslanyan * Los Angeles Review Books *Those who know and love the original might have wished to see more of their favourite maxims recreated, but this buoyant English version wasn’t prepared with them in mind. It stands, and often takes to the air, on its own. -- Boris Dralyuk * Times Literary Supplement *Table of ContentsIntroduction by Angela BrintlingerTranslator’s NoteDramatis PersonaeWoe from Wit

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Book SynopsisA Couple of Soles is a classic comedic romance by the seventeenth-century playwright Li Yu. The first major comedy from late imperial China to appear in English translation, it provides an unparalleled view of the theater in seventeenth-century China.Trade Review[A] masterful translation. . . . Highly recommended. * Choice *A Couple of Soles is an entertaining example of seventeenth century Chinese drama made quite accessible to English-reading audiences. Of both literary and historical interest, and offering quite enjoyable drama, comedy, and romance, it's well worth a look. * Complete Review *Li Yu ranks among China's finest wits, yet none of his ten comedies had been translated into English. This masterful yet accessible rendition of A Couple of Soles makes, at long last, Li Yu's comic genius and theatrical ingenuity visible to students, readers, theater practitioners, and drama scholars around the world. -- Patricia Sieber, The Ohio State UniversityA Couple of Soles displays to the Anglophone world the masterful craft of the Chinese dramatist Li Yu—worthy statesman of the theater, as he was called by admirers. Sustained by extensive commentaries, informative notes, and contemporary wood-block illustrations, this edition by Jing Shen and Robert E. Hegel exemplifies the very best of translation-in-research. An excellent addition to the Asian Classics library. -- Vibeke Børdahl, Copenhagen UniversityLi Yu and his work are critical to understanding Chinese theater of his day because he insisted on writing against established conventions and wrote the single most complete guide to playwriting before the end of the imperial period in China. We should all be very grateful to the translators for their effort and care in translating this fascinating example of chuanqi drama. -- David Rolston, University of MichiganThis brilliant book combines excellent scholarship about the innovative seventeenth-century dramatist Li Yu, noted for his unrestrained speech and behavior, with a wonderful translation of one of his comedies. Both translators have established reputations in the field of Chinese drama and literature, which this book will certainly enhance. -- Colin Mackerras, Griffith UniversityAn accessible new translation of an important comic work . . . This translation would be of interest to students of Sinophone studies, dramatic literature, comparative literature, and scholars of Asian performing arts. The play serves as a welcome new resource that could be used in courses on premodern Chinese dramatic literature, comparative literature, and Asian studies, as well as for theatre artists seeking inspiration. * Asian Theatre Journal *A bold and boisterous celebration of theatricality that challenges preconceptions about traditional Chinese theater today with the same panache that it overturned widespread prejudice against actors in the seventeenth century . . . [This translation] inaugurates a host of new possibilities for the study of Chinese theater in the university classroom and beyond, and, with its emphasis on performance, adds considerable diversity to the range of chuanqi available in translation. * Journal of the American Oriental Society *Table of ContentsAcknowledgmentsNote on the TranslationIntroduction, by Jing ShenDramatis Personae and Their Role CategoriesPreface, by Wang DuanshuScenesA Couple of SolesAppendix: The Playwright and His Art, by Jing ShenNotesBibliography

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Book SynopsisThe Fragrant Companions is the most significant work of literature that portrays female same-sex love in the entire premodern Chinese tradition. It is at once an unconventional romantic comedy, a barbed satire, and a sympathetic portrayal of love between women.Trade ReviewThis engaging translation makes available in lively English the maverick playwright Li Yu’s playful and convention-defying account of romantic love between two women almost four hundred years ago. Resonating with conversations about sexuality and gender identity in our contemporary social world, this adept translation not only is poised to become indispensable reading in a range of undergraduate courses but also would lend itself well to stage adaptation. -- SE Kile, University of MichiganThis expert and highly readable translation takes readers into the world of Chinese opera by presenting a new classic, rich in literary quality, delightful in its panorama of life in seventeenth-century China, and unique in its portrayal of female same-sex romance. Li Yu is an author who deserves a worldwide readership, and this volume is a welcome addition to the growing corpus of translations of his works. -- Keith McMahon, author of Celestial Women: Imperial Wives and Concubines in China from Song to QingThe Fragrant Companions epitomizes the premodern Chinese literary fantasy of utopian polygyny with a satirical twist. Desire between women is shown to be subversive even as it smooths the operation of a male-headed, polygamous union. Li Yu's wit fully comes alive in this elegant and entertaining translation. -- Tze-lan Deborah Sang, author of The Emerging Lesbian: Female Same-Sex Desire in Modern ChinaA wonderful and long-awaited addition to the world canon of queer literature! Beautifully and accessibly rendered with a view toward stage production, Roddy and Wang’s translation of Li Yu’s female same-sex love story The Fragrant Companions is sure to intrigue academics, undergraduates, general readers, and theater professionals alike. -- Patricia Sieber, coeditor of How to Read Chinese DramaThis felicitous translation of The Fragrant Companions, with a comprehensive introduction, makes Li Yu’s most popular play accessible and should inspire stagings of the play across the English-speaking world. A lively translation with strong scholarly underpinnings, it is a tremendous achievement. -- Sophie Volpp, author of The Substance of Fiction: Literary Objects in China, 1550–1775Neatly dealing with both the passionate love between two intelligent and talented women and the Chinese examination-system, The Fragrant Companions is a rich and rewarding play that is approachable and yet also intriguingly different from much Western drama. -- M.A. Orthofer * Complete Review *Table of ContentsIntroduction: Women in Love and the Business of Men in Li Yu’s Chuanqi DramaDramatis PersonaeThe Relationship Between Role Types and CharactersNote on Editions of LianxiangbanList of ScenesThe Fragrant CompanionsAppendix: Modes and TunesNotesSelected Works on Li Yu and Same-Sex Love in Classical Chinese Fiction and DramaIndex

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Book SynopsisA timely collection of Latina performance piecesTrade Review"La Voz Latina makes visible and accessible a panoply of performance texts that show the remarkable range and ability of Latina playwrights. It demonstrates the vibrant diversity, transnational influences, and high volume of activity in Latina theatre in both the past and present."--Theatre Journal"A fine representation of the some of the most vital and important Latina playwrights writing and performing today. Publishing many plays for the first time, this significant collection will be of interest to students and scholars of theatre, Latina studies, and American studies."--Jorge Huerta, author of Chicano Drama: Performance, Society, and Myth"Apart from the performance pieces themselves, the artists' comments about the circumstances under which the works were created makes the collection a very valuable tool for documenting Latina cultural production since the 1980s."--Tamara L. Underiner, author of Contemporary Theatre in Mayan Mexico: Death-Defying ActsTable of ContentsAcknowledgments ix Introduction: Latinas Take the Stage 11. CREATING A PERFORMANCE VOICE: THEMES OF FAMILY, RELIGION, AND COMMUNITY 25 1. Milcha Sanchez-Scott's Roosters 31 2. Cherrie Moraga's Waiting for Da God 68II. CHICANAS AND CHICANO TEATRO: STAGING IDENTITY 87 3. Diane Rodriguez's The Path to Divadom, Or How to Make Fat-free Tamales in G Minor 93 4. Yareli Arizmendi's Who Buys Your Shoes? 103III. LA INDIGENA/THE INDIGENOUS: STAGING MYTH 119 5. Celia Herrera Rodriguez's Cositas Quebradas: Performance Codex 125 6. The Colorado Sisters' Chicomoztoc: Mimixcoa-Cloud Serpent 140IV. "RACE MATTERS" 165 7. Josefina Baez's Dominicanish 171 8. Evelina Fernandez's Luminarias 188V. WHERE IS HOME AND HOW DO WE GET THERE? 237 9. Carmen Pelaez's El Postre de Estrada Palma and My Cuba 239 10. Carmen Rivera's La Gringa 254 11. Migdalia Cruz's Another Part of the House 305VI. COMMENTARY ON LATINA THEATRE IN THE UNITED STATES 357 12. Contributions by Women of Color - Kathy Perkins 359 13. No Passport: Dreaming the Americas - Caridad Svich 362

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Book Synopsis'The Useless Mouths' and Other Literary Writings brings to English-language readers literary writings--several previously unknown--by Simone de Beauvoir. Culled from sources including various American university collections, the works span decades of Beauvoir''s career. Ranging from dramatic works and literary theory to radio broadcasts, they collectively reveal fresh insights into Beauvoir''s writing process, personal life, and the honing of her philosophy. The volume begins with a new translation of the 1945 play The Useless Mouths, written in Paris during the Nazi occupation. Other pieces were discovered after Beauvoir''s death in 1986, such as the 1965 short novel 'Misunderstanding in Moscow,' involving an elderly French couple who confront their fears of aging. Two additional previously unknown texts include the fragmentary 'Notes for a Novel,' which contains the seed of what she later would call 'the problem of the Other,' and a lecture on postwar French theater Trade ReviewA Choice Outstanding Academic Title, 2013. "An impressive team of experts introduces the book's 10 pieces and thoroughly annotates them. . . . This book nicely puts the philosopher's work into an expanded context for nonspecialists."--Publishers Weekly (starred review)"This engaging volume ... is the result of painstaking research and meticulous translation by a team of international scholars. . . . Essential."--Choice"English-speaking readers can now hear the subleties of a Beauvoir clearly engaged in the pursuit of defining the purpose and value of literature in her time."--H-France Review"This collection of previously untranslated pieces by Simone de Beauvoir makes available for the first time in English a variety of literary writings that are also of philosophical interest. As with previous volumes in the Beauvoir Series, "The Useless Mouths" and Other Literary Writings breaks new ground, and it will become indispensible to Beauvoir scholars."--Claudia Card, author of Confronting Evils: Terrorism, Torture, Genocide"This collection of Beauvoir's literary works not only presents us with further evidence of the importance of Beauvoir's existentialist literary style but also gives new insight into her thinking about aesthetics, existentialism, intersubjectivity, aging, and her relationship with Sartre. In addition, here we see some of her most incisive engagements with her critics and critics of existentialism more generally."--Kelly Oliver, author of Animal Lessons: How They Teach Us to Be HumanTable of ContentsForeword to the Beauvoir Series ix Sylvie Le Bon de BeauvoirAcknowledgments xiIntroduction 1 Margaret A. Simons1. The Useless Mouths (A Play) 9 Introduction by Liz Stanley and Catherine Naji2. Short Articles on Literature 89 Introduction by Elizabeth Fallaize3. Existentialist Theater 125 Introduction by Dennis A. Gilbert4. A Story I Used to Tell Myself 151 Introduction by Ursula Tidd5. Preface to La Batarde by Violette Leduc 165 Introduction by Alison S. Fell6. What Can Literature Do? 189 Introduction by Laura Hengehold7. Misunderstanding in Moscow 211 Introduction by Terry Keefe8. My Experience as a Writer 275 Introduction by Elizabeth Fallaize9 Short Prefaces to Literary Works 303 Introduction by Eleanore Holveck10. Notes for a Novel 327 Introduction by Meryl AltmanContributors 379Index 385

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Book SynopsisThe first book to consider cinematic and televisual melodrama in a broad Latin American and U.S. Latino contextTrade Review "Latin American Melodrama provides long-awaited and much needed analyses of a genre which ... is difficult to define. . . . Sadlier has succeeded in assembling an anthology that is both strongly researched and diverse in its focus. . . . A consistently powerful study of Latin American melodrama."--Studies in Latin American Popular Culture"Is effective in providing a clear analysis of the use of melodrama in building national narratives while also highlighting the ironic transnational realities of film and telenovelas."--Hispania"Welcome and long overdue addition to an established field of study."--Luso-Brazilian ReviewTable of ContentsAcknowledgments; Introduction; Film Melodrama in Latin America: A Short History; Darlene J. Sadlier; 1. Gilberto Perez; Melodrama of the Spirited Woman: Aventurera; 2. Luisela Alvaray; Melodrama and the Emergence of Venezuelan Cinema; 3. Paula Felix-Didier and Andres Levinson; The Building of a Nation: La guerra gaucha as Historical Melodrama; 4. Cid Vasconcelos; Women as Civilizers in 1940s Brazilian Cinema: Between Passion and the Nation; 5. Ismail Xavier; The Humiliation of the Father: Melodrama and Cinema Novo's Critique of Conservative Modernization; 6. Darlene J. Sadlier; Nelson Pereira dos Santos'Cinema de lagrimas; 7. Marvin D'Lugo; Luis Alcoriza or a Certain Anti-Melodramatic Tendency in Mexican Cinema; 8. Mariana Baltar; Weeping Reality: Melodramatic Imagination in Contemporary Brazilian Documentaries; 9. Catherine L. Benamou; Televisual Melodrama in an Era of Transnational Migration: Exporting the Folkloric Nation, Harvesting the Melancholic-Sublime; Notes on Contributors

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Book SynopsisTwelve of the best recent Arabic plays in lively English translations.Trade Review"... extremely valuable." -- Comparative Drama "This essential collection captures the range of exciting new plays from the Arab world." -- Chicago Tribune "... a major contribution to World drama ..." -- Essays in Theatre/Etudes theatrales "A dynamically important asset for the study of theater and drama, modern literature, the Middle East, and comparative literature ... " -- ChoiceTable of ContentsPrefaceAcknowledgmentsIntroduction by M. M. BadawiThe Balalin Company of Jerusalem Darkness'Isam Mahfuz The China TreeMamduh 'Udwan That's Life'Izz al-Din al-Madani The Zanj Revolution'Abd al-'Aziz al-Srayii' The Bird Has FlownSa'dallah Wannus The King Is the KingWalid Ikhlasi The Straight PathYusuf al-'Ani The KeySalah 'Abd al-Sabur Night TravelerAlfred Farag 'Ali Janah al-Tabrizi and His Servant Quffa'Ali Salem The Comedy of Oedipus: You've Killed the BeastMahmud Diyab Strangers Don't Drink CoffeeNotes on Authors, Translators, and EditorsArabic Titles of Plays and Authors' Names Transliterated

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Book SynopsisPresents a collection of several examples of the styles, subjects, and purposes of theatre in South Africa. This anthology features seven plays, which depict life in post-apartheid South Africa. It also provides helpful introductions to each of the seven plays, as well as a glossary of foreign terms and phrases.Trade ReviewGraver presents seven plays from the years when apartheid was falling apart. At that time, both the public and playwrights began noticing previously neglected social problems such as the oppression of black women, depicted in the plays in Kathy A. Perkins's anthology Black South African Women (CH, Sep'99). Graver casts his net wider and begins with Junction Avenue Theatre Company's Sophiatown (1988), a play treating one of apartheid's most odious evils, forced relocation. The plays that follow treat such subjects as abuse of women, poaching, and mindless bureaucracy. Particularly moving are Paul Slabolepszy's Mooi Street and Other Moves, about strangers in the big city who lose each other just when they begin to accept each other as fellow humans; Reza De Wert's Crossing, which reminded this reviewer of an Ingmar Bergman movie and is a haunting drama about ordinary people who are trying to bring some semblance of order to a chaotic world, though with mixed results; and Brett Bailey's Ipi Zombi, a powerful portrayal of how fear of witchcraft can overtake a community, overpowering both the victims and the aggressors. Recommended for libraries collecting in theater arts and studies, as well as in African literature and culture.June 2000 -- B. K. Beynen * Des Moines Area Community College *Table of ContentsAcknowledgmentsIntroductionSophiatown (1986) by Junction Avenue Theater CompanyHorn of Sorrow (1988) by Nicholas EllenbogenAnd the Girls in their Sunday Dresses (1988) by Zakes MdaMooi Street Moves (1992) by Paul SlabolepszyPurdah (1993) by Ismail MahomedCrossing (1994) by Reza de WetIpi Zombi? (1998) by Brett BaileyGlossary

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Book SynopsisFrom the 1940s to the 1980s, Yoruba popular theatre was one of the most spectacularly successful theatres in Africa. This title recounts the history of the Odin Adejo Theatre Company. It uncovers the pulse points of generation, production, and improvisation that merge when a Yoruba popular dram is brought to the stage.Trade ReviewDuring the decade of huge oil revenues (c.1975–85), scores of Yorùbá (Yoruba) troupes produced popular theater throughout southwestern Nigeria. As one element of a more general cultural efflorescence, performances entertained people in genres and language of their own choosing. Plays addressed such issues as far-reaching transformations unleashed by cash-crop farming, urbanization, [and] wage labor derived from increasing globalization, yet through popular theater, these same issues could be understood for their deeply local impacts. Barber has been an innovative leader in studies of African popular culture, and here she joins a small cadre of scholars (notably led by Johannes Fabian) in investigating culturally and historically particular expressive forms as examples of dramatic genres increasingly found throughout the continent. Using an engaging narrative style, Barber tracks the career of Oyin Adéjobí (Adejobi) , an actor, producer, and fascinating character in his own right. She details how actors were selected and trained, how plays were developed, how shows were gotten on the road, and who their audiences were. Barber is at her best in situating popular theater in contemporary culture, as Yorùbá (Yoruba) seek to understand the complex and competing demands of their evolving circumstances. Graduate students and faculty.November 2001 -- A. F. Roberts * University of California, Los Angeles *Table of ContentsPreliminary Table of Contents: AcknowledgmentsA Note on Orthography1. Introduction2. The History of a Founder, a Genre, and a Public3. The Actors4. Getting a Show on the Road5. The Generation of Plays6. The Filling Out a Play7. Audiences8. Television, Film, and Video9. The World of the Work: Place, Gender, and Politics10. Literacy, "Enlightenment," and "Tradition"11. Work, Destiny, and Self-making12. Language and the Moral Public13. Conclusion: The Lessons of ExampleAppendix 1: SynopsesAppendix 2: Yorùbá Text of a Sene from Taking Care of KúnléNotesBibliographyIndex

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Book SynopsisA premiere playwright, Edward Albee is also a gifted director. This work details Albee's directorial vision and how that vision animates his plays. It reveals how Albee has shaped his plays in performance, the attention he pays to each aspect of theatre, and how his conception of the key plays he has directed has evolved over a five-decade career.Trade ReviewAlbee in Performance is an impressive documentation of Albee's rehearsal practices that, along the way, reveals countless insights into the characters and play worlds of one of our most celebrated living playwrights.Sept 2012 * Theatre Survey *For theatre professionals as well as academics, this book is a quick and useful glimpse into the theatrical practices of Edward Albee as they reveal his own aesthetic principles. * Text & Presentation *Albee in Performance is a fascinating volume. Solomon's writing is lively . . . It is an important contribution to our understanding of Edward Albee as a man of the theatre. * Journal of Dramatic Theory and Criticism *Albee in Performance provides the most comprehensive analysis to date of Edward Albee's work directing his own plays, a topic which has received far less attention than it deserves. . . . [It] will prove of lasting benefit to literary scholars and theatre professionals as they attempt to capture Albee's original intent and interpretation of his plays. Fall 2010 * Valley Voices: A Literary Review *Rakesh Solomon's insightful study Albee in Performance appeals to a broad spectrum of readers. Scholars, teachers, and Edward Albee fans will want to read it for interpretations of characters and themes in Albee's plays. Directors and deigners will enjoy the book from the standpoint of theatrical production. Theatre students at all levels can learn about their craft from case studies of how Albee himself solved production problems. Vol. 21, No. 1, March 2011 * Theatre Topics *Fully documents Albee's choices and decisions, frequently shedding a corrective light on texts as Albee imagined them. A valuable portrait of Albee as an actor's director, influenced by, but not bound to, the American method-acting tradition. Highly recommended. * Choice *Solomon usefully contextualizes Albee in relation to Beckett, Pinter, and other dramatists for whom such totality of vision is (or was) a significant dimension of their practice. At the same time, though, one of the strengths of this book is in demonstrating just how collaborative a theatre artist Albee is. -- Stephen Bottoms * New Theatre Quarterly *A book of stunning revelations. . . . Solomon's extraordinary thirty year documentation of Albee's plays in production . . . is a major gift to directors, actors, designers, and others. . . . Albee scholars, in particular, would ignore this new study at their peril. . . . It will prove to be an indispensible source and catalyst for future Albee scholarship, and a highly influential creative guide to understanding one of America's greatest and, perhaps, most mysterious playwrights. -- David A. Crespy * Theatre History Studies *Table of ContentsContentsForeword by Edward AlbeeAcknowledgments1. Albee in the Theatre2. Casting Practices and Director's Preparation3. The American Dream4. The Zoo Story5. Fam and Yam and The Sandbox6. Box and Quotations from Chairman Mao Tse-Tung7. Who's Afraid of Virginia Woolf?8. Marriage Play9. Three Tall Women10. Albee's Double Authoring11. Albee and His Collaborators on Staging Albee: From The Zoo Story to The Goat, or, Who Is Sylvia? 1. Albee Directs Albee 2. The Lady From Dubuque 3. Who's Afraid of Virginia Woolf? 4. Albee Directs Beckett 5. Marriage Play 6. Three Tall Women 7. The Goat, or, Who is Sylvia?NotesWorks CitedIndex

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Book SynopsisWritten in 1932–1933 just after Brave New World, Now More Than Ever is a "thinker's play" written in response to the social, economic, and political upheavals of its time.Table of Contents Acknowledgments Introduction A Note on the Text Now More Than Ever Notes Bibliography

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Book SynopsisWith the full performance script and a wealth of materials for producing, teaching, and using the play to build community, The Panza Monologues reveals important truths about women and body image, as well as Chicana cultural production and its material reTable of Contents Foreword by Dr. Tiffany Ana López Muchas Many Thank-Yous to All Our Panza Allies Introducción to the Second Edition Organization of the Book One/Uno: The Panza Monologues: From Cuentos to DVD Dos/Two: Script of The Panza Monologues The Panza Monologues Glossary A Chronological Production History of The Panza Monologues Three/Tres: Tejana Topographies Un Mapa de San Antonio by Debora Kuetzpal Vasquez Introduction San Antonio Paint(ed) by Numbers Autogeographies Virginia Grise Irma Mayorga Cuatro/Four: A DIY Production Manual Introduction Guidelines, Advice, and Good Wishes for Staging a Production of The Panza Monologues Permission to Stage the Play Royalties for Staging the Play Promotional Materials for/from Your Production Notes for Staging Your Production Beyond the Play: Your Event Para que nunca más nos vuelvan a borrar: Conciencia Feminil, a Closer Look at the Practice of Panza Positive Activism Permissions and Royalty Request Sample Letter for The Panza Monologues Panza Checklist: Planning Your Production Tupperware Meets Telenovela: Panza Parties Introduction Panza Party Sample Information Email Panza Checklist: Planning Your Panza Party Contact information Five/Cinco: Pedagogy of the Panza: A Reading, Creative Writing, and Discussion Guide for The Panza Monologues Introduction Topics for Discussion and Activities Based on The Panza Monologues Before Reading/Screening After Reading/Screening Internet Research Activities Obesity in the United States Body Image Cultural Mapping Creative Writing Activities Based on The Panza Monologues Some Thoughts on Free-Writing Creating Monologues One-Liners Writing with Personal Photographs Autogeography Ten Steps for Creating Documentary-Style Theater Further Reading Panza Pilón: A Manifesto for Panza Positive Chicana Cultural Production Notes Additional Art Credits Index

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Trade Review"An outstanding book. . . . The best introduction to Chekhov, man and work, today."—Robert L. Jackson, Yale University

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Book SynopsisIt's been fifteen years since Guantanamo, fifteen years since Bashir last saw his US Army interrogator, Alice. Bashir is now dying of a disease of the liver, an organ that he believes is the home of the soul. He tracks down Alice in Texas and demands that she donate half her liver as restitution for the damage wrought during her interrogations.

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Book SynopsisA Yale Drama Series-winning play about self-defense, desire, and healing in the aftermath of a college rape Seven college students gather for a DIY self-defense workshop after a sorority sister is raped. They practice using their bodies as weapons. They wrestle with their desires. They learn the limits of self-defense. This new play by writer, director, actor, and community builder Liliana Padilla explores the intersection of sex, community, and what it means to heal in a violent world. Padilla shows how learning self-defense becomes a channel for these college students' rage, anxiety, confusion, trauma, and desire. The play examines what one wants, how to ask for it, and the ways rape culture threatens one's body and sense of belonging. It is the thirteenth winner of the Yale Drama Series prize and the second one chosen by Pulitzer Prizewinning playwright Ayad Akhtar.Trade Review“Padilla outlines the mysterious absences that rule our inner lives, give shape to our fantasies, and serve as the troubled conundrums around which our very identities come into being.”—Ayad Akhtar, from the Foreword"How To Defend Yourself is a fierce, blazingly honest, deeply original play. It asks what it means to live in a culture saturated with violence, and what it means to heal." —Naomi Iizuka, Playwright“Liliana is one of the most thoughtful and penetrating new voices I’ve encountered, and How to Defend Yourself took my breath away. It scratches at the edges of race, class, and gender, and does so with wild intelligence and heart. I love it, and can’t wait to read what they write next.”—Rachel Chavkin, Director

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Book SynopsisA compelling drama of South African apartheid and a universal coming-of-age story, from the greatest active playwright in the English-speaking world (Time).Originally produced in 1982, Master Harold and the Boys is now an acknowledged classic of the stage, whose themes of injustice, racism, friendship, and reconciliation traverse borders and time.

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