This volume contains English translations of three plays by Ionesco, one of the founding fathers of the theatre of the absurd. Tragic, farcical, alive and kicking, they can be read as a way to liberation.
Eugene Ioneso's dramas still work in theaters thanks to what some critics call his primordial sense of the foundations of drama. This text examines some of his work, including The Bald Soprano, The Lesson, The Chair, and Rhinoceros
From the musical hits Lion King and Bring In da Noise, Bring In da Funk, to off-Broadway plays such as Beauty Queen of Leenane and Wit, this volume features a chronological collection of facsimiles of every theatre review and awards article published in the New York Times between January 1997 and December 1998. The text includes a full index of personal names, titles, and corporate names.
Publisher: Macmillan International Higher Education
Category: Language Arts & Disciplines
A comprehensive writers' guide to the terminology used across the creative writing industries and in the major literary movements. Packed with practical tips for honing writing skills and identifying opportunities for publication and production, it also explains the workings of publishing houses, literary agencies and producing theatres.
Madness at the Theatre studies the theatrical representation of madness from the classical Greek period through to the 21st century.Professor Oyebode charts the portrayal of madness by the world's great playwrights across the centuries and argues that whereas acts of madness are described but unseen in Greek drama, Shakespeare brought these behaviours to centre stage. In the 19th and early 20th centuries aberrant behaviour was portrayed in domestic settings by Ibsen - theatrical madness became a family drama. Tennessee Williams and Eugene O'Neill drew on their own families for their explorations of madness and addiction, which lent a freshness and authenticity to their characters. Pinter's masterful use of the ambiguity of language finds strong echoes in the psychiatric clinic. Soyinka approached the subject from a different perspective, emphasising the social context - the personal malady as reflection of a greater malaise in society. Finally, Sarah Kane, whose own mental illness shaped her work, created plays that were the physical embodiment of her inner world. This book deals with an aspect of drama that speaks to the fears, prejudices and insights of the audience. It makes explicit the rules and models governing the appropriation of madness as a metaphor within theatre. Readership: It will be essential reading for anyone interested in the language of drama, the depiction of mental illness, and in the wider place of madness as a concept within society.
In Rhinoceros, as in his earlier plays, Ionesco startles audiences with a world that invariably erupts in explosive laughter and nightmare anxiety. A rhinoceros suddenly appears in a small town, tramping through its peaceful streets. Soon there are two, then three, until the “movement” is universal: a transformation of average citizens into beasts, as they learn to move with the times. Finally, only one man remains. “I’m the last man left, and I’m staying that way until the end. I’m not capitulating!” Rhinoceros is a commentary on the absurdity of the human condition made tolerable only by self-delusion. It shows us the struggle of the individual to maintain integrity and identity alone in a world where all others have succumbed to the “beauty” of brute force, natural energy, and mindlessness. Includes Rhinoceros, The Leader, The Future Is in Eggs or It Takes All Sorts to Make a World