A South African Response to Chekhov s The Cherry Orchard
Author: Janet Suzman
Publisher: Oberon Books
This powerful version of Chekhov’s famous drama reflects the South African phenomenon of the 1990s. With the hindsight of the new millennium we can look back and see that the miracle did happen. The new order did take over from the old. The fruitless cherry orchard was chopped down. The old men who couldn't move with the times have been left behind and forgotten. Chekhov's great pre-revolutionary drama, dreaming of youthful energy replacing the worn-out inertia of a dying world, lends itself vividly to this new setting in post-revolutionary South Africa.
Plays written by the major European dramatists of the last two centuries – from the firmly established classics of Ibsen and Chekhov to the recent successes of Yasmina Reza – are increasingly performed on British stages, often in new translations or versions. But what distinguishes one translation from another? And what social and cultural factors of reception must the translator of a foreign play take into account? This comprehensive study of the history of European plays on the English stage explores the importance of cultural assumptions and linguistic stumbling blocks. Gunilla Anderman looks at varying approaches to the foreign text as well as the need for new versions of the same play, and discusses the influence of European drama in translation and its contribution to and enrichment of English playwriting. Key phrases recurring in the original works of the European canon are also scrutinised in an attempt to demystify and unearth what English readers of the translated texts may never have known they were missing. Europe on Stage: Translation and Theatre is a valuable addition to the literature on the theatre, of interest to theatre-goers, theatre practitioners and linguists as well as students of drama, comparative literature and translation studies.
Classical and Contemporary Speeches from Black British Plays
Author: Simeilia Hodge-Dallaway
Publisher: Oberon Books
Foreword by Kwame Kwei Armah How many Black British plays can you name? Inspired by both classical and contemporary plays, The Oberon Book of Monologues for Black Actors gives readers an insight into some of the best cutting-edge plays written by black British playwrights, over the last sixty years. This collection features over twenty speeches by Britain’s most prominent black dramatists. The monologues represent a wide-range of themes, characters, dialects and styles. Suitable for young people and adults, each selection includes production information, a synopsis of the play, a biography of the playwright and a scene summary. The aim of this collection is that actors will enjoy working on these speeches, using them to help strengthen their craft, and by doing so, help to ensure these plays are always remembered.
Winner of a Royal Television Society Award, this is the text of the television drama broadcast by the BBC starring Brian Cox and Sinead Cusack. Food for Ravens is a powerful political drama about one of the great politicians of the Twentieth Century, Aneurin (Nye) Bevan.
In a remote Russian town, Olga, Masha and Irina yearn for the adrenaline rush of life in Moscow – but their plans go nowhere. Disaster, deception, meaningless self-sacrifice – in Chekhov’s heartbreaking masterpiece, each new twist of fate sees the sisters’ control over their destiny slip away. In a new version of a well known Chekhov play, by this visionary young director Benedict Andrews, lauded in Berlin and Sydney (including for The Wars of the Roses with Cate Blanchett), returns to the Young Vic after his triumphant The Return of Ulysses in 2011. Renowned German designer Johannes Schütz makes his Young Vic debut.
Constantine Treplev, son of the renowned, self-centered actress Irina Arkadina, dreams of bringing new forms to the theatre, while Nina, the girl he loves, is tempted by the charm of Trigorin, a famous writer.
Commemorating the centenary year of the death of suffragette martyr Emily Wilding Davison, the first full professional production in more than thirty-five years of Pam Gems' feminist classic Dusa, Fish, Stas and Vi. Four determinedly 'liberated' – and very different – women ricochet around a tiny shared flat, while trying to pull together the shattered strands of their lives: Dusa is struggling to regain her children from their father, Fish is losing her lover to another woman, Stas is on the game to finance the course she wants to study at university, while Vi steadfastly refuses to eat.... A bitingly sardonic modern classic, widely regarded as an historic icon of early feminism, Dusa, Fish, Stas and Vi was first seen at the Edinburgh Festival Fringe in 1976 under the title Dead Fish, Michael Codron transferred the play to the West End under its new title where it enjoyed a huge success and established Pam Gems as a major new voice in British theatre
Sam Mendes and Simon Russell Beale have forged one of the most successful working partnerships in contemporary theatre history. Across twenty years and eight productions their collaboration has evolved, matured and keeps thriving through their work on stage; six Shakespeare and two Chekhov plays form their common body of work so far. Mark Leipacher’s correspondence with Mendes and Beale and his thorough research into archival material on their collaborations, offers the reader a detailed account of the productions and, uniquely, Mendes’ and Beale’s own observations on their method of work and on the discoveries they made in each of the plays. How do moments of magic on stage arise in the rehearsal room? Catching the Light, full of anecdotes and gems of knowledge, is an indispensable read for actors, directors, students and anyone who loves the theatre.Features a foreword from Kevin Spacey, Artistic Director of the Old Vic.
Suburbia, 1957. Jim Cherry sells insurance, but wants to sell apples instead. He dreams of owning an orchard and quitting the job he hates. But Cherry is a fantasist and his wife Isobel is at a breaking point. As his dream begins to spiral out of control and the gulf between them widens, can she force him to face reality?