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Enquist Plays: The Night of Tribades, Rain Snakes, The Hour of the Lynx, The Image Makers (Contemporary Dramatists)
by Per Olov EnquistThe first collection by Sweden's foremost contemporary playwrightNIGHT OF THE TRIBADES (1975) centres around the triangular relationship between August Strindberg, the actress Marie Caroline David and Siri von Essen. It has been translated into twenty languages including a short run on Broadway. THE IMAGE MAKERS (1998) deals with Selma Lagerlof's father and his alcoholism whilst THE RAIN MAKERS is a fascinating study of Hans Christian Anderson. THE HOUR OF THE LYNX: "Enquist's play, feelingly translated from the Swedish offers a profound exploration of spirituality, love and faith within a text that is grippingly dramatic, unfailingly absorbing and often upliftingly lyrical.""At a time when young writers were looking for new forms of literary expression, Enquist settled for an investigative style, and attempt to reconstruct events reported to have happened, but where the truth is often too inaccessible... it was a style that was to remain Enquist's literary landmark characterising both his novels and his plays" Contemporary World Authors ed. Tracey Chevalier
Enquist Plays: The Night of Tribades, Rain Snakes, The Hour of the Lynx, The Image Makers (Contemporary Dramatists)
by Per Olov EnquistThe first collection by Sweden's foremost contemporary playwrightNIGHT OF THE TRIBADES (1975) centres around the triangular relationship between August Strindberg, the actress Marie Caroline David and Siri von Essen. It has been translated into twenty languages including a short run on Broadway. THE IMAGE MAKERS (1998) deals with Selma Lagerlof's father and his alcoholism whilst THE RAIN MAKERS is a fascinating study of Hans Christian Anderson. THE HOUR OF THE LYNX: "Enquist's play, feelingly translated from the Swedish offers a profound exploration of spirituality, love and faith within a text that is grippingly dramatic, unfailingly absorbing and often upliftingly lyrical.""At a time when young writers were looking for new forms of literary expression, Enquist settled for an investigative style, and attempt to reconstruct events reported to have happened, but where the truth is often too inaccessible... it was a style that was to remain Enquist's literary landmark characterising both his novels and his plays" Contemporary World Authors ed. Tracey Chevalier
Anne Frank on the Postwar Dutch Stage: Performance, Memory, Affect (Routledge Advances in Theatre & Performance Studies)
by Remco EnselThis book is a case study into the affective history of Holocaust drama offering a new perspective on the impact of The Diary of Anne Frank, the pivotal 1950s play that was a turning point in Holocaust consciousness. Despite its overwhelming success, criticism of the Broadway makeover has been harsh, suggesting that the alleged Americanization would not do justice to the violence of the Holocaust or Anne Frank’s budding Jewishness. This study revisits these issues by focusing on the play’s European appropriation delving into the emotional intensity with which the play was produced and received. The core of the exploration is a history of the Dutch staging in ethnographic detail, based on unique archival material such as correspondence with Otto Frank, prompt books, original tapes, blueprints of the set and oral history. The microhistory of the first Dutch performance of the stage adaptation of Anne Frank’s diary examines the staging in the context of the postwar hesitant development of publicly voiced Holocaust consciousness. Influenced by memory studies and affect theory, the emphasis is on the emotional impact of the drama on both the members of the cast and the audience and will be of great interest to students and scholars in theater and performance studies, memory studies, cultural history, Jewish studies, Holocaust studies and contemporary European history.
Anne Frank on the Postwar Dutch Stage: Performance, Memory, Affect (Routledge Advances in Theatre & Performance Studies)
by Remco EnselThis book is a case study into the affective history of Holocaust drama offering a new perspective on the impact of The Diary of Anne Frank, the pivotal 1950s play that was a turning point in Holocaust consciousness. Despite its overwhelming success, criticism of the Broadway makeover has been harsh, suggesting that the alleged Americanization would not do justice to the violence of the Holocaust or Anne Frank’s budding Jewishness. This study revisits these issues by focusing on the play’s European appropriation delving into the emotional intensity with which the play was produced and received. The core of the exploration is a history of the Dutch staging in ethnographic detail, based on unique archival material such as correspondence with Otto Frank, prompt books, original tapes, blueprints of the set and oral history. The microhistory of the first Dutch performance of the stage adaptation of Anne Frank’s diary examines the staging in the context of the postwar hesitant development of publicly voiced Holocaust consciousness. Influenced by memory studies and affect theory, the emphasis is on the emotional impact of the drama on both the members of the cast and the audience and will be of great interest to students and scholars in theater and performance studies, memory studies, cultural history, Jewish studies, Holocaust studies and contemporary European history.
Literature and Intellectual Disability in Early Modern England: Folly, Law and Medicine, 1500-1640 (Routledge Studies in Renaissance Literature and Culture)
by Alice EquestriFools and clowns were widely popular characters employed in early modern drama, prose texts and poems mainly as laughter makers, or also as ludicrous metaphorical embodiments of human failures. Literature and Intellectual Disability in Early Modern England: Folly, Law and Medicine, 1500–1640 pays full attention to the intellectual difference of fools, rather than just their performativity: what does their total, partial, or even pretended ‘irrationality’ entail in terms of non-standard psychology or behaviour, and others’ perception of them? Is it possible to offer a close contextualised examination of the meaning of folly in literature as a disability? And how did real people having intellectual disabilities in the Renaissance period influence the representation and subjectivity of literary fools? Alice Equestri answers these and other questions by investigating the wide range of significant connections between the characters and Renaissance legal and medical knowledge as presented in legal records, dictionaries, handbooks, and texts of medicine, natural philosophy, and physiognomy. Furthermore, by bringing early modern folly in closer dialogue with the burgeoning fields of disability studies and disability theory, this study considers multiple sides of the argument in the historical disability experience: intellectual disability as a variation in the person and as a difference which both society and the individual construct or respond to. Early modern literary fools’ characterisation then emerges as stemming from either a realistic or also from a symbolical or rhetorical representation of intellectual disability.
Literature and Intellectual Disability in Early Modern England: Folly, Law and Medicine, 1500-1640 (Routledge Studies in Renaissance Literature and Culture)
by Alice EquestriFools and clowns were widely popular characters employed in early modern drama, prose texts and poems mainly as laughter makers, or also as ludicrous metaphorical embodiments of human failures. Literature and Intellectual Disability in Early Modern England: Folly, Law and Medicine, 1500–1640 pays full attention to the intellectual difference of fools, rather than just their performativity: what does their total, partial, or even pretended ‘irrationality’ entail in terms of non-standard psychology or behaviour, and others’ perception of them? Is it possible to offer a close contextualised examination of the meaning of folly in literature as a disability? And how did real people having intellectual disabilities in the Renaissance period influence the representation and subjectivity of literary fools? Alice Equestri answers these and other questions by investigating the wide range of significant connections between the characters and Renaissance legal and medical knowledge as presented in legal records, dictionaries, handbooks, and texts of medicine, natural philosophy, and physiognomy. Furthermore, by bringing early modern folly in closer dialogue with the burgeoning fields of disability studies and disability theory, this study considers multiple sides of the argument in the historical disability experience: intellectual disability as a variation in the person and as a difference which both society and the individual construct or respond to. Early modern literary fools’ characterisation then emerges as stemming from either a realistic or also from a symbolical or rhetorical representation of intellectual disability.
The Major Plays of Nikolai Erdman
by Nikolai ErdmanFirst Published in 1995. Russian Theatre Archive- Volume 1. Newly translated by John Freedman, Erdmans's first biographer, Nikola Erdman's two classic tragicomedies, 'The Warrant' and 'The Suicide', come to life as brilliant, eccentric and eminently performable works for the theatre as well as fascinating documents of the theatrical boom and social upheaval that took place in Russia in the 1920s. Both plays were written expressly for the great Vsevolod Meyerhold, who declared that Erdman was the heir to the rich Russian comic dramatic tradition established by Nikolai Gogol and Alexander Sukhovo-Kobylin. Meyerhold's staging of The Warrant in 1925 was one of the most innovative and successful. His attempt to stage The Suicide in 1932 eas banned by Stalin. After being exiled to Siberia in 1933, Erdman never again wrote a full-length play. But, in The Warrant and The Suicide, Erdman's themes- the failure of language as a reliable tool of communication, the degeneration of the human element brought on by the onslaught of mass culture, and the extraordinary, if not always heroic, resilience of the individual human being- remain as contemporary and universal as ever.
The Major Plays of Nikolai Erdman: The Warrant And The Suicide
by Nikolai ErdmanFirst Published in 1995. Russian Theatre Archive- Volume 1. Newly translated by John Freedman, Erdmans's first biographer, Nikola Erdman's two classic tragicomedies, 'The Warrant' and 'The Suicide', come to life as brilliant, eccentric and eminently performable works for the theatre as well as fascinating documents of the theatrical boom and social upheaval that took place in Russia in the 1920s. Both plays were written expressly for the great Vsevolod Meyerhold, who declared that Erdman was the heir to the rich Russian comic dramatic tradition established by Nikolai Gogol and Alexander Sukhovo-Kobylin. Meyerhold's staging of The Warrant in 1925 was one of the most innovative and successful. His attempt to stage The Suicide in 1932 eas banned by Stalin. After being exiled to Siberia in 1933, Erdman never again wrote a full-length play. But, in The Warrant and The Suicide, Erdman's themes- the failure of language as a reliable tool of communication, the degeneration of the human element brought on by the onslaught of mass culture, and the extraordinary, if not always heroic, resilience of the individual human being- remain as contemporary and universal as ever.
The Suicide (Modern Plays)
by Nikolai Erdman Suhayla El-BushraI used to work in PR, if you're going to kill yourself let's make it an event . . . You can own this, Sam. For the first time in your life you. Could be. In charge. Things are getting tough for Sam. No job, benefits stopped and stuck in a tiny flat with his girlfriend Maya and her mum. The pressure is building. It feels like there might be only one way out.But every ending is a beginning and there are plenty of people keen to capitalise on Sam's momentous decision. From corrupt local politicians to kids trying to raise the number of views of their online videos, everyone wants a piece of Sam's demise. It scarcely matters what Sam actually wants. Faced with the promise of immortality, what's his life worth?Suhayla El-Bushra takes the satiric masterpiece by Nikolai Erdman and smashes it into contemporary urban Britain. It's provocative, fast-paced and very funny.
The Suicide (Modern Plays)
by Nikolai Erdman Suhayla El-BushraI used to work in PR, if you're going to kill yourself let's make it an event . . . You can own this, Sam. For the first time in your life you. Could be. In charge. Things are getting tough for Sam. No job, benefits stopped and stuck in a tiny flat with his girlfriend Maya and her mum. The pressure is building. It feels like there might be only one way out.But every ending is a beginning and there are plenty of people keen to capitalise on Sam's momentous decision. From corrupt local politicians to kids trying to raise the number of views of their online videos, everyone wants a piece of Sam's demise. It scarcely matters what Sam actually wants. Faced with the promise of immortality, what's his life worth?Suhayla El-Bushra takes the satiric masterpiece by Nikolai Erdman and smashes it into contemporary urban Britain. It's provocative, fast-paced and very funny.
Casualties (Modern Plays)
by Ross Ericson"Being on a tightrope is living, everything else is waiting.†?When Gary Maddocks rejoins Mike Evans and his Counter IED Team in Afghanistan he is pleased. He has been finding life back home with Emma dull and is impatient to get back to the job he loves, but if he had known what fate had in store for him would he have been so eager? Of course he would: it's like an addiction, and if your luck runs out there's nothing you can do about it, is there? But was it bad luck, faulty equipment, or something worse? Mike has been acting strange lately and Emma appears to be hiding something.When you step on a pressure plate you think you hear the click, or you think you feel it, but you don't know for sure. And you can't know because what you remember . . . well some of it isn't real.Ross Ericson's play Casualties explores how love, friendship and truth are not so certain in the context of war.
Casualties (Modern Plays)
by Ross Ericson“Being on a tightrope is living, everything else is waiting.”When Gary Maddocks rejoins Mike Evans and his Counter IED Team in Afghanistan he is pleased. He has been finding life back home with Emma dull and is impatient to get back to the job he loves, but if he had known what fate had in store for him would he have been so eager? Of course he would: it's like an addiction, and if your luck runs out there's nothing you can do about it, is there? But was it bad luck, faulty equipment, or something worse? Mike has been acting strange lately and Emma appears to be hiding something.When you step on a pressure plate you think you hear the click, or you think you feel it, but you don't know for sure. And you can't know because what you remember . . . well some of it isn't real.Ross Ericson's play Casualties explores how love, friendship and truth are not so certain in the context of war.
Gratiano (Modern Plays)
by Ross EricsonBassanio has been murdered and, under suspicion, Gratiano is forced to revisit his Fascist past. He was never the hero – just a minor character, the plucky comic relief – but he never thought he would play the villain... In a challenging sequel to William Shakespeare's The Merchant of Venice, this one-man monologue written in a mixture of verse and prose explores the politics of prejudice in the 20th century. Amongst the turmoil of post-war Italy we read between the lines of Shakespeare's classic tale, examine the true nature of the characters and ask just how Mussolini managed to use democracy to turn a people against themselves.This edition was published to coincide with the 2019 tour.
Gratiano (Modern Plays)
by Ross EricsonBassanio has been murdered and, under suspicion, Gratiano is forced to revisit his Fascist past. He was never the hero – just a minor character, the plucky comic relief – but he never thought he would play the villain... In a challenging sequel to William Shakespeare's The Merchant of Venice, this one-man monologue written in a mixture of verse and prose explores the politics of prejudice in the 20th century. Amongst the turmoil of post-war Italy we read between the lines of Shakespeare's classic tale, examine the true nature of the characters and ask just how Mussolini managed to use democracy to turn a people against themselves.This edition was published to coincide with the 2019 tour.
Tom Jones (Modern Plays)
by Ross EricsonAll the girls love a bastard.Tom Jones follows the adventures of a young man of illegitimate birth through a tale of love, deception and mistaken identity; a feast of human nature, served up in the plain and simple manner of the West Country with all the high French and Italian seasoning of sex and vice. Will he gain his darling Sophia's hand? Will he escape the hangman's noose? Will he ever learn to keep it in his trousers…?Henry Fielding's comic picaresque novel 'A History Of Tom Jones, a foundling' caused a stir upon first publication in 1749. Often referred to as the first novel in the English language, this cunning new stage version tells the escapades and exploits of the infamous protagonist through an accessible and highly entertaining adaptation.
Tom Jones (Modern Plays)
by Ross EricsonAll the girls love a bastard.Tom Jones follows the adventures of a young man of illegitimate birth through a tale of love, deception and mistaken identity; a feast of human nature, served up in the plain and simple manner of the West Country with all the high French and Italian seasoning of sex and vice. Will he gain his darling Sophia's hand? Will he escape the hangman's noose? Will he ever learn to keep it in his trousers…?Henry Fielding's comic picaresque novel 'A History Of Tom Jones, a foundling' caused a stir upon first publication in 1749. Often referred to as the first novel in the English language, this cunning new stage version tells the escapades and exploits of the infamous protagonist through an accessible and highly entertaining adaptation.
The Unknown Soldier (Modern Plays)
by Ross EricsonDon't, for God's sake, come back alive 'cause we don't want to see your ugly stumps and your ugly scars. We don't want to hear your midnight screams and tales of hell. We all got along nicely without you, thank you very much, and now you're back you remind us things we'd much rather forget. More convenient, ain't it? To have a dead hero. A dead hero don't have complaints. A dead hero don't even have a voice.Jack stayed on when the guns fells silent, to search the battlefields for the boys that could not go home - for the dead and the missing, for both enemy and friend. And amongst the rusty wire and unexploded bombs, Jack is looking for something - looking for someone. He has a promise to keep and debt to repay, and now there is this strange request from the generals.A story of comradeship, betrayal and of promises both broken and kept following the carnage of World War One from the acclaimed writer of Casualties, Ross Ericson. It received its world premiere at the Edinburgh Festival Fringe 2015 before embarking on a UK tour.
The Unknown Soldier (Modern Plays)
by Ross EricsonDon't, for God's sake, come back alive 'cause we don't want to see your ugly stumps and your ugly scars. We don't want to hear your midnight screams and tales of hell. We all got along nicely without you, thank you very much, and now you're back you remind us things we'd much rather forget. More convenient, ain't it? To have a dead hero. A dead hero don't have complaints. A dead hero don't even have a voice.Jack stayed on when the guns fells silent, to search the battlefields for the boys that could not go home - for the dead and the missing, for both enemy and friend. And amongst the rusty wire and unexploded bombs, Jack is looking for something - looking for someone. He has a promise to keep and debt to repay, and now there is this strange request from the generals.A story of comradeship, betrayal and of promises both broken and kept following the carnage of World War One from the acclaimed writer of Casualties, Ross Ericson. It received its world premiere at the Edinburgh Festival Fringe 2015 before embarking on a UK tour.
Dramaturgies of Interweaving: Engaging Audiences in an Entangled World (Routledge Advances in Theatre & Performance Studies)
by Erika Fischer-Lichte, Christel Weiler and Torsten JostDramaturgies of Interweaving explores present-day dramaturgies that interweave performance cultures in the fields of theater, performance, dance, and other arts. Merging strategies of audience engagement originating in different cultures, dramaturgies of interweaving are creative methods of theater and art-making that seek to address audiences across cultures, making them uniquely suitable for shaping people’s experiences of our entangled world. Presenting in-depth case studies from across the globe, spanning Australia, China, Germany, India, Iran, Japan, Singapore, Taiwan, Vietnam, the US, and the UK, this book investigates how dramaturgies of interweaving are conceived, applied, and received today. Featuring critical analyses by scholars—as well as workshop reports and artworks by renowned artists—this book examines dramaturgies of interweaving from multiple locations and perspectives, thus revealing their distinct complexities and immense potential. Ideal for scholars, students, and practitioners of theater, performance, dramaturgy, and devising, Dramaturgies of Interweaving opens up an innovative perspective on today’s breathtaking plurality of dramaturgical practices of interweaving in theater, performance, dance, and other arts, such as curation and landscape design.
Cultures of Participation: Arts, Digital Media and Cultural Institutions (Routledge Research in Cultural and Media Studies)
by Birgit Eriksson Carsten Stage Bjarki ValtyssonThis book examines cultural participation from three different, but interrelated perspectives: participatory art and aesthetics; participatory digital media, and participatory cultural policies and institutions. Focusing on how ideals and practices relating to cultural participation express and (re)produce different "cultures of participation", an interdisciplinary team of authors demonstrate how the areas of arts, digital media, and cultural policy and institutions are shaped by different but interrelated contextual backgrounds. Chapters offer a variety of perspectives and strategies for empirically identifying "cultures of participation" and their current transformations and tensions in various regional and national settings. This book will be of interest to academics and cultural leaders in the areas of museum studies, media and communications, arts, arts education, cultural studies, curatorial studies and digital studies. It will also be relevant for cultural workers, artists and policy makers interested in the participatory agenda in art, digital media and cultural institutions.
Cultures of Participation: Arts, Digital Media and Cultural Institutions (Routledge Research in Cultural and Media Studies)
by Birgit Eriksson Carsten Stage Bjarki ValtyssonThis book examines cultural participation from three different, but interrelated perspectives: participatory art and aesthetics; participatory digital media, and participatory cultural policies and institutions. Focusing on how ideals and practices relating to cultural participation express and (re)produce different "cultures of participation", an interdisciplinary team of authors demonstrate how the areas of arts, digital media, and cultural policy and institutions are shaped by different but interrelated contextual backgrounds. Chapters offer a variety of perspectives and strategies for empirically identifying "cultures of participation" and their current transformations and tensions in various regional and national settings. This book will be of interest to academics and cultural leaders in the areas of museum studies, media and communications, arts, arts education, cultural studies, curatorial studies and digital studies. It will also be relevant for cultural workers, artists and policy makers interested in the participatory agenda in art, digital media and cultural institutions.
Hamlet's Absent Father
by Avi ErlichAvi Erlich finds that Hamlet deals not with repressed patricidal impulses but with a complex search, partially unconscious, for a strong father. Much more than he wants to have killed his father, Hamlet wants his father back and seeks a strong man with whom to identify. The playwright presents one ambivalent father figure after another, each an imitation or parody of the seemingly titanic king. Polonius, Osrick, Yorick, Old Fortinbras, Priam, Achilles, Horatio—these are a few versions ofthe father who bequeathed to his son his own ambivalence.Originally published in 1978.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.
The Arden Research Handbook of Shakespeare and Textual Studies (The Arden Shakespeare Handbooks)
by Lukas ErneThe Arden Research Handbook of Shakespeare and Textual Studies is a wide-ranging, authoritative guide to research on Shakespeare and textual studies by an international team of leading scholars. It contains chapters on all the major areas of current research, notably the Shakespeare manuscripts; the printed text and paratext in Shakespeare's early playbooks and poetry books; Shakespeare's place in the early modern book trade; Shakespeare's early readers, users, and collectors; the constitution and evolution of the Shakespeare canon from the sixteenth to the twenty-first century; Shakespeare's editors from the eighteenth to the twenty-first century; and the modern editorial reproduction of Shakespeare. The Handbook also devotes separate chapters to new directions and developments in research in the field, specifically in the areas of digital editing and of authorship attribution methodologies. In addition, the Companion contains various sections that provide non-specialists with practical help: an A-Z of key terms and concepts, a guide to research methods and problems, a chronology of major publications and events, an introduction to resources for study of the field, and a substantial annotated bibliography. The Arden Research Handbook of Shakespeare and Textual Studies is a reference work aimed at advanced undergraduate and graduate students as well as scholars and libraries, a guide to beginning or developing research in the field, an essential companion for all those interested in Shakespeare and textual studies.
Shakespeare's Modern Collaborators (Shakespeare Now!)
by Lukas ErneRecent work in Shakespeare studies has brought to the forefront a variety of ways in which the collaborative nature of Shakespearean drama can be investigated: collaborative performance (Shakespeare and his fellow actors); collaborative writing (Shakespeare and his co-authors); collaborative textual production (Shakespeare and his transcribers and printers). What this leaves unaccounted for is the form of collaboration that affects more than any other our modern reading experience of Shakespeare's plays: what we read as Shakespeare now always comes to us in the form of a collaborative enterprise - and is decisively shaped by the nature of the collaboration - between Shakespeare and his modern editors. Contrary to much recent criticism, this book suggests that modern textual mediators have a positive rather than negative role: they are not simply 'pimps of discourse' or cultural tyrants whose oppressive interventions we need to 'unedit' but collaborators who can decisively shape and enable our response to Shakespeare's plays. Erne argues that any reader of Shakespeare, scholar, student, or general reader, approaches Shakespeare through modern editions that have an endlessly complicated and fascinating relationship to what Shakespeare may actually have intended and written, that modern editors determine what that relationship is, and that it is generally a very good thing that they do so.
Shakespeare's Modern Collaborators (Shakespeare Now!)
by Lukas ErneRecent work in Shakespeare studies has brought to the forefront a variety of ways in which the collaborative nature of Shakespearean drama can be investigated: collaborative performance (Shakespeare and his fellow actors); collaborative writing (Shakespeare and his co-authors); collaborative textual production (Shakespeare and his transcribers and printers). What this leaves unaccounted for is the form of collaboration that affects more than any other our modern reading experience of Shakespeare's plays: what we read as Shakespeare now always comes to us in the form of a collaborative enterprise - and is decisively shaped by the nature of the collaboration - between Shakespeare and his modern editors. Contrary to much recent criticism, this book suggests that modern textual mediators have a positive rather than negative role: they are not simply 'pimps of discourse' or cultural tyrants whose oppressive interventions we need to 'unedit' but collaborators who can decisively shape and enable our response to Shakespeare's plays. Erne argues that any reader of Shakespeare, scholar, student, or general reader, approaches Shakespeare through modern editions that have an endlessly complicated and fascinating relationship to what Shakespeare may actually have intended and written, that modern editors determine what that relationship is, and that it is generally a very good thing that they do so.