Ten extraordinary dramatic works by the ancient Greek playwright offer a satirical and insightful view of classical Athenian society in such works as Medea, The Trojan Women, Electra, and Iphegenia at Aulis, among others. Reissue.
The first playwright of democracy, Euripides wrote with enduring insight and biting satire about social and political problems of Athenian life. In contrast to his contemporaries, he brought an exciting--and, to the Greeks, a stunning--realism to the "pure and noble form" of tragedy. For the first time in history, heroes and heroines on the stage were not idealized: as Sophocles himself said, Euripides shows people not as they ought to be, but as they actually are.
Presents fresh translations of ten immortal plays in verse by the ancient Greek dramatist, including "Electra," "Medea," and "The Trojan Women," accompanied by scene headings, stage directions, introductions, and a glossary of people, gods, and places. Original.
When theatre began, two and a half millenia ago in ancient Greece, it drew from a well of even older myths, the Great Epic Cycle. These stories and characters from the beginning of our imagination inspired John Barton to write the great cycle of human life, Tantalus, an epic theatre myth for the new millenium, and one of the most ambitious theatrical ventures of our times produced by the RSC and The Denver Center for the Performing Arts, directed by Sir Peter and Edward Hall. (UK tour Jan-May 2001)
An original and beautifully written book on changing perspectives in the art of theater. Through a study of nine plays—Oedipus Rex, Bérénice, Tristan und Isolde, Hamlet, Ghosts, The Cherry Orchard, Six Characters in Search of an Author, Noah, Murder in the Cathedral—the author shows how all playwrights seek to "hold the mirror up to nature" and how in this respect the art of drama is always the same, varying only with the philosophical and aesthetic concepts of each age. The Idea of a Theater will delight both readers with a special interest in drama and those who read drama as a source of insight into man's nature and man’s changing ideas of himself. Originally published in 1949. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A major renaissance in Japanese theater occurred in the 1960s. During this period, the implications of Japan's prewar actions as well as its postwar materialistic course were interrogated with fierce intensity. Nowhere was the depth and dynamism of this cultural questioning more clearly expressed than in theater. Fueling the explosion of seminal theater activity that took place was the generation of young artists who are the focus of Alternative Japanese Drama.Foreword by J. Thomas Rimer
Ten plays by comedic playwright Roy Smiles, available digitally as an anthology or as single editions. Contains the plays Schmucks, Baghdad Boogie, Bombing People, Reno, The Lad Himself, Working for Mammon, Waugh in Winter, Reading Gaol, The VIP, and The Weight of Days.
This classic of Japanese studies presents extensive information about the history, culture and practice of Noh drama—one of Japan's most treasured dramatic art forms. Noh as an independent and original art form—ultimately destined to supersede the earlier Dengaku, Sarugaku and other song dances—incorporates the most significant elements of the former and especially of the Kusemai (tune dance).With it a new literary form may be said to have been created. The invention of Noh is attributed to Kwannami Kiyotsugu (1333-1384), a distinguished actor and writer of Sarugaku and to his son Zeami Motokiyo (1363-1443), who developed and refined the art under the patronage of Yoshimitsu, the third Ashikaga shogun. In addition to his dramatic activities, Zeami composed a number of works, the most important of which is called the Kwadensho (the Book of the Flower), or more properly, Fushi-kwadensho which he explained the nature and aesthetic principles governing Noh plays, and gave detailed instructions concerning the manner of composition, acting, direction, and production of these dramas. Combining the elements of dance, miming, music, and chants, Noh plays may be described as lyrico-dramatic tone-poems, in which the text has a function somewhat similar to that of the libretto in a Wagner or Debussy opera.