Theatre studies Books

Book SynopsisUsing Euripides' play Helen as the main point of reference, C. W. Marshall expands our understanding of Athenian tragedy and Classical performance. The book focuses on structure to reveal how directorial decisions and the assumptions held by the ancient audience shape meaning in performance.Table of Contents1. Helen and the evidence for performance; 2. Structure; 3. Protean Helen; 4. Chorus and music; 5. Andromeda; 6. Stage directions; 7. Directorial decisions; 8. The mask of beauty.

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Book SynopsisThe study of singers'' art has emerged as a prominent area of inquiry within musicology in recent years. Female Singers on the French Stage, 18301848 shifts the focus from the artwork onstage to the labour that went on behind the scenes. Through extensive analysis of primary source documents, Kimberly White explores the profession of singing, operatic culture, and the representation of female performers on the French stage between 1830 and 1848, and reveals new perspectives on the social, economic, and cultural status of these women. The book attempts to reconstruct and clarify contemporary practices of the singer at work, including vocal training, débuts, rehearsals and performance schedules, touring, benefit concerts, and retirement, as well as the strategies utilized in publicity and image making. Dozens of case studies, many compiled from singers'' correspondence and archival papers, shed light on the performers'' successes and struggles at a time when Paris was the operatic centre of Europe.Trade Review'… [an] important contribution to the history of 19th century French music, to the history of musicians, and to the history of women, whose scientific impact is likely to be felt far beyond boundaries of historical musicology.' Catherine Deutsch, translated from Revue de musicologyTable of ContentsIntroduction; 1. Beginnings; 2. The debut and the debutante; 3. Working women; 4. La Vie Bourgeoise; 5. Creating the perfect ending; Envoi.

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Book SynopsisThis book studies the idea and practice of reperformance as it affects ancient lyric poetry and drama, and especially how poets and critics use this idea to create a deep temporal sense. All chapters are informed by recent developments in performance studies, and all Greek and Latin is translated.Table of ContentsIntroduction: what is reperformance? Richard Hunter and Anna Uhlig; Part I. Interpretive Frames: 1. Archives, repertoires, bodies and bones: thoughts on reperformance for classicists Johanna Hanink; 2. Performance, reperformance, preperformance: the paradox of repeating the unique in Pindaric epinician and beyond Felix Budelmann; 3. Thebes on stage, on site, and in the flesh Greta Hawes; Part II. Imagining Iteration: 4. Reperformance, exile, and archive feelings: rereading Aristophanes' Acharnians and Sophocles' Oedipus at Colonus Mario Telò; 5. Models of reperformance in Bacchylides Anna Uhlig; 6. Mimêsis, mortality and reperformance: the dead among the living in Hecuba and Hamlet Karen Bassi; 7. Double act: reperforming history in the Octavia Erica Bexley; Part III. Texts and Contexts: 8. Festival, symposium and epinician (re)performance: the case of Nemean 4 and others Bruno Currie; 9. Comedy and reperformance Richard Hunter; 10. Performance, transmission and the loss of Hellenistic lyric poetry Giambattista D'Alessio; 11. Reperformance and embodied knowledge in Roman pantomime Ruth Webb; Reflections: Is this reperformance? Simon Goldhill.

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Book SynopsisPresupposing no specialist musical knowledge, this book offers a fresh perspective on the dramatic role of music in the plays of Shakespeare and his early seventeenth-century contemporaries. Simon Smith argues that many plays used music as a dramatic tool, inviting culturally familiar responses to music from playgoers. Music cues regularly encouraged audiences to listen, look, imagine or remember at dramatically critical moments, shaping meaning in plays from The Winter''s Tale to A Game at Chess, and making theatregoers active and playful participants in playhouse performance. Drawing upon sensory studies, theatre history, material texts, musicology and close reading, Smith argues for the importance of music in familiar and less well-known plays including Antony and Cleopatra, Othello, The Revenger''s Tragedy, Sophonisba, The Spanish Gypsy and A Woman Killed With Kindness.Trade Review'With his announced focus on 'response' Smith makes a genuinely fresh and provocative contribution to the study of early modern theatre in England and, I would argue, to sound studies and musicology. This is the perfect moment for Smith's book to be published. It will find readers among younger, boundary-changing scholars in sound-based disciplines as well as among students of Shakespeare and early modern drama.' Bruce Smith, University of Southern California'Music will no longer be conceived as somehow a pleasant interlude within a play's dramatic action. Simon's rich examination has much to say about the way we attempt to understand the period's performance and theatre. … It is fitting that a study about music in plays attains such a happy concord of substance and style.' Tom Healy, University of Sussex'Simon Smith has written an elegantly structured book, drawing its examples from a wide range of theatrical and musical sources. There are already several books on music in Renaissance drama, but he has found what I think is a new approach in his analysis of how music was thought of, in both theoretical and popular terms, and how audiences, offstage and on, respond to it.' Lois Potter, University of Delaware'This book is highly original in several ways … [it] will be an essential reference for further work on music within early modern drama and for future accounts of musical affect in the period. It will also be essential reading for those working in interdisciplinary literature and music studies or the wider field of sound studies, both of them currently expanding fields of scholarship.' University English Book Prize ReportTable of ContentsIntroduction; 1. Listening; 2. Looking; 3. Imagining; 4. Remembering; Coda.

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Book SynopsisProvides fresh perspectives on the early modern public as an audience trained by theatre. Focusing on the period 1642–1660, it offers a new take on the public of the English Revolution and fills in important blanks in the history of the English stage for theatre and literary scholars and historians.Trade Review'… this well-written book is a [must-read] to anyone interested in early modern theatricality, the English public, the Interregnum and their interactions.' Sonja Kleij, English'… the arguments at the heart of Theatre and the English Public are convincing, and the book as a whole successfully reframes debates about the relationship between theater and its publics.' Gavin Hollis, Renaissance QuarterlyTable of ContentsPrologue: theatre, theatricality and the public in early modern England; 1. Styles of the stage: addressing the public in the post-reformation period; 2. From audience to public: theatre, theatricality and the people before the Civil Wars; 3. Public performances: strategies of theatricality during the interregnum; 4. Playing with prohibition: discourses of theatre during the interregnum; Epilogue: theatre and the English public beyond the Restoration.

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Book SynopsisProviding an account of how Restoration plays were written, performed, printed, adapted and revived for modern audiences, this accessible and engaging book is of great interest to undergraduate and non-specialist readers of theatre studies, Restoration drama and English literature.Trade Review'In addition to discussions of a generous selection of plays, Roberts provides students with succinct, informative and well-paced accounts of the personnel and material circumstances of Restoration Theatre, including the actors, the managers, the theatres and the growth of print culture. There is much to admire here.' Derek Hughes, University of Aberdeen'[Roberts'] theatrical primer will be a welcome addition to any bookshelf for teachers of later seventeenth-century drama. The book's successive chapters cover almost every imaginable topic. … Roberts is particularly good at bridging his close readings of individual plays with the political, social, financial, commercial, managerial, and professional worlds these works circulated in, were shaped by, and shaped themselves.' Andrew Benjamin Bricker, Renaissance and ReformationTable of ContentsList of figures; Preface; 1. Regime change theatre; 2. The life cycle of the Restoration play; 3. Playwrights; 4. Companies; 5. Actors; 6. Playhouses; 7. Audiences and critics; 8. Texts and publishers; 9. Revivals and adaptations; Further reading; Timeline; Index.

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Book SynopsisHow did Shakespeare''s plays sound when they were originally performed? How can we know, and could the original pronunciation ever be recreated? For three days, Shakespeare''s Globe presented a production of Romeo and Juliet in original, Shakespearian pronunciation. In an unusual blend of autobiography, narrative, and academic content, David Crystal recounts the unique nature of the experience. He begins by discussing the Globe Theatre''s approach to ''original practices'', which had dealt with all aspects of Elizabethan stagecraft - except pronunciation. A large section is devoted to the nature of the Early Modern English sound system. There are reports of how the actors coped with the task of learning the pronunciation, how it affected their performances and how the audiences reacted. In this new edition, he reflects on the development of the original pronunciation movement across the world, since the Globe''s experiment.Table of ContentsPrologue Tim Carroll; 1. Idea; 2. Proposal; 3. Evidence; 4. Rehearsal; 5. Performance; 6. Consequences; Epilogue; Afterlife.

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Book SynopsisThis second volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in British, American and Continental European culture, from the Romantic period through to the Victorian fin de siècle. Here, leading scholars in the fields of literature, theatre, architecture and the history of science and popular entertainment explore the Gothic in its numerous interdisciplinary forms and guises, as well as across a range of different international contexts. As much a cultural history of the Gothic in this period as an account of the ways in which the Gothic mode has participated in the formative historical events of modernity, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From Romanticism, to Penny Bloods, Dickens and even the railway system, the volume provides a compelling and comprehensive study of nineteenth-century Gothic culture.Trade Review'… many readers of The Cambridge History of the Gothic will likely find themselves - and the Gothic - in a similarly transformed and renewed state.' Michael Gamer, Review 19'One of the great strengths of Townshend and Wright's turn to mode instead of form is that they are able to develop a truly interdisciplinary collection of essays, putting literature, history, art, architecture, and drama into conversation with one another.' Joellen Mary Delucia, Eighteenth-Century StudiesTable of ContentsIntroduction; 1. Gothic romanticism and the summer of 1816 Angela Wright and Madeleine Callaghan; 2. Fantasmagoriana: The cosmopolitan gothic and Frankenstein Maximiliaan van Woudenberg; 3. The mutation of the vampire in nineteenth-century gothic Jerrold E. Hogle; 4. From romantic gothic to Victorian medievalism: 1817 and 1877 Tom Duggett; 5. Nineteenth-century gothic architectural aesthetics: A. W. N. Pugin, John Ruskin and William Morris Alexandra Warwick; 6. Gothic fiction, from shilling shockers to penny bloods Anthony Mandal; 7. The theatrical gothic in the nineteenth century Kelly Jones; 8. 'Specterology': gothic showmanship in nineteenth-century popular shows and media Joe Kember; 9. The gothic in Victorian poetry Serena Trowbridge; 10. The genesis of the Victorian ghost story Scott Brewster; 11. Charles dickens and the gothic John Bowen; 12. Victorian domestic gothic fiction Tamar Heller; 13. The gothic in nineteenth-century Spain Xavier Aldana Reyes and Rocío Rødtjer; 14. The gothic in nineteenth-century Italy Francesca Saggini; 15. The gothic in nineteenth-century Scotland Suzanne Gilbert; 16. The gothic in nineteenth-century Ireland Christina Morin; 17. The gothic in nineteenth-century America Charles L. Crow; 18. Nineteenth-century British and American gothic and the history of slavery Maisha Wester; 19. Genealogies of monstrosity: Darwin, the biology of crime and nineteenth-century British gothic literature Corinna Wagner; 20. Gothic and the coming of the railways William Hughes; 21. Gothic imperialism at the fin de siècle Andrew Smith.

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Book SynopsisComprising twenty three essays by leading international scholars, this book is a key reference work for anyone studying twentieth and twenty-first-century Gothic, from A-level students and teachers to senior academics. Resolutely interdisciplinary in its focus, it offers unparalleled range and coverage as well as cutting-edge critical approaches.Trade Review'... the sheer scale and interdisciplinary nature of [this] project multiplies the possible applications of the Gothic mode.' Joellen Mary Delucia, Eighteenth-Century StudiesTable of ContentsIntroduction: A history of gothic studies in the twentieth and twenty-first centuries Catherine Spooner; 1. Gothic and silent cinema Stacey Abbott and Simon Brown; 2. Gothic, the great war and the rise of modernism, 1910‒1936 Matt Foley; 3. Gothic and the American south, 1919‒1962 Arthur Redding; 4. Hollywood gothic, 1930–1960 Mark Jancovich; 5. Gothic and war, 1930–91 Agnieszka Soltysik Monnet; 6. Gothic and the postcolonial moment Tabish Khair; 7. Gothic and the heritage movement in the twentieth and twenty-first centuries Emma McEvoy; 8. Gothic enchantment: The magical strain in twentieth- and twenty-first-century Anglo-American gothic David Punter; 9. Psychoanalysis and the American popular gothic, 1954–1980 Bernice M. Murphy; 10. Gothic and the counterculture, 1958‒Present Catherine Spooner; 11. Gothic television Derek Johnston; 12. Gothic and the rise of feminism Lucie Armitt; 13. Gothic, AIDS and sexuality, 1981–present Ardel Haefele-Thomas; 14. The gothic in the age of neo-liberalism, 1990‒present Linnie Blake; 15. The gothic and remix culture Megen de Bruin-Molé; 16. Postdigital gothic Marc Olivier; 17. Gothic multiculturalism Sarah Ilott; 18. Gothic, neo-imperialism and the war on terror Johan Höglund; 19. Global gothic 1: Islamic gothic Tuğçe Bıçakçı Syed; 20. Global gothic 2: East Asian gothic Daniel Martin; 21. Global gothic 3: Gothic in modern Scandinavia Yvonne Leffler; 22. The 'Bad Oikos': Gothic in an age of environmental crisis Sara L. Crosby; 23. Gothic and the apocalyptic imagination Simon Marsden.

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Book SynopsisThis volume offers the most ambitious English-language history of Polish theatre to date, ranging from the Enlightenment and Romanticism to the transformations of the 20th century. New historiographical light is shed on the emergence of canonical practitioners, actor training methods and development of dramaturgical forms and stage aesthetics.Table of Contents1. Where is Poland? What is Poland?; 1.1 The ambiguous republic Krzysztof Zajas; 1.2 The global archive and the periphery Dorota Sajewska; 2. Staropolski (old polish) theatre; 2.1 Stages and audiences of Poland between the middle ages and 1765 Agnieszka Marszałek; 2.2 Theatres of identity Mirosław Kocur; 3. The public stage and the enlightenment; 3.1 Poniatowski's national theatre: The idea and institution of enlightenment Piotr Olkusz; 3.2 The birth and death of the eighteenth-century myth of the polish public stage Dobrochna Ratajczakowa; 4.1 Romanticism Juliusz Słowacki, Zygmunt Krasiński, Cyprian Kamil Norwid Włodzimierz Szturc; 4.2 Adam Mickiewicz: Between the province and the cosmos Zbigniew Majchrowski; 5. Mapping theatre (I): 5.1 Jewish theatre in Poland Alyssa Quint and Michael Steinlauf; 5.2 Polish theatre in Vilnius Martynas Petrikas; 6. Mapping theatre (II); 6.1 German theatre in Poland until 1989 Małgorzata Leyko; 6.2 Shakespeare and/in polish theatrical cultures Aleksandra Sakowska; 7. Modernist theatre; 7.1 New ideas of theatre and their materialization Katarzyna Fazan; 7.2 Stage practices at the turn of the twentieth century Dorota Jarząbek-Wasyl; 8. Avant-Gardes; 8.1 Inter-reality: Between matter and memory in the polish Avant-Garde Agnieszka Jelewska; 8.2 Avant-Garde sound theatre Anna R. Burzyńska; 9. Theatre during the second world war Justyna Biernat and Karolina Czerska; 10. Political theatres; 10.1 The political subject Joanna Krakowska; 10.2 The politics of non-political theatre Grzegorz Niziołek; 11. Ritual theatre; 11.1 Theatre's reorigination in ritual Kris Salata; 11.2 Ritual and performance legacies Tadeusz Kornaś; 12. Actors and animants; 12.1 Actors and acting in the nineteenth century Beth Holmgren; 12.2 The actor's craft in Poland (1918–2018) Beata Guczalska; 12.3 Puppet theatre Marek Waszkiel; 13. Writing and dramaturgy; 13.1 Polish playwrights since 1900 Ewa Guderian-Czaplińska; 13.2 Theatre without playwrights Marcin Kościelniak; 14. Theatre ontologies; 14.1 No progress, no precursor Krystyna Duniec; 14.2 Homosocial relations and feminist transgressions: Theatre and patriarchy Agata Adamiecka-Sitek.

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Book SynopsisAcademic attention has focused on America''s influence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 19001940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period - from modernity and gender relations to new technology and new media - and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core.Trade Review'This virtuoso study provides valuable insights into the musical styles, business models, stars, creators and infrastructures associated with operetta during the decades surrounding the turn of the twentieth century. Scott provides salient distinctions between Viennese and Berlin operetta styles and discusses how both approaches played out in London and New York. His insights into the concepts and production systems of operetta complicate and therefore add to previous accounts of the genre. Scott's book helps us gain a deeper appreciation of this highly popular and influential part of the wider musical theatre firmament and its influence on contemporary transnational practices.' William Everett, University of Missouri, Kansas City'Considering that there are not that many new books on operetta in English, one must greet Derek B. Scott's fresh-off-the-press German Operetta on Broadway and in the West End, 1900-1940 with a big cheer … [the book] gives a clear overview of this particular field, as a good introduction that mentions many important aspects that will give students more than enough to do on their own in the years to follow.' Kevin Clarke, Operetta Research Center (www.operetta-research-center.org)'Rather than looking at the influence of American operettas on European stage productions (the customary approach), this excellent study focuses on the influence of German operettas on the stages of the West End and Broadway from 1900 to 1940.' R. Pitts, Choice'Scott's book makes an interesting contribution to existing research … The book will be of value for anyone interested in the history of the entertainment industries and of inter-urban cultural transfers in the first half of the twentieth century, and provides a fresh take on the cultural history of transatlantic exchanges.' Antje Dietze, H-UrbanTable of ContentsIntroduction; Part I. The Production of Operetta: 1. The music of operetta; 2. Cultural transfer: translation and transcreation; 3. The business of operetta; 4. Directors, designers and performers; Part II. The Reception of Operetta: 5. The reception of operetta in London and New York; 6. Operetta and intermediality; 7. Operetta and modernity; 8. Operetta and cosmopolitanism; Postlude: the demise of operetta; Appendix 1. Productions of operetta from the German stage on Broadway and in the West End; Appendix 2. Longest runs of operetta from the German stage on Broadway and in the West End; Appendix 3. Operettas with English librettos by composers for the German stage; Appendix 4. Selected period recordings of English versions of operetta from the German stage; Appendix 5. Selected films in English of operettas from the German stage; Appendix 6. Research resources.

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Book SynopsisBetween 1895 and 1922 the Anglo-American actor and manager, Maurice E. Bandmann (18721922) created a theatrical circuit that extended from Gibraltar to Tokyo and included regular tours to the West Indies and South America. With headquarters in Calcutta and Cairo and companies listed on the Indian stock exchange, his operations represent a significant shift towards the globalization of theatre. This study focuses on seven key areas: family networks; the business of theatrical touring; the politics of locality; repertoire and publics; an ethnography of itinerant acting; legal disputes and the provision of theatrical infrastructure. It draws on global and transnational history, network theory and analysis as well as in-depth archival research to provide a new approach to studying theatre in the age of empire.Trade Review'The theatrical enterprises of Maurice E. Bandmann played, at the start of the twentieth century, a highly significant role in promoting Western plays, musical comedies and revues throughout Asia, but they have been hitherto overlooked by historians. Christopher B. Balme has, through ingenious and thorough research, reconstituted the manifold activities of this pioneering manager. More importantly, he has situated them as a hub from which to explore such matters as global networks, transnational commerce, intercultural relations, playhouse architecture, and the diffusion of taste. His enquiries open out into thought-provoking analyses that stretch far beyond theatre itself. The result is an engrossing and intellectually stimulating study which is bound to open up new directions in theatre scholarship, much as Bandmann blazed trails in India and the Far East.' Laurence Senelick, Fletcher Professor of Drama and Oratory, Tufts University'This ground-breaking study provides new insights into theatrical touring in an age of globalization, particularly across the Asian continent, and the networks that made it possible. Focussing on the circuit developed by Maurice E. Bandmann in the late-nineteenth and early-twentieth century, it charts the impact of economics and politics on touring theatre and its structures, while also investigating managerial practices, performer and spectator experience, and the types of repertoire presented. Balme's informative and carefully researched book is an important addition to our understanding of transnational theatre practices and networks in a period of significant change and increasing internationalisation.' Jim Davis, University of WarwickTable of ContentsIntroduction; 1. Family networks; 2. Mobile enterprises; 3. The micropolitics of locality; 4. Repertoires and publics; 5. Transported actors; 6. Contested contracts; 7. Infrastructure: from theatre to cinema; 8. Legacies.

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Book SynopsisThis urgent and provocative study explores contemporary Shakespeare performance to bring a sense of theatre as technology into view. Rather than merely using technologies, the theatre''s distinctively intermedial character is essential to its complex technicity; the changing function of gesture and costume, of written documents in the making of performance, of light and sound, and of the interplay of live and recorded acting complicate the sense of theatre as a medium. In a series of probing discussions, Worthen interrogates the interaction of live and mediated acting onstage, the impact of written media from the handwritten scroll to the small-screen app in acting as a techne, the work of Original Practices as an interactive modern theatre technology, the economies of theatrical immersion, and the consequences of an emerging algorithmic theatre, providing a richly theoretical reading of the stakes of theatre as an always-emerging technology.Trade Review'Worthen's book encompasses a dazzling variety of texts, performances, and productions and draws from various theories of theater as well as of technology … Worthen's analysis suggests many exciting areas of exploration—not only about technologies of dramatic theater in particular, but also in any area where technologies assist in representation or the creation of meaning.' Sarah Kriger, Technology and Culture'Shakespeare, Technicity, Theatre is a masterful book that, against all odds, reveals contemporary Shakespeare performance to be ground zero for any critical conversation about theater and technology.' Gina Bloom, Renaissance Drama'Worthen's monograph provides a fresh examination of the various ways that performance involves technicity, which demarcate theater as an ever-emerging technology for performance studies and Shakespeare scholars. It embraces the techne of Shakespearean performance—including algorithms as a form of mimesis, digital applications as a medial element of theatricality, and recording—as sites of virtual intersection, through which performance powerfully affects cultural democracy and ethical obligations among its contemporary audiences.' Nikki Ruolo, Shakespeare Quarterly'W. B. Worthen's latest book boldly argues for fundamental changes to how theatre scholars analyze the use of technology in theatre and performance…' Amy Borsuk, Theatre JournalTable of Contents1. Introduction: theatre, medium, technology; 2. The face, the mask, the screen: acting and the technologies of the other; 3. Shax the app; 4. Interactive remediation: Original Practices; 5. Designing the spectator; 6. And or and not: recoding theatre.

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Book SynopsisAphra Behn (1640-1689) is renowned as the first professional woman of literature and drama in English. Her career in the Restoration theatre extended over two decades, encompassing remarkable generic range and diversity. Her last five plays, written and performed between 1682 and 1696, include city comedies (The City-Heiress, The Luckey Chance), a farce (The Emperor of the Moon), a tragicomedy (The Widdow Ranter), and a comedy of family inheritance (The Younger Brother). These plays exemplify Behn''s skills in writing for individual performers, and exhibit the topical political engagement for which she is renowned. They witness to Behn''s popularity with theatre audiences during the politically and financially difficult years of the 1680s and even after her death. Informed by the most up-to-date research in computational attribution, this fully annotated edition draws on recent scholarship to provide a comprehensive guide to Behn''s work, and the literary, theatrical and political history of the Restoration.Trade Review'This is an encyclopaedic edition, with a full command of modern historical scholarship and of contemporary plays, pamphlets and polemics … Behn's is a witty, humorous, indignant, but pessimistic and truly distinctive voice. This fine edition allows it to be heard clearly for our time and, with luck, will lead to more performances of her plays. In the meantime, one thing is sure: that Aphra Behn would have relished the new attention and publicity it brings and, since she complained about the negligence of her printers, the extreme care of the production.' Derek Hughes and Janet Todd, The Times Literary Supplement'No doubt this richly annotated collection will facilitate a wealth of further inspiring discussion on Behn in the future.' Amelia Mills, Women's Writing'an impressive production that does full justice to Behn's now canonical status… this first glimpse into the Cambridge Edition offers a refreshing presentation of Behn's oeuvre, setting her texts in light of recent scholarly interests and in a wealth of contextual detail regarding Restoration English culture that has become increasingly available in recent years … the series promises to become not only the indispensable scholarly resource for all serious research on Behn, but also an indispensable collection for all serious research on Restoration culture.' The Review of English StudiesTable of ContentsIntroduction; Editorial Conventions; 1. The City-Heiress; 2. The Luckey Chance; 3. The Emperor of the Moon; 4.The Widdow Ranter; 5. The Younger Brother.

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Book SynopsisKeren Zaiontz is Assistant Professor and Queen's National Scholar in the Department of Film and Media and the Cultural Studies Graduate Program at Queen's University, Canada.Trade ReviewFrom mega and macro to micro and manifestivals, Theatre & Festivals insightfully probes the social and cultural work performed by these all-pervasive celebratory events. * Ric Knowles, University of Guelph, Canada *Zaiontz sweeps us right into the brimming intersectionalities of theatre makers and festival wanderers, to the bounded event and its unruly edges. * Angela Marino, UC Berkeley, USA *Table of ContentsIntroduction 1. The Myth of Opposition 2. Play and Practicality 3. The Festival in the Marketplace Conclusion Further Reading Index.

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Book SynopsisSweeney Todd, the gruesome tale of a murderous barber and his pastry chef accomplice, is unquestionably strange subject matter for the musical theatre and yet its eight Tony awards and enormous successes on Broadway and the West End testify to an enduring popularity with audiences. Written by Hugh Wheeler, with music and lyrics by Stephen Sondheim, the musical premiered in 1979 and has seen numerous revivals, including Tim Burton''s 2007 film version. Aaron C. Thomas addresses this darkly funny piece with fitting humour, taking on Sweeney Todd's chequered history and genre; its treatment of violence and cannibalism; and its sexual politics. Table of Contents1: The throat that gleams; 2: The throat that sings; 3: The throat that bleeds; 4: The throat that swallows

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Book SynopsisMary Robinson’s work has begun again to assume a central place in discussions of Romanticism. A writer of the 1790’s—a decade which saw the birth of Romanticism, revolution, and enormous popular engagement with political ideas—Robinson was acknowledged in her time as a leading poet. Her writing exhibits great variety: charm, theatricality, and emotional resonance are all characteristics Robinson displays. She was by turns a poet of sensibility, a poet of popular culture, a chronicler of the major events of the time, and a participant in some of its chief aesthetic innovations. This long-awaited collection is the first critical edition of her poems.Trade Review“Mary Robinson was one of the most significant authors of the Romantic era; her poetic vision is in many ways a counterpoint to that of Samuel Taylor Coleridge and William Wordsworth. At last, this expertly edited, well researched and affordable edition makes Robinson’s innovative and influential poetry accessible again to a wide audience. It is a superb selection which gives a fully rounded view of Robinson’s poetic production.” — Paula Feldman, University of South Carolina“This rich and varied selection of poems, letters and reviews, centered and guided by Judith Pascoe’s rich and sympathetic scholarship, amply illustrates why Mary Robinson is so crucial a figure for understanding the development of English verse between the eighteenth and nineteenth centuries. With its range and inclusiveness, its authentic artistic claims, and its scholarly weight, Mary Robinson: Selected Poems is an edition to be universally celebrated as repaying a long overdue debt, and with generous interest. Even in Broadview’s exemplary list of recovered literature, it is a standout, a truly major accomplishment.” — Stuart Curran, University of PennsylvaniaTable of ContentsAcknowledgementsA Note on the Texts and IllustrationsList of IllustrationsIntroductionMary Darby Robinson: A Brief ChronologyFrom Poems (1775)A Pastoral ElegyThe Linnet’s PetitionLetter to a Friend on Leaving TownFrom Poems (1791)Ode to the MuseOde to MelancholyOde to the NightingaleOde to Delia CruscaLines to Him Who Will Understand ThemLines Inscribed to P. De Loutherbourg, Esq. R.A.The Adieu to LoveStanzas to FloraOberon to the Queen of the FairiesSonnet. Written Among the Ruins of an Ancient Castle inGermany, In the Year 1786Ainsi va le MondeFrom Poems (1793)SightThe ManiacA Fragment, Supposed to be Written Near the Temple, at Paris, on the Night Before the Execution of Louis XVIStanzas. Written After Successive Nights of Melancholy DreamsStanzas. Written Between Dover and Calais, in July, 1792Marie Antoinette’s Lamentation, in Her Prison of the TempleOde to RaptureStanzas to a Friend,Who Desired to Have My PortraitSappho and Phaon (1796)PrefaceTo the ReaderAccount of SapphoSappho and PhaonSonnet IntroductorySonnet IISonnet IIISonnet IVSonnet VSonnet VISonnet VIISonnetVIIISonnet IXSonnet XSonnet XISonnet XIISonnet XIIISonnet XIVSonnet XVSonnet XVISonnet XVIISonnet XVIIISonnet XIXSonnet XXSonnet XXISonnet XXIISonnet XXIIISonnet XXIVSonnet XXVSonnet XXVISonnet XXVIISonnet XXVIIISonnet XXIXSonnet XXXSonnet XXXISonnet XXXIISonnet XXXIIISonnet XXXIVSonnet XXXVSonnet XXXVISonnet XXXVIISonnet XXXVIIISonnet XXXIXSonnet XLSonnet XLISonnet XLIISonnet XLIIISonnet XLIV. ConclusiveLyrical Tales (1800)All AloneThe Mistletoe, a Christmas TaleThe Poor, Singing DameMistress Gurton’s Cat, a Domestic TaleThe Lascar. In Two PartsThe Widow’s HomeThe Shepherd’s DogThe FugitiveThe Haunted BeachOld Barnard, a Monkish TaleThe Hermit of Mont-BlancDeborah’s Parrot, a Village TaleThe Negro GirlThe Trumpeter, an Old English TaleThe Deserted CottageThe Fortune-Teller, a Gypsy TalePoor MargueriteThe Confessor, a Sanctified TaleEdmund s WeddingThe Alien BoyThe Granny Grey, a Love TaleGolfre, a Gothic Swiss TaleUncollected poems from newspapers and magazines:To Sir Joshua ReynoldsSonnet to Mrs. Charlotte Smith, on Hearing That Her Son Was Wounded at the Siege of DunkirkStanzasAll For-LornThe CampGreat and Small!Poems that were incorporated into The Progress of LibertyThe Birth-Day of LibertyThe Progress of LibertyThe Horrors of AnarchyThe VestalThe MonkThe DungeonThe Cell of the AtheistThe AfricanThe Italian PeasantryHarvest HomeFrom The Poetical Works (1806)Ode to the Snow-dropOde Inscribed to the Infant Son of S.T. Coleridge, Esq.To the Poet ColeridgeThe Savage of AveyronThe Birth-DayThe Summer DayThe Wintry DayOn Leaving the Country for the Winter Season, 1799Oberon’s Invitation to TitaniaTitania’s Answer to OberonJasperLondon’s Summer MorningThe Poet’s GarretJanuary, 1795Impromptu Sent to a Friend Who Had Left His Gloves, by Mistake, at the Author’s House on the Preceding EveningModern Male FashionsModern Female FashionsAppendix A: Three letters of Mary RobinsonTo John Taylor, 5 October 1794To William Godwin, 24 August 1800To Jane Porter, 27 August 1800Appendix B: Samuel Taylor Coleridge’s poems in response to RobinsonThe Apotheosis, or the Snow-DropAlcaeus to SapphoA Stranger MinstrelAppendix C: Reviews of Robinson’s poetryReview of Poems (1791) in the Critical ReviewReview of Sappho and Phaon (1796) in the English ReviewReview of Lyrical Tales (1800) in the Monthly ReviewReview of The Poetical Works of the Late Mrs. Mary Robinson (1806) in the Annual Review Appendix D: Publication histories of Robinson’s poemsBibliographyList of changesIndex of first linesIndex of titles

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Book SynopsisA convenient teacher''s guide that parallels the original text. Features: A test or quiz for all major units; Test and quiz keys provide answers and detailed descriptions for evaluating essay responses; Illustrations and diagrams simplify concepts and define specifics; Every test, quiz and worksheet is ''camera-ready'' for reproduction of copies; Every unit is indexed by page number on contents page.

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Book SynopsisEveryone in theatre knows his name but only a few know Stanislavsky''s last work. He died before writing any of his final discoveries for print. Only his colleagues and their pupils knew them. They are the ones, since 1938, who have been refining Stanislavsky''s final ideas of modern theatre. Now, finally this book summarises these last concepts in an orderly text for teachers and students. In six comprehensive chapters the authors reveal Stanislavsky''s method to help actors to transform themselves into believable and fascinating stage characters.

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Book SynopsisA readable, workable text that deals with everything about theatre and the artists who make theatre possible. Styles of drama, staging, production, directing and acting, along with all backstage functions are defined in detail. Theatre history and the business of theatre are covered fully for the use of both students and instructors.

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Book SynopsisSuccess assured -- for every show YOLI direct or produce! Written from 37 years of drama teaching experience, this book provides detailed, step-by-step information, examples and suggestions about how to direct a school drama program without mistakes, trouble or delay. The nineteen chapters cover everything: play selection, tryouts, rehearsals, costuming, props, lighting, publicity and final performance. To further clarify each step, examples are provided with illustrations, photos and proven ideas. Reproducible handouts and forms are also included together with a list of many additional resources. Whether you are a seasoned drama director or a beginner, you will find this book to be an invaluable aid. It will banish your stress and guarantee your success!

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Book SynopsisHow can a teacher without theatrical experience teach a course in theatre arts? How can a teacher inspire self-conscious students to perform before an audience? This book of activities is designed to build confidence in each student with non-threatening evaluations along the way. This drama text begins with basic group games and gradually expands to more challenging exercises. Emphasis on group and individual activity build verbal and non-verbal communication skills.

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Book SynopsisSo fresh and welcoming! What a different kind of guide this book is! Learn everything you need to know about play production for children from a Disney film playwright and parent producer-director. She tells it all in a breezy, fun style from her own personal experiences. It tells teachers and parents how to assist kids in staging a play step by step and week by week. This book travels with adults and children through the exhausting, exhilarating, and magical world of theatre. Within its twelve chapters it tells you how to choose a play or write your own. You will cast, block, design simple sets and costumes, plan rehearsals, recruit parent volunteers, and discover how to create a smash hit. Included are forms and checklists so you don''t forget anything. Inspirational trivia, photographs, and do-able instructions all presented with warmth and humour. The book is full of anecdotes to charm and encourage from the start to the closing curtain and the outrageously delightful applause from everyone.

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Book SynopsisThis sequel to the popular "The Theatre Audition Book" features over 130 monologues from classical, Shakespeare, period, modern, and contemporary plays and a new chapter on musical theatre and the medium, including commercial and film auditions. The monologues -- some taken from non-dramatic sources like novels and poems -- are organised by historical times and provide an overview of acting styles and audition expectations for playing each time period. The collection features well-known playwrights including Ntozake Shange, Athol Fugard, Christopher Durang, John Patrick Shanley, Edward Albee, August Wilson, Beth Henley, Terrence McNally, and Paula Vogel -- and a number of exciting new writers who have contributed original monologues written especially for classroom study and performance. There are also a number of original duologues and musical monologues from standard classics -- The Man of La Mancha, Big River, and You''re a Good Man, Charlie Brown.

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Book SynopsisA handbook of detailed step-by-step information, examples, and suggestions for directing a school theatre program.

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Book SynopsisThis book invites the interaction of the whole class in the process of creating mystery plays.

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Book SynopsisLike with the first volume, teachers will love having the entire Student Workbook in this teachers guide, along with over 80 additional pages of helpful information and tips, grading forms and scoring rubrics, student activities, and more. The second edition of the Teachers Guide is also better laid out with the notes to the teacher now appearing alongside the corresponding student page. No more flipping back and forth between pages! Finally, this guide, which makes teaching theatre arts easy and fun for everyone, contains three extensive special chapters: The Valuable Theatre Program, Theatre for Unique Learners, and Theatre for Students Who Are Learning a New Language. Whether you use this text as a full-year curriculum, pick and choose activities for a semester-long class, or simply supplement your own units with these materials, this best-selling textbook is a must-have resource!

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Book SynopsisBurgoyne and Downey''s text in Script Analysis covers all aspects of the traditional course, but in a framework that extends the subject beyond the needs of this course. While instructing students in the process of turning a written text into a performance, it uses the broad tool of critical thinking to provide students with tools that they will then be able to use in theater as well as in their studies in other courses -- as well as in their lives. Bringing the higher level thinking skills to script analysis enlivens the course while broadening its appeal to students who may well come from outside the theater major.The tools brought to bear throughout the book include challenging misconceptions, structuring the thought process, drawing from everyday life examples, carefully building skills one upon another as the student masters them, encouraging students in group work, and providing direction in managing the student''s thought and creative processes. The book thus uses the scope of script analysis to improve skills in close reading, critical thinking, effective writing, productive group work, and "mental management."

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Book Synopsis"Experiencing Theatre completely engages the beginning theatre student in the art of theatre. Students become playwrights, dramaturges, actors, directors, designers, adapters and collaborators though dynamic readings and excercises. This text gives them a great awareness of the work of being a theatre artist. Teachers have long strived towards creating these opportunities for their Intro students--finally a text that will make it happen." --Barbara Burgess-Lefebvre, Robert Morris University

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Book SynopsisPrudence Steiner's lively prose translations remain close to the original French, giving us the speech of the characters in a slightly compressed and formalized language that echoes the effect created by Moliere's verse.Roger Herzel's thoughtful Introduction discusses Moliere's life; Tartuffe, The Misanthrope, and the comic tradition; and the setting, casting, and style of the plays.Trade Review"The new Steiner Tartuffe offers welcome relief from all the rhymed translations that make Molière sound like a third-rate Restoration poet while creating the (false) impression that verbal dexterity and wit trump all other values in the great comic playwright's dramaturgy. Steiner's crisp, lucid prose--her adroitly balanced sentences are especially effective at conveying the slippery rhetoric of Tartuffe's seductions--unfolds the plot and characters of Molière's play with an unaccustomed clarity, presenting the ideological clashes of the play with a bluntness many other translations attenuate." —Jim Carmody, Professor of Theatre History, Department of Theatre and Dance, University of California, San Diego"Prudence Steiner has produced an excellent prose translation of The Misanthrope that respects the internal dynamics of the text while capturing admirably the feel of the French text in English. The translation succeeds in conveying both the texture of the world of Louis XIV and a modern feel that will particularly appeal to young audiences." --Florent Masse, Director, L'Atelier, The French Theater Workshop, Princeton University

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Book SynopsisPrudence Steiner's lively prose translations remain close to the original French, giving us the speech of the characters in a slightly compressed and formalized language that echoes the effect created by Moliere's verse.Roger Herzel's thoughtful Introduction discusses Moliere's life; Tartuffe, The Misanthrope, and the comic tradition; and the setting, casting, and style of the plays.Trade Review"The new Steiner Tartuffe offers welcome relief from all the rhymed translations that make Molière sound like a third-rate Restoration poet while creating the (false) impression that verbal dexterity and wit trump all other values in the great comic playwright's dramaturgy. Steiner's crisp, lucid prose--her adroitly balanced sentences are especially effective at conveying the slippery rhetoric of Tartuffe's seductions--unfolds the plot and characters of Molière's play with an unaccustomed clarity, presenting the ideological clashes of the play with a bluntness many other translations attenuate." —Jim Carmody, Professor of Theatre History, Department of Theatre and Dance, University of California, San Diego"Prudence Steiner has produced an excellent prose translation of The Misanthrope that respects the internal dynamics of the text while capturing admirably the feel of the French text in English. The translation succeeds in conveying both the texture of the world of Louis XIV and a modern feel that will particularly appeal to young audiences." --Florent Masse, Director, L'Atelier, The French Theater Workshop, Princeton University

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Book Synopsis[Beaumarchais'] fame rests on Le Barbier de Seville (1775) and Le Mariage de Figaro (1784), the only French plays which his stage-struck century bequeathed to the international repertoire. But his achievement has been adulterated, for ‘Beaumarchais’ has long been the brand name of a product variously reprocessed by Mozart, Rossini, and the score or so librettists and musicians who have perpetuated his plots, his characters, and his name. The most intriguing question of all has centered on his role as catalyst of the Revolution. Was his impertinent barber the Sweeney Todd of the Ancien Régime, the true begetter of the guillotine? . . . Beaumarchais' plays have often seemed to need the same kind of shoring up as his reputation, as though they couldn't stand on their own without a scaffolding of good tunes. Yet, as John Wells' lively and splendidly speakable translations of the Barber, the Marriage, and A Mother's Guilt demonstrate, they need assistance from no one. [Beaumarchais] thought of the three plays as a trilogy. Taken together, they reflect, as John Leigh’s commentaries make clear, the Ancien Régime’s unstoppable slide into revolution. --David Coward in The London Review of BooksTrade Review[Beaumarchais'] fame rests on Le Barbier de Seville (1775) and Le Mariage de Figaro (1784), the only French plays which his stage-struck century bequeathed to the international repertoire. But his achievement has been adulterated, for 'Beaumarchais' has long been the brand name of a product variously reprocessed by Mozart, Rossini, and the score or so librettists and musicians who have perpetuated his plots, his characters, and his name. The most intriguing question of all has centered on his role as catalyst of the Revolution. Was his impertinent barber the Sweeney Todd of the Ancien Régime, the true begetter of the guillotine? . . . Beaumarchais' plays have often seemed to need the same kind of shoring up as his reputation, as though they couldn't stand on their own without a scaffolding of good tunes. Yet, as John Wells' lively and splendidly speakable translations of the Barber , the Marriage , and A Mother's Guilt demonstrate, they need assistance from no one. [Beaumarchais] thought of the three plays as a trilogy. Taken together, they reflect, as John Leigh's commentaries make clear, the Ancien Régime's unstoppable slide into revolution. --David Coward in The London Review of Books

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Book SynopsisDrawn from Sharon Marie Carnicke's volume of Chekhov, Four Plays and Three Jokes (Hackett), this edition of The Cherry Orchard features Carnicke's groundbreaking translation of a play that has been called Chekhov's ultimate theatrical coup d'etat.** Donald Rayfield, The Cherry Orchard: Catastrophe and ComedyTrade Reviewp>Carnicke's Cherry Orchard is direct, easily accessible to young American students, and mercifully free of all that blather that mucks up so much of the other versions that I know. --James Parker, Late Professor of Theatre, Virginia Commonwealth University

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Book SynopsisDrawn from Sharon Marie Carnicke's volume of Chekhov, Four Plays and Three Jokes (Hackett), this edition of The Cherry Orchard features Carnicke's groundbreaking translation of a play that has been called Chekhov's ultimate theatrical coup d'etat.** Donald Rayfield, The Cherry Orchard: Catastrophe and ComedyTrade Reviewp>Carnicke's Cherry Orchard is direct, easily accessible to young American students, and mercifully free of all that blather that mucks up so much of the other versions that I know. --James Parker, Late Professor of Theatre, Virginia Commonwealth University

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Book SynopsisFirst published in her Chekhov: Four Plays and Three Jokes, Sharon Marie Carnicke's eye-opening translation of Three Sisters appears in this edition with a new Introduction that expands upon her discussion in Four Plays & Three Jokes of Chekov's innovative dramaturgy--especially as seen in this subtle melodrama turned inside out.Trade ReviewCarnicke's translation of Three Sisters shows her background in the Slavic field to good advantage. Chekhov doesn't emerge as 'the voice of Twilight Russia,' or anything mawkish at all, as he sometimes does, but as a sharp-eyed watcher of some very silly people. Carnicke understands Chekhov and understands Russia. Robert L. Belknap, Professor Emeritus of Slavic Languages, Columbia University

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Book SynopsisFirst published in her Chekhov: Four Plays and Three Jokes, Sharon Marie Carnicke's eye-opening translation of Three Sisters appears in this edition with a new Introduction that expands upon her discussion in Four Plays & Three Jokes of Chekov's innovative dramaturgy--especially as seen in this subtle melodrama turned inside out.Trade Review"Carnicke's translation of Three Sisters shows her background in the Slavic field to good advantage. Chekhov doesn't emerge as 'the voice of Twilight Russia,' or anything mawkish at all, as he sometimes does, but as a sharp-eyed watcher of some very silly people. Carnicke understands Chekhov and understands Russia." -- Robert L Belknap, Professor Emeritus of Slavic Languages, Columbia University

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Book Synopsis"This exciting new edition of Edward II is indeed reader friendly. Of particular distinction are the introductory sections which include a thorough account of Marlowe's biography, a fresh critical examination of the play, plus a bibliography for further reading; a wise consideration of the date and text; and extensive annotations, especially helpful to students who have difficulties with the language. Of special value to both students and scholars are the Related Texts that follow the text of the play: three sections of documentary evidence on historical sources; power and politics; and love, friendship, and homoeroticism--all vital to an understanding of the play. No previous edition of the play manages to encompass so much." --Robert A. Logan, University of HartfordTrade Review"Marlowe's Edward II has received quite a bit of attention lately, both by scholars and theatre companies. The play's treatment of sexuality, its importance in the development of the history play in English drama, and its beautiful verse have helped to raise it to a status equal to Marlowe's other great plays. Lynch's excellent edition of the play therefore comes at a very fortuitous time. "Lynch has made the play extremely accessible to beginning readers of Marlowe. The text is laid out attractively on the page, with mostly complete names for speech prefixes and a hanging indent for multiline speeches. Implied stage directions are written out clearly, but not intrusively. Marginal glosses are often quite useful for the inexperienced reader. . . . Spelling, in both the play text and in the accompanying historical texts, is modernized, and the text is indeed a pleasure to read. "The introduction to the play is also extremely useful. . . . Sections of the introduction mention themes such as 'unruly nobles' and 'friendship and love,' but, again, the final interpretation is left to the reader; the last section of the introduction is headed 'Royal Sodomite or Saintly Martyr?' "Perhaps the most impressive aspect of this volume comes at the end, where the 'Related Texts' are gathered. The inclusion of the relevant passages from Holinshed's Chronicles is useful. . . . It was a pleasant surprise to see some of the classical texts with which Marlowe was familiar, such as Plato's Symposium and Cicero's Of Friendship.” "[F]or undergraduates and for the general public (especially with the accessible price of the paperback edition) this edition of Edward II should remain a valuable resource of many years." —Joseph F. Stephenson, Abilene Christian University, in Sixteenth Century Journal"Throughout his helpful Introduction, Lynch directs his readers to portions of the 'Related Texts' included later in the volume. Lynch puts his view of the text into practice in a thoroughly annotated, modernized edition of the tragedy. The final portion of the Lynch's edition offers fifty pages of very helpful contextual materials that fall under three headings: 'Historical Sources,' 'Power and Politics,' and 'Love, Friendship, and Homoeroticism.' Taken together, these supplemental readings should help undergraduates get a sense of the cultural stakes of the charged political atmosphere in Marlowe's tragedy and his treatment of Edward’s love of Galveston. A good option for teachers who want to give their undergraduates an affordable paperback edition of Marlowe's tragedy." —Andrew Fleck, University of Texas, El Paso, in Comitatus"This exciting new edition of Edward II is indeed reader friendly. Of particular distinction are the introductory sections which include a thorough account of Marlowe's biography, a fresh critical examination of the play, plus a bibliography for further reading; a wise consideration of the date and text; and extensive annotations, especially helpful to students who have difficulties with the language. Of special value to both students and scholars are the Related Texts that follow the text of the play: three sections of documentary evidence on historical sources; power and politics; and love, friendship, and homoeroticism—all vital to an understanding of the play. No previous edition of the play manages to encompass so much." —Robert A. Logan, University of Hartford

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Book Synopsis"This exciting new edition of Edward II is indeed reader friendly. Of particular distinction are the introductory sections which include a thorough account of Marlowe's biography, a fresh critical examination of the play, plus a bibliography for further reading; a wise consideration of the date and text; and extensive annotations, especially helpful to students who have difficulties with the language. Of special value to both students and scholars are the Related Texts that follow the text of the play: three sections of documentary evidence on historical sources; power and politics; and love, friendship, and homoeroticism--all vital to an understanding of the play. No previous edition of the play manages to encompass so much." --Robert A. Logan, University of HartfordTrade ReviewMarlowe's Edward II has received quite a bit of attention lately, both by scholars and theatre companies. The play's treatment of sexuality, its importance in the development of the history play in English drama, and its beautiful verse have helped to raise it to a status equal to Marlowe's other great plays. Lynch's excellent edition of the play therefore comes at a very fortuitous time. "Lynch has made the play extremely accessible to beginning readers of Marlowe. The text is laid out attractively on the page, with mostly complete names for speech prefixes and a hanging indent for multiline speeches. Implied stage directions are written out clearly, but not intrusively. Marginal glosses are often quite useful for the inexperienced reader. . . . Spelling, in both the play text and in the accompanying historical texts, is modernized, and the text is indeed a pleasure to read. The introduction to the play is also extremely useful. . . . Sections of the introduction mention themes such as 'unruly nobles' and 'friendship and love,' but, again, the final interpretation is left to the reader; the last section of the introduction is headed 'Royal Sodomite or Saintly Martyr?' Perhaps the most impressive aspect of this volume comes at the end, where the 'Related Texts' are gathered. The inclusion of the relevant passages from Holinshed's Chronicles is useful. . . . It was a pleasant surprise to see some of the classical texts with which Marlowe was familiar, such as Plato's Symposium and Cicero's Of Friendship. [F]or undergraduates and for the general public (especially with the accessible price of the paperback edition) this edition of Edward II should remain a valuable resource of many years. Joseph F. Stephenson, Abilene Christian University, in Sixteenth Century Journal"Throughout his helpful Introduction, Lynch directs his readers to portions of the 'Related Texts' included later in the volume. Lynch puts his view of the text into practice in a thoroughly annotated, modernized edition of the tragedy. The final portion of the Lynch's edition offers fifty pages of very helpful contextual materials that fall under three headings: 'Historical Sources,' 'Power and Politics,' and 'Love, Friendship, and Homoeroticism.' Taken together, these supplemental readings should help undergraduates get a sense of the cultural stakes of the charged political atmosphere in Marlowe's tragedy and his treatment of Edward's love of Galveston. A good option for teachers who want to give their undergraduates an affordable paperback edition of Marlowe's tragedy." Andrew Fleck, University of Texas, El Paso, in Comitatus"This exciting new edition of Edward II is indeed reader friendly. Of particular distinction are the introductory sections which include a thorough account of Marlowe's biography, a fresh critical examination of the play, plus a bibliography for further reading; a wise consideration of the date and text; and extensive annotations, especially helpful to students who have difficulties with the language. Of special value to both students and scholars are the Related Texts that follow the text of the play: three sections of documentary evidence on historical sources; power and politics; and love, friendship, and homoeroticismall vital to an understanding of the play. No previous edition of the play manages to encompass so much." Robert A. Logan, University of Hartford

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Book SynopsisA vastly entertaining and unique history of spying and showbiz, from the Elizabethan age to the Cold War and beyond.''Perfect...read as you settle into James Bond on Christmas afternoon'' Daily Telegraph Books of the Year 2021Throughout history, there has been a lively crossover between show business and espionage. While one relies on publicity and the other on secrecy both require high levels of creative thinking, improvisation, disguise and role-play. This crossover has produced some of the most extraordinary undercover agents and, occasionally, disastrous and dangerous failures.Stars and Spies is the first history of the interplay between the two worlds, written by two experts in their fields. We travel back to the golden age of theatre and intelligence in the reign of Elizabeth I and onwards into the Restoration. We visit Civil War America, Tsarist Russia and fin de siècle Paris where some writers, actors and entertainers become vit

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Book SynopsisThis new edition of Núñezs Anthropocosmic Theatre contains the text of the original english translation plus additional contributions from Núñez and others. In part one, Núñez traces his researches in nahuatlan, tibetan and western theatre, to arrive at his design for a theatre of the human in the cosmos. Part Two explores how this work has developed, during the last three decades, into an approach to performance training and production that uniquely combines ritual and ontemplative influences. New and previously untranslated writing from Núñez presents his idiosyncratic view of an awakened and expansive role for theatre today.Table of ContentsTibetan theatre; Nahuatlan theatre; Western theatre; Anthropocosmic theatre; At play in the cosmos: The theatre and ritual of Nicolás Núñez; Snapshot 1: The communal self; Snapshot 2: Swimming in the inner source: A workshop with Nicolás Núñez; 'Secular sacredness' in the ritual theatre of Nicolás Núñez; Snapshot 3: What the Taller de Investigación Teatral revealed to me; Snapshot 4: And I sang; Defining the dynamics; Snapshot 5: Contemplative running; Snapshot 6: Citlalmina and Nanhuatzin Mexico (2010-2016); Snapshot 7: Being the sun - Nanahuatzin; Plotting a path for later steps: Tuning in with Núñez, Rancière, and Sologub; Case study: The flight of Quatzalcoatl - Teotihuacan, Mexico (2000); High risk theatre; Case study: Conspiración Hamlet - Casa del Lago, Chaptultepec, Mexico City (2012); Mandala: The sacred art of acting - A play in one act; Theatre as a secret source; Snapshot: El Ensueño de los árboles - a reflection; Cosmic manners; Appendix I - A summary of my learning; Appendix II Speeches.

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