In this book, McMahon considers Early Modern revenge plays from a political science perspective, paying particular attention to the construction of family and state institutions.
In this book, McMahon considers Early Modern revenge plays from a political science perspective, paying particular attention to the construction of family and state institutions.
Upon initial publication in 1956, this book was an attempt to re-state certain problems concerning the aesthetics and ethics of the tragic form; to examine these in relation to contemporary work in psychology and anthropology; to enquire into the significance of 'the fact or experience called tragedy' in the modern world; and to suggest a synthesis in terms of the Christian tradition.
Upon initial publication in 1956, this book was an attempt to re-state certain problems concerning the aesthetics and ethics of the tragic form; to examine these in relation to contemporary work in psychology and anthropology; to enquire into the significance of 'the fact or experience called tragedy' in the modern world; and to suggest a synthesis in terms of the Christian tradition.
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.
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.
This book considers the hundred years of re-writes of Anton Chekhov's work, presenting a wide geographical landscape of Chekhovian influences in drama.
This book considers the hundred years of re-writes of Anton Chekhov's work, presenting a wide geographical landscape of Chekhovian influences in drama.
Memory, Allegory, and Testimony in South American Theater traces the shaping of a resistant identity in memory, its direct expression in testimony, and its indirect elaboration in two different kinds of allegory.
Memory, Allegory, and Testimony in South American Theater traces the shaping of a resistant identity in memory, its direct expression in testimony, and its indirect elaboration in two different kinds of allegory.
This book represents the first collection of original critical material on Martin McDonagh, one of the most celebrated young playwrights of the last decade.
This book represents the first collection of original critical material on Martin McDonagh, one of the most celebrated young playwrights of the last decade.
This collection of essays and interviews is the first book about the drama of American playwright Terrence McNally; it examines his career to date (30-plus years), focusing particularly on the two plays for which McNally won Tony Awards for Best Play of 1995, Love!
This collection of essays and interviews is the first book about the drama of American playwright Terrence McNally; it examines his career to date (30-plus years), focusing particularly on the two plays for which McNally won Tony Awards for Best Play of 1995, Love!
From the "e;angry young man"e; who wrote Who's Afraid ofVirginia Woolf in 1962, determined to expose the emptiness of American experience to Tiny Alice which reveals his indebtedness to Samuel Beckett and Eugene Ionesco's Theatre of the Absurd, Edward Albee's varied work makes it difficult to label him precisely.
From the "e;angry young man"e; who wrote Who's Afraid ofVirginia Woolf in 1962, determined to expose the emptiness of American experience to Tiny Alice which reveals his indebtedness to Samuel Beckett and Eugene Ionesco's Theatre of the Absurd, Edward Albee's varied work makes it difficult to label him precisely.
It is a generally accepted fact that in the first half of the nineteenth century, Catherine Gore became the most prolific, if not most popular writer of fashionable novels in England.