Free Will: Art and power on Shakespeare's stage is a study of theatre and sovereignty that situates Shakespeare's plays in the contraflow between two absolutisms of early modern England: the aesthetic and the political.
John Ford's tragedy 'Tis Pity She's A Whore was first performed between 1629 and 1633 and since then its themes of incest, love versus duty and forbidden passion have made it a widely studied and performed, if controversial, play.
Often set in domestic environments and built around protagonists of more modest status than traditional tragic subjects, 'domestic tragedy' was a genre that flourished on the Renaissance stage from 1580-1620.
This Handbook provides an introductory guide to The Winter's Tale offering a scene-by-scene theatrically aware commentary, contextual documents, a brief history of the text and first performances, case studies of key performances and productions, a survey of film and TV adaptation, a wide sampling of critical opinion and further reading.
Cixous' work as a playwright - working mainly with Theatre du Soleil and their director Ariane Mnouchkine - establishes her as a participant in some of the most adventurous European theatre making of the last 40 years.
William Shakespeare's lifetime (1564 1616) spanned the reigns of the last of the Tudors, Elizabeth I and the first of the Stuart kings, James I and the changing times and political mores of the time were reflected through his plays.
Presentist Shakespeares is the first extended study of the principles and practice of 'presentism', a critical movement that takes account of the never-ending dialogue between past and present.
Shakespeare's four-hundred-year performance history is full of anecdotes ribald, trivial, frequently funny, sometimes disturbing, and always but loosely allegiant to fact.
The subject of Britain analyses key seventeenth-century texts by Bacon, Jonson and Shakespeare within the context of the English reign of King James VI and I, whose desire to create a united Britain prompted serious reflection on questions of nationhood.
Getting Into the Act is a vigorous and refreshing account of seven female playwrights who, against all odds, enjoyed professional success in the late eighteenth and early nineteenth century.
Five great forces - Checkhov, Hauptmann, Ibsen, Strindberg and Zola - dramatists whose work define, embrace and transcend the trends and genres of the modern stage, meet here in this extraordinary exhibition of their sustained and sustaining power in today's theatre.
In Honor Thy Gods Jon Mikalson uses the tragedies of Aeschylus, Sophocles, and Euripides to explore popular religious beliefs and practices of Athenians in the fifth and fourth centuries B.
Performing Shakespearean Appropriations explores the production and consumption of Shakespeare in acts of adaptation and appropriation across time periods and through a range of performance topics.
In the first in-depth study of the interconnected relationships among public theatre, custodial institutions, and women in early modern Spain, Margaret E.
Yeats, Shakespeare, and Irish Cultural Nationalism examines Yeats's writing on Shakespeare in the context of his work on behalf of the Irish Literary Revival.
The commentary at the heart of the book introduces readers to the challenge of reading The Tempest as a text and responding to the play in performance.
Closer emerged as one of the most successful plays of the 1990s, and one with a continuing afterlife through the academy award nominated film adaptation in 2004.
The One-Hour Shakespeare series is a collection of abridged versions of Shakespeare's plays, designed specifically to accommodate both small and large casts.
Presenting an interesting approach to this once marginalized play, this edition addresses issues including collaboration, performance history, craftsmanship and sources.
ARDEN RENAISSANCE DRAMA GUIDES offer students and academics practical and accessible introductions to the critical and performance contexts of key Elizabethan and Jacobean plays.
