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Every Brilliant Thing (Oberon Modern Plays)
by Duncan MacmillanYou’re seven years old. Mum’s in hospital. Dad says she’s ‘done something stupid’. She finds it hard to be happy. You start a list of everything that’s brilliant about the world. Everything worth living for. You leave it on her pillow. You know she’s read it because she’s corrected your spelling.
Every Day I Make Greatness Happen (Oberon Modern Plays)
by Richard Molloy"For the next six weeks, we meet here, in this room. Unless you are hospitalised, or deceased, or suffering some kind of catastrophic physical or emotional trauma, you need to be here."It’s back to school with a bang for Alisha, Iman and Kareem – they all failed GCSE English and there are only six weeks until their resits. This is their last chance to continue Sixth Form, failure is not an option. It’s down to Miss Murphy to see the trio through. But collectively, the students are unruly, she’s already snowed under with her other classes and the school is literally falling apart. Can she deliver when there’s just as much drama in the staffroom as there is in the classroom?
Every Good Boy Deserves Favour & Professional Foul
by Tom StoppardEvery Good Boy Deserves FavourA dissident is locked up in an asylum. If he accepts that he was ill and has been cured, he will be released. He refuses. Sharing his cell is a real lunatic who believes himself to be surrounded by an orchestra. As the dissident's son begs his father to free himself with a lie, Tom Stoppard's darkly funny and provocative play asks if denying the truth is a price worth paying for liberty.'Plays which enhance civilization itself, which is what this does, are not seen once and laid away.' Bernard Levin, Sunday TimesEvery Good Boy premiered at the Festival Hall, London, in July 1977. It was revived at the National Theatre, London, in January 2009.Professional Foul'Professor Anderson, a somewhat devious academic, went to Prague to deliver a lecture on "Ethical Facts in Ethical Fiction" and to see a football match. Politics intruded when a former pupil of Anderson begged him to smuggle out a thesis arguing that "the ethics of the State can only be the ethics of the individual writ large." . . . Mr Stoppard's BBC television debut was sheer delight.' Richard Last, Daily Telegraph
Every Last Trick (Oberon Modern Plays)
by Tamsin Oglesby Georges FeydeauTOM: As Shakespeare said, and I agree with him: ‘Love is not love which alters when it alteration finds.’ ANGELA: I don’t think he meant ignore the fact that your lover got married. A charming diplomat and his glamorous new wife ought to be happy. Angela’s first husband was a liar and a cheat; her second husband, on the other hand, clearly adores her. He says so, repeatedly, especially on Thursday evenings when he goes out to visit one of his clubs. The suspicions she begins to harbour are obviously based on her unfortunate first marriage, poor thing. But as her apparent neurosis takes hold, Juan resorts to illusion to maintain the delusion which results in a lot of confusion. If experience has taught Angela anything it’s the need to fight fire with fire, lies with more lies, and every last trick with pure magic…
Every Man in His Humour (New Mermaids)
by Ben Jonson Robert N. WatsonLike all of Jonson's city comedies, this play - here given in the 1616 Folio version, in which Jonson rewrote and set it in England, not Italy - is a kind of dramatised Do-It-Yourself kit on how to bluff one's way in Elizabethan London. Although Roman New Comedy, in which a crafty slave helps a wild youngster to marry the girl of his choice against his father's wishes, supplies Jonson with his basic plot, the world that he presents here is thoroughly contemporary and mundane. The characters' 'humours' - their driving obsessions - may vary, but all of them strive to represent something greater, nobler, cleverer than their real selves. The joke of the play, this editor suggests, is 'finally on all of us who unconsciously equate the universe with a story in which we play the hero'.
Every Man in His Humour (New Mermaids)
by Ben Jonson Robert N. WatsonLike all of Jonson's city comedies, this play - here given in the 1616 Folio version, in which Jonson rewrote and set it in England, not Italy - is a kind of dramatised Do-It-Yourself kit on how to bluff one's way in Elizabethan London. Although Roman New Comedy, in which a crafty slave helps a wild youngster to marry the girl of his choice against his father's wishes, supplies Jonson with his basic plot, the world that he presents here is thoroughly contemporary and mundane. The characters' 'humours' - their driving obsessions - may vary, but all of them strive to represent something greater, nobler, cleverer than their real selves. The joke of the play, this editor suggests, is 'finally on all of us who unconsciously equate the universe with a story in which we play the hero'.
Every Man in This Village Is a Liar: An Education in War
by Megan StackA few weeks after the planes crashed into the World Trade Centre on 9/11, LA Times journalist Megan Stack was thrust into Afghanistan and Pakistan, dodging gunmen and prodding warlords for information. She then travelled to other war ravaged countries of the Middle East including Israel and Libya, witnessing and telling the stories of the changing Muslim world. Stack relates her initial wild excitement and her slow disillusionment as the cost of violence outweighs the elusive promise of freedom and democracy. She reports from under bombardment in Lebanon; records the raw pain of suicide bombings in Israel; and one by one, marks the deaths and disappearance of those she interviews. Every Man in This Village is a Liar is a deeply human memoir about the wars of the twenty first century. Beautiful, savage and unsettling, it is an indispensible book of our times.
Everybody's Talking About Jamie Teen E: Everybodys Talking About Jamie: Teen Edition (G - Reference,information And Interdisciplinary Subjects Ser.)
by Gillespie Sells MacraeEverybody's Talking About Jamie: Teen Edition is a full-length adaptation, modified for performance by teen actors for family audiences. Please note the following restrictions: 1. All performers must be aged 19 and under. 2. Licensee must not advertise the production to the general public. Advertising is limited to school premises/immediate school community, or, for youth groups, to premises on which performances will be held/immediate youth group community. Physical advertising may not include distributing any print publicity materials in connection with the performance. 3. All productions must be non-replica (do not replicate costumes, scenery, choreography or staging from the original production). Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation. Supported by his brilliant, loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies, and steps out of the darkness into the spotlight. Sixteen: the edge of possibility. Time to make your dreams come true.
Everyday Maps for Everyday Use (Oberon Modern Plays)
by Tom Morton-Smith‘I don’t think we’ll get to Mars … not really … not normalpeople. Scientists might … it’ll end up a scientific outpost likeAntarctica … but it won’t be for people like you and me.’Maggie has found a warm patch of ground on HorsellCommon. She believes something is buried in the dirt. Thisis the site of the Martian invasion in HG Wells’ The War ofthe Worlds and she sneaks out of the house in the dead ofnight and dances on the warm spot. Here she meets Behrooz,an amateur astronomer who spends his nights mapping thesurface of Mars.A stunning new play about fantasy and sexuality, and aboutthe blurry and indistinct lines between reality and desire.‘The writing has energy and breadth, and Morton-Smithjuggles ideas and emotions as he places political and personalnarratives side by side.’Guardian on Salt Meets Wound‘The dialogue crackles with vicious insight and humour.’Time Out on Salt Meets Wound
Everyman (Faber Drama Ser.)
by Carol Ann DuffyEveryman is successful, popular and riding high when Death comes calling. Forced to abandon the life he has built, he embarks on a last, frantic search to recruit a friend, anyone, to speak in his defence. But Death is close behind, and time is running out.One of the great primal, spiritual myths, Everyman asks whether it is only in death that we can understand our lives. A cornerstone of English drama since the 15th century, this new adaptation by Poet Laureate Carol Ann Duffy was presented at the National Theatre, London, in April 2015.
Everyman and Mankind (Arden Early Modern Drama)
by Douglas Bruster Eric RasmussenEveryman and Mankind are morality plays which mark the turn of the medieval period to the early modern, with their focus on the individual. Everyman follows a man's journey towards death and his efforts to secure himself a life thereafter, whilst Mankind shows a man battling with temptation and sin, often with great humour.Both texts are modernised here and edited to the highest standardsof scholarship, with full on-page commentaries giving the depth ofinformation and insight associated with all Arden editions.The comprehensive, illustrated introduction argues that the playssignal the birth of the early modern consciousness and puts them intheirhistoric and religious contexts. An account is also given of thestaging and performance history of the plays and their critical historyand significance. With a wealth of helpful and incisive commentary thisis the finest edition of the plays available.
Everyone’s Theater: Literature and Daily Life in England, 1860–1914
by Michael MeeuwisNearly all residents of England and its colonies between 1860 and 1914 were active theatergoers, and many participated in the amateur theatricals that defined late Victorian life. The Victorian theater was not an abstract figuration of the world as a stage, but a media system enmeshed in mass lived experience that fulfilled in actuality the concept of a theatergoing nation. Everyone’s Theater turns to local history, the words of everyday Victorians found in their diaries and production records, to recover this lost chapter of theater history in which amateur drama domesticates the stage. Professional actors and playwrights struggled to make their productions compatible with ideas and techniques that could be safely reproduced in the home—and in amateur performances from Canada to India. This became the first true English national theater: a society whose myriad classes found common ground in theatrical display. Everyone’s Theater provides new ways to extend Victorian literature into the dimension of voice, sound, and embodiment, and to appreciate the pleasures of Victorian theatricality.
Everything Between Us (Modern Plays)
by David IrelandI bit into your heart and I chewed on it slowly like a connoisseur. I swallowed it. I remember thinking it was an especially small heart and easy to digest. But no matter what I did you wouldn't die. A searing and darkly funny two-hander for women which looks at the Truth and Reconciliation Commission in Northern Ireland, written by the playwright of Cyprus Avenue, David Ireland.It is day one of the newly formed Truth and Reconciliation Commission for Northern Ireland at Stormont. As Sandra Richardson prepares to take her seat on the commission, her long-lost sister Teeni explodes into the chamber and attacks the South African chairwoman, Dikeledi Mashiane. Is this part of a terrorist plot or just her sister's way of announcing her return to Belfast? Deep in the heart of the Northern Irish Parliament, overshadowed by the legacy of hurt, Sandra and Teeni must fight through decades of violence, anger and denial to discover if reconciliation is possible on the pathway to peace. A taut and fast paced two-woman showdown, Everything Between Us is a dramatic, dark, unflinching comedy written by Northern Ireland's boldest contemporary writer. Everything Between Us premiered in Washington DC, USA, in 2011, followed by productions in Northern Ireland and Scotland, winning playwright David Ireland the Stewart Parker Trust Award, BBC Radio Drama Award and the Meyer Whitworth Award for Best New Play. This edition was published to coincide with the London premiere at the Finborough Theatre in April 2017.
Everything Between Us (Modern Plays)
by David IrelandI bit into your heart and I chewed on it slowly like a connoisseur. I swallowed it. I remember thinking it was an especially small heart and easy to digest. But no matter what I did you wouldn't die. A searing and darkly funny two-hander for women which looks at the Truth and Reconciliation Commission in Northern Ireland, written by the playwright of Cyprus Avenue, David Ireland.It is day one of the newly formed Truth and Reconciliation Commission for Northern Ireland at Stormont. As Sandra Richardson prepares to take her seat on the commission, her long-lost sister Teeni explodes into the chamber and attacks the South African chairwoman, Dikeledi Mashiane. Is this part of a terrorist plot or just her sister's way of announcing her return to Belfast? Deep in the heart of the Northern Irish Parliament, overshadowed by the legacy of hurt, Sandra and Teeni must fight through decades of violence, anger and denial to discover if reconciliation is possible on the pathway to peace. A taut and fast paced two-woman showdown, Everything Between Us is a dramatic, dark, unflinching comedy written by Northern Ireland's boldest contemporary writer. Everything Between Us premiered in Washington DC, USA, in 2011, followed by productions in Northern Ireland and Scotland, winning playwright David Ireland the Stewart Parker Trust Award, BBC Radio Drama Award and the Meyer Whitworth Award for Best New Play. This edition was published to coincide with the London premiere at the Finborough Theatre in April 2017.
Everything is Choreography: The Musical Theater of Tommy Tune (Broadway Legacies)
by Kevin WinklerGrand Hotel. My One and Only. Nine. The Best Little Whorehouse in Texas. A Day in Hollywood/A Night in the Ukraine. The Will Rogers Follies. For two decades, Tommy Tune was the maestro presiding over a string of glittering Broadway musicals that took the tradition of complete musical staging by a director-choreographer into a new era defined by spectacle and technology. He was last in a grand lineage led by Jerome Robbins, Gower Champion, Bob Fosse, and Michael Bennett, but also provided a link to a new generation of choreographers-turned-directors like Susan Stroman, Jerry Mitchell, and Casey Nicholaw. Unlike his fellow director-choreographers, Tune also maintained a successful performing career. His nine Tony Awards (plus a tenth, for Lifetime Achievement) were earned across four categories, not only for choreography and direction, but also as both featured and lead actor in a musical, for Seesaw and My One and Only--a distinction no one else can claim. Tune took the musical forward by looking backward, bringing satiric energy and contemporary style to a trove of show business antecedents--from clog dancing to showgirl formations, from precision kick lines to Fred Astaire and Ginger Rogers-style ballroom glides. He did the same with his concert and cabaret performances, drawing on classics from the Gershwins, Irving Berlin, and Cole Porter and performing them not as nostalgia but as vital, immediate statements of personal philosophy. Everything is Choreography: The Musical Theater of Tommy Tune is the first full scale book about the career of this prodigious artist. It celebrates and examines with a critical eye his major projects, and summons for readers a glorious period of dance, performance, and theatrical imagination.
Everything is Choreography: The Musical Theater of Tommy Tune (Broadway Legacies)
by Kevin WinklerGrand Hotel. My One and Only. Nine. The Best Little Whorehouse in Texas. A Day in Hollywood/A Night in the Ukraine. The Will Rogers Follies. For two decades, Tommy Tune was the maestro presiding over a string of glittering Broadway musicals that took the tradition of complete musical staging by a director-choreographer into a new era defined by spectacle and technology. He was last in a grand lineage led by Jerome Robbins, Gower Champion, Bob Fosse, and Michael Bennett, but also provided a link to a new generation of choreographers-turned-directors like Susan Stroman, Jerry Mitchell, and Casey Nicholaw. Unlike his fellow director-choreographers, Tune also maintained a successful performing career. His nine Tony Awards (plus a tenth, for Lifetime Achievement) were earned across four categories, not only for choreography and direction, but also as both featured and lead actor in a musical, for Seesaw and My One and Only--a distinction no one else can claim. Tune took the musical forward by looking backward, bringing satiric energy and contemporary style to a trove of show business antecedents--from clog dancing to showgirl formations, from precision kick lines to Fred Astaire and Ginger Rogers-style ballroom glides. He did the same with his concert and cabaret performances, drawing on classics from the Gershwins, Irving Berlin, and Cole Porter and performing them not as nostalgia but as vital, immediate statements of personal philosophy. Everything is Choreography: The Musical Theater of Tommy Tune is the first full scale book about the career of this prodigious artist. It celebrates and examines with a critical eye his major projects, and summons for readers a glorious period of dance, performance, and theatrical imagination.
Evita, Inevitably: Performing Argentina's Female Icons Before and After Eva Perón
by Jean Graham-JonesEvita, Inevitably sheds new light on the history and culture of Argentina by examining the performances and reception of the country’s most iconic female figures, in particular, Eva Perón, who rose from poverty to become a powerful international figure. The book links the Evita legend to a broader pattern of female iconicity from the mid-nineteenth century onward, reading Evita against the performances of other female icons: Camila O’Gorman, executed by firing squad over her affair with a Jesuit priest; Difunta Correa, a devotional figure who has achieved near-sainthood; cumbia-pop performer Gilda; the country’s patron saint, the Virgin of Luján; and finally, Argentina’s president, Cristina Fernández de Kirchner. Employing the tools of discursive, visual, and performance analysis, Jean Graham-Jones studies theatrical performance, literature, film, folklore, Catholic iconography, and Internet culture to document the ways in which these “femicons” have been staged.
Evolving Hamlet: Seventeenth-Century English Tragedy and the Ethics of Natural Selection (Cognitive Studies in Literature and Performance)
by A. FletcherUsing Hamlet and a number of other popular and influential seventeenth-century tragedies as case-studies, this book shows how aesthetic experience can help organize the biological functions of our brains into adaptive social networks.
Evolving Synergies: Celebrating Dance in Singapore (Celebrating Dance in Asia and the Pacific)
by Stephanie Burridge Caren CariñoA comprehensive overview of the dance culture of Singapore, this book embodies storytelling, personal reflections, memories, and histories of the artists. The extensive calendar of events encompassing companies and soloists from diverse dance practices, such as Indian, Malay and Chinese and a variety of Western contemporary dances, underline Singapore as a vibrant player in the evolution of Asian culture.
Evolving Synergies: Celebrating Dance in Singapore (Celebrating Dance in Asia and the Pacific)
by Stephanie Burridge Caren CariñoA comprehensive overview of the dance culture of Singapore, this book embodies storytelling, personal reflections, memories, and histories of the artists. The extensive calendar of events encompassing companies and soloists from diverse dance practices, such as Indian, Malay and Chinese and a variety of Western contemporary dances, underline Singapore as a vibrant player in the evolution of Asian culture.
Exercises for Embodied Actors: Tools for Physical Actioning
by Scott IllingworthExercises for Embodied Actors: Tools for Physical Actioning builds on the vocabulary of simple action verbs to generate an entire set of practical tools from first read to performance that harnesses modern knowledge about the integration of the mind and the rest of the body. Including over 50 innovative exercises, the book leads actors through a rigorous examination of their own habits, links those discoveries to creating characters, and offers dozens of exercises to explore in classrooms and with ensembles. The result is a modern toolkit that empowers actors to start from their own unique selves and delivers specific techniques to apply on stage and in front of the camera. This step-by-step guide can be used by actors working individually or by teachers crafting the arc of a course, ensuring that students explore in physically engaged and dynamic ways at every step of their process.
Exercises for Embodied Actors: Tools for Physical Actioning
by Scott IllingworthExercises for Embodied Actors: Tools for Physical Actioning builds on the vocabulary of simple action verbs to generate an entire set of practical tools from first read to performance that harnesses modern knowledge about the integration of the mind and the rest of the body. Including over 50 innovative exercises, the book leads actors through a rigorous examination of their own habits, links those discoveries to creating characters, and offers dozens of exercises to explore in classrooms and with ensembles. The result is a modern toolkit that empowers actors to start from their own unique selves and delivers specific techniques to apply on stage and in front of the camera. This step-by-step guide can be used by actors working individually or by teachers crafting the arc of a course, ensuring that students explore in physically engaged and dynamic ways at every step of their process.
Exercises for Rebel Artists: Radical Performance Pedagogy
by Guillermo Gómez Peña Roberto SifuentesIn Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create ‘border art’. Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity. The book features: Detailed exercises for using Pocha Nostra methods in workshops Inspirational approaches for anyone creating, producing or teaching radical performance A step-by-step guide for large-scale group performance New, unpublished photos of the Pocha Nostra method in practice Exercises for Rebel Artists advocates teaching as an important form of activism and as an extension of the performance aesthetic. It is an essential text for anyone who wants to learn how use performance to both challenge and change.
Exercises for Rebel Artists: Radical Performance Pedagogy
by Guillermo Gómez Peña Roberto SifuentesIn Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create ‘border art’. Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity. The book features: Detailed exercises for using Pocha Nostra methods in workshops Inspirational approaches for anyone creating, producing or teaching radical performance A step-by-step guide for large-scale group performance New, unpublished photos of the Pocha Nostra method in practice Exercises for Rebel Artists advocates teaching as an important form of activism and as an extension of the performance aesthetic. It is an essential text for anyone who wants to learn how use performance to both challenge and change.