Laurence Olivier starred as Stanhope in the first performance of Journey's End in 1928; the play was an instant stage success and remains a remarkable anti-war classic.
In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens.
Farce has always been relegated to the lowest rung of the ladder of dramatic genres. Distinctions between farce and more literary comic forms remain clouded, even in the light of contemporary efforts to rehabilitate this type of comedy. Is farce really nothing more than slapstick-the "putting out of candles, kicking down of tables, falling over joynt-stools," as Thomas Shadwell characterized it in the seventeenth century? Or was his contemporary, Nahum Tate correct when he declared triumphantly that "there are no rules to be prescribed for that sort of wit, no patterns to copy; and 'tis altogether the creature of imagination"? Davis shows farce to be an essential component in both the comedic and tragic traditions. "Farce" sets out to explore the territory of what makes farce distinct as a comic genre. Its lowly origins date back to the classic Graeco-Roman theatre; but when formal drama was reborn by the process of elaboration of ritual within the mediaeval Church, the French term "farce" became synonymous with a recognizable style of comic performance. Taking a wide range of farces from the briefest and most basic of fair-ground mountebank performances to fully-fledged five-act structures from the late nineteenth century, the book reveals the patterns of comic plot and counter-plot that are common to all. The result is a novel classification of farce-plots, which serves to clarify the differences between farce and more literary comic forms and to show how quickly farce can shade into other styles of humor. The key is a careful balance between a revolt against order and propriety, and a kind of "Realpolitik" which ultimately restores the social conventions under attack. A complex array of devices in such things as framing, plot, characterization, timing and acting style maintain the delicate balance. Contemporary examples from the London stage bring the discussion up-to-date and reveal farce as a complex and potent comic form, with its own history, rules and traditions. "Farce" sheds light on the genre, its history, and usage in terms of dramatic critics. Davis examines the recurring themes in farcical comedies including rebellion, revenge, and coincidence. This classic work, updated with a new introduction and 50% new material, has been a staple of literary and humor studies libraries for years. It is part of the Transaction Series in Humor edited by Arthur Asa Berger. Jessica Milner Davis co-ordinates the Australasian Humour Scholars Network from the University of New South Wales in Sydney as a Visiting Fellow in its Faculty of Arts and Social Sciences. Since her first book she has published a wide variety of papers on comedy and humor, edited two specialist volumes of "The Australian Journal of Comedy" (in 1997 and 2001) and serves on the boards of two international humor research journals and book-series.
The volume begins with an overview of Wilson's aesthetic and dramatic agenda, along with a discussion of the forces that propelled him beyond his potentially troubled life in Pittsburgh to his current status as one of America's most gifted playwrights. A detailed plot summary of Fences is provided, followed by an overview of the play's distinguished production history. The play's historical and cultural background and themes are explored, as is Wilson's dramatic art. The reference closes with a look at the critical and scholarly reception of Fences and a bibliographical essay. Included are rare photos from the play's Broadway premiere and its 1999 premiere in Beijing.
"I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture."--C. L. Barber, in the Introduction
This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing that Shakespeare's Festive Comedy is as vital today as when it was originally published.
A provocative and darkly comic look at fantasy and romance, The Village Bike by Penelope Skinner premiered at the Royal Court Theatre, London, in June 2011.
Penelope Skinner won the George Devine Award for Most Promising Playwright 2011.
This overcoat is neutral darling, neither Bolshevik nor Menshevik. Just essence of Prole.
In Kiev during the Russian Civil War, the Turbin household is sanctuary to a ragtag, close-knit crowd presided over by the beautiful Lena. As her brothers prepare to fight for the White Guard, friends charge in from the riotous streets amidst an atmosphere of heady chaos, quaffing vodka, keeling over, declaiming, taking baths, playing guitar, falling in love. But the new regime is poised and in its brutal triumph lies destruction for the Turbins and their world.
And those are the real enemies we face, deep in the shadows. This modern man with no name, no past, no love. This desperate hate-filled man born of loneliness and frustration. This man with nothing to be proud of, nothing he is part of. . .
Serving her with divorce papers after a passionate morning sexapade, Lisa is on wits end because Anthony would not give her a reason and shut her out of his life completely. Solitude makes Lisa go crazy and is on a rampage to get her man back at any cost. After two years Anthony has gone on with his life, but everything changes when everyone around him comes up missing, hurt, or dead.
From the pen of award winning, bestselling author Ni'cola Mitchell comes a cold, gritty tale that takes you into the mind of a woman that has lost everything and there is only one to blame. This suspenseful thriller will remind yo
In the Unlikely Event is a fictional account of a real series of plane crashes that took place between December 1951 and August 1952 in Elizabeth, New Jersey.
Miri Ammerman is a young Jewish girl. Her mother, Rusty, made the unusual choice, for the time period, to raise her daughter alone. They live with Rusty’s mother, Irene, and brother, Henry, a reporter for the local paper. Miri’s best friend, Natalie, is the daughter of a local dentist, Dr. Osner. Miri often fantasizes about Natalie’s mother dying so that Rusty and Dr. Osner can get married. Then the girls could be sisters.
A young dancer named Ruby Granik boards a plane and, while helping a young mother with her two small children as the plane takes off, Ruby realizes that something is terribly wrong. At the same time, Miri and Rusty are on their way home from a movie when they see the plane coming down…
PLEASE NOTE: This is a summary and analysis of the book and NOT the original book.
Inside this Instaread Summary & Analysis of In the Unlikely Event
• Summary of book
• Introduction to the Important People in the book
• Analysis of the Themes and Author’s Style
'One of the best prose translations of Euripides I have seen' Robert Fagles
This selection of plays shows Euripides transforming the titanic figures of Greek myths into recognizable, fallible human beings. Medea, in which a spurned woman takes revenge upon her lover by killing her children, is one of the most shocking of all the Greek tragedies. Medea is a towering figure who demonstrates Euripides' unusual willingness to give voice to a woman's case. Alcestis is based on a magical myth in which Death is overcome, and The Children of Heracles examines conflict between might and right, while Hippolytus deals with self-destructive integrity.
Translated by JOHN DAVIE
Spin, blackberries, sexed-up dossiers, sleaze, global warming and a country on the brink of financial meltdown form the backdrop to mayhem at Chequers as the Foreign Minister of Kumranistan makes a seriously compromising offer of salvation. Prime Minister Jim Hacker remains in power with his coterie of close advisors including Cabinet Secretary Sir Humphrey Appleby and Principal Private Secretary Bernard Woolley, but for how long? They govern a whole new world.
Yes, Prime Minister premiered in the Festival Theatre, Chichester, in May 2010.
Once, in opposing kingdoms lived a princess and a prince who had lost their mothers. Althea, unable to cry, became light with grief and floated, and so was locked away. Digby, so heavy-hearted that he could never smile, one day declares war. Althea, forced out of hiding, escapes, only to encounter the solemn prince on contested land and the warring heirs begin a passionate affair. But for Althea to find real love, she must first face her own deepest fears.
'If music be the food of love, play on...'
Separated from her twin brother Sebastian after a shipwreck, Viola disguises herself as a boy to serve the Duke of Illyria. Wooing a countess on his behalf, she is stunned to find herself the object of his beloved's affections. With the arrival of Viola's brother, and a trick played upon the countess's steward, confusion reigns in this romantic comedy of mistaken identity.
This book contains a general introduction to Shakespeare's life and Elizabethan theatre, a separate introduction to Twelfth Night, a chronology, suggestions for further reading, an essay discussing performance options on both stage and screen, and a commentary.
William Shakespeare was born some time in late April 1564 in Stratford-upon-Avon and died in 1616. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.
Stanley Wells is Emeritus Professor of the University of Birmingham and Honorary President of the Shakespeare Birthplace Trust.
Michael Dobson is Director of the Shakespeare Institute and Professor of Shakespeare Studies at the University of Birmingham.
'Unrequited love, melancholy, cruelty and joy held together in perfect balance' - Nicholas Hytner
Dorothy Parker: Complete Broadway, 19181923 provides a fascinating glimpse of Broadway in its Golden Era and literary life in New York through the eyes of a renowned theatre critic.