Emily Mann brings Chekhov's masterpiece into the 21st century with bright contemporary language and a modern Hamptons' setting. In a world of appearance, money, business, and celebrity culture, the heart of the play is a story about the heartbreaking betrayal of children by their parents. With relevance, humor, and flowing, natural language, Mann's adaptation of challenges us to think about where America's culture is going.
Translating for performance is a difficult – and hotly contested – activity. Adapting Translation for the Stage presents a sustained dialogue between scholars, actors, directors, writers, and those working across these boundaries, exploring common themes and issues encountered when writing, staging, and researching translated works. It is organised into four parts, each reflecting on a theatrical genre where translation is regularly practised: The Role of Translation in Rewriting Naturalist Theatre Adapting Classical Drama at the Turn of the Twenty-First Century Translocating Political Activism in Contemporary Theatre Modernist Narratives of Translation in Performance A range of case studies from the National Theatre’s Medea to The Gate Theatre’s Dances of Death and Emily Mann’s The House of Bernarda Alba shed new light on the creative processes inherent in translating for the theatre, destabilising the literal/performable binary to suggest that adaptation and translation can – and do – coexist on stage. Chronicling the many possible intersections between translation theory and practice, Adapting Translation for the Stage offers a unique exploration of the processes of translating, adapting, and relocating work for the theatre.
In Edward Albee and Absurdism—the inaugural volume in the new book series, New Perspectives in Edward Albee Studies—Michael Y. Bennett has assembled an outstanding team of Edward Albee scholars to address Albee’s affiliation with Martin Esslin’s label, “Theatre of the Absurd,” examining whether or not this label is appropriate. From scholarly essays and lengthy review-essays to an important interview with the noted playwright and director, Emily Mann, the aim of this collection is to, at last, directly (and indirectly) confront Esslin’s label in regards to Albee’s plays in order to create a scholarly atmosphere that allows future Albee scholars to move on to new and, frankly, more relevant lines of inquiry. Contributors are: Michael Y. Bennett, Linda Ben-Zvi, David A. Crespy, Colin Enriquez, Lincoln Konkle, David Marcia, Dena Marks, Brenda Murphy, Tony Jason Stafford, and Kevin J Wetmore Jr.
This volume offers lively and accurate translations of Chekhov's major plays and one-acts (complete contents listed below) along with a superb Introduction focused on the plays' remarkably enduring power to elicit the most widely divergent of responses, the life of the playwright in its historical and aesthetic contexts, suggestions for reading the plays under a microscope, and notes designed to bring Chekhov's world into immediate focus--everything needed to examine his drama with fresh eyes and on its own artistic terms.
Features a comprehensive guide to American dramatic literature, from its origins in the early days of the nation to the groundbreaking works of today's best writers.
More stories of the outsized and the ordinary from the editor and publisher of Dans Papers. This is Dan Rattiners fourth collection of essays about the fishermen, farmers, celebrities, billionaires, and artists who live, work, and play in the Hamptons. As the founder and publisher of Dans Papers, a weekly community newspaper, Rattiner knows the Hamptons backwards and forwards, and stories of his encounters on the South Fork of Long Island give readers a greater understanding of how this community has changed over the years and the major figures who have shepherded these changes along. In addition to well-known faces such as Dr. Oz and billionaires like Ira Rennert and his wifewho built the second-largest private home in Americayoull also read about motel owners, art gallery owners, an ad salesman for Dans Papers, and a philanthropist who at one time had nearly a dozen historical buildings on her $100 million property in East Hampton. The book also provides some of the hoaxes and tall tales that the author has fabricated over the years to entertain the readers of Dans Papers, including the moving radar tower at Montauk, the great Ecuadorian eel attack, and the Hamptons subway. Dans book, as does his newspaper, creates a chronicle of the women and men who have chosen to live in this magical place over these different decades, so one gets a very personal picture of how it was and is. Dans seen it all and isnt keeping it under his very real hat. from the Foreword by Barbara L. Goldsmith Praise for Dan Rattiner Dans memoirs are like Dans newspapers: charming, whimsical, fun, and filled with insightful knowledge of the East End conveyed with a twinkle in the eye. Walter Isaacson, author of Steve Jobs If there was an honorary mayor of the Hamptons it would have to be Dan Rattiner a raconteur with a wicked sense of humor and an eye for detail. Long Island History Journal If a guy says it happened in the Hamptons, and Dan Rattiner doesnt know about it, it didnt. Tom Wolfe
At last, for those who adapt literature into scripts, a how-to book that illuminates the process of creating a stageworthy play. Page to Stage describes the essential steps for constructing adaptations for any theatrical venue, from the college classroom to a professionally produced production. Acclaimed director Vincent Murphy offers students in theater, literary studies, and creative writing a clear and easy-to-use guidebook on adaptation. Its step-by-step process will be valuable to professional theater artists as well, and for script writers in any medium. Murphy defines six essential building blocks and strategies for a successful adaptation, including theme, dialogue, character, imagery, storyline, and action. Exercises at the end of each chapter lead readers through the transformation process, from choosing their material to creating their own adaptations. The book provides case studies of successful adaptations, including The Grapes of Wrath (adaptation by Frank Galati) and the author's own adaptations of stories by Samuel Beckett and John Barth. Also included is practical information on building collaborative relationships, acquiring rights, and getting your adaptation produced.
(Applause Acting Series). Lawrence Harbison has selected 100 terrific monologues for men from contemporary plays, all by characters between the ages of 18 and 35 perfect for auditions or class. There are comic monologues (laughs) and dramatic monologues (no laughs). Most have a compelling present-tense action for actors to perform. A few are story monologues and they're great stories. Actors will find pieces by star playwrights such as Don Nigro, Itamar Moses, Stephen Adly Guirgis, and Terence McNally; by exciting up-and-comers such as Nicole Pandolfo, Peter Sinn Nachtrieb, Crystal Skillman, Greg Kalleres, Reina Hardy, and J. Thalia Cunningham; and information on getting the complete text of each play. This is a must-have resource in the arsenal of every aspiring actor hoping to knock 'em dead with his contemporary piece after bowling over teachers and casting directors alike with a classical excerpt.
This anthology of interviews and essays joins luminaries in contemporary psychoanalysis with pioneers of feminism to provide a timely analysis of the crushing effects of patriarchy and the role that psychoanalysis can play in moving us into a future defined by mutuality and respect. Departing from the contemporary psychoanalytic view that the socio-political and intrapsychic are inextricably linked, contributors use psychoanalysis as a tool to demystify and even dismantle patriarchy, while also examining how our theories, practices, and institutions have been implicated in it. The issues under examination here include important and often under-theorized topics such as institutional responses to boundary violations, the search for a black-feminist psychoanalytic theory, patriarchal enactments within the trans community, the persistence of patriarchy within contemporary psychoanalysis, and the impacts of patriarchy on diverse patient populations and ways to address this clinically. This book represents the first anthology comprised of voices from both within and outside the psychoanalytic realm, outlining a contemporary feminist psychoanalysis for both an analytic and non-analytic audience. It is invaluable for both psychoanalysts and for those in gender studies wishing to draw on psychoanalytic thinking.
