Search results for ""author john ford""

Ford wrote darkly about sexual and political passion, despair, thwarted ambition, and incest. This selection also shows his ability to portray the poignancy of love as well as write entertaining comedy and create convincing roles for women. His Annabella, Hippolita, Penthea, Calantha, and Katherine Gordon rank among the most dramatically powerful female characters on the post-Shakespearean stage. Setting Ford's earliest surviving independently-written play, The Lover's Melancholy, alongside his three best known works, this edition includes an introduction with sections on each play addressing gender issues, modern relevance, and staging possibilities. Under the General Editorship of Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation, supplemented by detailed annotation. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Like Shakespeare's Juliet, Annabella, accompanied by her down-to-earth nurse, is introduced to a series of suitors to her hand. Like Juliet, she finds all of them unsatisfactory - and rightly so, for the audience know that the nastiest of them is having an affair with her domineering aunt. Like Juliet, Annabella is wooed by a sensitive and passionate young man whose love she returns - but this young man happens to be her own brother, Giovanni. When they consummate their love and she, to avoid the scandal of extramarital pregnancy, agrees to marry her aunt's lover, the tragic outcome is inevitable. John Ford, writing his psychologically powerful and intellectually challenging tragedies in the early years of King Charles I's reign, is a playwright of the first rank, as 20th-century directors have shown both in the theatre and on film.

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The central situation of 'Tis Pity She's a Whore is an incestuous love between brother and sister, and it is hardly surprising that critics have differed widely in their interpretation of the exact meaning and significance of the play...All the love affairs in the play end in disaster ...it would even be possible to read the play as a series of warnings against the destructive effects of passion."-from the introduction by N. W. Bawcutt

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These four plays, written during the reigns of James I and Charles I, took revenge tragedy in dark and ambiguous new directions. In The Duchess of Malfi and The White Devil, John Webster explores the role of women and issues of power, sex and corruption in the Italian court, creating two unforgettable anti-heroines. In The Broken Heart, John Ford questions the value of emotional repression as his characters attempt to subdue their desires and hatreds in ancient Greece. Finally, Ford's masterpiece 'Tis Pity She's a Whore explores the taboo themes of incest and forbidden lust in a daring reworking of Romeo and Juliet.Jane Kingsley-Smith has edited the plays from the earliest quartos and added invaluable editorial material, including explanatory glosses and a new introduction that discusses how the playwrights used the theatre to explore issues around women, sex, power and violence. Together with the Penguin volume of Five Revenge Tragedies, edited by Emma Smith, this is the essential sourcebook for drama in the period. 'Revenge, hatred, villainy, incest, and murder upon murder are their constant themes ... and they handle these horrors with little or no moral purpose, save that of exciting and amusing the audience ... We should call him a madman who allowed his daughters or his servants to see such representations' - Charles KingsleyJOHN WEBSTER was born in about 1578 in London. He studied law at the Middle Temple before embarking on a career in the theatre, collaborating on many plays with contemporary dramatists. But it was his two solo-authored tragedies, The White Devil (1612) and The Duchess of Malfi (1614) which sealed his reputation. In 1606 he married Sara Peniall, who was seven months pregnant, and they went on to have at least four children. He died in the 1630s.JOHN FORD was born in 1586 in Devon. His early career was wholly concerned with poetry and philosophical works, and it was not until the 1620s that he began collaborating on stage plays. In the late 1620s, he began writing alone, producing the eight plays on which his reputation would be based, including The Broken Heart (1620) and 'Tis Pity She's a Whore (c.1630). Nothing more is known of Ford after the performance of his last play in 1638. JANE KINGSLEY-SMITH completed her PhD at the Shakespeare Institute, Stratford-upon-Avon and is the author of two monographs:Shakespeare's Drama of Exile (2003) and Cupid in Early Modern Literature and Culture (2010). She is a Reader at Roehampton University, London, and a regular guest speaker at Shakespeare's Globe.

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In the village of Edmonton, Elizabeth Sawyer is shunned by her neighbours. A poor and lonely old woman, she is harassed and accused of being a witch. In her abject misery, she wishes that she really were bewitched and so able to have her revenge. Unluckily for Elizabeth and the villagers of Edmonton, someone with the power to grant that wish is listening. First performed in 1621, The Witch of Edmonton was based by its authors Thomas Dekker, John Ford and William Rowley on a real-life case of a woman accused of witchcraft. The play was revived by the Royal Shakespeare Company as part of its 2014 Roaring Girls season, in the Swan Theatre, Stratford-upon-Avon, directed by RSC Artistic Director Gregory Doran and with Eileen Atkins as Elizabeth Sawyer. This Prompt Book edition of the play features the text edited for the RSC production, and introductions by key members of its creative team, including Doran.

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Francis Bacon described revenge as a ‘kind of wild justice’. Then as now, early modern playwrights and their theatre-going public were fascinated by the anarchic energies that a desire for retribution unleashes. Rather than rehearsing familiar conventions, each of these plays presents a unique social and cultural milieu where dark fantasies of revenge are variously played out. In Kyd’s The Spanish Tragedy a grieving father seeks public justice for the murder of his son by envious princelings. When his attempts are thwarted he turns a court spectacle of murder into the ‘real’ thing. Blackly comic in its tone and style, The Revenger’s Tragedy (anon.) presents vengeance as mimetic art, witty and cruel. Ford’s ’Tis Pity She’s a Whore represents an innovative re-working of the genre as a brother’s love for his sister leads to his spectacular revenge on his rival, her husband, in a society in which brutal retaliation for perceived wrong is the norm. In Webster’s The White Devil crimes of passion ignite revenge in the courts of the Italian city states. This student edition contains fully annotated, modernized texts of each play together with an introduction discussing the dramatic and poetic style of each play, focusing on its action and play of ideas.

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At the center of this remarkable 1621 play is the story of Elizabeth Sawyer, the titular "Witch of Edmonton," a woman who had in fact been executed for the crime of witchcraft mere months before the play's first performance. Yet hers is only one of several plots that animate The Witch of Edmonton. Blending sensational drama with domestic tragedy and comic farce, this complex and multi-layered play by Dekker, Ford, and Rowley emphasizes the mundane realities and interpersonal conflicts that are so often at the heart of sensational occurrences. This edition of their work offers a compelling and informative introduction, thorough annotation, and a selection of contextual materials that helps set the play in the context of the "witch-craze" of Jacobean England.

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The Complete Country Dance Tunes from Playford's The Dancing Master is the classic compendium of English country dance tunes. First published in 1651 it went through eighteen editions in almost 80 years. In its day it was the most popular collection of its kind and engendered numerous imitations. The tunes selected by Playford and his successors were taken from many sources and demonstrate the extraordinary richness and vitality of popular melody in England during the late 17th and early 18th centuries. This book brings together, for the first time under one cover, 535 tunes and their variants from the eighteen original editions. It provides a fund of musical material for performers, whether folk musicians or baroque instrumentalists, and for class and instrumental music teachers. It is also an invaluable reference book for anyone interested in the history of English music.

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