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.
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.