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The Farm (Oberon Modern Plays)

Nothing I do has changed. I'm doing what's always been done on this piece of land.'The farm is running at a loss, but Vic is determined to keep working. He'll do everything he can, work day and night, but he won't admit that his small farm has no future.As the rural crisis deepens the three generations of his family look for ways to save the farm. But tensions between the old and new worlds threaten to tear the family apart.

Fascinating Rhythms: Shakespeare, Theory, Culture, and the Legacy of Terence Hawkes

As one of the most adventurous literary and cultural critics of his generation, Terence Hawkes’ contributions to the study of Shakespeare and the development of literary and cultural theory have been immense. His work has been instrumental in effecting a radical shift in the study of Shakespeare and of literary studies. This collection of essays by some of his closest colleagues, friends, peers, and mentees begins with an introduction by John Drakakis, outlining the profound impact that Hawkes’ work had on various areas of literary studies. It also includes a poem by Christopher Norris, who worked with Hawkes for many years at the University of Cardiff, as well as work on translation, social class, the historicist and presentist exploration of Shakespearean texts, and teaching Shakespeare in prisons. The volume features essays by former students who have gone on to establish reputations in areas beyond the study of literature, and who have contributed ground-breaking volumes to the pioneering New Accents series. It concludes with Malcolm Evans’ innovative account of the migration of semiotics into the area of business. This book is a vibrant and informative read for anyone interested in Hawkes’ unique blend of literary and cultural theory, criticism, Shakespeare studies, and presentism.

Fascinating Rhythms: Shakespeare, Theory, Culture, and the Legacy of Terence Hawkes

As one of the most adventurous literary and cultural critics of his generation, Terence Hawkes’ contributions to the study of Shakespeare and the development of literary and cultural theory have been immense. His work has been instrumental in effecting a radical shift in the study of Shakespeare and of literary studies. This collection of essays by some of his closest colleagues, friends, peers, and mentees begins with an introduction by John Drakakis, outlining the profound impact that Hawkes’ work had on various areas of literary studies. It also includes a poem by Christopher Norris, who worked with Hawkes for many years at the University of Cardiff, as well as work on translation, social class, the historicist and presentist exploration of Shakespearean texts, and teaching Shakespeare in prisons. The volume features essays by former students who have gone on to establish reputations in areas beyond the study of literature, and who have contributed ground-breaking volumes to the pioneering New Accents series. It concludes with Malcolm Evans’ innovative account of the migration of semiotics into the area of business. This book is a vibrant and informative read for anyone interested in Hawkes’ unique blend of literary and cultural theory, criticism, Shakespeare studies, and presentism.

Fascism and Theatre: Comparative Studies on the Aesthetics and Politics of Performance in Europe, 1925-1945

Since the 1920s, an endless flow of studies has analyzed the political systems of fascism, theseizure of power, the nature of the regimes, the atrocities committed, and, finally, the wars waged against other countries. However, much less attention has been paid to the strategies of persuasion employed by the regimes to win over the masses for their cause. Among these, fascist propaganda has traditionally been seen as the key means of influencing public opinion. Only recently has the "fascination with Fascism" become a topic of enquiry that has also formed the guiding interest of this volume: it offers, for the first time, a comparative analysis of the forms and functions of theater in countries governed by fascist or para-fascist regimes. By examining a wide spectrum of theatrical manifestations in a number of States with a varying degree of fascistization, these studies establish some of the similarities and differences between the theatrical cultures of several cultures in the interwar period.

Faslane (Oberon Modern Plays)

With her family having worked in Faslane with Trident all her life, and with her friends protesting at the gates, Jenna endeavours to understand her relationship to Trident, the wider nuclear debate and activism. Drawing upon interviews with individuals at the front line of the nuclear debate, including activists and MOD personnel, Jenna navigates her own journey through the politics, the protests, the peace camps and freedom of information requests to find out answers to the questions we should all be asking about our nuclear deterrent.

The Fastest Clock in the Universe (Modern Plays)

It's Cougar's birthday. He's having a party. And the gift he'd kill for is youth...In a strange room in East London the party preparations are under way. Everything has been planned to the last detail. Surely nothing can go wrong? After all, there's the specially made birthday cake, the specially written cards, the specially chosen guest of honour... and a very, very sharp knife. Philip Ridley's edgy and provocative drama caused a sensation when it premiered at Hampstead Theatre in 1992, winning the Evening Standard Award for Most Promising Newcomer to the Stage and the Meyer Whitworth Prize. It is now regarded as a contemporary classic. 'A bit like a ride on a ghost train... you find yourself shuddering with shock and laughing uproariously... horror has rarely been so much fun' Daily Telegraph'Scorchingly nasty... fingers an age and its icons with terrifying accuracy' Guardian

The Fastest Clock in the Universe: The Pitchfork Disney; The Fastest Clock In The Universe; Ghost From A Perfect Place (Modern Plays)

It's Cougar's birthday. He's having a party. And the gift he'd kill for is youth...In a strange room in East London the party preparations are under way. Everything has been planned to the last detail. Surely nothing can go wrong? After all, there's the specially made birthday cake, the specially written cards, the specially chosen guest of honour... and a very, very sharp knife. Philip Ridley's edgy and provocative drama caused a sensation when it premiered at Hampstead Theatre in 1992, winning the Evening Standard Award for Most Promising Newcomer to the Stage and the Meyer Whitworth Prize. It is now regarded as a contemporary classic. 'A bit like a ride on a ghost train... you find yourself shuddering with shock and laughing uproariously... horror has rarely been so much fun' Daily Telegraph'Scorchingly nasty... fingers an age and its icons with terrifying accuracy' Guardian

Fat Girls Don't Dance (Oberon Modern Plays)

Blending theatre, storytelling and killer moves, spoken word artist Maria Ferguson explores her relationship with the F-word (food) with the help of her first love (dance). Questioning how we all look at size, Fat Girls Don’t Dance takes us into the world of performance, where three meals a day is up for compromise and skinny sells. Also includes: Special Features and Mirrors, a short collection of poems exploring the theme of body image.

Father Nandru and the Wolves (Oberon Modern Plays)

Father Nandru & The Wolves is set in Transylvania during the last years of Nicolae Ceausescu’s regime. Five hundred years ago, founding fathers built a log church in a small village deep in the heart of Transylvania where, centuries later, the villagers still worship. When Eveline, the lop-faced daughter of a leading family, elopes with Vadim, the crippled son of a Roma dancing clan, the little village is sent into a frenzy. Only the priest, Father Nandru, is aware that just around the corner a far more dangerous threat is lurking, and that this community must put their differences aside if anything is to survive into the future. ‘A master storyteller’ Sunday Times ‘A writer of enormous integrity’ Guardian

Fatherland (Oberon Modern Plays)

Together we have something and share a passion that other people will never understand' Mark and Angela are a father and daughter grappling with a painful past and fragile future. Tonight, an innocent evening of ice cream and DVDs derails quickly into dangerous territory in this chilling new story about a father who loved too deeply.

Fatherland (Modern Plays)

Created by Frantic Assembly's Scott Graham, Karl Hyde from Underworld and playwright Simon Stephens, Fatherland confronts contemporary fatherhood in all its complexities and contradictions. Daring in its compounding of words, music and movement, it is a vivid, urgent and deeply personal portrait of 21st-century England at the crossroads of past, present and future. Inspired by conversations with fathers and sons from the writers' home towns in the heart of the country, the play explores identity, nationality, masculinity and what it means to belong in a world weighed down by the expectations of others. Tender and tough, honest and true, Fatherland is a vital and necessary show about what we were, who we are and what we'd like to become.This text was published to coincide with Frantic Assemby's production at The Royal Exchange Theatre Manchester on 1 July 2017, as part of the Manchester International Festival.

Fatherland (Modern Plays)

Fatherland is a bold, ambitious show about contemporary fatherhood in all its complexities and contradictions. Created by Frantic Assembly's Scott Graham, Karl Hyde from Underworld and playwright Simon Stephens (Punk Rock, The Curious Incident of the Dog in the Night-Time), this daring collage of words, music and movement confronts the complexities and contradictions of contemporary fatherhood.A vivid, urgent and deeply personal portrait of 21st-century England at the crossroads of past, present and future, the play is inspired by conversations with fathers and sons from the writers' home towns in the heart of the country. Tender and tough, honest and true, Fatherland is a vital and necessary show about what we were, who we are and what we'd like to become.The world premiere of Fatherland took place at the Royal Exchange Theatre, Manchester on 5 July 2017 as part of Manchester International Festival. This is a revised version of the original text which coincides with performances in London at the Lyric Hammersmith as part of LIFT 2018.

Fatherland (Modern Plays)

Fatherland is a bold, ambitious show about contemporary fatherhood in all its complexities and contradictions. Created by Frantic Assembly's Scott Graham, Karl Hyde from Underworld and playwright Simon Stephens (Punk Rock, The Curious Incident of the Dog in the Night-Time), this daring collage of words, music and movement confronts the complexities and contradictions of contemporary fatherhood.A vivid, urgent and deeply personal portrait of 21st-century England at the crossroads of past, present and future, the play is inspired by conversations with fathers and sons from the writers' home towns in the heart of the country. Tender and tough, honest and true, Fatherland is a vital and necessary show about what we were, who we are and what we'd like to become.The world premiere of Fatherland took place at the Royal Exchange Theatre, Manchester on 5 July 2017 as part of Manchester International Festival. This is a revised version of the original text which coincides with performances in London at the Lyric Hammersmith as part of LIFT 2018.

Fathers and Daughters in Shakespeare and Shaw (Contributions in Drama and Theatre Studies)

How can the most silent member of the family carry the message of subversion against venerated institutions of state and society? Why would two playwrights, writing 300 years apart, employ the same dramatic methods for rebelling against the establishment, when these methods are virtually ignored by their contemporaries? This book considers these and similar questions. It examines the historical similarities of the eras in which Shakespeare and Shaw wrote and then explores types of father-daughter interactions, considering each in terms of the existing power structures of society.These two dramatists draw on themes of incest, daughter sacrifice, role playing, education, and androgyny to create both active and passive daughters. The daughters literally represent a challenge to the patriarchy and metaphorically extend that challenge to such institutions as church and state. The volume argues that the father-daughter relationship was the ideal dramatic vehicle for Shakespeare and Shaw to advance their social and political agendas. By exploring larger issues through the father-daughter relationship, both playwrights were able to avoid the watchful eyes of censors and comment on such topics as the divine right of kings, filial bonds of obedience, and even regicide.

Faust: A Tragedy, Parts One and Two, Fully Revised (Faust Ser. #Vol. 1)

A classic of world literature, Goethe’s Faust is a philosophical and poetic drama full of satire, irony, humor, and tragedy. Martin Greenberg re-creates not only the text’s varied meter and rhyme but also its diverse tones and styles—dramatic and lyrical, reflective and farcical, pathetic and coarse, colloquial and soaring. His rendition of Faust is the first faithful, readable, and elegantly written translation of Goethe’s masterpiece available in English. At last, the Greenberg Faust is available in a single volume, together with a thoroughly updated translation, preface, and notes. “Greenberg has accomplished a magnificent literary feat. He has taken a great German work, until now all but inaccessible to English readers, and made it into a sparkling English poem, full of verve and wit. Greenberg's translation lives; it is done in a modern idiom but with respect for the original text; I found it a joy to read.”—Irving Howe (on the earlier edition)

Faust: Ein Mythos Und Seine Bearbeitungen

The second part of Goethe's masterpiece opens with Faust struggling to recover from the death of his beloved Gretchen. The quick-witted demon Mephistopheles soon persuades him to look beyond his sorrow and enter the world of politics and power, but the great scholar is still eager for new sensations, and asks Mephistopheles to reveal Helen of Troy to him in a vision. Overwhelmed by her beauty, Faust demands she be brought back from the underworld - but even this fails to bring him contentment, and his appetite for knowledge remains unsated. Completed a few months before Goethe's death, this rich and allusive work weaves together a wealth of diverse philosophical ideas and influences, reworking the medieval myth of Dr Faustus and speculating upon the search for truth in the Age of Enlightenment.

Faust: Parts One And Two (Oberon Classics)

The power and magic of the Faust story, the man who, in a pact with the Devil, trades his soul in return for a period of total knowledge and absolute power, is one of the most potent of all European myths. Johann Wolfgang von Goethe (1749-1832) worked on this poetic drama in burst from his twenties until the end of his life. He reshaped the perpetually fascinating legend, probing the nature and process of human striving and questioning the assumed divisions between the forces of good and evil. His Faust has become a landmark in world literature.Robert David MacDonald's translation of Faust, used in acclaimed productions in Scotland (Glasgow Citizens) and England (Lyric Hammersmith), offers access to the play in the English language for readers and playgoers alike and opens up the extraordinary range and pace of Goethe's language, rhythms, imagery and ideas, without sacrificing any of the play's humour. The Open University has adopted the translation as a set book for the course entitled 'From Enlightenment to Romanticism'

Faust-Ikonologie: Stoff und Figur in der Bildkultur des 19. Jahrhunderts

Die Geschichte des Faust-Stoffes seit Goethe ist lange Zeit vor allem unter ideologischen Gesichtspunkten gedeutet worden. Die vorliegende Studie untersucht erstmals tiefergehend die populärkulturellen Resonanzen von Faust in der sich formierenden Medienmoderne des 19. Jahrhunderts. Die ‚Explosion der Bilder‘ sorgt dafür, dass Stoff und Figur in einer nie dagewesenen Vielfalt und Breite als visuelles Phänomen in Erscheinung treten. Faust wird zu einer populären Projektions- und Identifikationsfigur, die mit ganz unterschiedlichen Formen, Funktionen und Kontexten in Verbindung steht. Ihre Omnipräsenz in der Bildkultur des Jahrhunderts ist sowohl Spiegel als auch Katalysator dieser Entwicklungen.

Faust is Dead (Modern Plays)

Mark Ravenhill's Faust (Faust is Dead) is a dark and often brutally funny journey through a world of virtual realityThe world's most famous philosopher arrives in Los Angeles and is greeted as a star. In a round of chat show appearances, he announces the Death of Man and the End of History. When he meets up with a young man who is on the run from his father, a leading software magnate, they embark on a hedonistic voyage across America. But in the play's bloody conclusion, they discover that not all events are virtual."In Shopping and Fucking, Mark Ravenhill made theatre relevant to the Thatcher generation. Now he's put videos and Net-surfing in FAUST. And it's no less stunning." (The Guardian)

Faust is Dead: Shopping And F***ing; Faust Is Dead; Handbag; Some Explicit Polaroids (Modern Plays)

Mark Ravenhill's Faust (Faust is Dead) is a dark and often brutally funny journey through a world of virtual realityThe world's most famous philosopher arrives in Los Angeles and is greeted as a star. In a round of chat show appearances, he announces the Death of Man and the End of History. When he meets up with a young man who is on the run from his father, a leading software magnate, they embark on a hedonistic voyage across America. But in the play's bloody conclusion, they discover that not all events are virtual."In Shopping and Fucking, Mark Ravenhill made theatre relevant to the Thatcher generation. Now he's put videos and Net-surfing in FAUST. And it's no less stunning." (The Guardian)

Faust, Part 1

Faust, Part I: Ein Mythos Und Seine Bearbeitungen (Faust)

Goethe's Faust reworks the late-medieval myth of Dr Faust, a brilliant scholar so disillusioned he resolves to make a contract or wager with the devil, Mephistopheles. The devil will do all he asks on Earth and seek to grant him a moment in life so glorious that he will wish it to last for ever. But if Faust does bid the moment stay, he falls to Mephisto and must serve him after death. In this first part of Goethe's great work the embittered thinker and Mephistopheles enter into their agreement, and soon Faust is living a life beyond his study and - in rejuvenated form - winning the love of the charming and beautiful Gretchen. But in this compelling tragedy of arrogance, unfulfilled desire and self-delusion, Faust, served by the devil, heads inexorably towards destruction.

Fausto

Originalmente publicado en 1970 como Fausto, un fragmento, nada en la literatura alemana igualaba la extraña concepción y el poder concentrado de este drama. En su convicción de que ningún sistema filosófico puede aportar justicia al mundo, que la experiencia humana es irreducible a ninguna serie de conceptos y que la literatura puede reflejar ampliamente la ambigüedad de la vida, Goethe invita con esta obra a una comparación con los grandes filósofos como Nietzche o Kafka. Fausto se convirtió en una obsesión para Goethe, estuvo trabajando en esta obra por más de 60 años, terminándola apenas unos meses antes de morir. Goethe plantea un Mefistófeles cuyo carácter demoníaco reside exclusivamente en la no aceptación del dogma de lo establecido. Es una criatura que reflexiona en base a lo que observa, lo que le convierte en un maestro de lo que podríamos denominar "filosofía natural". Es una obra compleja y muy rica que soporta distintos acercamientos y esto se ha probado, ya que de esta historia han salido óperas, obras teatrales, comedias musicales y distintos experimentos teatrales modernos.

Fear (Oberon Modern Plays)

A contemporary tale of aspiration and greed, Fear explores the impact of a life-changing encounter between two Londoners from contrasting worlds. Taking a deeper look at what we value and fear, BAFTA award-winner Dominic Savage’s stage debut is a tense journey into the heart of some of our deepest urban anxieties.

Fear and Misery of the Third Reich (Student Editions)

Brecht's series of twenty-four interconnected playlets describe events which took place in ordinary German households in the 1930s. They dramatise with clinical precision the suspicion and anxiety experienced by ordinary people, particularly Jewish citizens, as the power of Hitler grew. Written in exile in Denmark and first staged in 1938 it was inspired in part by his recent trip to Moscow where he had been researching tasks for the anti-Nazi effort. This Student Edition features an extensive introduction and commentary and includes: a chronology of the Brecht's life and work; a synopsis of each playlet; an introduction to the context of the play; commentary on themes, characters, style and language; a review of the play in performance; notes on individual words and phrases in the text, and questions for further study.