A SCHOLARLY BOOK REPOSITORY52 start with M start with M
In Migdalia Cruz’s Macbeth, the Witches run the world. The Macbeths live out a dark cautionary tale of love, greed, and power, falling from glory into calamity as the Witches spin their fate. Translating Shakespeare’s language for a modern audience, Nuyorican playwright Migdalia Cruz rewrites Macbeth with all the passion of the Bronx.
This translation of Macbeth was presented in 2018 as part of the Play On! Shakespeare project, an ambitious undertaking from the Oregon Shakespeare Festival that commissioned new translations of 39 Shakespeare plays. These translations present the Bard’s work in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.
Like Faulkner before him, Tennessee Williams gave universal appeal to southern characters and settings. His major plays, from Cat on a Hot Tin Roof and The Glass Menagerie to A Streetcar Named Desire and Night of the Iguana, continue to capture America's popular imagination, a significant legacy. Though he died in 1983, only recently have Williams's papers become available to the public, bringing to light a number of intriguing discoveries—letters, drafts, and several unpublished and unproduced plays. These recent developments make a reassessment of Williams's life and work both timely and needed.
The essays in this collection originated as presentations at the 27th annual Alabama Symposium on English and American Literature at The University of Alabama in 1999. The book addresses a wide range of topics, among them the influence of popular culture on Williams's plays, and, in turn, his influence on popular culture; his relationship to Hollywood and his struggles with censorship, Hollywood standards, and the competing vision of directors such as Elia Kazan; his depictions of gender and sexuality; and issues raised by recently discovered plays.
Anyone interested in American literature and drama will find this collection of fresh, accessible essays a rewarding perspective on the life, work, and legacy of one of the bright stars of American theatre.
Today's successful plays and playwrights achieve their prominence not simply because of their intrinsic merit but because of the work of mediators, who influence the whole trajectory of a playwright's or a theatre company's career. Critics and academic writers are primarily considered the makers of reputations, but funding organizations and various media agents as well as artistic directors, producers, and directors also pursue separate agendas in shaping the reputations of theatrical works. In The Making of Theatrical Reputations Yael Zarhy-Levo demonstrates the processes through which these mediatory practices by key authority figures situate theatrical companies and playwrights within cultural and historical memory.
To reveal how these authorizing powers-that-be promote theatrical events, companies, and playwrights, Zarhy-Levo presents four detailed case studies that reflect various angles of the modern London theatre. In the case of the English Stage Company's production of John Osborne's Look Back in Anger, she centers on a specific event. She then focuses on the trajectory of a single company, the Theatre Workshop, particularly through its first decade at the Theatre Royal, Stratford East, London. Next, she explores the career of the dramatist John Arden, especially its first ten years, in part drawing upon an interview with Arden and his wife, actress and playwright Margaretta D'Arcy, before turning to her fourth study: the playwright Harold Pinter's shifting reputation throughout the different phases of his career.
Zarhy-Levo's accounts of these theatrical events, companies, and playwrights through the prism of mediation bring fresh insights to these landmark productions and their creators.
To posterity, William Shakespeare may be the Bard of Avon, but to mid-seventeenth-century theatergoers he was just another dramatist. Yet barely a century later, he was England’s most popular playwright and a household name. In this intriguing study, Don-John Dugas explains how these changes came about and sealed Shakespeare’s reputation even before David Garrick performed his work on the London stage.
"What matters about a play is not the extent to which it is like any other play, but the way in which it is different," writes Thomas G. Rosenmeyer. "This is, I suggest, how the ancient audiences received the performances.... My purpose, then, in writing these essays is twofold: ... to devote enough space to the discussion of each play to allow its special tone and texture to emerge without hindrance and at leisure ... and to include in one collection analyses of plays so different from one another that the accent will come to rest on the variety of the tragic experience rather than on any one narrowly defined norm."
Greek tragedy is a vehicle for many different ideas and many different intentions. From the wealth of material that has come down to us the author has chosen six plays for analysis. He reminds us that the plays were written to be seen and heard, and only secondarily to be studied. The listeners expected each play to have a specific objective, and to exhibit its own mood. These the author attempts to recover for us, by listening to what each play, in its own right, has to say. His principal concern is with the tragic diction and the tragic ideas, designed to release certain massive responses in the large theater-going group of ancient Athens. In exploring the characters and the situations of the plays he has chosen, the author transports his reader to the world of fifth-century B.C. Greece, and establishes the relevance of that world to our own experience.
The essays are not introductory in nature. No space is given, for instance, to basic information about the playwrights, the history of Greek drama, or the special features of the Attic stage. Yet the book addresses itself to classicists and nonclassicists alike. The outgrowth of a series of lectures to nonspecialists, its particular appeal is to students of literature and the history of Western thought. Parallels are drawn between the writings of the philosophers and the tragedies, and attention is paid to certain popular Greek beliefs that colored the tragic formulations. Ultimately, however, the approach is not historical but critical; it is the author's intention to demonstrate the beauty and the craftsmanship of the plays under discussion.
Is there a plot against the life of letters today?!!!! A mysterious assailant has tied a nameless text to a railroad track near Boondock State University. While young untenured English professor Jane Marple enlists a group of odd and oddly rivalrous academicians to help her identify and save the text, a coalition of powerful conservatives begins to suspect and rally against a left-wing conspiracy. But all are foiled when the amnesiac text is abducted on the Euro-Centric Express, where Ms. Marple encounters a number of suspiciously eccentric theorists temporarily set loose from their usual haunts in Marxist, deconstructionist, new historicist, and postcolonial circles. You'll laugh with our heroine, you'll cry with her, but you'll never guess how--using the very latest technology and in the midst of sometimes sinister stage and screen celebrities--she brings the last of three thrilling episodes in the canon wars to an end at a WOW (Writers of the World) conference set in the heart of the Big Apple.
In this hilarious romp through the culture wars, Sandra M. Gilbert and Susan Gubar send up everyone including, sometimes, themselves, while at the same time they speculate seriously on the future of literature and literacy in a society where both are increasingly endangered. The cast includes well-known critics, politicians, writers, pop stars, media personalities, and a juicy assortment of technocrats, CEOs, and other culture vultures. Any similarities you find between these characters and actual persons, living or dead, are probably glaring. So, hum the opening notes of Masterpiece Theatre as you sit back, relax, and consider (yes!) the fate of the printed word in Western civilization.
Masterpiece Theatre is the latest--and funniest--round in the culture wars. No member of Modern Language Association, lover of literature and literacy, cultural pundit, or talking head should be without a copy.
Mayakovsky: Plays includes Mystery Bouffe, a mock medieval mystery written in 1918 to celebrate the first anniversary of the Revolution; The Bathhouse, a sharp attack on Soviet bureaucracy subtitled "a drama of circus and fireworks"; and The Bedbug, in which a worker with bourgeois pretensions is frozen and resurrected fifty years later, when the world has become a material paradise. The collection also includes Mayakovsky's more personal first play, Vladimir Mayakovsky: A Tragedy.
One of Shakespeare’s most difficult plays, Measure for Measure has long challenged performers and audiences alike. In reworking the play in her translation, Aditi Brennan Kapil honors the structure, rhythms, and themes of Shakespeare’s original. Kapil’s updated language makes this cautionary fable about frailty, power, and the perils of legislating morality accessible for today’s audiences.
This translation of Measure for Measure was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of “The Bard” in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.
This new translation of Medea by classicist Oliver Taplin, originally published as part of the acclaimed third edition of Chicago’s Complete Greek Tragedies, brilliantly replicates the musicality and strength of Euripides’s verse while retaining the play’s dramatic and emotional impact. Taplin has created an edition of Medea that is particularly suited to performance, while not losing any of the power it has long held as an object of reading or study. This edition is poised to become the new standard, and to introduce a new generation of readers to the heights and depths of Greek tragedy.
This double volume includes the complete continuity script of Memories, as well as the complete novel, Inconsolable Memories, upon which the film is based. An interview with Alea is reproduced here, as well as documentation of the political controversy that surrounded the film in this country. Michael Chanan's introduction places the film in the context of Cuban political and cultural history. The volume also includes a biographical sketch of Alea, a chronology of the Cuban Revolution, reviews, commentary, a filmography, and a bibliography.Michael Chanan lives in England, where he teaches and writes on film. He is the author of The Cuban Image: Cinema and Cultural Politics in Cuba.
Malkin's study seeks answers to questions such as: what are the connections between contemporary drama and processes of memory? How do contemporary aesthetics shape these plays and the memories that they enact? What is remembered and how is the audience targeted? Why is memory so central to so many postmodern theater texts? In answering these questions, Malkin compellingly demonstrates how the past is made present within the double walls of memory and of the theater.
"A very important book that bids to be a 'must have' on the timely topic of history versus memory as it is represented in theater." --John Rouse, University of California, San Diego
Jeanette R. Malkin is Senior Lecturer in the Department of Theatre Studies, Hebrew University, Jerusalem.
Menander’s Misoumenos, or The Hated Man, is one of his most popular plays to have survived from classical times. Dating to approximately 300 BCE, it tells the story of a mercenary soldier and the captive girl he acquires while on campaign in Cyprus. The play follows the soldier’s growing despair as the girl spurns his advances and slowly turns against him, culminating in his suicidal thoughts.
The play belongs to the ancient genre of New Comedy, of which Menander was the acknowledged master. This edition presents a significantly updated text and the fullest English language translation of the play to date. It aims to restore as much as possible of the action of Misoumenos, reconstructing the language, stagecraft, and theatrical dialogue of the original based on hypothesis and reconstruction. Some sections can be restored nearly in full, permitting access to brilliantly original theatrical dialogue which had been lost for over two millennia. Apart from meter and sophisticated idiom, the themes of love, despair, and sadness that Menander treats are utterly timeless.
The master of New Comedy.
Menander (?344/3–292/1 BC) of Athens, the leading playwright of the New Comedy, wrote more than 100 plays. Many of his comedies were adapted by Roman dramatists. By the middle ages, however, his works were lost. Then, at the end of the nineteenth century, papyrus texts, preserved from antiquity by the dry heat of Egypt, began to be discovered. These have yielded so far one play virtually complete (Dyskolos), large continuous portions of four more (Aspis, Epitrepontes, Perikeiromene, Samia), and sizable chunks of many others. Menander remains a paradox: artificial plots based on unlikely but conventional coincidences, enlivened by individualized characters, realistic situations, and at times deeply moving dialogue.
Volume I of Geoffrey Arnott’s three-volume edition of Menander contains six plays, including Dyskolos (The Peevish Fellow), which won first prize in Athens in 317 BC, and Dis Exapaton (Twice a Swindler), the original of Plautus’ Two Bacchises. Ten plays are in Volume II, among them the recently published fragments of Misoumenos (The Man She Hated), which sympathetically presents the flawed relationship of a soldier and a captive girl; and the surviving half of Perikeiromene (The Girl with Her Hair Cut Short), a comedy of mistaken identity and lovers’ quarrel. Volume III begins with Samia (The Woman from Samos), which has come down to us nearly complete. Here too are the very substantial extant portions of Sikyonioi (The Sicyonians) and Phasma (The Apparition), as well as Synaristosai (Women Lunching Together), on which Plautus’ Cistellaria was based.
The master of New Comedy.
Menander (?344/3–292/1 BC) of Athens, the leading playwright of the New Comedy, wrote more than 100 plays. Many of his comedies were adapted by Roman dramatists. By the middle ages, however, his works were lost. Then, at the end of the nineteenth century, papyrus texts, preserved from antiquity by the dry heat of Egypt, began to be discovered. These have yielded so far one play virtually complete (Dyskolos), large continuous portions of four more (Aspis, Epitrepontes, Perikeiromene, Samia), and sizable chunks of many others. Menander remains a paradox: artificial plots based on unlikely but conventional coincidences, enlivened by individualized characters, realistic situations, and at times deeply moving dialogue.
Volume I of Geoffrey Arnott’s three-volume edition of Menander contains six plays, including Dyskolos (The Peevish Fellow), which won first prize in Athens in 317 BC, and Dis Exapaton (Twice a Swindler), the original of Plautus’ Two Bacchises. Ten plays are in Volume II, among them the recently published fragments of Misoumenos (The Man She Hated), which sympathetically presents the flawed relationship of a soldier and a captive girl; and the surviving half of Perikeiromene (The Girl with Her Hair Cut Short), a comedy of mistaken identity and lovers’ quarrel. Volume III begins with Samia (The Woman from Samos), which has come down to us nearly complete. Here too are the very substantial extant portions of Sikyonioi (The Sicyonians) and Phasma (The Apparition), as well as Synaristosai (Women Lunching Together), on which Plautus’ Cistellaria was based.
The master of New Comedy.
Menander (?344/3–292/1 BC) of Athens, the leading playwright of the New Comedy, wrote more than 100 plays. Many of his comedies were adapted by Roman dramatists. By the middle ages, however, his works were lost. Then, at the end of the nineteenth century, papyrus texts, preserved from antiquity by the dry heat of Egypt, began to be discovered. These have yielded so far one play virtually complete (Dyskolos), large continuous portions of four more (Aspis, Epitrepontes, Perikeiromene, Samia), and sizable chunks of many others. Menander remains a paradox: artificial plots based on unlikely but conventional coincidences, enlivened by individualized characters, realistic situations, and at times deeply moving dialogue.
Volume I of Geoffrey Arnott’s three-volume edition of Menander contains six plays, including Dyskolos (The Peevish Fellow), which won first prize in Athens in 317 BC, and Dis Exapaton (Twice a Swindler), the original of Plautus’ Two Bacchises. Ten plays are in Volume II, among them the recently published fragments of Misoumenos (The Man She Hated), which sympathetically presents the flawed relationship of a soldier and a captive girl; and the surviving half of Perikeiromene (The Girl with Her Hair Cut Short), a comedy of mistaken identity and lovers’ quarrel. Volume III begins with Samia (The Woman from Samos), which has come down to us nearly complete. Here too are the very substantial extant portions of Sikyonioi (The Sicyonians) and Phasma (The Apparition), as well as Synaristosai (Women Lunching Together), on which Plautus’ Cistellaria was based.
"With classic butch finesse---that handsome combination of vulnerability and toughness---Peggy Shaw pieces together the challenges of growing up butch in the 1950s. Shaw is an engaging performer and inspired writer."
---Gay Community News
Obie-award-winning performer and writer Peggy Shaw has been playing her gender-bending performances on Off Broadway, regional, and international stages for three decades. Co-founder of the renowned troupe Split Britches, Shaw has gone on to create memorable solo performances that mix achingly honest introspection with campy humor, reflecting on everything from her Irish-American working-class roots to her aging butch body.
This collection of Shaw's solo performance scripts evokes a 54-year-old grandmother who looks like a 35-year-old man (in her classic Menopausal Gentleman); a mother's ambivalent ministrations to a daughter she treated like a son (in the raw You're Just Like My Father); Shaw's love for her biracial grandson, for whom she models masculinity (in the musically punctuated To My Chagrin); and a mapping of her body's long, bittersweet history (in the lyrical Must: The Inside Story, a collaboration with the UK's Clod Ensemble). The book also includes a selection of Shaw's other classic monologues and an extensive introduction by Jill Dolan, Professor of English and Theater and Dance at Princeton University and the blogger behind The Feminist Spectator website.
A volume in the series Triangulations: Lesbian/Gay/Queer Theater/Drama/Performance
Cover photos by Eva Weiss (top) and Robin Holland/robinholland.com (bottom).
Elise Thoron’s translation of Shakespeare’s searing The Merchant of Venice cuts straight to the heart of today’s fraught issues of social justice and systemic racism. Thoron’s clear, compelling contemporary verse translation retains the power of the original iambic pentameter while allowing readers and audiences to fully comprehend and directly experience the brutal dilemmas of Shakespeare’s Venice, where prejudice and privilege reign unchallenged. As the author of three acclaimed music-theater works on the Jewish experience and informed by her work directing cross-cultural projects in locations as different as Russia, Japan, Cuba, and New York City, Thoron brings to her Merchant an immediacy that speaks directly to the present reckoning with race in America.
This translation was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. These volumes make these works available for the first time in print—a new First Folio for a new era.
Funny happenings.
The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences ca. 205–184 BC, are the earliest Latin works to survive complete and are cornerstones of the European theatrical tradition from Shakespeare and Molière to modern times. This third volume of a new Loeb edition of all twenty-one of Plautus’ extant comedies presents The Merchant, The Braggart Soldier, The Ghost, and The Persian with freshly edited texts, lively modern translations, introductions, and ample explanatory notes.
Plautus (Titus Maccius), born about 254 BCE at Sarsina in Umbria, went to Rome, engaged in work connected with the stage, lost his money in commerce, then turned to writing comedies.
Twenty-one plays by Plautus have survived (one is incomplete). The basis of all is a free translation from comedies by such writers as Menander, Diphilus, and Philemon. So we have Greek manners of Athens about 300250 BCE transferred to the Roman stage of about 225185, with Greek places, people, and customs, for popular amusement in a Latin city whose own culture was not yet developed and whose manners were more severe. To make his plays live for his audience, Plautus included many Roman details, especially concerning slavery, military affairs, and law, with some invention of his own, notably in management of metres. The resulting mixture is lively, genial and humorous, with good dialogue and vivid style. There are plays of intrigue (Two Bacchises, The Haunted House, Pseudolus); of intrigue with a recognition theme (The Captives, The Carthaginian, Curculio); plays which develop character (The Pot of Gold, Miles Gloriosus); others which turn on mistaken identity (accidental as in the Menaechmi; caused on purpose as in Amphitryon); plays of domestic life (The Merchant, Casina, both unpleasant; Trinummus, Stichus, both pleasant).
The Loeb Classical Library edition of Plautus is in five volumes.
Subjecting short plays to extended scrutiny upends assumptions about brief or minimal art, and about theatrical experience. The book shows that short performances often demand greater attention from audiences than plays that unfold more predictably. Microdramas put pressure on preconceptions about which aspects of theater might be fundamental and about what might qualify as an event. In the process, they suggest answers to crucial questions about time, spectatorship, and significance.
"This edition of A Midsummer Night’s Dream takes the comedy seriously. Like my previous Hackett editions, it gives full weight to Shakespeare’s dramatic setting, which other editors (and scholars) almost always ignore or at least fail adequately to consider. Ancient Athens is the core, not the mere background, of Midsummer Night's Dream. As we shall see, Shakespeare focuses, in particular, on the love of the beautiful and the triumph of learning and art, along with the rise of democracy, which, as Pericles’ famously claims, are the hallmarks of Athens. 'We are lovers of the beautiful with thrift, and lovers of wisdom without softness' (Thucydides, The Peloponnesian War, 2.40.1). […]
Failure to consider classical Athens as central to Midsummer Night's Dream will cause a reader to miss not only the play’s remarkable substance, but much of its sparkling comedy as well. Far from impeding the play’s humor, focusing on Athens helps to bring out multi-layers of comedy that Shakespeare put there."
Tony Award–winning and Oscar-nominated storyteller Jeffrey Whitty offers his adaptation of A Midsummer Night’s Dream, mindfully adapted into modern language. Matching the Bard line for line, rhyme for rhyme, Whitty illuminates Shakespeare’s meaning for modern audiences while maintaining the play’s storytelling architecture, emotional texture, and freewheeling humor. Designed to supplement, not supplant, the original, Whitty’s Midsummer cuts through the centuries to bring audiences a fresh, moment-by-moment take, designed to flow as effortlessly for modern audiences as Shakespeare’s beloved classic played to the Elizabethans.
This translation was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. These volumes make these works available for the first time in print—a new First Folio for a new era.
Joan Crawford forged a new and successful screen image in this powerful women's noir film; winning her an Academy Award for best actress.
Albert J. LaValley's through and insightful guide to Mildred Pierce at once tells us much about the making of this complex film, the problems and process of transferring the story to the screen, the specific and important roles of the producer, director, and set designer, and how the film relates to broad trends within the industry. It is without a doubt the most thorough treatment of this important American motion picture.
Miles Gloriosus or “Braggart Warrior” is one of the best-known and liveliest Roman comedies. It shows Plautus at his ablest in ingenious plot construction, vivid characterization, fast-moving action, and humorous dialogue.
This edition of the Latin text is fully and very helpfully annotated. The substantial introduction considers the antecedents of Plautus’s drama in Greek New Comedy and in Italic farce, his mixture of Greek and Roman both in language and in the life portrayed, and his stagecraft, language, and meter.
Mimetic Disillusion reevaluates the history of modern U.S. drama, showing that at mid-century it turned in the direction of a poststructuralist "disillusionment with mimesis" or mimicry.
This volume focuses on two major writers of the 1930s and 1940s--Eugene O'Neill and Tennessee Williams--one whose writing career was just ending and the other whose career was just beginning. In new readings of their major works from this period, Long Day's Journey into Night, The Iceman Cometh, The Glass Menagerie, and A Streetcar Named Desire, Fleche develops connections to the writings of Jacques Derrida, Paul de Man, and Michel Foucault, among others, and discusses poststructuralism in the light of modern writers such as Bertolt Brecht, Antonin Artaud, and Walter Benjamin. Fleche also extends this discussion to the work of two contemporary playwrights, Adrienne Kennedy and Tony Kushner. The aim of Mimetic Disillusion is not to reject "mimetic" and "realistic" readings but to explore the rich complexities of these two ideas and the fruit of their ongoing relevance to U.S. theatre.
The Other Voice in Early Modern Europe - The Toronto Series: Volume 62
The occult has traditionally been understood as the study of secrets of the practice of mysticism or magic. This book broadens our understanding of the occult by treating it as a rhetorical phenomenon tied to language and symbols and more central to American culture than is commonly assumed.
Joshua Gunn approaches the occult as an idiom, examining the ways in which acts of textual criticism and interpretation are occultic in nature, as evident in practices as diverse as academic scholarship, Freemasonry, and television production. Gunn probes, for instance, the ways in which jargon employed by various social and professional groups creates barriers and fosters secrecy. From the theory wars of cultural studies to the Satanic Panic that swept the national mass media in the late 1980s and early 1990s, Gunn shows how the paradox of a hidden, buried, or secret meaning that cannot be expressed in language appears time and time again in Western culture.
These recurrent patterns, Gunn argues, arise from a generalized, popular anxiety about language and its limitations. Ultimately, Modern Occult Rhetoric demonstrates the indissoluble relationship between language, secrecy, and publicity, and the centrality of suspicion in our daily lives.
Recipient of 2007 The Robert Chesley Foundation Lifetime Achievement Award in Playwriting
Winner of 2006 Village Voice OBIE Awards Lifetime Achievement Award
"The road will be red with monstrous martyrdoms, but we shall win." Oscar Wilde wrote these words at the end of the nineteenth century after serving two years at hard labor for the crime of being homosexual. This modern martyrdom is the subject of Lord Alfred's Lover, Eric Bentley's Brechtian dramatization of Wilde's last days.
H for Hamlet is another variation on the modern martyr play, this time in homage to Pirandello. The protagonist thinks, or once thought, he was Hamlet. Fantasy? Perhaps. But, to paraphrase Marianne Moore, there was a real toad in the imaginary garden--a real martyr in the toy theatre.
In German Requiem, Bentley takes inspiration from Heinrich von Kleist's play The Schroffenstein Family, which in turn is a version of Shakespeare's Romeo and Juliet. The young star-crossed lovers in his play are martyrs of an internecine conflict much like those seen in recent history in Ireland and the Middle East.
In the late nineteenth century, numerous French plays, novels, cartoons, and works of art focused on Mormons. Unlike American authors who portrayed Mormons as malevolent “others,” however, French dramatists used Mormonism to point out hypocrisy in their own culture. Aren't Mormon women, because of their numbers in a household, more liberated than French women who can't divorce? What is polygamy but another name for multiple mistresses? This new critical edition presents translations of four musical comedies staged or published in France in the late 1800s: Mormons in Paris (1874), Berthelier Meets the Mormons (1875), Japheth’s Twelve Wives (1890), and Stephana’s Jewel (1892). Each is accompanied by a short contextualizing introduction with details about the music, playwrights, and staging. Humorous and largely unknown, these plays use Mormonism to explore and mock changing French mentalities during the Third Republic, lampooning shifting attitudes and evolving laws about marriage, divorce, and gender roles.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
This exquisite first English translation of Emma Dante’s work enables English-speaking readers, theatre scholars, and directors alike to encounter character-driven “civic theatre” with its portraits of individuals existing at the fringes of Italy. Ultimately, it allows us to “listen” to those who are not given a voice anywhere else.
In Much Ado About Nothing, a series of miscommunications and misunderstandings spiral out of control, leaving two sets of lovers to untangle their words and their hearts. Ranjit Bolt, an accomplished translator, takes on Shakespeare’s well-loved comedy to update much of the obscure language while maintaining the humor, characterization, and wit that audiences know and love. For modern readers, Beatrice, Benedick, Hero, and Claudio are just as enchanting as always—and perhaps funnier than ever before.
This translation of Much Ado About Nothing was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present work from “The Bard” in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.
In the first book ever to explore this museum, James Heffernan argues that ekphrasis stages a battle for mastery between the image and the word. Moving from the epics of Homer, Virgil, and Dante to contemporary American poetry, this book treats the history of struggle between rival systems of representation. Readable and well illustrated, this study of how poets have represented painting and sculpture is a major contribution to our understanding of the relation between the arts.
Mythic Patterns in Ibsen's Last Plays was first published in 1970. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Until recently critics have tended to regard Ibsen principally as a social dramatist, one who was concerned primarily with the political, social, and moral questions of his time. Radical though he was in the Victorian era, his ideas, with the passage o time, ceased to be avant garde,and for this reason many critics have dismissed him as outdated. Professor Holtan examines a major portion of Ibsen's work, his last eight plays, in a new perspective, however, and finds much that is of lasting significance and interest.
Ibsen's initial impact came with the publication in 1879 of A Doll's House,the play which seemingly advocates a woman's right to leave her husband and children. His reputation as a social dramatist was only furthered by the appearance of his next two plays, Ghosts and An Enemy of the People. But Professor Holtan's study of the plays which came after these identifies in the later plays values which transcend the social problems of their time, penetrating questions of the human spirit itself.
The eight last plays which Professor Holtan examines in this study are The Wild Duck, Rosmersholm, The Lady from the Sea, Hedda Gabler, The Master Builder, Little Eyolf, John Gabriel Borkman, and When We Dead Awaken. In these plays he identifies a mythic pattern and unity based in elements of symbolism and mysticism which have puzzled or annoyed readers and critics for years. In his mythic vision Ibsen's lasting contribution far exceeds that of his invention of the social-problem drama, Professor Holtan concludes.
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