📚 Save Big on Books! Enjoy 10% off when you spend £100 and 20% off when you spend £200 (or the equivalent in supported currencies)—discount automatically applied when you add books to your cart before checkout! 🛒
As he dies, Hamlet pleads with Horatio to ‘report me aright … tell my story’. This book deals with the task of bearing witness to anguish, atrocity, and madness, as these are staged in the tragic theatre. Focusing on the relationship between the protagonist and the onlooker or witness, it explores how the tragic figure, often and understandably viewed as alien or culpable or profoundly strange, struggles to be understood. Centred on Shakespeare, its wide-ranging approach also introduces works by (among others) the Greeks, Racine, Ibsen, Pirandello, Kafka, Beckett, and Kane.
'Active Speech' is a groundbreaking collection of scholarly essays and practitioner interviews focused on the work of Irish playwright Teresa Deevy. Acts of recovery in the 1980s and 1990s challenged Deevy’s exclusion from the literary canon, reclaiming her contributions as significant to Irish drama and theatre. The recent resurgence of scholarship and productions evidences that, as a deafened woman and Irish playwright, Deevy’s creative power continues to disrupt and tilt the canon of Irish drama, theatre, and performance.
This volume presents a sophisticated and intricate examination of the parallels between Sanskrit and Greco-Roman literature. By means of a philological and literary analysis, Morales-Harley hypothesizes that Greco-Roman literature was known, understood, and recreated in India. Moreover, it is argued that the techniques for adapting epic into theater could have been Greco-Roman influences in India, and that some of the elements adapted within the literary motifs (specifically the motifs of the embassy, the ambush, and the ogre) could have been Greco-Roman borrowings by Sanskrit authors.
In this rich memoir, the first of two volumes, Paul Farmer traces the story of A39, the Cornish political theatre group he co-founded and ran from the mid-1980s to the early 1990s. Farmer offers a unique insight into A39’s creation, operation, and artistic practice during a period of convulsive political and social change.
In Performing Deception, Brian Rappert reconstructs the practice of entertainment magic by analysing it through the lens of perception, deception and learning, as he goes about studying conjuring himself.
Epidicus, a light-hearted comedy by Plautus about the machinations of a trickster slave and the inadequacies of his bumbling masters, appears here in both its original Latin and a sparkling new translation by Catherine Tracy. Epidicus, the cunning slave, is charged with finding his master’s illegitimate daughter and the secret girlfriend of his master’s son, but a comedy of mistaken identities and competing interests ensues. Amid the mayhem, Epidicus aims to win his freedom whilst risking some of the grislier punishments the Romans inflicted on their unfortunate slaves.
Chronicles from Kashmir explores this question through a site-adaptive 24-hour theatrical performance. Developed between 2013 and 2018 by the Ensemble Kashmir Theatre Akademi and Nandita Dinesh, the play uses a durational, promenade format to immerse its audience within a multitude of perspectives on life in Kashmir. From a wedding celebration that is interrupted by curfew, to schoolboys divided by policing strategies, and soldiers struggling with a toxic mixture of boredom and trauma, Chronicles from Kashmir uses performance, installation and collaborative creation to grapple with Kashmir’s conflicts through the lenses of outsiders, insiders, and everyone in between.
Nandita Dinesh places Kipling’s "six honest serving-men" (who, what, when, where, why, how) in productive conversation with her own experiences in conflict zones across the world to offer a theoretical and practical reflection on making theatre in times of war. This timely and important book weaves together Dinesh’s personal narrative with the public story of modern conflict, illustrating as it does, the importance of theatre as a force for ethical deliberation and social justice.
Examining materials from early modern and contemporary North India and Pakistan, Tellings and Texts brings together seventeen first-rate papers on the relations between written and oral texts, their performance, and the musical traditions these performances have entailed. The contributions from some of the best scholars in the field cover a wide range of literary genres and social and cultural contexts across the region.
In the first full-length study of Shelley’s plays in performance, Mulhallen provides a meticulously researched history of Shelley’s role as a playwright and dramatist and a reassessment of his ‘closet dramas’ as performable pieces of theatre. As well as discussing Shelley’s stagecraft and analysing performances of his plays from the 1800s to today, the book also offers a detailed account of the theatrical scene of Shelley’s time, including details of the productions Shelley himself saw. Mulhallen reveals Shelley as an extraordinarily talented playwright, whose fascination with contemporary theatrical theory and practice challenges the notion that he was a reluctant dramatist.
The Book of Judith has fascinated artists and authors for centuries, and is becoming a major field of research in its own right. This book is the first multidisciplinary collection to discuss representations of Judith through the centuries. Bringing together scholars from around the world, it transforms our understanding of Judith’s enduring story across a wide range of disciplines. The book includes sections on Judith in Christian, Jewish and secular textual traditions, and representations of Judith in art, music and theatre. It also includes new archival source studies, and translations of unpublished manuscripts and texts previously unavailable in English.