Volume 1 of this two-volume set contains 26 plays including Aeschylus "Prometheus Bound"; Sophocles "Antigone"; Seneca "Medea"; Marlowe, "Dr. Faustus"; Heywood, "A Woman Killed with Kindness"; Johnson, "Every Man in His Humour"; Beaumont and Fletcher "The Maid's Tragedy"; Sheridan "The School for Scandal"; plus plays from the Orient, medieval plays and more.
This anthology was designed not only for the serious student of world literature and the drama, but for everyone interested in the stage. It is an unusual collection, containing many great plays which are not ordinarily to be found in anthologies, and several which are not currently to be found in print in English in any edition. Virtually every great dramatic tradition is represented — Greek, Roman, Indian, Chinese, Japanese, Medieval, as well as such national traditions of Europe as Italian, Spanish, English, French, German, Danish, Russian, and Norwegian. This volume includes: Aeschylus: Prometheus Bound; Sophocles: Antigone; Euripides: Alcestis; Aristophanes: The Clouds; Plautus: The Captives; Terence: Phormio; Seneca: Medea; Kálidása: Śakoontalá; The Oriental plays: The Chalk Circle, Abstractions, Nakamitsu, and Fair Ladies at the Game of Poem-Cards; anonymous Medieval plays: Adam, The Wise Virgins and the Foolish Virgins, The Second Shepherd's Play, The Farce of the Worthy Master Pierre Patelin, Everyman, and St. George; Sachs: The Wandering Scholar from Paradise; Marlowe: The Tragical History of Dr. Faustus; Johnson: Every Man in His Humour; Heywood: A Woman Killed with Kindness; Beaumont and Fletcher: The Maid's Tragedy; Farquhar: The Beaux-Stratagem; Goldsmith: She Stoops to Conquer; Sheridan: School for Scandal. 26 plays in total.
Henrik Ibsen's drama is the most prominent and lasting contribution of the cultural surge seen in Scandinavian literature in the later nineteenth century. When he made his debut in Norway in 1850, the nation's literary presence was negligible, yet by 1890 Ibsen had become one of Europe's most famous authors. Contrary to the standard narrative of his move from restrictive provincial origins to liberating European exile, Narve Fulsås and Tore Rem show how Ibsen's trajectory was preconditioned on his continued embeddedness in Scandinavian society and culture, and that he experienced great success in his home markets. This volume traces how Ibsen's works first travelled outside Scandinavia and studies the mechanisms of his appropriation in Germany, Britain and France. Engaging with theories of book dissemination and world literature, and re-assessing the emergence of 'peripheral' literary nations, this book provides new perspectives on the work of this major figure of European literature and theatre.
The World Encyclopedia of Contemporary Theatre:Europe covers theatre since World War II in forty-seven European nations, including the nations which re-emerged following the break-up of the former USSR, Czechoslovakia and Yugoslavia. Each national article is divided into twelve sections - History, Structure of the National Theatre Community, Artistic Profile, Music Theatre, Theatre for Young Audiences, Puppet Theatre, Design, Theatre, Space and Architecture, Training, Criticism, Scholarship and Publishing and Further Reading - allowing the reader to use the book as a source for both area and subject studies.
In New World Drama, Elizabeth Maddock Dillon turns to the riotous scene of theatre in the eighteenth-century Atlantic world to explore the creation of new publics. Moving from England to the Caribbean to the early United States, she traces the theatrical emergence of a collective body in the colonized New World—one that included indigenous peoples, diasporic Africans, and diasporic Europeans. In the raucous space of the theatre, the contradictions of colonialism loomed large. Foremost among these was the central paradox of modernity: the coexistence of a massive slave economy and a nascent politics of freedom. Audiences in London eagerly watched the royal slave, Oroonoko, tortured on stage, while audiences in Charleston and Kingston were forbidden from watching the same scene. Audiences in Kingston and New York City exuberantly participated in the slaying of Richard III on stage, enacting the rise of the "people," and Native American leaders were enjoined to watch actors in blackface "jump Jim Crow." Dillon argues that the theater served as a "performative commons," staging debates over representation in a political world based on popular sovereignty. Her book is a capacious account of performance, aesthetics, and modernity in the eighteenth-century Atlantic world.
Covering the period 1879 to 1959, and taking in everything from Ibsen to Beckett, this book is volume one of a two-part comprehensive examination of the plays, dramatists, and movements that comprise modern world drama. Contains detailed analysis of plays and playwrights, connecting themes and offering original interpretations Includes coverage of non-English works and traditions to create a global view of modern drama Considers the influence of modernism in art, music, literature, architecture, society, and politics on the formation of modern dramatic literature Takes an interpretative and analytical approach to modern dramatic texts rather than focusing on production history Includes coverage of the ways in which staging practices, design concepts, and acting styles informed the construction of the dramas
Ranging from the earliest drama to the theater of the 1980's this encyclopedia includes coverage of national drama and theater around the world, theater companies, and musical comedy. Arrangement of the 1,300 entries is alphabetically by name or subject with nearly 950 of these devoted to individual playwrights and their works.
No one ever understood the mythology and Ritual of Ancient Egypt so well as Gerald Massey since the time of the Ancient Philosophers of Egypt. This book is one of the best when it comes down to Egyptian mythology, occultism and interpretation. It's a standard work no one wants to miss. This is volume one out of two.
