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Martine: Piece En Cinq Tableaux (1922) (Oberon Modern Plays)
by John Fowles Jean-Jacques Bernard‘When you’re away I can’t survive without her, I keep talking to her about you. And I hurt her. I seem to have to do it.’ The Great War is over. It is the summer of 1920, in rural France. By a dusty road, a girl is sitting under the shade of an apple tree. She sees someone walking towards her. He is a young man, just back from fighting in Syria. He joins her under the tree, and a tragic love story begins. Often compared to Chekhov, and much admired by Harold Pinter, Jean-Jacques Bernard creates a unique emotional landscape of beauty and longing, desire and disappointment. Martine was written in 1922 and John Fowles wrote this translation for a revival at the National Theatre in 1985.
Martyr (Oberon Modern Plays)
by Marius Von Mayenburg Maja ZadeHow far will you go for what you believe? Benjamin won’t do swimming at school. His mother thinks it’s drugs or he’s got body issues. But Benjamin has found God and mixed-sex swimming lessons offend him. Fundamentalism and tolerance clash in this funny, provocative play by leading German playwright, Marius von Mayenburg. Martyr considers how far we should go in accommodating another’s faith, and when we should take a stand for our own opposing beliefs.
Martyrs and Players in Early Modern England: Tragedy, Religion and Violence on Stage (Studies in Performance and Early Modern Drama)
by David K. AndersonFocusing on Christopher Marlowe, William Shakespeare, John Webster and John Milton, Martyrs and Players in Early Modern England argues that the English tragedians reflected an unease within the culture to acts of religious violence. David Anderson explores a link between the unstable emotional response of society to religious executions in the Tudor-Stuart period, and the revival of tragic drama as a major cultural form for the first time since classical antiquity. Placing John Foxe at the center of his historical argument, Anderson argues that Foxe’s Book of Martyrs exerted a profound effect on the social conscience of English Protestantism in his own time and for the next century. While scholars have in recent years discussed the impact of Foxe and the martyrs on the period’s literature, this book is the first to examine how these most vivid symbols of Reformation-era violence influenced the makers of tragedy. As the persecuting and the persecuted churches collided over the martyr’s body, Anderson posits, stress fractures ran through the culture and into the playhouse; in their depictions of violence, the early modern tragedians focused on the ethical confrontation between collective power and the individual sufferer. Martyrs and Players in Early Modern England sheds new light on the particular emotional energy of Tudor-Stuart tragedy, and helps explain why the genre reemerged at this time.
Martyrs and Players in Early Modern England: Tragedy, Religion and Violence on Stage (Studies in Performance and Early Modern Drama)
by David K. AndersonFocusing on Christopher Marlowe, William Shakespeare, John Webster and John Milton, Martyrs and Players in Early Modern England argues that the English tragedians reflected an unease within the culture to acts of religious violence. David Anderson explores a link between the unstable emotional response of society to religious executions in the Tudor-Stuart period, and the revival of tragic drama as a major cultural form for the first time since classical antiquity. Placing John Foxe at the center of his historical argument, Anderson argues that Foxe’s Book of Martyrs exerted a profound effect on the social conscience of English Protestantism in his own time and for the next century. While scholars have in recent years discussed the impact of Foxe and the martyrs on the period’s literature, this book is the first to examine how these most vivid symbols of Reformation-era violence influenced the makers of tragedy. As the persecuting and the persecuted churches collided over the martyr’s body, Anderson posits, stress fractures ran through the culture and into the playhouse; in their depictions of violence, the early modern tragedians focused on the ethical confrontation between collective power and the individual sufferer. Martyrs and Players in Early Modern England sheds new light on the particular emotional energy of Tudor-Stuart tragedy, and helps explain why the genre reemerged at this time.
A Marvellous Year for Plums (Oberon Modern Plays)
by Hugh WhitemoreBritain in 1956: the Suez Crisis.Prime Minister Anthony Eden, described by a colleague as ‘half mad baronet and half beautiful woman’, is faced with the terrible possibility of leading his country into war. His health is collapsing. His friends, colleagues and opponents, among them Hugh Gaitskell and Ian Fleming and his wife Ann, are facing crises of their own, crises of conscience and crises of the heart. Hugh Whitemore’s new play is a true epic: a suspenseful thriller, an achingly romantic love story and a fascinating examination of a flashpoint in our history which still resonates today. What is the cost of an ‘illegal’ war?
Marx and Freud: Great Shakespeareans: Volume X (Great Shakespeareans #Vol. 10)
by Crystal Bartolovich David Hillman Jean E. HowardThis volume looks at Marx and Freud, who, though not 'Shakespeareans' in the usual academic or theatrical sense, were both deeply informed by Shakespeare's writings, and have both had enormous influence on the understanding and reception of Shakespeare. The first section of this volume consists of a discussion of Marx's use of Shakespeare by Crystal Bartolovich followed by an essay on Shakespeareans' recent uses of Marx by Jean E. Howard. The volume's second half, written by David Hillman, juxtaposes a discussion of Freud's use of Shakespeare with a meditation on Shakespeare's 'use' of Freud. Each part can be read fruitfully independently of the others, but the sum is greater than the parts, offering an engagement with two of the most influential thinkers in Western modernity and their interchanges with, arguably, the most influential figure of early modernity: Shakespeare.
Marx and Freud: Great Shakespeareans: Volume X (Great Shakespeareans)
by Crystal Bartolovich David Hillman Jean E. HowardThis volume looks at Marx and Freud, who, though not 'Shakespeareans' in the usual academic or theatrical sense, were both deeply informed by Shakespeare's writings, and have both had enormous influence on the understanding and reception of Shakespeare. The first section of this volume consists of a discussion of Marx's use of Shakespeare by Crystal Bartolovich followed by an essay on Shakespeareans' recent uses of Marx by Jean E. Howard. The volume's second half, written by David Hillman, juxtaposes a discussion of Freud's use of Shakespeare with a meditation on Shakespeare's 'use' of Freud. Each part can be read fruitfully independently of the others, but the sum is greater than the parts, offering an engagement with two of the most influential thinkers in Western modernity and their interchanges with, arguably, the most influential figure of early modernity: Shakespeare.
Marxist Shakespeares (Accents on Shakespeare)
by Jean E. HowardMarxist Shakespeares uses the rich analytic resources of the Marxist tradition to look at Shakespeare's plays afresh. The book offers new insights into the historical conditions within which Shakespeare's representations of class and gender emerged, and into Shakespeare's role in the global culture industry stretching from Hollywood to the Globe Theatre. A vital resource for students of Shakespeare which includes Marx's own readings of Shakespeare, Derrida on Marx, and also Bourdieu, Bataillle, Negri and Alice Clark.
Marxist Shakespeares
by Jean E. Howard Scott Cutler ShershowMarxist Shakespearesuses the rich analytic resources of the Marxist tradition to look at Shakespeare's plays afresh. The book offers new insights into the historical conditions within which Shakespeare's representations of class and gender emerged, and into Shakespeare's role in the global culture industry stretching from Hollywood to the Globe Theatre. A vital resource for students of Shakespeare which includes Marx's own readings of Shakespeare, Derrida on Marx, and also Bourdieu, Bataillle, Negri and Alice Clark.
Marxist Shakespeares (Accents on Shakespeare)
by Jean E. Howard Scott Cutler ShershowMarxist Shakespeares uses the rich analytic resources of the Marxist tradition to look at Shakespeare's plays afresh. The book offers new insights into the historical conditions within which Shakespeare's representations of class and gender emerged, and into Shakespeare's role in the global culture industry stretching from Hollywood to the Globe Theatre. A vital resource for students of Shakespeare which includes Marx's own readings of Shakespeare, Derrida on Marx, and also Bourdieu, Bataillle, Negri and Alice Clark.
Marxist Shakespeares (PDF)
by Jean E. Howard Scott Cutler ShershowMarxist Shakespearesuses the rich analytic resources of the Marxist tradition to look at Shakespeare's plays afresh. The book offers new insights into the historical conditions within which Shakespeare's representations of class and gender emerged, and into Shakespeare's role in the global culture industry stretching from Hollywood to the Globe Theatre. A vital resource for students of Shakespeare which includes Marx's own readings of Shakespeare, Derrida on Marx, and also Bourdieu, Bataillle, Negri and Alice Clark.
Mary and Me (Oberon Modern Plays)
by Irene KelleherMary and Me is an acclaimed new play written & performed by Irene Kelleher, inspired by the true story of Ann Lovett, a 15-year-old girl who died giving birth beside a grotto in Granard in Co. Longford in 1984.Ireland 1986. A teenage girl begins a series of conversations with a statue of the Virgin Mary in a grotto.Inspired by a true story, Mary and Me is a compellingly original imagining of a young woman's search for understanding and meaning at a milestone in her life, and a rich and funny evocation of the Ireland of the 1980's.
Mary Stuart: A Tragedy
by Friedrich SchillerThis dramatic story recounts Mary, Queen of Scots's remaining days held captive in Fotheringay Castle. In scenes alternating between Mary's prison and Elizabeth's court at Westminster, Schiller's play gradually builds a compelling picture of a tragic heroine rising above her suffering to gain in insight and spiritual depth. In contrast Elizabeth, in turmoil over the correct course of action for her country and trapped by the cruel demands of Realpolitik, can achieve worldly victory only at a terrible moral cost. Culminating in a fictitious meeting of the two women, Mary Stuart is a dramatic meditation on the nature of political power, but also a deeply moving human tragedy that captures the emotional essence of complex events.
Mary Stuart: A Tragedy (Modern Plays)
by Friedrich Schiller'Scotland may be a savage nation, Lady, but the English wash their hands in blood.'Mary Stuart tells the story of the personal struggle between two extraordinary women - one French, one English - both captive to the demands of sovereignty and both caught in a tumult of political and religious intrigue.Which of them is the rightful Queen of England - Mary Stuart or Elizabeth Tudor?Mary Stuart, written in 1800 by Friedrich Schiller, is presented in this new version by Mike Poulton following his Don Carlos for Sheffield/West End. The play was produced at Clwyd Theatr Cymru 7-30 May 2009.'Magnificent . . . Mike Poulton's fleet and vivid translation . . . all the deftly plotted twists and turns of a thriller. You lean forward in your seat, desperate to discover what happens next . . . a masterpiece' Daily Telegraph on Mike Poulton's version of Schiller's Don Carlos.
Mary Stuart: in a version
by Friedrich SchillerOne of European theatre's major plays, Schiller's masterpiece hinges on a brilliantly imagined meeting between Mary, Queen of Scots - focus of simmering Catholic dissent and her cousin Elizabeth, Queen of England, who has imprisoned her. Isolated by their duplicitous male courtiers, the women collide headlong, each wrestling with the rank, ambition and destiny their births have bestowed, against a thrilling background of intrigue, plot and counter-plot.David Harrower's version of Mary Stuart premiered at the Citizen's Theatre, Glasgow, in October 2006.
Mary Stuart: A Tragedy (Oberon Modern Plays)
by Friedrich Schiller Robert IckeTwo queens. One in power. One in prison. It’s all in the execution. Schiller’s political tragedy takes us behind the scenes of British history’s most famous rivalry.
Mary Stuart: Two Queens, One Empire (World's Classics)
by Friedrich Schiller Peter OswaldSchiller's play of 1800 pits Mary Queen of Scots against her rival Elizabeth of England. The meeting never happened, but Goethe claimed 'It will be good to see those whores alongside each other.' Schiller's Mary redeems her youthful crimes through an ordeal that lifts her into the realms of spiritual serenity, while Elizabeth descends deeper into rage, revenge and deception.Peter Oswald's version, mixing poetry and prose, opened at the Donmar Warehouse in London’s West End in July 2005.
Mary Stuart (Modern Plays)
by Friedrich Schiller Mike Poulton'Scotland may be a savage nation, Lady, but the English wash their hands in blood.'Mary Stuart tells the story of the personal struggle between two extraordinary women - one French, one English - both captive to the demands of sovereignty and both caught in a tumult of political and religious intrigue.Which of them is the rightful Queen of England - Mary Stuart or Elizabeth Tudor?Mary Stuart, written in 1800 by Friedrich Schiller, is presented in this new version by Mike Poulton following his Don Carlos for Sheffield/West End. The play was produced at Clwyd Theatr Cymru 7-30 May 2009.'Magnificent . . . Mike Poulton's fleet and vivid translation . . . all the deftly plotted twists and turns of a thriller. You lean forward in your seat, desperate to discover what happens next . . . a masterpiece' Daily Telegraph on Mike Poulton's version of Schiller's Don Carlos.
Mary Stuart/Joan of Arc (Oberon Modern Plays)
by Friedrich Schiller Robert David MacDonaldThese two tragedies, written at the peak of Schiller’s career as a dramatist, contain his most telling, and touching, portrayals of women. His heroines are propelled, by birth or a sense of divine mission, into exalted political positions, where their qualities as human beings, and particularly as women, are put to the severest tests, from which they emerge triumphant, but doomed. Schiller’s breadth of sentiment, combined with his consummate stagecraft, and Shakespearean mastery of verse and nobility of language, ensure his position as Germany’s greatest dramatist, and these translations, prepared for, and performed by Glasgow’s famous Citizens Company, should go far to ensure his long overdue acceptance in Britain as a master of the European Theatre.
Mary Wigman (Routledge Performance Practitioners)
by Mary Anne Santos NewhallThis book considers dancer, teacher, and choreographer Mary Wigman, a leading innovator in Expressionist dance whose radical explorations of movement and dance theory are credited with expanding the scope of dance as a theatrical art. Now reissued, this book combines: a full account of Wigman’s life and work an analysis of her key ideas detailed discussion of her aesthetic theories, including the use of space as an "invisible partner" and the transcendent nature of performance a commentary on her key works, including Hexentanz and The Seven Dances of Life an extensive collection of practical exercises designed to provide an understanding of Wigman’s choreographic principles and her uniquely immersive approach to dance. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student.
Mary Wigman: Modernity And Mary Wigman, 1886--1973 (Routledge Performance Practitioners)
by Mary Anne Santos NewhallThis book considers dancer, teacher, and choreographer Mary Wigman, a leading innovator in Expressionist dance whose radical explorations of movement and dance theory are credited with expanding the scope of dance as a theatrical art. Now reissued, this book combines: a full account of Wigman’s life and work an analysis of her key ideas detailed discussion of her aesthetic theories, including the use of space as an "invisible partner" and the transcendent nature of performance a commentary on her key works, including Hexentanz and The Seven Dances of Life an extensive collection of practical exercises designed to provide an understanding of Wigman’s choreographic principles and her uniquely immersive approach to dance. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student.
Mary Wroth and Shakespeare (Routledge Studies in Shakespeare)
by Paul Salzman Marion Wynne-DaviesOver the last twenty five years, scholarship on Early Modern women writers has produced editions and criticisms, both on various groups and individual authors. The work on Mary Wroth has been particularly impressive at integrating her poetry, prose and drama into the canon. This in turn has led to comparative studies that link Wroth to a number of male and female writers, including of course, William Shakespeare. At the same time no single volume has attempted a comprehensive comparative analysis. This book sets out to explore the ways in which Wroth negotiated the discourses that are embedded in the Shakespearean canon in order to develop an understanding of her oeuvre based, not on influence and imitation, but on difference, originality and innovation.
Mary Wroth and Shakespeare (Routledge Studies in Shakespeare)
by Paul Salzman Marion Wynne-DaviesOver the last twenty five years, scholarship on Early Modern women writers has produced editions and criticisms, both on various groups and individual authors. The work on Mary Wroth has been particularly impressive at integrating her poetry, prose and drama into the canon. This in turn has led to comparative studies that link Wroth to a number of male and female writers, including of course, William Shakespeare. At the same time no single volume has attempted a comprehensive comparative analysis. This book sets out to explore the ways in which Wroth negotiated the discourses that are embedded in the Shakespearean canon in order to develop an understanding of her oeuvre based, not on influence and imitation, but on difference, originality and innovation.
Masculinities and Manhood in Contemporary Irish Drama: Acting the Man
by Cormac O'BrienThis book charts the journey, in terms of both stasis and change, that masculinities and manhood have made in Irish drama, and by extension in the broader culture and society, from the 1960s to the present. Examining a diverse corpus of drama and theatre events, both mainstream and on the fringe, this study critically elaborates a seismic shift in Irish masculinities. This book argues, then, that Irish manhood has shifted from embodying and enacting post-colonial concerns of nationalism and national identity, to performing models of masculinity that are driven and moulded by the political and cultural practices of neoliberal capitalism. Masculinities and Manhood in Contemporary Irish Drama charts this shift through chapters on performing masculinity in plays set in both the Irish Republic and Northern Ireland, and through several chapters that focus on Women’s and Queer drama. It thus takes its readers on a journey: a journey that begins with an overtly patriarchal, nationalist manhood that often made direct comment on the state of the nation, and ultimately arrives at several arguably regressive forms of globalised masculinity, which are couched in misaligned notions of individualism and free-choice and that frequently perceive themselves as being in crisis.
Masculinities and the Contemporary Irish Theatre (Performance Interventions)
by B. SingletonIrish theatre and its histories appear to be dominated by men and their actions. This book's socially and culturally contextualized analysis of performance over the last two decades, however reveals masculinities that are anything but hegemonic, played out in theatres and other arenas of performance all over Ireland.