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Job's Body and the Dramatised Comedy of Moralising (Routledge Studies in the Biblical World)
by Katherine E. SouthwoodThis book focuses on the expressions used to describe Job’s body in pain and on the reactions of his friends to explore the moral and social world reflected in the language and the values that their speeches betray. A key contribution of this monograph is to highlight how the perspective of illness as retribution is powerfully refuted in Job’s speeches and, in particular, to show how this is achieved through comedy. Comedy in Job is a powerful weapon used to expose and ridicule the idea of retribution. Rejecting the approach of retrospective diagnosis, this monograph carefully analyses the expression of pain in Job focusing specifically on somatic language used in the deity attack metaphors, in the deity surveillance metaphors and in the language connected to the body and social status. These metaphors are analysed in a comparative way using research from medical anthropology and sociology which focuses on illness narratives and expressions of pain. Job's Body and the Dramatised Comedy of Moralising will be of interest to anyone working on the Book of Job, as well as those with an interest in suffering and pain in the Hebrew Bible more broadly.
Job's Body and the Dramatised Comedy of Moralising (Routledge Studies in the Biblical World)
by Katherine E. SouthwoodThis book focuses on the expressions used to describe Job’s body in pain and on the reactions of his friends to explore the moral and social world reflected in the language and the values that their speeches betray. A key contribution of this monograph is to highlight how the perspective of illness as retribution is powerfully refuted in Job’s speeches and, in particular, to show how this is achieved through comedy. Comedy in Job is a powerful weapon used to expose and ridicule the idea of retribution. Rejecting the approach of retrospective diagnosis, this monograph carefully analyses the expression of pain in Job focusing specifically on somatic language used in the deity attack metaphors, in the deity surveillance metaphors and in the language connected to the body and social status. These metaphors are analysed in a comparative way using research from medical anthropology and sociology which focuses on illness narratives and expressions of pain. Job's Body and the Dramatised Comedy of Moralising will be of interest to anyone working on the Book of Job, as well as those with an interest in suffering and pain in the Hebrew Bible more broadly.
Jocelyn Bioh: Merry Wives; Nollywood Dreams; School Girls, Or, The African Mean Girls Play (Methuen Drama Play Collections)
by Jocelyn Bioh"Ms. Bioh, a native New Yorker whose parents emigrated from Ghana in 1968, has made it her mission, theatrically and personally, to tell stories about African and African-American characters that buck expectation and defy stereotype." (New York Times) This first collection of plays from American contemporary playwright Jocelyn Bioh brings together a trilogy of celebrated work recently seen in New York and around the world. Merry Wives: Set in South Harlem, amidst a vibrant and eclectic community of West African immigrants, Merry Wives is a New York story about tricks of the heart. A raucous spinoff featuring the Bard's most beloved comic characters, this hilarious farce tells the story of the trickster Falstaff and the wily wives who outwit him in a new celebration of Black joy, laughter, and vitality. Nollywood Dreams: It's the nineties and in Lagos, Nigeria, the "Nollywood" film industry is exploding. Looking to make the first Nollywood film with Western crossover appeal, Gbenga Ezie, Nigeria's hottest director, has decided to host an open casting call for the female lead of his new romantic drama/thriller "The Comfort Zone." Casting for the film draws on more emotions than expected in this imagining of what the growing Nollywood film scene was like as it rose to become the phenomenon it is today.School Girls; Or The African Mean Girls Play: Paulina, the reigning queen bee at Ghana's most exclusive boarding school, has her sights set on the Miss Universe pageant. But the arrival of Ericka, a new student with undeniable talent and beauty, captures the attention of the pageant recruiter--and Paulina's hive-minded friends. This buoyant and biting comedy explores the universal similarities (and glaring differences) facing teenage girls across the globe. How far would you go to be queen bee?
Jocelyn Bioh: Merry Wives; Nollywood Dreams; School Girls, Or, The African Mean Girls Play (Methuen Drama Play Collections)
by Jocelyn Bioh"Ms. Bioh, a native New Yorker whose parents emigrated from Ghana in 1968, has made it her mission, theatrically and personally, to tell stories about African and African-American characters that buck expectation and defy stereotype." (New York Times) This first collection of plays from American contemporary playwright Jocelyn Bioh brings together a trilogy of celebrated work recently seen in New York and around the world. Merry Wives: Set in South Harlem, amidst a vibrant and eclectic community of West African immigrants, Merry Wives is a New York story about tricks of the heart. A raucous spinoff featuring the Bard's most beloved comic characters, this hilarious farce tells the story of the trickster Falstaff and the wily wives who outwit him in a new celebration of Black joy, laughter, and vitality. Nollywood Dreams: It's the nineties and in Lagos, Nigeria, the "Nollywood" film industry is exploding. Looking to make the first Nollywood film with Western crossover appeal, Gbenga Ezie, Nigeria's hottest director, has decided to host an open casting call for the female lead of his new romantic drama/thriller "The Comfort Zone." Casting for the film draws on more emotions than expected in this imagining of what the growing Nollywood film scene was like as it rose to become the phenomenon it is today.School Girls; Or The African Mean Girls Play: Paulina, the reigning queen bee at Ghana's most exclusive boarding school, has her sights set on the Miss Universe pageant. But the arrival of Ericka, a new student with undeniable talent and beauty, captures the attention of the pageant recruiter--and Paulina's hive-minded friends. This buoyant and biting comedy explores the universal similarities (and glaring differences) facing teenage girls across the globe. How far would you go to be queen bee?
Joe Guy (Modern Plays)
by Roy WilliamsJoe Boateng, the 'David Beckham' of his generation, is Ghanaian.Naomi, his childhood sweetheart is British and of Jamaican parentage.With Joe's escalating celebrity status comes huge sacrifices,accusations of selling out, temptations and life changing choices.Joe Guy is a stark and powerful contemporary storyexploring the historical tension and bitter prejudices existing betweenAfrican and Caribbean British communities. It looks at how youngdescendants from Africa distance themselves from a unified urban BlackBritain. This urgent examination of identity and celebrity is told inTiata Fahodzi's renowned visceral style.This is a programme text edition published to coincide with theplay's world premiere in a production by Tiata Fahodzi that opens atthe New Wolsey Theatre, Ipswich,on 18 October before coming to SohoTheatre, London.
Joe Guy: Sucker Punch ; Category B ; Joe Guy ; Baby Girl ; Theres Only One Wayne Matthews (Modern Plays)
by Roy WilliamsJoe Boateng, the 'David Beckham' of his generation, is Ghanaian.Naomi, his childhood sweetheart is British and of Jamaican parentage.With Joe's escalating celebrity status comes huge sacrifices,accusations of selling out, temptations and life changing choices.Joe Guy is a stark and powerful contemporary storyexploring the historical tension and bitter prejudices existing betweenAfrican and Caribbean British communities. It looks at how youngdescendants from Africa distance themselves from a unified urban BlackBritain. This urgent examination of identity and celebrity is told inTiata Fahodzi's renowned visceral style.This is a programme text edition published to coincide with theplay's world premiere in a production by Tiata Fahodzi that opens atthe New Wolsey Theatre, Ipswich,on 18 October before coming to SohoTheatre, London.
Johann Nestroy (Sammlung Metzler)
by Jürgen HeinDer Band zeichnet die Züge eines bedeutenden Zeitgenossen des 19. Jahrhunderts nach, dessen Leben als Sänger, Schauspieler und Direktor im Theater aufging.
John Buchan's The 39 Steps (PDF)
by Patrick Barlow John Buchan Simon Corble Nobby DimonPatrick Barlow's Olivier Award winning stage adaptation, based on John Buchan's gripping whodunit - memorably filmed by Alfred Hitchcock in 1935 - is now in its seventh year at the Criterion Theatre in the West End. Nothing has been cut from this hilarious and spectacular version of Britain's most spell-binding thriller - legendary scenes include the chase on the Flying Scotsman, the escape on the Forth Bridge, the first theatrical bi-plane crash ever staged and the death-defying (or nearly!) finale at the London Palladium! With four actors playing a minimum of one hundred and thirty-nine roles, it's the most astonishing theatrical tour de force of the year.
John Bull's Other Island: And Major Barbara [and How He Lied To Her Husband]
by George Bernard ShawShaw’s story is rife with such ‘beyond opinions’, as an Anglo-Irish Protestant, a Dubliner in London, and a socialist living in the aftermath of the industrial revolution. In one sense, as a Protestant choosing to live in London, he is a John Bull, yet he remains Irish – an Irish Bull, something alluded to in his one play set in Eire, John Bull’s Other Island.
John Cage's Theatre Pieces (Contemporary Music Studies)
by William FettermanThe experimental composer John Cage (1912-1992) is best known for his works in percussion, prepared piano, and electronic music, but he is also acknowledged to be one of the most significant figures in 20th century theatre. In Cage's work in theatre composition there is a blurring of the distinctions between music, dance, literature, art and everyday life. Here, William Fetterman examines the majority of those compositions by Cage which are audial as well as visual in content, beginning with his first work in this genre in 1952, and continuing through 1992.Much of the information in this study comes from previously undocumented material discovered among the unpublished scores and notes of Cage and his frequent collaborator David Tudor, as well as author's interviews with Cage and with individuals closely associated with his work, including David Tudor, Merce Cunningham, Bonnie Bird, Mary Caroline Richards, and Ellsworth Snyder.
John Cage's Theatre Pieces (Contemporary Music Studies #Vol. 11.)
by William FettermanThe experimental composer John Cage (1912-1992) is best known for his works in percussion, prepared piano, and electronic music, but he is also acknowledged to be one of the most significant figures in 20th century theatre. In Cage's work in theatre composition there is a blurring of the distinctions between music, dance, literature, art and everyday life. Here, William Fetterman examines the majority of those compositions by Cage which are audial as well as visual in content, beginning with his first work in this genre in 1952, and continuing through 1992.Much of the information in this study comes from previously undocumented material discovered among the unpublished scores and notes of Cage and his frequent collaborator David Tudor, as well as author's interviews with Cage and with individuals closely associated with his work, including David Tudor, Merce Cunningham, Bonnie Bird, Mary Caroline Richards, and Ellsworth Snyder.
John Dryden and His Readers: 1700 (Routledge Studies in Renaissance Literature and Culture)
by Winifred ErnstDryden at the end of his life was admired, perhaps even beloved, by many in England, and his greatest skill over his long career—his controlled detachment—uniquely positioned him to write of both history and politics in 1700. His narrative poetry was popular among Whigs and Tories, women and men, Ancients and Moderns, and his imitations suggest historical connections between the War of the Roses, the Civil War, and the Revolution of 1688. All of these events combined easily in the minds of Dryden’s contemporaries, and his fables, fraught with conflicted loyalties and family strife not unlike a nation divided, may have caught and compelled his readers in a way that was different from other miscellanies: Dryden may have articulated in beautiful verse the emotions of many in the midst of enormous historical change. Fables is a pivotal cultural text urging national unity through its embrace of competing voices.
John Dryden and His Readers: 1700 (Routledge Studies in Renaissance Literature and Culture)
by Winifred ErnstDryden at the end of his life was admired, perhaps even beloved, by many in England, and his greatest skill over his long career—his controlled detachment—uniquely positioned him to write of both history and politics in 1700. His narrative poetry was popular among Whigs and Tories, women and men, Ancients and Moderns, and his imitations suggest historical connections between the War of the Roses, the Civil War, and the Revolution of 1688. All of these events combined easily in the minds of Dryden’s contemporaries, and his fables, fraught with conflicted loyalties and family strife not unlike a nation divided, may have caught and compelled his readers in a way that was different from other miscellanies: Dryden may have articulated in beautiful verse the emotions of many in the midst of enormous historical change. Fables is a pivotal cultural text urging national unity through its embrace of competing voices.
John Fletcher's Rome: Questioning the classics (Revels Plays Companion Library)
by Domenico LovascioJohn Fletcher’s Rome is the first book to explore John Fletcher’s engagement with classical antiquity. Like Shakespeare and Jonson, Fletcher wrote, alone or in collaboration, a number of Roman plays: Bonduca, Valentinian, The False One and The Prophetess. Unlike Shakespeare’s or Jonson’s, however, Fletcher’s Roman plays have seldom been the subject of critical discussion.Domenico Lovascio’s ground-breaking study examines these plays as a group for the first time, thus identifying disorientation as the unifying principle of Fletcher’s portrayal of imperial Rome. John Fletcher’s Rome argues that Fletcher’s dramatization of ancient Rome exudes a sense of detachment and scepticism as to the authority of Roman models resulting from his irreverent approach to the classics. The book sheds new light on Fletcher’s intellectual life, his vision of history, and the interconnections between these plays and the rest of his canon.
John Fletcher's Rome: Questioning the classics (Revels Plays Companion Library)
by Domenico LovascioJohn Fletcher’s Rome is the first book to explore John Fletcher’s engagement with classical antiquity. Like Shakespeare and Jonson, Fletcher wrote, alone or in collaboration, a number of Roman plays: Bonduca, Valentinian, The False One and The Prophetess. Unlike Shakespeare’s or Jonson’s, however, Fletcher’s Roman plays have seldom been the subject of critical discussion.Domenico Lovascio’s ground-breaking study examines these plays as a group for the first time, thus identifying disorientation as the unifying principle of Fletcher’s portrayal of imperial Rome. John Fletcher’s Rome argues that Fletcher’s dramatization of ancient Rome exudes a sense of detachment and scepticism as to the authority of Roman models resulting from his irreverent approach to the classics. The book sheds new light on Fletcher’s intellectual life, his vision of history, and the interconnections between these plays and the rest of his canon.
John Gabriel Borkman
by Henrik IbsenJohn Gabriel Borkman, wealthy, powerful, revered, sacrificed love for success and was handsomely rewarded. Now, disgraced and destitute after financial scandal and a jail sentence, he paces out each day alone, planning his comeback. Downstairs, his wife, Gunhild, lives a parallel existence, plotting for their son to restore the family's reputation. But with the arrival of Gunhild's twin sister Ella, the woman whose love Borkman gave away, the claustrophobic stasis is shattered once and for all.
John Gabriel Borkman (Modern Plays)
by Henrik Ibsen David EldridgeDisgraced and destitute following a fraud scandal and imprisonment, John Gabriel Borkman paces alone in an upstairs room. Downstairs, his family is trapped in the claustrophobic atmosphere of a household bound for explosion.A scorching indictment of 19th century capitalism, Ibsen's penultimate play paints a devastating picture of selfish ambition. The play has its premiere in this new version by David Eldridge on 15 February 2007 at the Donmar Warehouse, London.
John Gabriel Borkman (Modern Plays)
by Henrik Ibsen David EldridgeDisgraced and destitute following a fraud scandal and imprisonment, John Gabriel Borkman paces alone in an upstairs room. Downstairs, his family is trapped in the claustrophobic atmosphere of a household bound for explosion.A scorching indictment of 19th century capitalism, Ibsen's penultimate play paints a devastating picture of selfish ambition. The play has its premiere in this new version by David Eldridge on 15 February 2007 at the Donmar Warehouse, London.
John Guare: A Research and Production Sourcebook (Modern Dramatists Research and Production Sourcebooks)
by Jane K. CurryBest known for his plays Six Degrees of Separation and The House of Blue Leaves, John Guare is a major figure in the contemporary American theater. Other notable works by Guare include Bosoms and Neglect, Landscape of the Body, and the Lydie Breeze series. His career began with off-off-Broadway experimentation in the sixties and continues through the present. In that time Guare has created many imaginative, eccentric plays that reflect the chaos, violence, and loneliness of life in our time. He frequently combines outrageous farce with painfully serious subject matter.This sourcebook is both a convenient reference and a resource for further investigation of Guare's works. The volume chronicles his achievements with a chronology and biographical essay. It also includes summaries of his published and unpublished plays, overviews of the critical reception of each work, production credits, a primary bibliography of dramatic and nondramatic writings, and extensive annotated bibliographies of reviews and other secondary material.
John Hall, Master of Physicke: A casebook from Shakespeare's Stratford
by Paul Edmondson Greg WellsThis is the first complete edition and English translation of John Hall’s Little Book of Cures, a fascinating medical casebook composed in Latin around 1634–5. John Hall (1575–1635) was Shakespeare’s son-in-law (Hall married Susanna Shakespeare in 1607), and based his medical practice in Stratford-upon-Avon. Readers have never before had access to a complete English translation of John Hall’s casebook, which contains fascinating details about his treatment of patients in and around Stratford. Until Wells’s edition, our knowledge of Hall and his practice has had to rely only on a partial, seventeenth-century edition (produced by James Cooke in 1657 and 1679, and re-printed with annotation by Joan Lane as recently as 1996). Cooke’s edition significantly misrepresents Hall by abridging his manuscript (Cooke removed Hall’s conversations with his patients), by errors of translation, and by combining Hall’s work with examples from Cooke’s own medical practice.
John Hall, Master of Physicke: A casebook from Shakespeare's Stratford
by Greg Wells Paul EdmondsonThis is the first complete edition and English translation of John Hall’s Little Book of Cures, a fascinating medical casebook composed in Latin around 1634–5. John Hall (1575–1635) was Shakespeare’s son-in-law (Hall married Susanna Shakespeare in 1607), and based his medical practice in Stratford-upon-Avon. Readers have never before had access to a complete English translation of John Hall’s casebook, which contains fascinating details about his treatment of patients in and around Stratford. Until Wells’s edition, our knowledge of Hall and his practice has had to rely only on a partial, seventeenth-century edition (produced by James Cooke in 1657 and 1679, and re-printed with annotation by Joan Lane as recently as 1996). Cooke’s edition significantly misrepresents Hall by abridging his manuscript (Cooke removed Hall’s conversations with his patients), by errors of translation, and by combining Hall’s work with examples from Cooke’s own medical practice.
John Henry: Roark Bradford's Novel and Play
by Roark BradfordRoark Bradford's 1931 novel and 1939 play dealing with the legendary folk-hero John Henry (both titled John Henry) were extremely influential in their own time, but have since then been nearly forgotten. Steven C. Tracy has united these hard-to-find works in a single critical edition that helps contextualize-and revive-both texts. An expansive introduction explores Bradford's life; recounts critical responses to his works; and surveys John Henry's pervasive influence in folk, literary, and popular culture. The volume also features a wide array of supplementary materials including a selected bibliography and discography, transcriptions of folksong texts and recordings available during the 1930s, and a chronology of the lives of both Bradford and Henry. As Tracy's introduction makes clear, such a consideration of Bradford--set in the context of writers, both black and white, drawing upon African American folklore and using dialects along with stereotypical and non-stereotypical portrayals--is long overdue. This new edition is a windfall for scholars and students of folklore and African American literature.