- Table View
- List View
The Politics of Tragicomedy: Shakespeare and After (Routledge Library Editions: Study of Shakespeare)
by Gordon McMullan Jonathan HopeThe Politics of Tragicomedy: Shakespeare and After offers a series of sophisticated and powerful readings of tragicomedy from Shakespeare’s late plays to the drama of the Interregnum. Rejecting both the customary chronological span bounded by the years 1603-42 (which presumes dramatic activity stopped with the closing of the theatres) and the negative critical attitudes that have dogged the study of tragicomedy, the essays in this collection examine a series of issues central to the possibility of a politics for the genre. Individual essays offer important contributions to continuing debates over the role of the drama in the years preceding the Civil War, the colonial contexts of The Tempest, the political character of Jonson’s late plays, and the agency of women as public and theatre actors. The introduction presents a strong challenge to previous definitions of tragicomedy in the English context, and the collection as a whole is characterized by its rejection of absolutist strategies for reading tragicomedy. This collection will prove essential reading for all with an interest in the politics of Renaissance drama; for specialists in the work of Shakespeare, Fletcher, and Jonson; for those interested in genre and dramatic forms; and for historians of early Stuart England.
The Politics of Tragicomedy: Shakespeare and After (Routledge Library Editions: Study of Shakespeare)
by Gordon McMullan Jonathan HopeThe Politics of Tragicomedy: Shakespeare and After offers a series of sophisticated and powerful readings of tragicomedy from Shakespeare’s late plays to the drama of the Interregnum. Rejecting both the customary chronological span bounded by the years 1603-42 (which presumes dramatic activity stopped with the closing of the theatres) and the negative critical attitudes that have dogged the study of tragicomedy, the essays in this collection examine a series of issues central to the possibility of a politics for the genre. Individual essays offer important contributions to continuing debates over the role of the drama in the years preceding the Civil War, the colonial contexts of The Tempest, the political character of Jonson’s late plays, and the agency of women as public and theatre actors. The introduction presents a strong challenge to previous definitions of tragicomedy in the English context, and the collection as a whole is characterized by its rejection of absolutist strategies for reading tragicomedy. This collection will prove essential reading for all with an interest in the politics of Renaissance drama; for specialists in the work of Shakespeare, Fletcher, and Jonson; for those interested in genre and dramatic forms; and for historians of early Stuart England.
Politische Typologie und dramatisches Exemplum: Studien zum historisch-ästhetischen Horizont des barocken Trauerspiels am Beispiel von Andreas Gryphius' Carolus Stuardus und Papinianus. Germanistische Abhandlungen, Band 55
by Kalr-Heinz Habersetzer
Pollastra and the Origins of Twelfth Night: Parthenio, commedia (1516) with an English Translation (Anglo-Italian Renaissance Studies)
by Louise George ClubbPollastra and the Origins of Twelfth Night addresses two closely linked and increasingly studied issues: the nature of the relation of Shakespeare's plays to Italian culture, and the technology of modern theater invented in Renaissance Italy. The discovery of forgotten works by Giovanni Lappoli, known as Pollastra, led to publication in Italy in 1993 in a limited edition of the Italian texts with supplemental scholarship by the authors, entitled Romance and Aretine Humanism in Sienese Comedy. One of those texts, the comedy Parthenio, has escaped the attention of theater bibliographers, because it was quickly sold out in its time and only a handful of copies are known to exist today. Yet it played an important part in the birth of Italian Renaissance drama and of modern comedy in general, in that it was the immediate predecessor and source of Gl'Ingannati, arguably the most famous comedy of the Italian Renaissance and certainly the most imitated, translated, adapted all over Europe. The best known of its progeny is Shakespeare's Twelfth Night. Much has been written in Italy and England about Gl'Ingannati and Shakespeare's debt to it, but nothing at all about Parthenio. This volume provides the first English translation (with the original Italian on facing pages); and presents for an international audience the theatrical scholarship from the 1993 book Romance and Aretine Humanism in Sienese Comedy, augmented with new findings.
Pollastra and the Origins of Twelfth Night: Parthenio, commedia (1516) with an English Translation (Anglo-Italian Renaissance Studies)
by Louise George ClubbPollastra and the Origins of Twelfth Night addresses two closely linked and increasingly studied issues: the nature of the relation of Shakespeare's plays to Italian culture, and the technology of modern theater invented in Renaissance Italy. The discovery of forgotten works by Giovanni Lappoli, known as Pollastra, led to publication in Italy in 1993 in a limited edition of the Italian texts with supplemental scholarship by the authors, entitled Romance and Aretine Humanism in Sienese Comedy. One of those texts, the comedy Parthenio, has escaped the attention of theater bibliographers, because it was quickly sold out in its time and only a handful of copies are known to exist today. Yet it played an important part in the birth of Italian Renaissance drama and of modern comedy in general, in that it was the immediate predecessor and source of Gl'Ingannati, arguably the most famous comedy of the Italian Renaissance and certainly the most imitated, translated, adapted all over Europe. The best known of its progeny is Shakespeare's Twelfth Night. Much has been written in Italy and England about Gl'Ingannati and Shakespeare's debt to it, but nothing at all about Parthenio. This volume provides the first English translation (with the original Italian on facing pages); and presents for an international audience the theatrical scholarship from the 1993 book Romance and Aretine Humanism in Sienese Comedy, augmented with new findings.
Polly Stenham: That Face; Tusk Tusk; No Quarter; Hotel
by Polly StenhamPolly Stenham's explosive That Face, written at the age of nineteen, was staged at the Royal Court before transferring to London's West End. Tusk Tusk and No Quarter followed, also for the Royal Court. Her fourth play, Hotel, opened at the National Theatre. All four are contained in Plays 1, together with an introduction from the author.That Face'One of the most astonishing debuts I have seen in more than 30 years.. In every respect this is a remarkable and unforgettable piece of theatre.' Daily TelegraphTusk Tusk'A cracking confirmation of Stenham's talent... [A] gripping, witty, sad play.' Financial TimesNo Quarter'Stenham is that rare thing, a truly exciting writer... It is hard to envisage anything providing this kind of mainlining thrill.' Evening StandardHotel'At its core, Hotel is about civilisation peeled down to savagery. And that is where Stenham is at her brutal, universal best.' Independent
The Poltergeist (Modern Plays)
by Philip Ridley'Art's my hobby too.' Hobby?!Sasha was destined to take the art world by storm. At the age of fifteen pop stars wanted his paintings, and a new exhibition was going to make him a rich man.But now he serves in a stationers, and no one's even heard of him… what went wrong?Philip Ridley's darkly comic new play is about art, family, memory, and being haunted by the life we never lived.This edition was published to coincide with the world premiere performance at London's Southwark Playhouse, which was performed live and live-streamed around the world in November 2020.
The Poltergeist (Modern Plays)
by Philip Ridley'Art's my hobby too.' Hobby?!Sasha was destined to take the art world by storm. At the age of fifteen pop stars wanted his paintings, and a new exhibition was going to make him a rich man.But now he serves in a stationers, and no one's even heard of him… what went wrong?Philip Ridley's darkly comic new play is about art, family, memory, and being haunted by the life we never lived.This edition was published to coincide with the world premiere performance at London's Southwark Playhouse, which was performed live and live-streamed around the world in November 2020.
Polyeucte
by Pierre CorneilleThis is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Pomona (Modern Plays)
by Alistair McDowallI think I'd sleep a lot easier if I knew none of us would wake up tomorrow.Ollie's sister is missing. Searching Manchester in desperation, she finds all roads lead to Pomona - an abandoned concrete island at the heart of the city.Here at the centre of everything, journeys end and nightmares are born. A sinister and surreal thriller from Alistair McDowall, Pomona received its world premiere at the Orange Tree Theatre, London, on 12 November 2014.
Pomona: Brilliant Adventures; Captain Amazing; Talk Show; Pomona (Modern Plays)
by Alistair McDowallI think I'd sleep a lot easier if I knew none of us would wake up tomorrow.Ollie's sister is missing. Searching Manchester in desperation, she finds all roads lead to Pomona - an abandoned concrete island at the heart of the city.Here at the centre of everything, journeys end and nightmares are born. A sinister and surreal thriller from Alistair McDowall, Pomona received its world premiere at the Orange Tree Theatre, London, on 12 November 2014.
Pomona: Brilliant Adventures; Captain Amazing; Talk Show; Pomona (Student Editions)
by Alistair McDowallI think I'd sleep a lot easier if I knew none of us would wake up tomorrow.Ollie's sister is missing. Searching Manchester in desperation, she finds all roads lead to Pomona - an abandoned concrete island at the heart of the city.Here at the centre of everything, journeys end and nightmares are born.Pomona premiered in 2014 and has subsequently become a much-produced and widely studied drama text. It is published here as a Student Edition alongside commentary and notes by Dan Rebellato. The ancillary material is geared at students and includes:- an introduction outlining the play's plot, character, themes context and performance history- the full text of the play- a chronology of the playwright's life and work- extensive textual notes- questions for further studyThis play includes some strong language.
Pomona: Brilliant Adventures; Captain Amazing; Talk Show; Pomona (Student Editions)
by Alistair McDowallI think I'd sleep a lot easier if I knew none of us would wake up tomorrow.Ollie's sister is missing. Searching Manchester in desperation, she finds all roads lead to Pomona - an abandoned concrete island at the heart of the city.Here at the centre of everything, journeys end and nightmares are born.Pomona premiered in 2014 and has subsequently become a much-produced and widely studied drama text. It is published here as a Student Edition alongside commentary and notes by Dan Rebellato. The ancillary material is geared at students and includes:- an introduction outlining the play's plot, character, themes context and performance history- the full text of the play- a chronology of the playwright's life and work- extensive textual notes- questions for further studyThis play includes some strong language.
'pool (Modern Plays)
by Mark RavenhillA famous artist invites her old friends out to her luxurious new home and, for one night only, the group is back together. However, celebrations come to an abrupt end when the host suffers an horrific accident.As the victim lies in a coma, an almost unthinkable plan starts to take shape: could her suffering be their next work of art? The group is ecstatic in its new found project until things slip out of their control and, to the surprise of all, the patient awakes...pool (no water) is a visceral and shocking new play about the fragility of friendship and the jealousy and resentment inspired by success.Citizenship is a bittersweet comedy about growing up, following a boy's frank and messy search to discover his sexual identity. It was developed as part of the National Theatre Shell Connections 2005 Programme
'pool (Modern Plays)
by Mark RavenhillA famous artist invites her old friends out to her luxurious new home and, for one night only, the group is back together. However, celebrations come to an abrupt end when the host suffers an horrific accident.As the victim lies in a coma, an almost unthinkable plan starts to take shape: could her suffering be their next work of art? The group is ecstatic in its new found project until things slip out of their control and, to the surprise of all, the patient awakes...pool (no water) is a visceral and shocking new play about the fragility of friendship and the jealousy and resentment inspired by success.Citizenship is a bittersweet comedy about growing up, following a boy's frank and messy search to discover his sexual identity. It was developed as part of the National Theatre Shell Connections 2005 Programme
Poor Tom: Living "King Lear"
by Simon PalfreyKing Lear is perhaps the most fierce and moving play ever written. And yet there is a curious puzzle at its center. The figure to whom Shakespeare gives more lines than anyone except the king—Edgar—has often seemed little more than a blank, ignored and unloved, a belated moralizer who, try as he may, can never truly speak to the play’s savaged heart. He saves his blinded father from suicide, but even this act of care is shadowed by suspicions of evasiveness and bad faith. In Poor Tom, Simon Palfrey asks us to go beyond any such received understandings—and thus to experience King Lear as never before. He argues that the part of Edgar is Shakespeare’s most radical experiment in characterization, and his most exhaustive model of both human and theatrical possibility. The key to the Edgar character is that he spends most of the play disguised, much of it as “Poor Tom of Bedlam,” and his disguises come to uncanny life. The Edgar role is always more than one person; it animates multitudes, past and present and future, and gives life to states of being beyond the normal reach of the senses—undead, or not-yet, or ghostly, or possible rather than actual. And because the Edgar role both connects and retunes all of the figures and scenes in King Lear, close attention to this particular part can shine stunning new light on how the whole play works. The ultimate message of Palfrey’s bravura analysis is the same for readers or actors or audiences as it is for the characters in the play: see and listen feelingly; pay attention, especially when it seems as though there is nothing there.
Poor Tom: Living "King Lear"
by Simon PalfreyKing Lear is perhaps the most fierce and moving play ever written. And yet there is a curious puzzle at its center. The figure to whom Shakespeare gives more lines than anyone except the king—Edgar—has often seemed little more than a blank, ignored and unloved, a belated moralizer who, try as he may, can never truly speak to the play’s savaged heart. He saves his blinded father from suicide, but even this act of care is shadowed by suspicions of evasiveness and bad faith. In Poor Tom, Simon Palfrey asks us to go beyond any such received understandings—and thus to experience King Lear as never before. He argues that the part of Edgar is Shakespeare’s most radical experiment in characterization, and his most exhaustive model of both human and theatrical possibility. The key to the Edgar character is that he spends most of the play disguised, much of it as “Poor Tom of Bedlam,” and his disguises come to uncanny life. The Edgar role is always more than one person; it animates multitudes, past and present and future, and gives life to states of being beyond the normal reach of the senses—undead, or not-yet, or ghostly, or possible rather than actual. And because the Edgar role both connects and retunes all of the figures and scenes in King Lear, close attention to this particular part can shine stunning new light on how the whole play works. The ultimate message of Palfrey’s bravura analysis is the same for readers or actors or audiences as it is for the characters in the play: see and listen feelingly; pay attention, especially when it seems as though there is nothing there.
Poor Tom: Living "King Lear"
by Simon PalfreyKing Lear is perhaps the most fierce and moving play ever written. And yet there is a curious puzzle at its center. The figure to whom Shakespeare gives more lines than anyone except the king—Edgar—has often seemed little more than a blank, ignored and unloved, a belated moralizer who, try as he may, can never truly speak to the play’s savaged heart. He saves his blinded father from suicide, but even this act of care is shadowed by suspicions of evasiveness and bad faith. In Poor Tom, Simon Palfrey asks us to go beyond any such received understandings—and thus to experience King Lear as never before. He argues that the part of Edgar is Shakespeare’s most radical experiment in characterization, and his most exhaustive model of both human and theatrical possibility. The key to the Edgar character is that he spends most of the play disguised, much of it as “Poor Tom of Bedlam,” and his disguises come to uncanny life. The Edgar role is always more than one person; it animates multitudes, past and present and future, and gives life to states of being beyond the normal reach of the senses—undead, or not-yet, or ghostly, or possible rather than actual. And because the Edgar role both connects and retunes all of the figures and scenes in King Lear, close attention to this particular part can shine stunning new light on how the whole play works. The ultimate message of Palfrey’s bravura analysis is the same for readers or actors or audiences as it is for the characters in the play: see and listen feelingly; pay attention, especially when it seems as though there is nothing there.
Poor Tom: Living "King Lear"
by Simon PalfreyKing Lear is perhaps the most fierce and moving play ever written. And yet there is a curious puzzle at its center. The figure to whom Shakespeare gives more lines than anyone except the king—Edgar—has often seemed little more than a blank, ignored and unloved, a belated moralizer who, try as he may, can never truly speak to the play’s savaged heart. He saves his blinded father from suicide, but even this act of care is shadowed by suspicions of evasiveness and bad faith. In Poor Tom, Simon Palfrey asks us to go beyond any such received understandings—and thus to experience King Lear as never before. He argues that the part of Edgar is Shakespeare’s most radical experiment in characterization, and his most exhaustive model of both human and theatrical possibility. The key to the Edgar character is that he spends most of the play disguised, much of it as “Poor Tom of Bedlam,” and his disguises come to uncanny life. The Edgar role is always more than one person; it animates multitudes, past and present and future, and gives life to states of being beyond the normal reach of the senses—undead, or not-yet, or ghostly, or possible rather than actual. And because the Edgar role both connects and retunes all of the figures and scenes in King Lear, close attention to this particular part can shine stunning new light on how the whole play works. The ultimate message of Palfrey’s bravura analysis is the same for readers or actors or audiences as it is for the characters in the play: see and listen feelingly; pay attention, especially when it seems as though there is nothing there.
Poor Women In Shakespeare (PDF)
by Fiona McneillPoor women do not fit easily into the household in Shakespeare. They shift in and out of marriages, households, and employments, carrying messages, tallying bills, and making things happen; never the main character but always evoking the ever-present problem of female poverty in early modern England. Like the illegal farthings that carried their likenesses, poor women both did and did not fit into the household and marriage market. They were both essential to and excluded from the economy. They are both present and absent on the early modern stage. In the drama, they circulate between plots, essential because they are so mobile, but largely unnoticed because of their mobility. These female characters represent an exploration of gender and economic roles at the bottom, as England shifted from feudalism to empire in the span of Shakespeare's lifetime. We find their dramas played out in the plays of Shakespeare and his contemporaries.
Pop Sonnets: Shakespearean Spins On Your Favorite Songs
by Erik Didriksen‘One of the very best collections of pop songs written in the style of William Shakespeare that I’ve read so far this year!’ ‘Weird Al’ Yankovic ‘Ever wonder what Taylor Swift and Beyoncé would sound like in iambic pentameter? We hadn’t either, but now we can’t get enough’ TIME ‘Amazing’ Buzzfeed
The Pope: Francis, Benedict, And The Decision That Changed The World (Oberon Modern Plays)
by Anthony McCartenSix years ago Pope Benedict XVI stunned the world by resigning, the first Pope in 700 years to do so. What drove this arch-conservative to break with sacred tradition and cede the way for Cardinal Bergoglio – a one-time tango club bouncer, football-loving reformer with the common touch – to become Pope Francis, one of most powerful men on earth? In this fascinating, gripping and often funny story of two very different men, Pope Benedict and Cardinal Bergoglio grapple with their complex pasts and uncertain futures. From coming of age under dictatorships in Germany and Argentina, to the scandal of sexual abuse by the clergy, The Pope shines a light onto one of the world’s most secretive institutions. At its heart lies a timeless question: in moments of crisis, should we follow the rules or our conscience?
Pope.L: Showing Up to Withhold
by The Renaissance Society at the University of ChicagoIconoclast and artist Pope.L uses the body, sex, and race as his materials the way other artists might use paint, clay, or bronze. His work problematizes social categories by exploring how difference is marked economically, socially, and politically. Working in a range of media from ketchup to baloney to correction fluid, with a special emphasis on performativity and writing, Pope.L pokes fun at and interrogates American society’s pretenses, the bankruptcy of contemporary mores, and the resulting repercussions for a civil society. Other favorite Pope.L targets are squeamishness about the human body and the very possibility of making meaning through art and its display. Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.
Pope.L: Showing Up to Withhold
by The Renaissance Society at the University of ChicagoIconoclast and artist Pope.L uses the body, sex, and race as his materials the way other artists might use paint, clay, or bronze. His work problematizes social categories by exploring how difference is marked economically, socially, and politically. Working in a range of media from ketchup to baloney to correction fluid, with a special emphasis on performativity and writing, Pope.L pokes fun at and interrogates American society’s pretenses, the bankruptcy of contemporary mores, and the resulting repercussions for a civil society. Other favorite Pope.L targets are squeamishness about the human body and the very possibility of making meaning through art and its display. Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.
Pops (Oberon Modern Plays)
by Charlotte JosephineThey’re trying. Despite everything. They’re really trying. They almost work together, beautifully. Looking at what is inherited and who is responsible, award-winning writer Charlotte Josephine’s new play Pops follows a father and daughter caught in a vicious cycle of addiction, and the self-inflicted shame around mental health.