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Notelets of Filth: A Companion Reader to Morgan Lloyd Malcolm's Emilia (Routledge Advances in Theatre & Performance Studies)
by Morgan Lloyd Malcolm Aida Patient Kimberly A. Williams Laura KresslyThis collection of short, accessible essays serves as a supplementary text to Morgan Lloyd Malcolm’s play, Emilia. Critically acclaimed and beloved by audiences, this innovative and ground-breaking show is a speculative history, an imaginative (re)telling of the life of English Renaissance poet Aemilia Bassano Lanyer. This book features essays by theatre practitioners, activists, and scholars and informed by intersectional feminist, critical race, queer, and postcolonial analyses will enable students and their teachers across secondary school and higher education to consider the play’s major themes from a wide variety of theoretical and interdisciplinary perspectives. This volume explores the current events and cultural contexts that informed the writing and performing of Emilia between 2017 and 2019, various aspects of the professional London productions, critical and audience responses, and best practices for teaching the play to university and secondary school students. It includes a foreword by Emilia playwright Morgan Lloyd Malcolm This book will be of great interest to students and scholars of theatre, arts activism, feminist literature, and theory.
Notelets of Filth: A Companion Reader to Morgan Lloyd Malcolm's Emilia (Routledge Advances in Theatre & Performance Studies)
by Aida Patient Kimberly A. Williams Laura KresslyThis collection of short, accessible essays serves as a supplementary text to Morgan Lloyd Malcolm’s play, Emilia. Critically acclaimed and beloved by audiences, this innovative and ground-breaking show is a speculative history, an imaginative (re)telling of the life of English Renaissance poet Aemilia Bassano Lanyer. This book features essays by theatre practitioners, activists, and scholars and informed by intersectional feminist, critical race, queer, and postcolonial analyses will enable students and their teachers across secondary school and higher education to consider the play’s major themes from a wide variety of theoretical and interdisciplinary perspectives. This volume explores the current events and cultural contexts that informed the writing and performing of Emilia between 2017 and 2019, various aspects of the professional London productions, critical and audience responses, and best practices for teaching the play to university and secondary school students. It includes a foreword by Emilia playwright Morgan Lloyd Malcolm This book will be of great interest to students and scholars of theatre, arts activism, feminist literature, and theory.
A Notebook on William Shakespeare
by Edith SitwellFirst published in 1948, this book may be described as Dame Edith Sitwell's personal notebook. It consists of essays on the subject of the general aspect of the plays-those great hymns to the principle and the glory of life, in which there are the same differences in nature, in matter, in light, in darkness, in movement, that we find in the universe, and in which the characters are so vast they seem each an element (Water, Hamlet; Air, Romeo and Juliet; Fire, King Lear) and which yet bear the stamp of our common humanity, made greater and more universal. There are long essays on King Lear, Macbeth, Othello and Hamlet. Dame Edith believes, with all humility, that she has discovered new sources of the inspiration of King Lear, throwing a new light on the whole play, and giving new meanings to the mad scenes, of an unsurpassable grandeur, depth, and terror. There are shorter essays also on other of the tragedies. The keynotes of many of the plays are examined (not all the plays are discussed), a phrase is studied and will be found to hold the whole meaning of the play.There are essays on many of the comedies, and long passages about the Fools and Clowns. Connecting levels are traced between the philosophies of the plays. There are, too, running commentaries on Shakespeare as that ' common-kissing Titan ', and, since the book is a personal notebook, the author makes copious quotations from the writings of Shakespearean scholars who have thrown light on the various aspects of which she treats, and from works on other subjects which also serve to illumine his mighty and many-sided genius."Her reading is deep and personal; possibly nobody has ever read Shakespeare with an ear more sensitive to every sound and cadence." -Chicago Daily Tribune
Not The Worst Place (Modern Plays)
by Sam BurnsI ain't got a city named for me . . . The swans have though, haven't they. They got a city named for them.Seventeen-year-old Emma dreams of travelling adventures beyond her Swansea home. Rhys, her boyfriend, has other plans for them. Facing the consequences of their actions under the disapproving eye of Emma's mother, they struggle to find a happy medium.Now, camped out on Swansea seafront, they must confront the difficult question of what it takes to leave the place that shaped them.A story about what happens when life gets in the way of your dreams.Sam Burns weaves together a touching, sensitive play that tackles our conflicting emotions about the place we call home. Not The Worst Place received its world premiere at Clywd Theatr Cymru on 23 April 2014 in a production by Paines Plough.
Not The Worst Place (Modern Plays)
by Sam BurnsI ain't got a city named for me . . . The swans have though, haven't they. They got a city named for them.Seventeen-year-old Emma dreams of travelling adventures beyond her Swansea home. Rhys, her boyfriend, has other plans for them. Facing the consequences of their actions under the disapproving eye of Emma's mother, they struggle to find a happy medium.Now, camped out on Swansea seafront, they must confront the difficult question of what it takes to leave the place that shaped them.A story about what happens when life gets in the way of your dreams.Sam Burns weaves together a touching, sensitive play that tackles our conflicting emotions about the place we call home. Not The Worst Place received its world premiere at Clywd Theatr Cymru on 23 April 2014 in a production by Paines Plough.
Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance (Theater: Theory/Text/Performance)
by James M. Harding John RouseAlmost without exception, studies of the avant-garde take for granted the premise that the influential experimental practices associated with the avant-garde began primarily as a European phenomenon that in turn spread around the world. These ten original essays, especially commissioned for Not the Other Avant-Garde, forge a radically new conception of the avant-garde by demonstrating the many ways in which the first- and second-wave avant-gardes were always already a transnational phenomenon, an amalgam of often contradictory performance traditions and practices developed in various cultural locations around the world, including Africa, the Middle East, Mexico, Argentina, India, and Japan. Essays from leading scholars and critics-including Marvin Carlson, Sudipto Chatterjee, John Conteh-Morgan, Peter Eckersall, Harry J. Elam Jr., Joachim Fiebach, David G. Goodman, Jean Graham-Jones, Hannah Higgins, and Adam Versényi-suggest collectively that the very concept of the avant-garde is possible only if conceptualized beyond the limitations of Eurocentric paradigms. Not the Other Avant-Garde is groundbreaking in both avant-garde studies and performance studies and will be a valuable contribution to the fields of theater studies, modernist studies, art history, literature, and music history. "Joins the growing field of critical and transnational theories on the arts. . . its grounding in live performance and its foregrounding of the performative human body presents a new theoretical paradigm that is pathbreaking." --Haiping Yan, University of California, Los Angeles James M. Harding is Associate Professor of English at Mary Washington University. He is author of Adorno and "A Writing of the Ruins": Essays on Modern Aesthetics and Anglo-American Literature and Culture and editor of Contours of the Theatrical Avant-Garde: Performance and Textuality. John Rouse is Associate Professor of Theater at the University of California, San Diego. He is author of Brecht and the West German Theatre.
Not Talking (Modern Plays)
by Mike BartlettIf I don't want to tell anyone, it's up to me, right?Lucy knows James has avoided the battle. Mark knows Amanda has fought for her life. But speaking the truth could bring everything crashing down.What happens if we live a life of not talking?Olivier award-winning writer Mike Bartlett's gripping and lyrical first play unlocks a culture of silence and gives voice to the human casualties when things are easier done than said. This edition was published to coincide with a new production at the Arcola Theatre and features an introduction by the author.
Not Talking: My Child, Contractions, Artefacts, Cock, Not Talking (Modern Plays)
by Mike BartlettIf I don't want to tell anyone, it's up to me, right?Lucy knows James has avoided the battle. Mark knows Amanda has fought for her life. But speaking the truth could bring everything crashing down.What happens if we live a life of not talking?Olivier award-winning writer Mike Bartlett's gripping and lyrical first play unlocks a culture of silence and gives voice to the human casualties when things are easier done than said. This edition was published to coincide with a new production at the Arcola Theatre and features an introduction by the author.
Not One Of These People
by Martin CrimpIf you think you know what it's like to be me you are seriously deluded.Is it appropriation to invent a voice - or is it an act of empathy?If a playwright's job is to make dialogue, is there a limit to how many characters she / he / they are entitled to invent? Who can these people be? And what if an invented voice says things that even the author would prefer not to hear?With characteristically provocative humour, Martin Crimp's latest work brings 299 unique characters to the stage.Not One of These People, a co-production between the Royal Court Theatre, Carte blanche, and the Carrefour international de théâtre, premiered at Théâtre La Bordée, Québec City, in June 2022, and at the Royal Court Theatre, London, in November 2022.
Not Now (Modern Plays)
by David IrelandMatthew, I don't give a f*** who's Irish and who's not. I'm just thinking about what's best for your career. And that's how themmuns in London'll see you. Calling yourself British just embarrasses them.The morning after his father's funeral, an unsure and still grief-stricken Matthew prepares to fly to London to audition for the prestigious drama school, RADA.When his painter-decorator Uncle Ray interrupts his private rendition of Richard III's opening monologue to offer some unwanted direction and dubious career advice, Matthew starts to doubt whether he should really be leaving Belfast in the first place.First presented by A Play, A Pie and A Pint at Òran Mór in May 2022. Not Now received its English premiere at the Finborough Theatre, London, in November 2022.Playwright David Ireland is the multi award-winning author of Cyprus Avenue.
Not Now (Modern Plays)
by David IrelandMatthew, I don't give a f*** who's Irish and who's not. I'm just thinking about what's best for your career. And that's how themmuns in London'll see you. Calling yourself British just embarrasses them.The morning after his father's funeral, an unsure and still grief-stricken Matthew prepares to fly to London to audition for the prestigious drama school, RADA.When his painter-decorator Uncle Ray interrupts his private rendition of Richard III's opening monologue to offer some unwanted direction and dubious career advice, Matthew starts to doubt whether he should really be leaving Belfast in the first place.First presented by A Play, A Pie and A Pint at Òran Mór in May 2022. Not Now received its English premiere at the Finborough Theatre, London, in November 2022.Playwright David Ireland is the multi award-winning author of Cyprus Avenue.
Not in My Name (Oberon Modern Plays)
by Alice Bartlett‘You just get that panic – you just start panicking and you don’t know what to do. It didn’t feel real… Why here? Why me?’ Saturday afternoon. In town with your mates. Doing some shopping. Or maybe watching the match. When the bomb goes off. Then there’s Horror. Fear. Anger. Blame. And perhaps you’re thinking: ‘Not in my name’. Not in My Name uses verbatim interviews to realistically portray the aftermath, community impact and personal consequences of a fictional terror attack from the perspective of over thirty young characters. Suitable for performance by young people or adults, this is a bold and challenging play that allows audiences to openly, safely and productively discuss current issues around terrorism and violent extremism. The play includes a series of comprehensive Teachers’ Notes designed to aid school staff and other adults working with young people in relating its content to topics around Preventing Violent Extremism (PVE) within and beyond the citizenship curriculum.
Not in Front of the Audience: Homosexuality On Stage
by Nicholas de JonghFirst published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
Not in Front of the Audience: Homosexuality On Stage
by Nicholas de JonghFirst published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
Not Hamlet: Meditations on the Frail Position of Women in Drama (Oberon Masters Series)
by Janet SuzmanShakespeare’s Cleopatra, La Pucelle, Ophelia, Shaw’s St Joan and Ibsen’s Hedda – a handful of ‘seminal’ roles for women in the classical canon. Janet Suzman has played them all and directed some. Here she examines their complexity and explores why only Cleopatra has an independence that allows her to speak to modern women. None of these, regrettably, matches up to a Hamlet, but as she is grateful for the parts he did write, Suzman feels a lightly-barbed attack on those who work in theatre and doubt Shakespeare’s authorship is way overdue. She also takes issue with received ideas on boy actors playing mature women in Shakespeare’s company, and refl ects on how female characters in classical drama have not been on a level with their male counterparts. Today, on TV, fi lm and the stage, this remains the case. Not Hamlet but Hamlette, please.
Not A Game For Girls (Oberon Modern Plays)
by Benjamin PeelNot A Game For Girls explores the most successful of the women’s football teams established to boost wartime morale, following the suspension of all Football League matches at the end of the 1914-15 season. The play aims to highlight their story, capturing the spirit and camaraderie that led women to ignore and defy prevailing social attitudes, both on and off the pitch.
Not Black and White: Category B; Seize the Day; Detaining Justice (Play Anthologies)
by Bola Agbaje Kwame Kwei-Armah Roy WilliamsNot Black and White comprises of three new plays which examine the state of modern day Britain from the perspective of three leading black contemporary playwrights. Roy Williams, Kwame Kwei-Armah and Bola Agbaje tackle the prison system, the mayoralty and immigration in their respective plays. Category B: Roy Williams Saul runs a tip-top wing - the screws love him for it, especially Angela. Prisoners follow his rules, and it's all gravy. But Saul's number two position is vacant, new inmates are flooding in, so everyone's feeling the heat. No-one wants to go to Cat B, but the world on the outside is a different story. Seize the Day: Kwame Kwei-ArmahJeremy Charles could be London's first black mayor. He has the face to represent it - a well-spoken, good-looking Londoner, with an appetite for change. He's sold his pitch on reality TV, but can he be the real people's candidate? Detaining Justice: Bola Agbaje Justice is locked in a cold dark cell, his asylum application pending. His sister Grace would like to help, but has been told to leave it in God's hands. Crown Prosecutor Mark Cole has an infallible reputation for successful prosecutions - however he has had a change of heart - and job. His first case is for the defence of Justice - but, in his new role, is Cole the man to help? Published to coincide with the Not Black and White season at the Tricycle, where the three dramas played in rep Oct 8 -Dec 19 2009.
Not Black and White: Category B, Seize the Day, Detaining Justice (Play Anthologies)
by Bola Agbaje Kwame Kwei-Armah Roy WilliamsNot Black and White comprises of three new plays which examine the state of modern day Britain from the perspective of three leading black contemporary playwrights. Roy Williams, Kwame Kwei-Armah and Bola Agbaje tackle the prison system, the mayoralty and immigration in their respective plays. Category B: Roy Williams Saul runs a tip-top wing - the screws love him for it, especially Angela. Prisoners follow his rules, and it's all gravy. But Saul's number two position is vacant, new inmates are flooding in, so everyone's feeling the heat. No-one wants to go to Cat B, but the world on the outside is a different story. Seize the Day: Kwame Kwei-ArmahJeremy Charles could be London's first black mayor. He has the face to represent it - a well-spoken, good-looking Londoner, with an appetite for change. He's sold his pitch on reality TV, but can he be the real people's candidate? Detaining Justice: Bola Agbaje Justice is locked in a cold dark cell, his asylum application pending. His sister Grace would like to help, but has been told to leave it in God's hands. Crown Prosecutor Mark Cole has an infallible reputation for successful prosecutions - however he has had a change of heart - and job. His first case is for the defence of Justice - but, in his new role, is Cole the man to help? Published to coincide with the Not Black and White season at the Tricycle, where the three dramas played in rep Oct 8 -Dec 19 2009.
Not Black and White: Category B; Seize the Day; Detaining Justice (Play Anthologies #1)
by Bola Agbaje Kwame Kwei-Armah Roy WilliamsNot Black and White comprises of three new plays which examine the state of modern day Britain from the perspective of three leading black contemporary playwrights. Roy Williams, Kwame Kwei-Armah and Bola Agbaje tackle the prison system, the mayoralty and immigration in their respective plays. Category B: Roy Williams Saul runs a tip-top wing - the screws love him for it, especially Angela. Prisoners follow his rules, and it's all gravy. But Saul's number two position is vacant, new inmates are flooding in, so everyone's feeling the heat. No-one wants to go to Cat B, but the world on the outside is a different story. Seize the Day: Kwame Kwei-ArmahJeremy Charles could be London's first black mayor. He has the face to represent it - a well-spoken, good-looking Londoner, with an appetite for change. He's sold his pitch on reality TV, but can he be the real people's candidate? Detaining Justice: Bola Agbaje Justice is locked in a cold dark cell, his asylum application pending. His sister Grace would like to help, but has been told to leave it in God's hands. Crown Prosecutor Mark Cole has an infallible reputation for successful prosecutions - however he has had a change of heart - and job. His first case is for the defence of Justice - but, in his new role, is Cole the man to help? Published to coincide with the Not Black and White season at the Tricycle, where the three dramas played in rep Oct 8 -Dec 19 2009.
Northanger Abbey: (stage version) (Nhb Modern Plays Ser.)
by Jane AustenCatherine Morland knows little of the world, but who needs real-life experience when you have novels to guide you? Seizing her chance to escape her claustrophobic family and join the smart set in Bath, she meets worldly, sophisticated Isabella Thorpe – Iz, to her friends – and so Cath's very own adventure begins. This playful and surprising reimagining of Northanger Abbey is infused with the spirit of Jane Austen's original novel and fizzes with imagination and humour. It was premiered in 2024 at the Orange Tree Theatre, London, before touring to Octagon Theatre, Bolton, Stephen Joseph Theatre, Scarborough, and Theatre by the Lake, Keswick. 'Friendship is certainly the finest balm for the pangs of any sort of… disappointed love.' 'A smartly playful adaptation that pulses with real passions… it asks big, clever questions about personal agency, authorship and control… Austen would thoroughly approve' - Evening Standard 'Moves at a tremendous clip… the wooing is done with such subtlety and good humour' - The Times 'An incisive adaptation that approaches the tale from a fresh, contemporary angle… exuberantly, unashamedly silly… Quick-fire scenes jump about in time, skilfully picking apart the narrative with flashbacks that offer new context, or cutting away to asides where the characters debate their real intentions… an appealing, intriguingly flawed protagonist… unexpected and intriguing' - The Stage 'A spirited three-hander romp… it's exhilarating, transmuting Austen's daftest novel into something really quite beautiful' - Time Out
North Country (Modern Plays)
by Tajinder Singh HayerIt's three o'clock when the first ambulance arrives. An old Polish man who can't breathe properly. I see the paramedics try to get him on the stretcher, but he collapses on them. Sudden heart failure. They have to defibrillate right there in reception. The other patients are watching or covering their faces. It doesn't matter. He dies. It's the first time I've ever seen it. Someone dying.Plague has hit the world wiping out most of the human population. Three teenagers from Bradford are among the few survivors: Harvinder, Nusrat and Alleyne. Together and separately they struggle to survive, each bringing together their people as they try to remake their world.But their biggest challenge doesn't come from starvation, or zombie like cannibals.It comes from within.Game of Thrones meets Walking Dead. In Bradford. North Country was published to coincide with the world premiere of the play by Freedom Studios in Bradford, UK.
North Country (Modern Plays)
by Tajinder Singh HayerIt's three o'clock when the first ambulance arrives. An old Polish man who can't breathe properly. I see the paramedics try to get him on the stretcher, but he collapses on them. Sudden heart failure. They have to defibrillate right there in reception. The other patients are watching or covering their faces. It doesn't matter. He dies. It's the first time I've ever seen it. Someone dying.Plague has hit the world wiping out most of the human population. Three teenagers from Bradford are among the few survivors: Harvinder, Nusrat and Alleyne. Together and separately they struggle to survive, each bringing together their people as they try to remake their world.But their biggest challenge doesn't come from starvation, or zombie like cannibals.It comes from within.Game of Thrones meets Walking Dead. In Bradford. North Country was published to coincide with the world premiere of the play by Freedom Studios in Bradford, UK.
Norma Jeane Baker of Troy (Oberon Modern Plays)
by Anne CarsonNorma Jeane Baker of Troy is a partly spoken, partly sung performance piece by poet, essayist, and scholar Anne Carson, and an exploration of the lives and myths of Marilyn Monroe and Helen of Troy—iconic beauties who lived millennia apart.A thrilling and thoughtful meditation on the destabilising and destructive power of beauty, this had its world premiere at The Shed in New York City, starring Ben Whishaw and Renée Fleming.
The Non-Cycle Mystery Plays: Together with 'The Croxton Play of the Sacrament' and 'The Pride of Life' (Routledge Revivals)
by Osborn WaterhouseBetween the beginning of the tenth and the end of the sixteenth centuries, in all parts of Great Britain from Aberdeen to Cornwall, performances of liturgical and mystery plays are on record. This book, first published in 1909, is a collection of early-English religious plays with a detailed introduction written by the editor Osborn Waterhouse. The Non-Cycle Mystery Plays will be of interest to students of drama, performance and theatre studies.
The Non-Cycle Mystery Plays: Together with 'The Croxton Play of the Sacrament' and 'The Pride of Life' (Routledge Revivals)
by Osborn WaterhouseBetween the beginning of the tenth and the end of the sixteenth centuries, in all parts of Great Britain from Aberdeen to Cornwall, performances of liturgical and mystery plays are on record. This book, first published in 1909, is a collection of early-English religious plays with a detailed introduction written by the editor Osborn Waterhouse. The Non-Cycle Mystery Plays will be of interest to students of drama, performance and theatre studies.