Subject Area: Theater

Achilles’ Memoirs
1999 0-7734-3084-9
Imagined scenario of the intimate details of Achilles’ story describing the events that led to the Trojan war and defeat of Hector.

Activities of Popular Dramatists and Drama Groups in Scotland, 1900-1952
2000 0-7734-7905-8
Provides valuable primary research on the activities of popular dramatists and drama groups in Scotland who played an important role in the late blossoming of a Scottish National Drama. Includes Joe Corrie’s Fife Miner Players, Glasgow Unity Theatre, and Joan Littlewood’s Theatre Workshop. These companies produced a wide range of original works on contemporary issues (the General Strike of 1926, unemployment in the Hungry 30s, Glasgow’s post-war housing shortage) as well as religious, racial, and gender issues. They adopted a variety of styles, from agit-prop to social realism., and made creative use of popular forms of entertainment, from the Burns Supper to the village concert. It provides an interesting comparison with the work of other international popular drama movements.

Alsfeld Passion Play Text and Translation with Introduction
1997 0-7734-8698-4
This translation and introduction is intended to fill a crucial void in German literary and linguistic scholarship by 1) making the play available to an English-speaking audience; 2) examining its origins, development, staging, and unique contributions to the genre; and 3) providing a companion text for students of late Middle High German. The Alsfeld Passion Play represents the culmination, and perhaps the most complex stage of development of the German Passion Play tradition. The Alsfeld play was a three-day play, with performances in 1501, 1511, and 1517. With roles for 188 players it was presented on the open market square, and was conspicuous for its extensive devils' scenes, portrayal of Mary Magdalene before her conversion, and lengthy disputation scenes. At present there are no known translations of the Alsfeld play, in modern German or in English. The original manuscript, preserved at the Landesbibliothek in Kassel, contains 8095 lines of dialogue along with incipits, stage directions, and a rich variety of liturgical songs. Text and translations appear on facing pages. This book is available at a special text price. Call (716) 754-2788 for information on text orders.

An Acting Method Using the Psychophysical Experience of Workshop Games-Exercises
2000 0-7734-7750-0
This book describes a method of performing whereby the actor uses his own mind-body experiences or psychophysical self in a workshop structure that utilizes some 70 theatre games and exercises. This technique places special emphasis on revealing the actor’s self-personality, which is then used as basis for creating a role in a theatre piece. The workshop is structured so that each session is played out in real time using real action, idea and emotion. Beyond revealing the actor’s self, the method’s goal is to give focus to the body and its ability to be expressive in a visual non-verbal sense. Part One introduces the theory behind the method; Part Two describes the function of games and exercises in the workshop situation; and Part Three includes descriptions of games and exercises. With illustrations

An Analysis of Franz Grillparzer's Dramas Fate, Guilt, and Tragedy
1992 0-7734-9459-6
Part one of this study presents a general discussion of a new theory of the tragic, an outline of the history of tragedy, and the methodology. Part two contains interpretations of Grillparzer's ten completed dramas with regard to their tragic nature and to fate and guilt concepts in particular. The third is a summary, a general discussion of Grillparzer as tragedian, and a proposal for solving the dilemma experienced by many interpreters in this context.

An Annotated Dictionary of Technical, Historical, and Stylistic Terms Relating to Theatre and Drama a Handbook of Dramaturgy
1995 0-7734-8873-1
This practical handbook of terms, theories and styles relevant to the study and practice of dramaturgy encompasses textual, performance and production conventions as they have appeared throughout the history of drama and theatre. It is intended primarily for university students and teachers of dramatic literature, theatre history and aesthetics, and dramatic theory. The entries contain factual information, definitions and commentaries. All terms are cross-referenced, and many entries are illustrated and include suggestions for further study in addition to footnotes and a selected bibliography. Thirteen diagrams and drawings.

An Annotated Edition of Joshua Barnes’ the Academie, Or, the Cambridge Dunns
2012 0-7734-2571-3
An annotated edition of Joshua Barnes The Academie, or The Cambridge Dunns, with a new essay on the place of Barnes in 17th English Theatre. Swanson examines the bawdy and dark satire of the Cambridge playwright Joshua Barnes whose play savages the university and town. Barnes’ annotated version of this play sheds new light on English satire and Barnes as a “university wit,” while situating the play’s importance by differentiating it from its contemporary rivals in London.

An Anthology of Israeli Drama for the New Millennium
2004 0-7734-6307-0
This book is a collection of Israeli plays translated into English and published for the first time. These new works covers the period of the 1990s, which is where the plays in the author’s previous collections left off. These plays have now become classics. They have not only been chosen for their popularity, but for how they touch on burning issues of the day including the Israeli-Palestinian conflict, religious fanaticism and the post-Zionist ideology of current Israeli society.

An Anthology of Renaissance Plays in Translation
2002 0-7734-6905-2

An Edited Collection of the Theatre Music of John Abraham Fisher the Druids and Witches Scenes From Macbeth
1996 0-7734-8865-0
John Abraham Fisher (1744-1806) was one of the most important English musicians and composers of his generation. The range of his compositional activities demonstrates the diversity of his interests. In addition to playing in theatres, he performed his own works at the pleasure gardens at Vauxhall and Marylebone, and also composed cantatas, anthems, an oratorio, symphonies, and chamber music. The present volume gives evidence of his contributions to the musical life of not only the Covent Garden theatre, but British musical life in general.

An English Translation of Carlos Segundo, El Hechizado / Charles the Second, the Bewitched (1837): An Original Spanish Drama in Five Acts and in Verse
2008 0-7734-4908-6
The first English translation published of Carlos Segundo, el Hechizado. The play Charles the Second, the Bewitched was lauded as one of the great Romantic dramas, while at the same time, viewed as scandalous for dealing with the incompetence of the royalty and the policies of the Catholic Church.

An Examination of Robert Beadell’s (1925 - 1994) Four Major Works for the Lyric Stage
2004 0-7734-6531-6
Robert M. Beadell (1925-1994) modestly referred to himself as a “neoclassic eclectic composer” and an “obscure regional composer”, yet these appellations do not begin to describe the importance of his contribution to twentieth century American music. The four music drams which are the subject of this study are each very different in their size and scope, yet all bear the unmistakable stamp of Beadell’s unique blend of music and drama. This book intends to show that the four music dramas are unique examples of American opera and should have the opportunity to be examined for their musicological and dramatic worth so that American opera directors and impresarios can decide if they should be included as definitive examples of American opera.

An Introduction to the Major Works of Franz Grillparzer, 1791 - 1872, Austrian Dramatist
1991 0-7734-9725-0
This work provides a general survey with the main emphasis on the thematic and dramatic content of the plays (genesis and background, structure, characters, major themes), though questions of language, style and imagery are not neglected, especially where these contribute to the play's theatrical effectiveness. This work's most important contribution to scholarship is the investigation of Grillparzer's interest in the Classical generation of writers, reflected in almost all his works, either in the form of a debt to a particular work or in the echoing of key philosophical themes of the period. Grillparzer's mature works reveal an interest in high ideals on the one hand and a recognition of the demands of everyday reality on the other, while the formal precision of Classical drama is enriched by a theatrical immediacy in keeping with Viennese traditions. This combination reflects the conflicts in Grillparzer's own personality and results in a considerable degree of ambiguity in the presentation of characters and themes, but it is precisely such a rejection of easy solutions in his works that ensures their relevance for a modern audience.

Andrew P. Wilson and the Early Irish and Scottish National Theatres, 1911-1950
2008 0-7734-5084-X
This work examines the contributions to two British theatre traditions of Andrew P. Wilson and the birth pangs accompanying the idea and the reality of a national theatre in Ireland and Scotland. The only book of its kind, it is a critical biography of one man’s work and a call to recognize important persons whom scholars have deemed as canonically dispensable.

Anglo-Irish Theatre and the Formation of a Nationalist Political Culture Between 1890 and 1930
2003 0-7734-6811-0
The period between the fall of Parnell in 1890 and the Easter Rising 1916, is one of the most complex in Irish history due to the close interrelation between politics and culture. Literature played a significant role in the gestation of the modern Irish nation, and the Anglo-Irish Literary Movement led by Lady Gregory, William Butler Yeats, and John Millington Synge became repeatedly involved in the political struggle. This book investigates the intricate relationship between writers and politics and their responsibility for the emerging radicalization of nationalism toward 1916. It also considers the question of the writers’ own involvement in the nationalist cause, and focuses on the interplay of politics, nationalism and the very human element of personality and timing in order to elucidate the mechanics of national mobilization before 1916.

Ariosto's the Supposes, Machiavelli's the Mandrake, Intronati's the Deceived Three Italian Renaissance Comedies
1996 0-7734-8821-9
This volume offers newly-translated texts of three established classics of Italian Renaissance comedy, with scholarly introductions and bibliographies for each: Ariosto's seminal second play, The Supposes; Machiavelli's Mandrake; and the composition of the Sienese Intronati, The Deceived. The works are linked by documentable bond of influence, and also represent a solid chapter in the history of theatrical staging, since there are traces of evidence of idealised cityscape perspective sets for early performances of both The Supposes and The Deceived. These plays embody distinctive traditions and contributions to the genesis of European comedy.

Aspects of Fifteenth-Century Society in the German Carnival Comedies Speculum Hominis
1993 0-7734-9328-X
This study examines two fields of research: German society of the fifteenth century, and its carnival comedies. This is a detailed treatment of the four classes (peasants, urban middle class, clergy, and nobility), including such aspects as health, the self and its historicity, and general rules of conduct. The German carnival plays are valuable literary texts allowing insight into fifteenth-century life. This book examines most of the 127 comedies in the Keller collection, listed in one of the indices, and provides translations of all quotations into modern English. It also contains a synoptic tabulation of the Nürnberg plays, valuable to both drama specialists and medievalists.

Aspects of Post-War German and Japanese Drama (1945-1970) Reflections on War, Guilt and Responsibility
2000 0-7734-7865-5
Against the background of post-war literary developments in Germany and Japan, this study compares several representative dramas. These playwrights attempt to come to terms iwht military defeat, betrayal by leaders, wartime atrocities, holocaust, blindness, passivity, guilt, collective and individual responsibility.

Barber of Seville or the Futile Precaution a New English Translation
1997 0-7734-8548-1
Working from four different versions of Beaumarchais' text, this new translation represents the entire script as Beaumarchais published it in 1775, with a few important variants. It includes an introduction, a brief biography, and the historical background setting the Beaumarchais text in context. This version of The Barber of Seville was first performed on March 8, 1996 at Court Theatre at the University of Chicago.

Berlin State Theater Under the Nazi Regime - A Study of the Administration, Key Productions, and Critical Responses From 1933-1944
2004 0-7734-6354-2
This study uses semiotic methodology to explain how artists and state appointed administrators at the Berliner Staatstheater created and implemented an aesthetic that fulfilled the political needs of the Nazi Party in Germany from 1933 through 1944. Three propaganda plays, two classic repertory plays, and a resistance play are analyzed to determine how stage designs, costumes, repertory, publicity, and acting choices translated or resisted Nazi cultural policy in production practice.

Analysis of the changes occurring in the Berliner Staatstheater during Hitler’s reign reveals specific production elements used by the Nazis to aesthetically translate their ideology for general, bourgeois distribution. Findings indicate that, while plays written as pure propaganda by avid party members like Hanns Jost dies quickly in repertory, avenues of propaganda remained open through carefully staged NSDAP productions of classic plays by playwrights such as Goethe and Schiller. Casting, character portrayals, thematic emphasis, design elements, and publicity for these productions displayed pointed references to Nazi cultural aims.

The study verifies that theater became a means by which a centralized power structure consciously manipulated public sentiment. Nevertheless, the study also provides a counter approach to the main argument by offering a brief look at the famous Staatstheater production of Shakespeare’s Richard III that attempted to resist and refute NSDAP policy. Conclusions regarding the destructive use of propaganda in current and future cultural endeavors close the report. An appendix includes a fully translated version Joseph Goebbel’s May 7, 1933 speech before German theater leaders. This speech represents a key statement of nazi cultural policy, which criticized the individualism of Weimar theater and proposes a united commitment to use theater as a means to promote “the virtue of community”.

Bibliographic Guide to the Works of William Inge
1991 0-7734-9688-2
The first comprehensive volume to provide convenient access to the literature, both primary and secondary, of the works of William Inge. Puts into perspective the materials available for the study of the man and his art and offers an insightful presentation of his life and career. Assesses significant published reference materials and locates research collections open to the student and scholar. Documents all Inge's writings, including all published plays, novels, articles, early newspaper work, and the archival holdings. Presents a combined biographical critical, and bibliographical picture of the life and times of Inge in the world of the dramatic arts.

Biography of Samuel Chappuzeau, a Seventeenth-Century French Huguenot, Playwright, Scholar, Traveler, and Preacher
2012 0-7734-2644-2
This book attempts to bring attention to an overlooked French playwright. It offers a biographical approach to his scholarship and shows his broad influence on Moliere, Bayle, and Leibniz among others. While his work is not well known among scholars working outside of Theatre Studies, the authors show that his life was an important influence on Seventeenth Century European culture.

Bronson Howard - Dean of American Dramatists
2001 0-7734-7667-9
Between 1842 and 1908, Bronson Howard wrote 27 plays which appeared under 39 different titles, and had opening nights in New York, London, and Berlin. By the 1890s, Howard was recognized both here and abroad as the Dean of American Dramatists. This study is both historical biography and critical analysis of the literature, concluding with an attempt to place his work in critical perspective both in terms of his own era and ours. In addition to his best-known play, the often-anthologized Civil War spectacle Shenandoah, it examines his other works such as Saratoga, Young Mrs. Winthrop, One of Our Girls, and The Henrietta.

Bureau of Motion Pictures and Its Influence on Film Content During World War Ii: The Reasons for Its Failure
1998 0-7734-8304-7
This book examines the United States government’s efforts to use the motion picture industry to aid the war effort and maintain high public morale during the Second World War.

Carlo Goldoni and Eighteenth-Century Theatre
1997 0-7734-8465-5
Papers in this volume examines the work of Carlo Goldoni in relation to the output of other theatre writers across Europe in the Age of Enlightenment, and also reconsiders Goldoni's work in the light of new questions raised by recent critical discussions.

Chaos Theory, Complexity, Cinema and the Evolution of the French Novel
1996 0-7734-8789-1
This study takes a new view of the history of the French novel, that the evolution of the novel has been toward cinema, based on chaos and complexity theories. In its attempt to break away from the frozen forms of hierarchical thought inherent in the Monarchy and the Bourgeoisie, to engender a new order of thought, novels developed techniques and structures such as fragmentation, doublings, flashbacks, or metaphorical representations that are cinematic because they engender a sense of spatial and temporal simultaneity, whereas the traditional novel is condemned to the linearity of words. This evolution is significant because the new techniques suspend the readers' habitual frame of reference and engage them in a consideration of new relationships. The chapter treating each author begins with the main known reason for the adaptation, then an overview of the novel itself. Thereafter, the techniques of cinema that effectively convey the same message are explored and compared to the literary techniques, followed by a consideration of the failures and the cinematic potential of the literary model. Works include: Diderot's The Nun ; Laclos' Dangerous Liaisons ; Stendhal's The Red and the Black ; Zola's Nana ; Proust's Swann in Love ; Bernanos' Mouchette ; Duras' The Lover. Available at a special price for text use.

China’s Greatest Operatic Male Actor of Female Roles: Documenting the Life and Art of Mei Lanfang, 1894-1961
2010 0-7734-3777-0
This is the first English language book to systematically examine the life and art of Mei Lanfang (1894-1961). Mei, who specialized in female roles in classical Chinese theatre, especially jingju, is widely considered the greatest actor of twentieth-century China. This text includes analyses of his work from Chinese, Western, Russian,and intercultural perspectives.

Chronology of Opera Performances at the Mariinsky Theatre in St. Petersburg, 1860-1917 (two Book Set)
2009 0-7734-3853-X
Compiled by an Anglo-Russian research team over a four-year period, the chronology has drawn on contemporary records in the archives of the Mariinsky itself, the newspaper archives in the Russian National Library in St Petersburg and material held in the St Petersburg State Museum of Theatre and Music: the vast majority of this material has never appeared in English-translation prior to the current publication.

Commedia Dell'arte From the Renaissance to Dario Fo
1989 0-88946-080-9

Comparison of Six Adaptations of Shakespeare’s coriolanus, 1681-1962: How Changing Politics Influence the Interpretation of a Text
2008 0-7734-4984-1
This work examines Coriolanus, the last of Shakespeare’s Roman plays, by providing insight into the play’s adapters, their adaptations, and the critical reaction that each received in their time.

Concise History of Polish Theater From the Eleventh to the Twentieth Centuries
2003 0-7734-6791-2
Nominated by the American Association for the Advancement of Slavic Studies (AAASS)
for the Orbis Prize 2004

This study narrates a millennium long record of Polish theater, focusing on the theatrical annals of cities, productions and their styles, major theater artists – actors, directors, and designers – acting and directorial instruction, theater buildings and stage design, and the changing audiences. The book includes many illustrations.

Contrasting the Early Modern and the Postmodern Semiotics of Telling Stories: Why We Perform Shakespeare’s Plays Differently Today
2011 0-7734-1476-2
This paper focuses on the affinity between the early modern (or protomodern) and the postmodern. The methodology is grounded in the interpretive procedures of semiography, which recontextualizes the findings of iconological research in the new theoretical framework of the postsemiotics of the subject and the poststructuralist theories of signification and mediality.

Creative Encounters with French Films
1993 0-7734-1937-3
This text is intended as a reference for the study of over 21 exceptional French films by 13 different directors. Each chapter treats an individual director and the characteristics of his or her films, followed by background information for a specific film and analysis of the techniques used in it. Questions and exercises using the techniques of the film conclude each section. An introductory chapter discusses the participatory viewing necessary for enjoyment of most French films, general characteristics, and a brief history of French film. Analysis is provided for a least one major film by Buñuel, Carné, Cocteau, Godard, Lelouch, Malle, Ophüls, Renoir, Resnais, Tati, Tavernier, Truffaut, and Varda.

Creole Psychology, Language, and Theatre of Derek Walcott: The Caribbean Roots of His Poetry
2015 1-4955-0402-6
This work examines the dramatic oeuvre of Derek Walcott in order to make the case that he is engaged as a playwright, in creating a “Creole” drama- a drama that bears the special marks of its Caribbean origin and setting and that embodies the hybrid nature of Caribbean history, culture and personality. This Creole reality is the result of the historical coming together of European and African values within the physical location of the Caribbean islands. The idea of “Creole” is being used to describe the result of the fusion of these three realities and this result is seen to contain a multi-cultural plentitude that is “Characteristic” of the cultural and intellectual reality of the Caribbean.

Critical Edition of Giovanni Kreglianovich’s Tragedy Orazio (1797)
2003 0-7734-6740-8

Critical Edition of the Jealous Wife and Polly Honeycombe by George Colman the Elder (1732-1794)
1997 0-7734-8626-7
These plays by George Colman are two of the best from the mid-18th century, of very high quality and extremely funny. The Jealous Wife was the first work on the English stage to have been based (in part) on Fielding's novel Tom Jones, and the main character was one of David Garrick's most famous roles. Polly Honeycombe is a direct satire on the sentimental novel (and novel readers) of the day, and the title-character seems to be the prototype for Sheridan's character of Lydia Languish in The Rivals. The Jealous Wife has appeared only in an out-of-print anthology which uses an inferior copy-text from which many racy lines have been excised. This edition is based on the pithier first edition which has never been reprinted in this century. Polly Honeycombe, too, has never been reprinted in this century. This critical edition contains an introductory essay evaluating these plays in terms of both literary history and their own merits as lively works for the stage. At the same time, this essay offers a re-evaluation of mid-18th century comedy in general, emphasizing that the anti-sentiment movement began nearly twenty years earlier than is generally supposed. It includes the complete text of each play, accompanied by explanatory notes glossing obsolete or dialectal words and phrases, and listing only important substantive variants among the authoritative early editions. Also contains appendices for each play giving brief but thorough essays on authorship, sources, stage history, textual history, and music to one song.

Critical Edition of the Medieval Play Mankind
1995 0-7734-8994-0
This edition marks the first time that Mankind has been deemed worthy of a full critical examination. It lays to rest the contention that the play is obscene and crude. The evidence presented in the critical introduction, the body of the play itself, and the opinions of current scholars demonstrate that Mankind, more than any other medieval drama, is a link to the Renaissance drama immediately following. With its intricate, well-developed metrical scheme and moral and philosophical themes, it represents an artistic achievement beyond that found in the typical drama of the Middle Ages. Its occasional humor as well as its high seriousness provide a happy combination of both wit and morality.

Critical Study and Translation of AntÓnio JosÉ Da Silva’s Cretan Labyrinth
2004 0-7734-6519-7
Labirinto de Creta is one of the eight Portuguese satiric operas, first performed in the Lisbon puppet theatre from 1733 to 1738. Their librettist, AntÓnio José da Silva, is an enigmatic and ill-fated figure. Born in Rio De Janeiro in 1705, he was sentenced to death at an auto-da-fé in Lisbon in 1739, for having practiced Judaism. By profession a lawyer, he frequented music circles, collaborating with the composer AntÓnio Teixeira on at least four occasions. Labirinto de Creta, combining a love intrigue with a comic treatment of the myth of Theseus slaying the Minotaur, is a thinly veiled satire on contemporary Portugal. With spoken dialogue, numerous musical items, and stage effects such as shipwreck, explosions and earthquake, the opera is suited to performance by actors as well as by puppets as in the original production, though unfortunately the score is not extant. Apart from the comedy of situation, the humor derives from the ebullient wit and puns of the servants, who mock their master’s high-flown expressions of love and jealousy, and ridicule the despotic, hierarchical society in which they have to survive. This English translation, the first of any operas, is accompanied by an introduction and notes.

Critical, Portuguese / English Edition of anfitriÃo, Ou JÚpiter E Alcmena/amphitryon, or jupiter and Alcmena : by the Eighteenth-Century Portuguese Jewish Writer AntÔnio JosÉ Da Silva
2010 0-7734-1375-8
This translation of Anfitrião, ou Júpiter e Alcmena by Antônio José da Silva makes this remarkable play on the exploits of Jupiter and the conception of Hercules available in English for the first time. The play is of considerable interest in literary history as part of a long tradition of stage works on the Amphitryon theme.

Curriculum, Training Methods and History of a Competitive Improvisational Comedy Company: Comedy Sports
2004 0-7734-6317-8
ComedySportz, the Milwaukee-based competitive improvisational company, was the examination model used in this study which examines the history of the company, analyzes their beginner workshop curriculum and details their training methods. Two research questions were applied: What is the history of ComedySportz? What are the teaching methods used by ComedySportz in their beginner-level workshops? Research was based on personal interviews, company archives, questionnaires, and observations. Dick Chudnow, the company’s founder, was interviewed in order to provide a foundation for the study. Research subjects for the field investigation were selected from the instructional and artistic staff of ComedySportz and were termed “experts.” The project was descriptive in nature, relying on personal interviews, electronic mail, telephone conversations and personal observations of the ComedySportz show and workshops. The resulting investigation has revealed a rich and varied history of a company dedicated to competitive performance improvisation. The analysis of the beginner level workshop training methods of the Milwaukee, New York and San Jose ComedySportz clubs indicates a high-level of teaching expertise, a wide variety of training methods and the formation of a solid background in improvisation skills. The study provides historical documentation for a leading company and offers a model for researchers interested in pursuing similar ventures.

Diamond, Though Set in Horn - Philip Massinger's Attitude to Spectacle
1984 0-7734-0630-1
Argues that Massinger tends to mute or undermine spectacle in his plays to an unusual extent, and to emphasize its ideal connotations at the expense of its theatrical function.

Drama of War in the Theatre of Anne Devlin, Marie Jones, and Christina Reid, Three Irish Playwrights
2010 0-7734-3791-6
The book is about the representation of war in the plays of Anne Devlin, Marie Jones and Christina Reid. Cumulatively, the plays demonstrate a symbiotic relationship between war and gender, showing women’s response to war as complex and diverse. The work of these three playwrights suggests that women played a much bigger part in the conflict and in the post-conflict environment than has been acknowledged.

Dramatic and Theatrical Censorship of Sixteenth-Century New Spain
2003 0-7734-7004-2
This work investigates the censorship of género chico dramas, pieces which were commonly used as a conversional and didactic tool in New Spain during the first decades of colonial rule. These small theatrical representations and dramatic texts are particularly insightful to the censorial policies as developed and implemented by the ecclesiastical and viceregal authorities of New Spain. The official and personal anti-theatrical and anti-dramatic dictates, as enforced in part by Archbishop Juan de Zumàrraga and the New World Inquisition, relied heavily upon the ideals of mimesis, education, and concern for subversion of the state. Because the works generally included the use of Nahuatl, the language of the newly conquered natives of the Anahuac valley, and were performed by the Indians without Spanish supervision, they feared potential insertion of indigenous elements. Along with the hybridized qualities found in many of the pieces, this work also looks at the criticism of viceregal policies as one more reason for censoring these works and reprimanding their authors, with examples taken from the works of Hernán González de Eslava, Juan Pérez Ramírez, and Cristóbal de Llerena.

Dramatic Representations of British Soldiers and Sailors on the London Stage, 1660-1800 Britons, Strike Home
1995 0-7734-8928-2
This volume opens a window on the popular image of the British soldier and sailor from the Restoration through the end of the eighteenth century. For the student of the London stage, this book not only provides the military flavor of prologues, epilogues, songs, dances, music, spectaculars, mainpieces, and afterpieces, but also demonstrates the contribution of casting and staging. For the student of British military history, it demonstrates how dramatic entertainments provided insights on field and shipboard life, recruitment, impressment, pay, and the militia. It also illustrates how active stagecraft recreated the sights, sounds and smells of the man-of-war and camp.

Dramaturgy of Mark Medoff: Five Plays Dealing with Deafness and Social Issues
2004 0-7734-6390-9
Select social and academic communities accord cultural status to deafness and disability, but cultural designation remains an intensely debated topic among many culture non-members and a sensitive “hot potato” among culture group members. As a result and with alarming speed and regularity, an increasing number of scholars now examine multiple facets of deafness and disability and how culture members intersect with mainstream society. This much needed research helps to bring into perspective and to reconcile distinct segments of our pluralistic world. Yet relatively little in-depth research investigates how dramatic literature represents deaf or disability cultures or people; more specifically, although for centuries plays have developed a myriad of disabled characters, only a handful of plays have developed deaf characters. Given these combined circumstances, the entire fields of creativity and inquiry related to deafness are badly neglected.

To date, only a small sprinkling of commercially produced playscripts include deaf characters or take deaf issues as their thematic through lines. It is not surprising, then, that no existing anthology groups plays about deafness in order to provide some focused overview of the artistic representation of the deaf culture. At best, an occasional anthology might include that rare playscript with a deaf character of no doubt marginal importance to the story. This collection of five plays by Mark Medoff therefore constitutes the largest and only canon of original, commercially produced plays involving deafness and/or deaf characters by a single hearing or deaf American playwright. Each playscript is designed specifically to feature deaf actor Phyllis Frelich in the central role, and together the five playscripts dramatically illuminate numerous aspects of deafness, relationships between deaf and hearing people, and ways in which deafness interacts with an array of social circumstances. Further, the playscripts range across time from the earliest (Children of a Lesser God) in 1980 to the most recent (Prymate) in 2004. Together, they thus offer an historical insight into some changing deaf culture issues and concerns. In all respects, this anthology is unique and fills gaping artistic, cultural and scholarly voids.

1996 0-7734-1346-4
Lothar Schreyer's dramas from the expressionist periodical Der Sturm are collected here for the first time together with twelve previously unpublished earlier works and eleven later dramas. The full extent of Schreyer's development as a dramatist can now be seen from derivative forms, including ancient myth, the Narcissus theme, naturalism and farce, through his experiments in expressionist language, to his later religious works. This collection, with its long introduction, is an essential tool for researchers into early 20th-century German drama. Lothar Schreyer Edition, Volume 2

El Haz De Lena / the Bundle of Firewood by Gaspar Nunez De Arce
2010 0-7734-1312-X
This work is a translation of a Spanish drama of the nineteenth century. It was first performed in Madrid in 1872. The play is based on the true life conflict between Spanish king, Phillip II, and his son Don Carlos during the political and religious turmoil of the sixteenth-century. It is an excellent example of Spanish drama in the neo-romantic tradition.

Emergence of the Playwright-Director in American Theatre, 1960-1983
2001 0-7734-7470-6

Encore Toi, Électre! / you Again, Electra! by Lucette Desvignes
2008 0-7734-4950-3
A dual-language edition of Lucette Desvignes reinterpretation of the Greek myth, Electra, set in World War II France.

1996 0-7734-8749-2
Epizia is a stage adaptation of Ecatommiti, VIII.5, Giraldi's tale of an errant Governor of Innsbruck, who gets the virginal heroine to his bed with a false offer of marriage and an equally false promise to let her imprisoned brother out of jail. He is sentenced to death by the Emperor for abusing his authority, but the magnanimous intercession of the peerless Epizia saves him from this fate and brings about the happy ending. The play will be of particular interest to students of English literature because of Shakespeare's elaboration of the Epizia story in Measure for Measure. The text of the novella is reproduced as an appendix. Italianists will recognize in Epizia the author's tireless search for theatrical innovation. Giraldi breaks new ground by setting his play in the administrative center of a 15th-century provincial town, abandoning the courtly milieu that is the norm in his other tragedies. Another unusual feature of the play is amount of dialogue given up to discussions of the legal issues arising from the Governor's conduct. The significance of these debates and the historical circumstances that gave rise to them are discussed in the Introduction, as are other ideological implications of the play.

Esoteric Musical Tradition of Ferruccio Busoni and Its Reinvigoration in the Music of Larry Sitsky
2007 0-7734-5407-1
This study explores an elite esoteric tradition of music composition, transmitted to succeeding generations by practicing musicians with an avid interest in the occult. Motivated by a conception of music as an agent of transcendence, this tradition has been most clearly articulated by Ferruccio Busoni as Junge Klassizität, or Young Classicality. The core ideas of Busoni’s Junge Klassizität have been passed from teacher to pupil in the manner of esoteric school, and encrypted as symbols within original compositions. One inheritor of Busoni’s esoteric legacy was the Australian composer Larry Sitsky, a composition student of Busoni via Egon Petri. Building on existing research into the esoteric nature of Busoni’s Junge Klassizität, this study traces the passage of the esoteric tradition along the Budoni-Petri-Sitsky line. It outlines a new, living and evolving tradition born from Sitsky’s reinterpretation and revitalization of Busoni’s model. Within the Busoni-Sitsky tradition of orientation of Junge Klassizität remains unchanged but has flowered into new esoteric manifestations. To further elucidate this tradition, this study examines the two major operas it has generated: Busoni’s Doktor Faust and Sitsky’s The Golem. It is demonstrated that the tradition’s core ideas are transmitted through these operas as encrypted symbols, awaiting future decipherment. This work will appeal to scholars of music history, pedagogy, and composition, as well as scholars of Australian music, Busoni, Sitsky and Western esotericism.

Essays and Scripts on How Mothers are Portrayed in the Theater: A Neglected Frontier of Feminist Scholarship
2010 0-7734-3779-7
This collection examines the nexus of mothering, feminism, and theatre. The work examines the portrayals of mothers in literature and on the performance stage, and makes a contribution to studies in dramatic literature, women’s studies, feminist theory, and theatre history.

Essays on Richard Wagner and parsifal Including Robert Calverley Treveleyan’s the New Parsifal
2012 0-7734-3741-X
New insights are given on the background to staging Tannhäuser and Parsifal. Sections on the illustrations to and parodies of Parsifal extend previous research, with special emphasis on the almost forgotten stage-designer Ludwig Sievert and early reception of the opera. The inclusion of a satirical text and Trevelyan’s parody reveal some of the less serious reception.

Eugene O'neill's Unfinished Threnody and Process of Invention in His Four Cycle Plays
1993 0-7734-9199-6
This is a detailed and intimate analysis of O'Neill's complicated writing process as he created four of the plays in the eleven-play cycle: A Touch of the Poet, More Stately Mansions, The Calms of Capricorn, and Hair of the Dog. The first two are the only plays finished by O'Neill. The others have enough substantive material to give the reader a sense of what the plays would have been. Having transcribed reams of O'Neill's unpublished handwritten notes, outlines, and scenarios, Bower focuses on the `pre-writing' leading up to each play's final draft. Breaks new ground in unfolding a subtext that reveals new autobiographical analogues and connections to the late plays, and reveals O'Neill's development of a female character unique to American literature.

Euripides Hecuba
1995 0-7734-8974-6
Topical, accessible, and vigorous, Euripides' Hecuba is a play of strong women, broken vows, political and familial disaster, human suffering and revenge. This translation of Hecuba starts with the play's conflicts and chooses from a whole range of registers to render the characters. This mixture of dictions faithfully captures the Euripidean practice of mixing genres, his shifting of identities, his shrewd portrayal of political negotiation, his both fierce and playful irony. The rhythms of contemporary speech guide the formation of the characters. Finally, the line-breaks give shape to the play, be it on the page, staged, or read aloud. Yet they also respect the pauses, emphases, and repetitions in the Ancient Greek meter, syntax, and word order.

European Post-Baroque Neoclassical Theatre Architecture
1996 0-7734-8845-6
This volume begins with the post-Baroque re-emergence of Classicism, the Neoclassicism of the late 18th century, examining trends and influences in the philosophy of art and architecture during the period. It examines selected theoretical writings of Pierre Patté, Paolo Landriani, and Etienne-Louis Boullée to show the development of a Neoclassical style in theatre architecture, as well as the more fanciful directions in the designs of Boullée. It examines their influence in other areas of theatrical arts: artistic vision, theatrical aesthetics, stage lighting, and scenic design. The appendices contain translations and commentary on revelant works: Patté's writing on Stage Lighting (1780); Patté's writing on Acoustics (1786); Landriani's writing on scenery and box sets (1818); Landriani's writing on the differences between French and Italian Theatres (1816); Ferrario's writing on the uses of Auditoriums (1830); and Boullée's writing on the Art of Architecture (1775-93).

Evolution of the Lyric Players Theatre, Belfast Fighting the Waves
2000 0-7734-7543-5
This book traces the evolution of Northern Ireland’s principal regional theatre, The Lyric Players, describing its transition from private concern to public institution, highlighting the difficulties attendant with this change in status. It appraises the theatre’s public role in a divided community, attempts to explain the theatre’s artistic policies and output by anatomizing the range of social, artistic and cultural factors that worked upon the theatre as it sought to establish itself as both artistic force and service provider.

Examining the Use of Safety, Confrontation, and Ambivalence in Six Depictions of Reproductive Women on the American Stage, 1997-2007:staging ‘the Place’ of Abortion
2010 0-7734-1466-5
This book fills a gap created when overtly politicized and polarized writing on abortion is removed. It seeks to explore the ways in which theater can serve as a particularly useful place to explore abortion.

Fiametta: A Previously Unpublished Play by Eva Gore-Booth
2010 0-7734-3601-4
This is the first ever publication of Fiametta, a five act play by the Irish poet, playwright and political activist Eva Gore-Booth. The manuscript of this previously unpublished play was discovered amongst the personal and literary papers of Gore-Booth. This is an exceptional find. It is rare indeed that an unpublished work, by a celebrated Irish author, is uncovered so many years after their death. This play is a significant contribution to the body of Eva Gore-Booth’s literary work. Fiametta contrasts with Gore-Booth’s other dramas and therefore, adds a new perspective to critical analysis of her work. This volume includes an introduction and brief synopsis of Gore-Booth’s dramatic works and a note on Fiametta.

Films as Critiques of Novels Transformational Criticism
1995 0-7734-9067-1
This book shows how films are useful as literary criticism. From an examination of what will and will not "translate" into film from print, one learns much about a novel's structure and methodology, its themes, narratology, and other aspects of fictions. Novels/films include The French Lieutenant's Woman, The Prime of Miss Jean Brodie, The Sterile Cuckoo, Catch-22, Bang the Drum Slowly, A Room With a View, Ordinary People, more.

Five Plays in Translation From Contemporary Mexican Theater a New Golden Age
1999 0-7734-8274-1
This anthology features recent Mexican theater by several of the best contemporary playwrights, showcasing the eclecticism that characterizes recent theater. The volume includes brief biographies and interviews with each playwright.

Fontainebleau Operas for the Court of Louis XV of France by Jean-Philippe Rameau (1683-1764)
2004 0-7734-6438-7
During the eighteenth century, the French court made yearly trips to the chateau of Fontainebleau during the autumn months, partaking of the abundant hunting in the surrounding area, and enjoying evenings of operas and plays presented by the leading performers from Paris.

Jean-Philippe Rameau (1683-1764), the leading French composer of the period, was asked to present five new operas at the chateau in 1753 and 1754. Only one of these works was ever published and three of the five were never heard in Paris. Consequently, these works have remained little known.

This book presents Rameau’s works first heard at Fontainebleau in the context of their compositional and performance histories, a context which is rich in court intrigues and social change. This study is the first published work to investigate these operas in detail, Rameau’s relationship to the court and the public opera house of Paris is reevaluated, and the richness of Rameau’s musical imagination is revealed in works from his maturity.

Four Levels of Meaning in the York Cycle of Mystery Plays
2006 0-7734-5578-7
This study explores the four levels of medieval allegory (literal, typological, tropological, and anagogical) in the York Cycle, arguing that these epistemological perceptions were not merely scholastic tools but an integral part of social cosmology. This study applies current anthropological theories found in New Historicism while resisting the common tendency to use cultural localizing to negate generalized interpretations, which undermines the very purpose of these theories. Analysis of the literal level demonstrates that these plays were culturally evocative, refuting their common description as didactic impositions. The typology implied in the cycle’s structure reveals the Boethian Time/Eternity contrast at the heart of medieval cosmology. Tropological analysis reveals a nominalist epistemology in the Fall and Redemption argument, aligning these productions with the fifteenth-century mystical nominalism of Nicholas of Cusa and the verisimilitude of the Flemish painters. Analysis of the cycle as an extended anagoge explores the ritual level of medieval York’s self-defining discourse and the ritual compensation for the inability to directly possess God’s Eternity and the cultural past, the central sources of contemporary cultural meanings. This work will appeal to all students of medieval culture and literature and students of drama.

Fourth Generation of French Feminist Writers (1985-2010): From Fictionalized Text to Fictionalized Author
2009 0-7734-3823-8
This study examines how the fictional works of contemporary French female authors can be read as a unique fantasy world in which the writer consciously manipulates the reader’s (and spectator’s) narrative expectations with explicit articulations of female desire. In addition, this work offers a literary and psychoanalytic reading of lesser-known female authors in French culture.

From Middleton and Rowley's Changeling to Sam Shepard's Bodyguard a Contemporary Appropriation of a Renaissance Drama
1997 0-7734-8653-4
Throughout his career, Sam Shepard has demonstrated a preoccupation with national identity, myths and symbols. The focus of the present study, The Bodyguard (1973), was commissioned by Tony Richardson, a film adaptation of Middleton and Rowley's classic English play, with its central love-hate relationship. The screen adaptation is presented here as a counterhegemonic appropriation of the canonical text through an assertion of Shepard's American identity and a vindication of his popular roots. The adaptation critically inscribes the tension Shepard experiences between national idea(l)s and a multicultural reality into the plot, themes and imagery of the early modern play, besides exemplifying and thematizing the postmodern fusion of high and low culture.

From Wagner to Murnau the Transposition of Romanticism From Stage to Screen
1988 0-7734-2014-2
This study maintains that Murnau, and by extension the long-rake, deep-focus, moving camera approach to filmmaking he initiated, have their artistic foundations in the theater, precisely in the romantic theatrical movement of the third quarter of the nineteenth century. The study begins with Wagner, the undisputed leader of romanticism at the time both as artist and aesthetician, and also examines George II, Adolphe Appia, Max Reinhardt, and ends with F.W. Murnau.

Function of the Ekkyklema in Greek Theatre: The Sculptural Display of Murdered Victims and the Success of Greek Tragedy for the State
2015 0-7734-3527-1
A new take on the topic with considerable new scholarship about how the ekkyklema worked semiotically, dramaturgically and politically within Greek tragedy. In this fascinating and well-documented cultural study the author explores the proposition that the success of Greek tragedy was connected to the pre-mediated use of religious tropes in the drama, thus triggering profoundly ancient and effective traditional loyalties.

Function of the Masque in Jacobean Tragedy and Tragicomedy
1978 0-7734-0391-4

G.b. Giraldi's Altile - The Birth of a New Dramatic Genre in Renaissance Ferrara
1992 0-7734-9445-6
This study comprises a critical edition of the complete text of Giraldi's Altile. (The play has been published only once before the present edition, in 1583, ten years after the author's death.) This edition also contains its narrative source, Giraldi's novella (Hecatommithi, II,3). Shows how Giraldi telescoped his unwieldy novella into the formal neo-classical structure of Renaissance tragedy, reinterpreting or even ignoring the precepts of Aristotle when they conflicted with his experience as a practical dramatist writing for the duke and court of Ferrara. He greatly developed the characters of his leading personages, adding an important new character-type to the cast: the first scheming and treacherous subordinate of modern tragedy. The study stresses the importance of the elements of suspense, pathos and maraviglia, and the pains Giraldi took to provide his audience with a lavish, well-staged spectacle. It also emphasizes the fact that the play was intended to convey a series of clearly-defined moral messages.

Garrick, Arne and the Masque of Alfred a Case Study in National, Theatrical and Musical Politics
1994 0-7734-9132-5
This is the first full-length study of an 18th-century masque. It examines the masque of Alfred, from 1740 to 1773, as literary form, as vehicle for allegory, and as a genre. It contributes also to theatrical history, noting the revisions that were carried out by the two different schools of thought -- one favoring the music, the other the text, illustrating their different needs and preoccupations. Earlier versions have both texts and a series of correspondence from the critic Aaron Hill to draw on, while the survival of the annotated libretto for 1773 gives a unique insight into Garrick's view of the masque, the way he worked with both text and music, and the methods of theatrical production.

Giordano Bruno's the Candle-Bearer an Enigmatic Renaissance Play
1997 0-7734-8661-5
This comparative study of Giordano Bruno's Candelaio examines a large number of theatrical authors, from the classical tradition as well as from Italian vernacular and dialect. It takes into account Bruno's recognized sources as well as unknown authors, philosophers as well as poets, playwrights as well as 'poligrafi della penna'. The study concludes that it is the polemic attack on pedantry - in the special sense attributed to it by Bruno - which constitutes the central impulse of Candelaio: a polemic against intellectual obscurantism and degenerated morals. This meaning explains and justifies, emblematically, the title itself: Candelaio is the bearer of the light of truth. Thus, by its very name, the play declares its function, to clarify and enlighten - and claims the ethical significance, as a human and social document, which makes it worth reading.

Globe Theatre Project
2006 0-7734-5724-0
This book analyzes performances at the reconstructed Globe Theatre in London between 1996 and 2004 through a focus on the new Globe’s most defining characteristic: authenticity. In that this concept of authenticity reverberates so urgently with debates about identity – from national to personal, heritage-centered to technologically-mediated – the book addresses both the question of why authenticity has become so crucial in late twentieth and early twenty-first century Britain and it further considers what productions of the ‘authentic Shakespeare’ at the new Globe have to say about contemporary identities. Perhaps unsurprisingly, a key argument of the book is that those productions which are staged according to what Pauline Kiernan has called the ‘authentic brief’ are most likely to endorse conservative and unreconstructed identities and subjectivities. The book reveals, for example, how the reviewers affirmed the psychologically consistent, realistic and historically synchronous representation of the Shakespearean identity of Mark Rylance’s Hamlet whereas they offered a far more censorious view of the more playful and non-realistic, Portuguese-language Romeo and Juliet.

This methodological approach is repeated in other chapters following which deal with performance at the new Globe in the five years since its opening. The first of these, Authentic Shakespeares, considers the productions which fulfilled the authentic brief most completely, and focuses particularly on how the productions represent gendered identities. It is argued that the authentic productions of Henry V and Antony and Cleopatra, respectively, offered their audiences the opportunity to identify with a masculinity which was aggressively heterosexist and xenophobic and a femininity which, by virtue of its pantomimic excess, was little more than laughable stereotype.

Grief Enchained. the Top Hat. Two Plays by Eduardo De Filippo; One Can Die of Love by Giuseppe Patroni Griffi: The Neapolitan Tradition and Beyond. a Translation From Italian Into English
2015 1-4955-0367-4
Jane House translated the De Filippo one acts; Jack D. Street, with Jane House, the Patroni Griffi play. This book is part of the multivolume Mellen collection of contemporary Italian drama, which comprises fourteen plays, of which thirteen are first translations. The collection, covering 1950 to 2001, includes introductions to the playwrights, production photographs, a general bibliography of works in English on Italian drama of the period, and bibliographies specific to the playwrights in each book. Jack D. Street wrote the general introductions to the collection. Foreword by Marvin Carlson.

Guenegaud Theatre in Paris (1673-1680)
2007 0-7734-5313-X
This is the first detailed study of the Hôtel Guénégaud, the first home of the Paris Opéra in 1670, and the first home of the Comédie Française ten years later. The account books remain in the Archives of the Comédie Française, providing the source for a highly detailed account of the administrative structures and day-to-day running of the theatre. Moreover, a study of the records of ticket sales makes possible not only an analysis of the tastes and composition of the Guénégaud's audience, but also an attempted reconstruction of the theatre auditorium. This book will be helpful for academics in the fields of drama and theatre studies. All quotations from French sources are given in translation. Part three of a projected three-volume work. This book contains 1 color photo and 14 black and white photos.

Guenegaud Theatre in Paris (1673-1680) Volume One: Founding, Design and Production
1998 0-7734-8392-6
This is the first detailed study of the Hôtel Guénégaud, the first home of the Paris Opéra in 1670, and the first home of the Comédie Française ten years later. The account books remain in the Archives of the Comédie Française, providing the source for a highly detailed account of the administrative structures and day-to-day running of the theatre. Moreover, a study of the records of ticket sales makes possible not only an analysis of the tastes and composition of the Guénégaud's audience, but also an attempted reconstruction of the theatre auditorium. This book will be helpful for academics in the fields of drama and theatre studies. All quotations from French sources are given in translation. Part one of a projected three-volume work.

Guenegaud Theatre in Paris (1673-1680) Volume Two: The Accounts Season by Season
2001 0-7734-7513-3
This is the first detailed study of the Hôtel Guénégaud, the first home of the Paris Opéra in 1670, and the first home of the Comédie Française ten years later. The account books remain in the Archives of the Comédie Française, providing the source for a highly detailed account of the administrative structures and day-to-day running of the theatre. Moreover, a study of the records of ticket sales makes possible not only an analysis of the tastes and composition of the Guénégaud's audience, but also an attempted reconstruction of the theatre auditorium. This book will be helpful for academics in the fields of drama and theatre studies. All quotations from French sources are given in translation. Part one of a projected three-volume work.

Gustav III and the Swedish Stage Opera, Theatre, and Other Foibles
1993 0-7734-9314-X
Contains some of the latest contributions to Gustavian studies, both interdisciplinary and intuitive in approach. The first section contains articles surrounding the modern premiere of Joseph Martin Kraus's "Turkish" opera Soliman II in 1989. The articles show different perspectives as seen from each of the participants and gives unusual and penetrating insight into the artistic problems inherent in the revival of the 200-year-old work. The second section is more generalized and more scholarly -- contributions from the research of musicologists, dance historians, literary historians. The third section is devoted to a brief aesthetical perspective of Gern Schönfelder on cognitive intuition, which delineates the perceptive qualities of music. Contributors include Jacqueline Martin, Martin Tegen, Barbro Stribolt, Lennart Hedwall, Gunnar Larsson, and Newell Jenkins.

Harmonic Structure of Movement, Music and Dance According to Rudolf Laban: An Examination of His Unpublished Writings and Drawings
2009 0-7734-4777-6
This study of Rudolf Laban, pre-eminent dance theorist of the twentieth century, provides the first comprehensive analysis of his theoretical explorations. Based upon an examination of unpublished writings and drawings from the final two decades of Laban’s career, the work traces Laban’s systematic integration of various strands of research and delineates how he used “harmony” as an analogic metaphor to illuminate the deep structure of dance and movement. This book contains thirteen color photographs.

History of European Puppetry Volume Two: The Twentieth Century
1998 0-7734-8322-5

History of the Commedia Dell'arte in Modern Hispanic Literature with Special Attention to the Work of Garcia Lorca
1995 0-7734-9001-9
This volume examines the commedia dell'arte as it formed a key element in the work of well-known writers such as Valle-Inclán and García Lorca, as well as that of many other poets, playwrights and dramatic theorists in 19th and 20th-century Hispanic literature. It analyses thematically the development of the commedia, its links with other theatrical and paratheatrical forms such as pantomime, circus and carnival. The book contains original analyses of familiar as well as less well-known Hispanic texts, and will be of interest to specialists in Hispanic literature. In addition, students of theatre history will have for the first time a Hispanic dimension to commedia studies. The reader's understanding will be enhanced by the inclusion of original translations of the quotations from the Hispanic texts studied.

History of Theatre in Anchorage, Alaska 1915-2005: From a Wilderness Tent to a Multimillion Dollar Stage
2010 0-7734-3882-3
The growth of theatre in Anchorage, Alaska, is a microcosm of theatre development throughout the United States in the 20th century. In less than a century, Anchorage grew from its humble origins to become a vibrant frontier city of 300,000 and the cultural center of the state. Homegrown playwrights developed their craft, arts institutions flourished, withered, and were replaced by new institutions. Universities developed cadres of actors, directors, playwrights, designers and technicians. This book contains twelve color photographs and twenty-six black and white photographs.

Home Alone. the Windows. the Prompters. Three Plays by Dino Buzzati; wild Boars at the Forest’s Edge by Giuliano Scabia: From Magical Realism to the Fantastical. a Translation From Italian Into English
2015 1-4955-0368-2
Jane House translated Home Alone; Jack D. Street, the other two Buzzati plays; Ritva Poom, the Scabia one act. This book is part of the multivolume Mellen collection of contemporary Italian drama, which comprises fourteen plays, of which thirteen are first translations. The collection, covering 1950 to 2001,includes introductions to the playwrights, production photographs, a general bibliography of works in English on Italian drama of the period, and bibliographies specific to the playwrights in each book. Jack D. Street wrote the general introduction to the collection. Foreword by Marvin Carlson.

Homecoming Theme in Modern Drama the Return of the Prodigal
1992 0-7734-9578-9
This study begins with an examination of the "archi-pattern" of the Prodigal Son, then analyses the analogies and differences between this "archi-pattern" and its post-figuration in modern dramatic discourse as influenced by changes in the socio-cultural code. Six modern plays are represented: Ibsen's Ghosts, O'Neill's Long Day's Journey into Night, Miller's Death of a Salesman, Albee's Who's Afraid of Virginia Woolf, Pinter's The Homecoming, and Shepard's Buried Child.

I Married You for Happiness by Natalia Ginzburg; two Women From the Provinces by Dacia Maraini: Two Women Playwrights. a Translation From Italian Into English
2015 1-4955-0370-4
Jane House translated the Ginzburg play; Jack D. Street, with Jane House, the Maraini play. This book is part of the multivolume Mellen collection of contemporary Italian drama, which comprises fourteen plays, of which thirteen are first translations. The collection, covering 1950 to 2001, includes introductions to the playwrights, production photographs, a general bibliography of works in English on Italian drama of the period, and bibliographies specific to the playwrights in each book. Jack D. Street wrote the general introduction to the collection. Foreword by Marvin Carlson.

Idler and the Dandy in Stage Comedy, 500 B. C. to 1830
2007 0-7734-5439-X
This book follows the progress of the Greek parasite figure through his various interpretations by different poets as seen in the remaining fragments. On the Roman stage of Plautus, the parasite became a key comic figure in proceedings, later replaced by the wily slave. In medieval comedy he can be seen as the vice of morality plays, in mummers plays and he emerges as a type in early Tudor theatre. On the Elizabethan and Jacobean stage the chancing rascal was a frequent feature, most notably Falstaff. Throughout the Restoration dissipated gallants and workshy fops became well established and their behaviour reached the outer limits of the bawdy. In 18th century sentimental comedy the fascination with such roguery, ageing dandyism and peripheral scavengers remained, but modified. Rogues, idlers, skivers, flatterers and the work-shy: all chisellers.

Images of Mental Illness Through Text and Performance
2005 0-7734-6125-6
Theoretical inquiry into the representation of mental illness on stage has not kept pace with theatre scholarship relating to images of marginalized populations as presented on stage, nor with developments in current thinking about mental disease. This collection examines the dynamics of characterization and the problematics of representation within the context of new trends in pharmacology and reconfigured definitions of mental disease, at a time when unprecedented attention is being given to the complex realities of living with mental disorders.

Impact of Militarism and Social Mobility on the Construction of Masculinity in Elizabethan and Jacobean Drama
2007 0-7734-5390-3
This book examines the relationship between the military changes described in military manuals published in the latter half of the sixteenth-century and the portrayals of warfare and men who practice war in selected plays of Christopher Marlowe and Ben Jonson. The study argues that the sweeping technological and social changes that were part of the military revolution of the sixteenth century contribute to the negotiations of masculinity identified by many critics as a central concern of these plays, and that the effects of the military revolution of Elizabethan England were felt far beyond the confines of practice fields and military texts.

Improving the Selection and Performance of School Principals: Using Theatre as a Professional Development Tool
2009 0-7734-4756-3
This study demonstrates how theatre as representation is a successful teaching and learning tool for field educators in the area of educational administration. This book contains five black and white photographs.

Influence of Existentialism on Ingmar Bergman an Analysis of the Theological Ideas Shaping a Filmmaker's Art
1986 0-88946-556-8
Traces the development of central themes in Bergman's cinema art by means of a detailed analysis of eleven films, from The Seventh Seal to Autumn Sonata. An excellent course text, it is available, as are all Mellen books, in an inexpensive textbook edition.

Influence of Stoicism on William Shakespeare: His Background Reading and How It Shaped His Portrayal of Characters
2015 0-7734-4261-8
The first book of its kind to explore Shakespeare’s different plays to prove the relevance of stoic philosophy, in the themes, ideas, and images that play out in his body of work. Contemporary interpreters of Shakespeare have ignored these primary philosophical sources of Renaissance thought that influenced the fundamental moral principles and thinking of his time.

Italian American Immigrant Theatre of New York City 1746-1899
2012 0-7734-2650-7
This book is a comprehensive and detailed study of the Italian immigrant theatre of New York City from 1746 to 1899. It is chronologically and geographically detailed, along with details about the actors and principals of that theatre. The author provides factual, personal and anecdotal stories about the principals of this theatre, such as Lorenzo Da Ponte, Adelina Patti, Guglielmo Ricciardi and Antonion Maiori. Through these details, the book explains why theatre was so important to the Italian immigrant population, suggesting that, for one thing, life among the immigrants was itself dramatic, if not theatrical. With its thoroughness and emphasis on the humanness of Italian immigrant society clearly conveyed, this book will be an important contribution to scholarship.

Italian Theater of the Grotesque
2003 0-7734-6738-6
This anthology fills a lacuna in the investigation of European avant-garde theater, from Alfred Jarry’s Ubu Roi to the New Theater of the Absurd. The introduction justifies the place of the Italian Theater of the Grotesque, and the text remedies the lack of access to its plays by translating the ones included in the anthology into English. Of the seven representative plays, five have never been translated into English before.

Italian Theatre of the Late Twentieth and Twenty-First Centuries
2011 0-7734-1558-0
This collection provides an introduction to each play and its author, clarifying its place in today’s Italian culture. [The author’s] selection of both older and younger playwrights introduces the reader to writers who have been, until now, little-known outside Italy.

Italian-american Immigrant Theatre of New York City 1746-1899
2006 0-7734-5692-9
This book is a comprehensive and detailed study of the Italian immigrant theatre of New York City from 1746 to 1899. It is chronologically and geographically detailed, along with details about the actors and principals of that theatre. The author provides factual, personal and anecdotal stories about the principals of this theatre, such as Lorenzo Da Ponte, Adelina Patti, Guglielmo Ricciardi and Antonion Maiori. Through these details, the book explains why theatre was so important to the Italian immigrant population, suggesting that, for one thing, life among the immigrants was itself dramatic, if not theatrical. With its thoroughness and emphasis on the humanness of Italian immigrant society clearly conveyed, this book will be an important contribution to scholarship.

Italian-american Immigrant Theatre of New York City 1746-1899
2011 0-7734-3928-5
This book is a comprehensive and detailed study of the Italian immigrant theatre of New York City from 1746 to 1899. It is chronologically and geographically detailed, along with details about the actors and principals of that theatre. The author provides factual, personal and anecdotal stories about the principals of this theatre, such as Lorenzo Da Ponte, Adelina Patti, Guglielmo Ricciardi and Antonion Maiori. Through these details, the book explains why theatre was so important to the Italian immigrant population, suggesting that, for one thing, life among the immigrants was itself dramatic, if not theatrical. With its thoroughness and emphasis on the humanness of Italian immigrant society clearly conveyed, this book will be an important contribution to scholarship.

Italian-american Immigrant Theatre of New York City 1746-1899
2012 0-7734-3947-1
This book is a comprehensive and detailed study of the Italian immigrant theatre of New York City from 1746 to 1899. It is chronologically and geographically detailed, along with details about the actors and principals of that theatre. The author provides factual, personal and anecdotal stories about the principals of this theatre, such as Lorenzo Da Ponte, Adelina Patti, Guglielmo Ricciardi and Antonion Maiori. Through these details, the book explains why theatre was so important to the Italian immigrant population, suggesting that, for one thing, life among the immigrants was itself dramatic, if not theatrical. With its thoroughness and emphasis on the humanness of Italian immigrant society clearly conveyed, this book will be an important contribution to scholarship.

Italian-american Immigrant Theatre of New York City 1746-1899
2012 0-7734-2568-3
This book is a comprehensive and detailed study of the Italian immigrant theatre of New York City from 1746 to 1899. It is chronologically and geographically detailed, along with details about the actors and principals of that theatre. The author provides factual, personal and anecdotal stories about the principals of this theatre, such as Lorenzo Da Ponte, Adelina Patti, Guglielmo Ricciardi and Antonion Maiori. Through these details, the book explains why theatre was so important to the Italian immigrant population, suggesting that, for one thing, life among the immigrants was itself dramatic, if not theatrical. With its thoroughness and emphasis on the humanness of Italian immigrant society clearly conveyed, this book will be an important contribution to scholarship.

Italian-american Immigrant Theatre of New York City 1746-1899
2012 0-7734-2566-7
This book is a comprehensive and detailed study of the Italian immigrant theatre of New York City from 1746 to 1899. It is chronologically and geographically detailed, along with details about the actors and principals of that theatre. The author provides factual, personal and anecdotal stories about the principals of this theatre, such as Lorenzo Da Ponte, Adelina Patti, Guglielmo Ricciardi and Antonion Maiori. Through these details, the book explains why theatre was so important to the Italian immigrant population, suggesting that, for one thing, life among the immigrants was itself dramatic, if not theatrical. With its thoroughness and emphasis on the humanness of Italian immigrant society clearly conveyed, this book will be an important contribution to scholarship.

Italian-american Immigrant Theatre of New York City 1746-1899
2014 0-7734-0056-7
The Italian musical emigration created an extra Italian community in New York in addition to the community of Italian political refugees and exiles. New theatres and entertainment venues continued to open. The year 1870, on the eve of mass migration, reveals the Italian immigrant community has become more sizable, more visible, more entrenched. The Italian population of the city consisted in part of the visiting transient entertainers in the fields of music, dance, circus and variety many remained in New York permanently and the aging political refugees and exiles.

Italian-american Immigrant Theatre of New York City, 1746-1899
2015 0-7734-4251-0

Italian-american Immigrant Theatre of New York City, 1746-1899: Early Opera and Vaudville 1838-1844
2011 0-7734-1588-2

Italian-american Immigrant Theatre of New York City, 1746-1899: Proliferation of Opera and Its Stars 1868
2013 0-7734-4359-2
As we progress through these volumes chronicling the Italians in New York theatre, each year’s compilation loom noticeably larger than the one before. The surge began dramatically after the Civil War and continued to expand, with more Italian visitors and residents participating in the theatrical life and business of the city.

Italian-american Immigrant Theatre of New York City, 1746-1899: The Early Da Ponte Era 1808-1828
2011 0-7734-1554-8

Italian-american Immigrant Theatre of New York City, 1746-1899: The Era of Da Ponte 1829-1837
2011 0-7734-1529-7

Italian-american Immigrant Theatre of New York City, 1746-1899
colonial Times 1746-1807
2011 0-7734-1510-6

Joe Leblang’s Cut-Rate Ticket Empire and the Broadway Theatre, 1894-1931
2003 0-7734-6616-9
This book is the only full-length study of a ticket agent, his business methods, and his contributions to the Broadway theatre. It contains elements of biography, economic history of the American stage, and insights into the relationship between Broadway producers and the people who sold the tickets to their attractions. This study recounts a number of then-famous battles between powerful producers and the ticket agencies, filling in several blank spots in the records. It sets the scene for readers not familiar with the period by giving ample background, and then traces the growth and development of Joe Leblang’s agency, information previously available only in snippets buried in newspapers and magazines. Leblang’s agency exerted so potent a force on the Broadway theatre that the period would not have been the same had his agency not existed.

L'antigone De Jean Cocteau
2007 0-7734-5424-1
This study consists of a literary critical investigation into Jean Cocteau’s Antigone, which combines traditional and contemporary computer-assisted approaches to the text. The first half of the book considers the place of the Antigone story, as well as myth in general, in French, while also offering a description of the evolution of the tragedy from Sophocles to the present. After this, the second half of the book is devoted to an in-depth study of Cocteau’s Antigone itself, from written drafts to its stage production. This multi-disciplinary study offers an original and timely contribution to the literature on the subject.

Laura as Novel, Film, and Myth
1992 0-7734-9506-1
A study of the 1944 film Laura, the book on which it was based, how the book was turned into the movie, and what impact the film has had on viewers and on other movies. Explores the film's unique appeal and how the character, in or out of movie context, has a deep appeal on a psychological and mythic level.

Literary, Cultural, and Historical Significance of the 1937 Biblical Stage Play the Eternal Road
2004 0-7734-6325-9
This project examines the literary, cultural, and historical significance of the 1937 stage play, The Eternal Road, the biblical epic of the Jewish émigré titans—writer Franz Werfel, composer Kurt Weill, and director Max Reinhardt. In academic circles, the play is relatively well known, although it has not received the kind of attention that scholars have paid to works such as The Threepenny Opera, Forty Days of Musa Dagh, and A Midsummer Night’s Dream, Reinhardt’s most often performed theatrical production. Apart from articles and chapters in dissertations and books, no comprehensive analysis of Road exists in monograph form.

The play, which premiered at the Manhattan Opera House in January 1937, sold out its 153 performances, but it closed less than six months later, a victim of extravagant casting and design. In fact, no Broadway show in its time ran up as large a deficit. Meyer Weisgal, its producer, dubbed it one of the theater’s most brilliant money-losers ever. The significance of Road lies elsewhere—in its singular moment of expression of Jewish pride by several colorful, albeit complicated, dramatis personae.

There are numerous areas of scholarship to which a study of this sort contributes. Students of the history of American theater will welcome a recitation of the play’s production history and a careful reading of its text. Historians, meanwhile, might find the subject helpful in illuminating some of the everyday responses to Nazi persecution by central European Jewish émigrés. One of the more intriguing issues for me is where to situate Road within the broader context of the life work of its principal creators. To what degree was the play a departure from or a continuity within the aesthetic approaches of Reinhardt, the parvenu, Weill, the left-leaning social critic, and Werfel, the would-be Catholic. To what extent did the three figures project their conflicts with, and corresponding concepts of, “Jewishness” onto the text and performance of the play? What was the role of external and intrinsic factors that helped to bring Road into existence? If Hitler had never come to power, would there have been an Eternal Road?

The show was the only occasion in which Reinhardt, Werfel, and Weill joined together to issue a condemnation, in the only language and forum they knew, of the Nazi assault on Jewish culture, religion, and history. And yet their play was more than mere anti-Nazi tableau, and certainly more than either a technical wonder or a box office bomb. It was a remarkable tribute by Jews to Jews in all their various, conflicting incarnations.

Lo Positivo / the Right Track: A Play by Manuel Tamayo Y Baus
2009 0-7734-4704-0
Tamayo y Baus’ (1829-1898) The Right Track (1862) is a product of the swirling social context of nineteenth-century Spain. This comedy is typical of the alta comedia [high comedy]: it is a didactic work that hopes to offer the bourgeois a model of virtue. As a genre, the high comedy supplanted the symbolism and declamation of romantic drama with a “realistic” portrayal of the moral dilemmas faced by the growing middle class. The climax and resolution of The Right Track unequivocally support the return advocated by Tamayo to virtue and to what he understood to be traditional Spanish values.

Luigi Pirandello (1867-1936) - His Plays in Sicilian Volume 1: Sicilian Limes; Think It Over, Giacuminu; the Cap with the Jingle Bells; Liolà; the Jar; the Vise
1998 0-7734-8337-3
English translation of Pirandello's original Sicilian plays, retaining the names of the original characters, their dialogue, with all the peculiarities and characteristics of the Sicilian tongue and the nature and flavor of their mores, thus underscoring the fact that Sicily and Sicilians are different ethnically, culturally and linguistically from continental Italians. Volume 1 also contains the Preface, a complete list of Pirandello's plays, and an introduction setting Pirandello's life and Sicilian plays in context.

Luigi Pirandello (1867-1936) - His Plays in Sicilian Volume 2: The Balance; Cappiddazzu Pays for Everything; the License; the Cyclops; Glaucus; with Kid Gloves
1998 0-7734-8339-X
English translation of Pirandello's original Sicilian plays, retaining the names of the original characters, their dialogue, with all the peculiarities and characteristics of the Sicilian tongue and the nature and flavor of their mores, thus underscoring the fact that Sicily and Sicilians are different ethnically, culturally and linguistically from continental Italians. Volume 1 also contains the Preface, a complete list of Pirandello's plays, and an introduction setting Pirandello's life and Sicilian plays in context.

Luigi Pirandello the Theatre of Paradox
1997 0-7734-8746-8
The purpose of these essays is to enable readers to broaden an deepen their knowledge of Luigi Pirandello and his influence on the drama of the twentieth century. the essays have been grouped loosely under four headings: issues of theory, issues of genre, issues of gender, and issues of language and theatre. Essays include:

Major Plays of Horton Foote: the Trip to Bountiful, the Young Man From Atlanta, and the Orphan’s Home Cycle
2010 0-7734-3594-8
This work examines the connections between the playwright’s strong Texas connections and his literary art while considering Horton Foote’s many decades of experience in the world of American theater and the lessons he learned from such authors as Henrik Ibsen, William Faulkner, and Flannery O’Connor.

Manic-Depressive Dynamics and Dramaturgy in the Life of Graham Greene
2012 0-7734-2559-4
A biography of British writer Graham Greene which concentrates on how his life-long battle with Manic-depression disorder effected his writing.

Marionette Theater of the Symbolist Era
2002 0-7734-6964-8

Max Reinhardt’s Großes Schauspielhaus - Its Artistic Goals, Planning, and Operation, 1910-1933
2003 0-7734-6802-1
The years between 1910 and 1933 represent a period of tumultuous change in Germany. Focusing on Max Reinhardt’s Großes Schauspielhaus in Berlin during the Weimar Republic offers a unique opportunity to examine the many factors that affect theatrical production outside of the realm of the aesthetic. Using neo-Marxist methodology of Raymond Williams as well as Pierre Bourdieu’s The Field of Cultural Production, this study investigates the impact of social, political, and economic factors on planning and building the Großes Schauspielhaus and on its theatrical productions. Previous works focus on Reinhardt’s use of actors, collaboration with designers, technology, etc, but this study begins by asking ‘What were the relations between Max Reinhardt’s artistic direction and the business management?’ It provides an analysis of the economic conditions of the period, the costs involved in building and maintaining a mass theater, and questions of ‘symbolic capital’ versus ‘economic capital’. An appendix provides a complete English-language translation of Max Reinhardt’s 1905 manifesto, originally published in Arthur Kahne’s Tagebuch des Dramaturgen. With illustrations.

Mediums, Puppets and the Human Actor in the Theatres of the East
2002 0-7734-7057-3
This book brings together a powerful universal myth – that of the Birdwoman, which has been the inspiration of several Asian theatres and the subject of many Asian plays – and the connection between string-puppet and human actor movements within the Asian theatrical tradition. It is a book about theatre as ritual and as power-struggle, and presents for the first time a study of Lady Jôruri, herself a semi-mythical figure, who gave her name to the world’s most sophisticated puppet theatre. With illustrations.

Metatheater in Elizabethan and Jacobean Drama: Four Forms of Theatrical Self-Reflexivity
2008 0-7734-5061-0
This study explores the theatrical self-reflexivity in early modern drama in terms of themetatheatrical critical perspective advocated by Lionel Abel, James L. Calderwood, Richard Hornby, and Judd D. Hubert, to name just a few. Some early modern dramatic works display unflagging excavation and disclosure of the dramatic art itself. Their self-conscious exploration of the nature and function of dramatic art gives us a chance to reconsider the dramatic medium.

Mexican Theater and Drama From the Conquest Through the Seventeenth Century
2007 0-7734-5355-5
The purpose of this annotated bibliography is to bring together under one title a diverse collection of works along with critical commentary that deal with the first centuries of colonial Mexican theater and drama. Shortly after the fall of the Aztec capital Tenochtitlán in 1521, the Spanish conquerors deemed it necessary to instruct the large indigenous populations and to quickly convert them to Catholicism. This task fell principally on the newly arrived religious orders, the first being the Franciscans who set foot in New Spain in 1523. Because of the linguistic barriers encountered by the clerics, there was a need to exemplify the Christian faith that did not rely so heavily on simple verbal instruction. Theater and dramatic performances proved to be the ideal format. The majority of the plays in this collection were written starting with the third decade of the sixteenth century and then concluding with pieces coming towards the end of the 1600s. Studies that center on these plays are mostly modern works stemming from the late 1800s and continue up to the publication of this bibliography. In addition to these dramatic works, the reader will find the more important and prevalent pre-Hispanic plays along with studies focusing on this native genre and the far reaching importance of theatrical performance to the Indian population of central Mexico prior to the arrival of the European. Along with native dramatic works propagating indigenous religious beliefs and the Christian plays of conversion, there are many ancillary studies that deal with performance practices and theatrical sites. One part of this category is the inclusion of works concerning the architectural properties of performance locales, and especially the open air chapel, which the early religious orders depended upon heavily and used extensively in central New Spain for conversional and didactic dramas. This annotated bibliography concludes with an extensive index allowing quick access to its contents further assisting the investigator in additional research.

Mime and Pantomime in the Twentieth Century: History, Theory, and Techniques
2008 0-7734-5025-4
Never before have the words of professionals performing in the field been collected and compiled into a work that so authoritatively defines, qualifies, and amplifies the art form. This book contains ten color photographs and twenty black and white photographs.

Modern War on Stage and Screen/der Moderne Krieg Auf Der BÜhne
1996 0-7734-4205-7
Essays by European and American scholars from the fifth Salzburg conference on the influence of war on art and literature. Topics include an analysis of the filming of the Agincourt battle in both Olivier's and Branagh's Henry V; the First World War in Irish Drama; Arthur Kopit's Indians and the Vietnam War; the fall of France on the stage; David Rabe's Sticks and Bones and Streamers; Atrocities in Vietnam War movies; Vietnam in the Genre film; the Berlin stage 1936-33; Resistance drama; Representations of WWII in British TV comedy; Three WWI plays by Women; American POWs in WWII; WWI in Truffaut's Jules et Jim; The Bridge on the River Kwai; Sam Shepard's States of Shock and the Gulf War;The Genealogy of the Woman Commissar in Soviet Culture; and others.

Moral Dilemma of the Scientist in Modern Drama
1996 0-7734-8869-3
This study includes chapters on European, American and British drama and bibliographic reference to many other plays about the scientists. While it is based on study of the original texts, it employs citations from English translations to make the material accessible to the English-speaking reader. It focuses on the moral dilemmas of the scientist and society but goes beyond the political and ethical discussion of atomic weapons that dominates most other studies. The plays discussed explore scientific experimentation with human subjects, utopian social science, the threat of irresponsible engineering and technology, creationism vs. evolution, and the abuses of psychiatry. The plays link these modern issues with eternal themes of human existence: the inquiring nature of mankind, the drive for knowledge and certainty, questions about God, human uniqueness and identity, a desire for and concern about progress. Dramas include: Goethe's Faust and "The Sorcerer's Apprentice"; Büchner's Woyzeck; Hauptmann's Before Daybreak; Kaiser's Gas-trilogy; Brecht's A Man's a Man, The Ocean Flight/The Baden Didactic Play of Agreement, and Life of Galileo; Kipphardt's In the Matter of J. Robert Oppenheimer; Dürrenmatt's The Physicists; Lawrence and Lee's Inherit the Wind; and Barnes' The Ruling Class.

Mythical Expressions of Siege in Israeli Films
1997 0-7734-8608-9
This study presents a comprehensive analysis of Israeli film and society, in particular, the mythical expression of siege, from 1948 to the present. It examines the Israeli-Palestine conflict, Zionist-Socialism, Zionist Statism, post Six Day War Euphoria, the Israeli Left, and Ethnic Fusion vs. Ethnic Fission.

Nazi Germany and Its Aftermath in Women Directors' Autobiographical Films of the Late 1970s in the Murderers' House
1992 0-7734-9851-6
An in-depth analysis of three pivotal works for students of German film history and post-war culture as it leads to the present political developments, the study puts films by West German film directors Helma Sanders-Brahms, Jutta Brückner, and Marianne Rosenbaum in the context of both German film politics/feminist film theory and the West German cultural, socio-political context of the last decade. Their films take an insistent close-up look at the average German family during the 1950s and how the fascist experience affected the interpersonal relationships and German children's upbringing in the post-fascist years, showing the deep-reaching transformations individual Germans and the family structure had undergone. The films' points of departure are distinctly new and intend to go beyond the known both in film and in patriarchal culture.

Nine Ways the Theatre Affects Our Lives: Dramas of Transformation
2013 0-7734-4474-2
This book is an exploration about the use of drama as therapy and the life-enhancing properties of theater itself. The purpose of theater is to catch us in action, engaged in the business of living. The author brings theater to us as a unique interwoven framework of the relationship between drama and psychological healing.

Ola Rotimi’s African Theatre: The Development of an Indigenous Aesthetic
2005 0-7734-6147-7
This work is an exploration into the writing, cultural and theatrical aesthetics of African writer and director, Ola Rotimi. It is a quest and search for an authentic African esthetic that has been transformed by at least two centuries of the European colonization. This work focuses on the aesthetic dimensions of the Ori Olokun theatre under the artistic direction of Ola Rotimi. It reviews Ola Rotimi’s vision and impact with the Ori Olokun Company, and his quest to formulate a truly authentic African theatre, void of the imported European sensibility and colonially inherited aesthetic. The unique creative achievement of Rotimi’s work at the Ori Olokun theatre, is that it evolved out of the ivory towers of the University, an ‘unfriendly’ territory as far as the indigenous theatre is concerned. Ola Rotimi dedicated his art to exploring the traditional/indigenous artistic expressions of the Nigeria people at a point when the African aesthetic had completely lost ground to the European value system. Three of Rotimi’s historical plays are analyzed to understand and locate his historical perspective. Rotimi tackles the controversial issue of an appropriate language for the African theatre, an issue that has dominated African theatre for the past half century. His solution is that writers must ‘tamper with the English language to temper it’s Englishness’. Clearly, what makes Rotimi unique, is that he brings to his plays, the linguistic characteristics and nuances that are authentic to African people.

Opera Guffaw by Dario Fo; the Heroine by Franca Rame: The Brechtian Connection: Fo and Rame. a Translation From Italian Into English
2015 1-4955-0369-0
Jack D. Street translated both plays. This book is part of the multivolume Mellen collection of contemporary Italian drama, which comprises fourteen plays, of which thirteen are first translations. The collection, covering 1950 to 2001, includes introductions to the playwrights, production photographs, a general bibliography of works in English on Italian drama of the period, and bibliographies specific to the playwrights in each book. Jack D. Street wrote the general introduction to the collection. Foreword by Marvin Carlson.

Opera Theatre of Jean-Pierre Ponnelle
2004 0-7734-6485-9
This work is the first full-length analysis of the major productions of Jean-Pierre Ponnelle (1932-1988), who has been hailed internationally as one of the most important opera directors/ designers of the last century. In a career spanning four decades he was in demand at the leading opera houses of the world where he regularly collaborated with world-class conductors and singer-actors producing an enormous range of operas representing every period, genre and style from Monteverdi and Rossini to Wagner and Strauss. He was instrumental in reinstating the seria operas of Mozart into the active repertoire and was a formidable champion for new works. These credentials require an investigation into the reasons why he was so critically and popularly successful and the influence that he has had on opera production.

Kristina Bendikas has crafted a uniquely scholarly investigation into Ponnelle’s most important and influential productions at the San Francisco Opera, the Metropolitan Opera and the Houston Grand Opera, as well as those he premiered throughout Europe. In meticulously documented chapters the author draws from substantial primary source material including reviews, interviews, and production notes in order to document and analyze the choices of the director/ designer in operas ranging from Mozart’s La Clemenza di Tito to Rossini’s La Cenerentola to modern operas such as Reimann’s Lear. Ponnelle’s views on the relationship between the music of opera and theatre of opera – still central to debates about the future of opera production – construct the critical juncture “opera theatre” which lies at the heart of the book. This book illuminates the work of a formidable artist and more importantly, leads to a deeper understanding of the concerns and controversies that shaped opera production in the late twentieth century.

Origins and Roles of Instrumental Music in the Operas of Richard Strauss: From Concert Hall to Opera House
2012 0-7734-3078-4
The main purpose of this volume is to provide an overview to all of Richard Strauss’s musical and operatic compositions. Usually the operas are ignored by scholars and composers who only perform his instrumental works. This book shows that there is incredible musical value in the operas as well. It also showcases his compositional style and techniques, as the author states, Strauss could compose while riding on a noisy train, he was just that talented.

Because of his involvement with the Nazi Party, Richard Strauss has been ignored by musical scholars for quite some time. Even when he is studied his operas are often viewed as being less important than his instrumental works. This book remedies that misconception by addressing how his operas were created and pin pointing the musical importance by chronicling their compositional qualities. There is also quite a bit about Strauss’s life in this book as well.

Pebii3op/the Government Inspector a Comedy in Five Acts, M. Beresford Editor with English Introduction and Notes
1996 0-7734-8840-5
This play appeals to students of Russian and theatre people alike. This edition, the most comprehensive ever produced, provides the reader with all that is required for a full understanding of Gogol's classic. Every aspect of the play has been carefully researched, and a detailed account of its composition, reception and stage history is given in the introduction. The text, in the original Russian, is accompanied by a commentary on all points of linguistic, literary or historical interest. There are copious notes on colloquial Russian idiom. Misconceptions about the nature and purpose of Gogol's dramatic masterpiece are common, and the editor has taken great pains to set the record straight, using evidence taken from the writings of Gogol and his contemporaries. The play, innocent of any political intent, emerges not as a light-hearted farce, but as a subtle satirical comedy, a brilliant exposé not just of bribery but of corruption in many guises.

Performance of Shakespeare in France Since the Second World War
2006 0-7734-5891-3
Much has been written on Shakespeare’s global, overarching influence on 20th century theatre. In France, the transformations of the stage in the 20th century have been accompanied by increased interest in his plays. In sharp contrast with the reviling of Shakespeare’s “foreignness” in previous decades, by the late 1940s French academics and directors began to speak of a “need” for his theatre. Theatre practitioners and critics continue today to regard him as a leading figure on the French stage and have ensured that his theatre has continued to thrive. However, despite reaching unprecedented heights by the end of the century, the sheer scale of the vogue for Shakespeare and the reasons behind his success in France today had not been thoroughly addressed. This book provides a comprehensive survey and critical evaluation of Shakespearian production in France from the 1960s to the end of the twentieth century. Through a study of the specifics of a large number of productions, the work theorises the strategies used by each new wave of directors to influence the Shakespearian repertoire and generate new appropriations of Shakespeare’s theatre, from critical interpretations of his plays in the light of the theories of Bertolt Brecht and Jan Kott in the 1960s and the iconoclastic radicalisations of the 1970s to the self-referential post-modern “theatre of images” of the 1980s and 1990s and the playful and radical appropriations of the young directors of the 1990s. In a final section, the book moves beyond essentialist categories to replace the directors’ expressions of admiration for Shakespeare in the wider French cultural discourse. Interpreting the evidence in the light of theories of cultural materialism, the study suggests that Shakespearian production has been maintained by belief in the mythical status of Shakespeare. Imposing new visions of his theatre has enabled directors to redefine the field of Shakespearian production, explaining the paradox that Shakespearian production both remains constant and is continually transformed.

This original study makes a significant contribution to the study of Shakespeare’s place in France, surveying forty years of changes and innovations in Shakespearian theatre production. It also opens up a new area of debate within the established field of Shakespearian studies, relocating it in the arena of cultural politics in France. It would be of particular interest to scholars in the following areas: Shakespeare studies in France; theatre studies; history of 20th century French theatre; history of 20th century French cultural policy; semiotics; literary theory; the work of Georges Lavaudant, Daniel Mesguich and Stéphane Braunschweig; Shakespeare and cultural materialism. The book contains a valuable database recording new Shakespearian productions in France between 1960 and 1997.

Performance Power Winning Ways to Face Your Audience
1992 0-7734-9924-5
Since all experts agree that stage fright in a proper dose adds a unique dimension to any presentation, it is not something that should be done away with, but rather a phenomenon to be used. This book covers the latest scientific evidence, mixed with age-old secrets on how to gain performance power. Creative visualization, self-hypnosis, biofeedback, the Alexander Technique, beta-blockers, and more are discussed. Everything you always wanted to know about overcoming stage fright is in this step-by-step guide which lead you to the land where fear is harnessed and butterflies fly in formation. The book has been endorsed by such luminaries as Eli Wallach, Theodore Mann, Georgette Klinger, Gay Talese, and Alan King. Well-researched, but still accessible and practical for both the professional and the neophyte.

Performative and Textual Imaging of Women on the Irish Stage, 1820-1920
2007 0-7734-5492-6
This book explores the way women, specifically women perceived or presented as Irish, were represented on the Dublin stage by playwrights and actors from the 1820s to the 1920s. Yet, rather than being a feminist reading of modern Irish theatre, this book presents a nationalist and socialist reading of the theatre in its cultural and historical contexts. Arguably, the developmental process that Ireland and its theatre experienced from the eve of Catholic Emancipation to the radical idealism of the 1916 Easter Rising was one of national and social advancement. The radical agitators near the end of this period, including those in the theatre, sought self-determination for Ireland and, more importantly, self-determination for all of the Irish regardless of gender, class, or religion. This book’s argument is that as the stage image of the Irish woman modernized from the early nineteenth century into the twentieth, it mirrored the modernization of Ireland.

Peter Brook/jean-Claude Carriere Mahabharata the History of Mankind
1986 0-88946-005-1
People's theater on an international scale, with a multicultural and international cast _ the theater of the new age of communication.

Pier Paolo Pasolini and the Theatre of the Word
1989 0-7734-2002-9
This study examines, from a variety of critical perspectives, Pasolini's complex, paradoxical, and eclectic drama. This book offers the most comprehensive study of Pasolini's theatre to date in any language.

Plays by Women About Women Play Writers: How Women Create Myths About Themselves
2009 0-7734-4708-3
This study explores the process of mythmaking in plays written by women. By writing the lives of female writers and rewriting the literary characters, which have been created by male writers, women playwrights assume the role of a mythmaker. This study evaluates the constantly developing process of women’s mythmaking/mythbreaking in Liz Lochhead’s Blood and Ice, Rose Leiman Goldemberg’s Letters Home, Bilgesu Erenus’ Halide, Timberlake Wertenbaker’s The Love of the Nightingale, Bryony Lavery’s Ophelia, and Zeynep Avc?’s Gilgamesh.

Poetic Style of Corneille's Tragedies an Aesthetic Interpretation
1990 0-88946-569-X
Analyzes the poetic style of Corneille's Médée, Le Cid, Horace, Cinna, Polyeucte, Pompée, Théodore, and Rodogune, with a final chapter devoted to the later tragedies. Situates the Corneille's stylistic mode of expression within the historical framework and social milieu in which these works were composed.

Polemical Force of Chekhovian Comedy
2007 0-7734-5388-1
This groundbreaking study insists that critical tradition has conspired to emasculate the polemical force Chekhovian comedy out of misplaced respect for his renowned objectivity and his loathing of overt moralizing. A rhetorical framework of analysis is predicated upon the assumption that all writings are implicated in ‘interestedness’ – the critic’s task is to uncover the rhetorical parameters and nature of that ‘interestedness.’ Through analyses of each of Chekhov’s plays in its original context, the author identifies the rhetorical potential that remains neglected in contemporary readings and productions. All of the readings in this study are addressed to actors and directors – inviting them to reassess and reclaim the force of these plays for our time.

Politics and Tropes in Renaissance History Plays
2006 0-7734-5687-2
Rhetoric in sixteenth century English historical drama is intertwined with character development in relation to contemporary political paradigms. Recurring major political themes are those of strong rulership, stable government, the political responsibilities of the king, the peers, and the commons. Secondary themes are the need for monarchs to please their subjects, the need for both princes and peers to confront political reality with wisdom. Through close analysis of Renaissance rhetorical strategies and Tudor political concepts in the speeches and speech acts of major historical characters in John Bale’s King Johan, Thomas Hughes’s The Misfortunes of Arthur, Thomas Lodge’s The Wounds of Civil War, Christopher Marlowe’s Edward II, the anonymous Troublesome Reign, Shakespeare’s King John, and the First Tetralogy, this study explores both human reality and political reality through the language act. This study concludes that Tudor dramatists were making the most of the politics of misunderstanding by exploiting the ambiguity inherent in rhetorical language. Tudor dramatists seriously questioned contemporary political doctrines by using oblique and “politic” rhetoric thereby shedding light upon the past in terms of the present in a fundamentally different way.

Presentation of Racism in Contemporary German and Austrian Theatre
2007 0-7734-5499-3
This study explores the representation of ethnic minorities and the construction of national identities in contemporary plays written by German and Austrian women. The study draws on approaches of cultural and postcolonial studies, African-American and other minority feminist criticism as well as Anglo-American and German feminist scholarship. The plays examined in the book include Kerstin Specht’s Lila, Elfriede Müller’s Goldener Oktober, Bettina Fless’s Asyl, Gundi Ellert’s Jagdzeit, Marlene Streeruwitz’s Bagnacavallo, and Elfriede Jelinek’s Stecken, Stab und Stangl. This book evaluates the characters in terms of visual representation, the way in which they communicate with other characters, and the characters’ involvement in the development of the play. The work demonstrates that the playwrights assign minority characters a restricted verbal capacity that limits their influence on the action of the play, thereby reducing such characters to function merely as catalysts for problems of the German and Austrian communities. The playwrights write with a well-meaning intention but some cannot avoid the trap of their position as self-appointed spokesperson while other offer new positions from where they speak and avoid reproducing stereotypes of the “Other”. This work will appeal to scholars in German studies, feminist studies and drama.

Prose Fiction Stage Adaptation as Social Allegory in Contemporary British Drama: Staging Fictions
2004 0-7734-6356-9
Transposition from the medium of print to performance-based media, both electronic and live, is a common aesthetic phenomenon. Whilst this process of transfer is accepted practice in some areas of stage performance, notably opera and ballet, a certain prejudice may be detected in the reviews of many critics, albeit with notable exceptions, that a stage play based on a fictional source, especially if it is a canonical one, is necessarily an inferior and parasitic artifact.

This study will argue that a distinction needs to be made between faithful but derivative stage versions of novels in the tradition of Zola's Thérèse Raquin, which aspire only to the status of theatricalised novel, and the autonomous stage transformation of a literary text, creating its own performance dynamic through the reconstruction of literary form and content. For the sake of greater critical clarity the former type will be designated dramatizations and the latter adaptations, despite the lack of consistent differentiation in common theatre discourse.

Psychology for Theater
1999 0-7734-3233-7
This book, rich in practical explanations and implications, is a valuable tool for artists and students. The author implements a new theoretical conception which has made this book popular also with non-theatre students. Dr. A. L. Groysman is the head of the Department of Psychology and Ballet Medicine of the Russian Academy of Theatre Arts. In Russian

Puppetry Yearbook Volume 1
1995 0-7734-9335-2
A valuable examination of the artistry of the puppet stage, past and present. The Puppetry Yearbook creates a forum for new scholarship, as well as critical examinations of the growing number of international and multicultural artists and groups turning to puppets as a profound symbol that can both represent and transcend its human model. Submissions should be addressed to: James Fisher, Editor c/o Theatre Department, Wabash College Crawfordsville, IN 47933 tel. (317) 364-4394 Fax: (317) 364-4295. Submissions may be 5,000-10,000 words in length, prepared in any one of the standard notation formats, should be sent in duplicate accompanied by stamped, self-addressed envelope. ISSN: 1070-3624 Volume 1: The Voice of the People (George Speaight); Puppets and the Commedia dell'Arte in the 16th, 17th, and 18th Centuries (Ryan Howard); Chapbooks and English Puppet Plays (John Phillips); Bunraku: The Traditional Puppet Theater of Japan (Kinko Ito); The Development and Characterization: Puppet Figures of Kasperltheater (Martha Freeman); The Argentine Creole Puppet Theatre (Donald S. Castro); A Chronology of European Theater Events involving Masks, Puppets, and Other Performing Ofjects, 1887-1939 (John Bell); An Interview with Lou Bunin: "Being a Puppet" (Kathryn Grow-McCromick); Po(p)litieke Satire Vlaamse Realiteit? (Freek Neirynck); Theater of the 20th Century as Theater of the Performing Object (John Bell); Domestic Resurrection: The Bread and Puppet Theater (James Fisher); book reviews.

Puppetry Yearbook Volume 2
1996 0-7734-8799-9
A valuable examination of the artistry of the puppet stage, past and present. The Puppetry Yearbook creates a forum for new scholarship, as well as critical examinations of the growing number of international and multicultural artists and groups turning to puppets as a profound symbol that can both represent and transcend its human model. Submissions should be addressed to: James Fisher, Editor c/o Theatre Department, Wabash College Crawfordsville, IN 47933 tel. (317) 364-4394 Fax: (317) 364-4295. Submissions may be 5,000-10,000 words in length, prepared in any one of the standard notation formats, should be sent in duplicate accompanied by stamped, self-addressed envelope. ISSN: 1070-3624 Volume 2:The Perception of "Puppetness" in Legacy of Modernism (Robert S. Petersen); Ancient Greek Theater, Noh, Bunraku, and Craig (Nancy L. Staub); "Gentlemen, The Marionette!": Edward Gordon Craig, Floyd Dell, and the Über-marionette (James Fisher); Histories of Gombeyatta: South Indian String Puppets (Michael Schuster); Visual Theater in South India: Gombeyatta-Puppet Traditions (Michael Schuster); Serious Humor: The Ritual Clowns of Indian and Indonesian Puppetry (Nathan Kumar Scott); A Brief Panorama on Cuban Puppetry (Freddy Artiles); The Glove Puppet Theater of Punch and Judy (Martha Feehan); The Origin and Progress of W. J. Bullock's Royal Marionettes (John Phillips); Music in Movement: The Collaboration of Julie Taymor and Elliot Goldenthal (Nancy L. Staub); Marionettes et Acteurs, des collègues faits pour s'entendre (Freek Nerynck); Satori in a Garbage Can (Bill Stout); book reviews.

Puppetry Yearbook Volume 3
1997 0-7734-8646-3
A valuable examination of the artistry of the puppet stage, past and present. The Puppetry Yearbook creates a a forum for new scholarship, as well as critical examinations of the growing number of international and multicultural artists and groups turning to puppets as a profound symbol that can both represent and transcend its human model.

Puppetry Yearbook Volume 4
2000 0-7734-7690-3
A valuable examination of the artistry of the puppet stage, past and present. The Puppetry Yearbook creates a forum for new scholarship, as well as critical examinations of the growing number of international and multicultural artists and groups turning to puppets as a profound symbol that can both represent and transcend its human model. Submissions should be addressed to: James Fisher, Editor c/o Theatre Department, Wabash College Crawfordsville, IN 47933 tel. (317) 364-4394 Fax: (317) 364-4295. Submissions may be 5,000-10,000 words in length, prepared in any one of the standard notation formats, should be sent in duplicate accompanied by stamped, self-addressed envelope. ISSN: 1070-3624

Puppetry Yearbook Volume 6
2005 0-7734-5830-1
A valuable examination of the artistry of the puppet stage, past and present. The Puppetry Yearbook creates a forum for new scholarship, as well as critical examinations of the growing number of international and multicultural artists and groups turning to puppets as a profound symbol that can both represent and transcend its human model. (23 Black & White Photographs) Submissions should be addressed to: James Fisher, Editor c/o Theatre Department, Wabash College Crawfordsville, IN 47933 tel. (317) 364-4394 Fax: (317) 364-4295. Submissions may be 5,000-10,000 words in length, prepared in any one of the standard notation formats, should be sent in duplicate accompanied by stamped, self-addressed envelope. ISSN: 1070-3624

Puppets and Shadows a Selective Bibliography to 1930
1997 0-7734-8573-2
This reprint of the 1931 sourcebook features a worldwide bibliography. Areas include: Puppets, Historical and Critical; Modern Puppets; Puppets in Education; Puppet Construction and Technique; Puppet Plays; Shadows, Historical and Critical; Shadow Plays; Bibliographies; Miscellanea; Magazines and Poetry. The worldwide collection ranges from Belgian to Egyptian to Turkish, includes Asia and Europe.

Reconstruction-analysis of Buried Child by Playwright Sam Shepard
1992 0-7734-9810-9
This book is the product of a computer-aided text analysis of Sam Shepard's Buried Child. Its methodology centers on the idea that one gains a greater understanding of a "whole" from a complete analysis of its parts, the parts of a playscript being each character's dialogue and the stage directions. The computer performed a double breakdown of the script: first, the separate parts in full-line text; second, formatting the separate parts into individual concordances. (Thus "reconstructing the text."). The human activity is also on two levels. First, an analysis of full-line text; then the analysis of the concordance files. The investigation is concluded with an analytical/critical essay comparing the project's findings with that of published critical analyses.

Reinterpreting the Plays of Arthur Miller: An Approach Using Cultural Semiotics and New Historicism
2010 0-7734-1365-0
This study uncovers untapped symbolic layers in some of Miller’s best-known plays by linking them to famed media events or social concerns of the period of each play’s initial production.

Relationship of Oral and Literate Performance Processes in the Commedia Dell'arte Beyond the Improvisation/memorisation Divide
1995 0-7734-9003-5
Beyond the Improvisation/Memorisation Divide This study argues that the performers who developed the commedia dell'arte in the 16th century did so by applying oral storytelling techniques to a multi-performer genre. The book argues that the predominant documentary evidence of this theatre phenomenon, the eight hundred extant scenarios, can be examined as specific literate elements in a theatrical production process which can be delineated in relation to other well-documented oral processes. Extensive analysis of scenarios from different collections demonstrates how the scenarios are structured for, and might have functioned in, performance: they provided a series of clear schematic units for which the performers could develop specific formulaic material able to be quickly and fluently strung together to create a seamless whole. Further analysis distills the scenarios into a finite list of categorized performance units to create a notional compendium of all the sorts of schematic material for which the performers would have needed to generate formulaic utterances and actions, a sort of 'encyclopedia of the performable' which influenced not only this genre but much subsequent theatre practice.

Relationships Between Score and Choreography in Twentieth-Century Dance Music, Movement and Metaphor
1992 0-7734-9552-5
This study examines the aesthetic interdependence of the two disciplines. It begins with a questionnaire-based survey which reveal the pervasive influence of music on a viewer's perception of movement. It proposes a paradigm which can be used to identify and categorize relationships between choreography and score. Acknowledged classics such as Apollo, Agon, Errand Into the Maze, and The Catherine Wheel are subjected to detailed choreomusical analysis, utilizing the paradigm as part of a comprehensive examination of music-movement affinities. Current dance scholarship has virtually ignored the area of music-dance relationships, so this book will be useful for courses on music for dancers, dance philosophy and aesthetics, dance history, choreography, movement and analysis, and other areas of dance scholarship.

Repertory of Marionette Plays
2005 0-7734-8575-9

Representation of London in Regency and Victorian Drama (1821-1881)
2000 0-7734-7745-4
During the 19th century, the proportion of the population living in cities increased significantly, and the experience of life for those undergoing the urbanising process changed radically. This work examines theatrical responses to this phenomenon, concentrating on plays treating the experience of life in the metropolis as it changed over a 60 year period. There is a particular, though not exclusive, focus on the social class level involved: popular melodrama treats issues very close to the actual experiences of those attending the melodrama houses, many of them in the East End and on the Surrey side of the Thames, away from the fashionable theatres. Cross-references are made to popular fiction and non-fiction where relevant, as well as to major cultural and historical changes. Issues include crime, policing and prisons; changing attitudes toward the underclass; the search for occupation and finding a space to live; relationship between past and present; plight of the migrant; the impact of the railways.

Richard Brinsley Sheridan and Britain's School for Scandal
2007 0-7734-5494-2
This book examines the life and work of Richard Brinsley Sheridan (1751-1816) and his significant and unique place in the theatrical and political life of Great Britain. A man of middling background, he was simultaneously a leading Whig politician and, because of the success of his two plays, The Rivals (1775) and The School for Scandal (1777), the most dominant figure in the British theatre during the last quarter of the eighteenth century. Theatre historians have tended to view these works as manners comedies which are long on style but appropriately short on substance. Therefore, previous criticism of the plays has concerned itself mainly with questions of genre classification, leading to an under appreciation of Sheridan’s historical context. This book argues that, given the fact that the British theatre was central to the discussion and formation of the nation’s evolving ideology, Sheridan’s dramaturgy, far from being empty of content, offers snapshots of the state of negotiations between the classes over the nature of British identity centering on issues of money, gender, class, morality, and language.

Rite of Redemption an Interpretation of the Films of Ingmar Bergman a Revised Collated Edition
1995 0-7734-8892-8
An analysis of Bergman's artistic sensitivity to the problem of redemption in seven screenplays, The Rite, The Virgin Spring, Hour of the Wolf, Shame, Passion of Anna, The Touch, Cries and Whispers.

Role of the Chou ("clown") in Traditional Chinese Drama
2007 0-7734-5303-2
This is the first Western language book to examine the chou (“clown”) role-type in traditional Chinese drama — a role-type credited with so much importance that some critics insist that “without the chou, there would not be drama.” This assertion is evaluated through an analysis of historical documents and translated play texts, fieldwork research, and from the perspectives of ethnomusicology and anthropology. The resulting analysis of the role-type, considered across different eras of history and modes of performance, teases out the central joking mechanisms employed by the chou role in a variety of social contexts. The performance of comedy as a part of exorcistic festivals and funeral rituals is investigated, while also examines the function of the chou in providing moral teaching. This book contains 1 black and white photograph and 11 color photographs.

Rudolph Wurlitzer, American Novelist and Screenwriter
1992 0-7734-9643-2
This study gives a novel-by-novel analysis of Wurlitzer's works, relating his fiction to the writings of the Beats, Beckett, and other influences. Each of his novels centers around a literal or metaphorical West where the cultural bearings of the protagonists are brought under pressure, returning again and again to issues of cultural breakdown and isolation. A separate chapter is devoted to his work for the cinema and the strong continuity between his `road movies' and his fiction. This is the first critical study of Wurlitzer's work and has been prepared with the help of the novelist himself.

Scene Design at the Court of Louis XIV - The Work of the Vigarani Family and Jean Berain
2003 0-7734-6675-4
This study adds another insight into the period of Luis XIV – that the confluence of the theatrical arts from older traditions developed to shape a distinctly French style which all pertained to the glorification of the Sun King. While previous studies have stressed the literary and musical side of the performances of the period, this study examines the settings and scene designs which completed the picture for the mythologies. Besides giving an account of the festivities of Versailles and setting them in their social environment, this work relates the spectacles to the political and social milieu, incorporating both contemporary literary theory and cultural history.

Scenery, Set and Staging in the Italian Renaissance Studies in the Practice of Theatre
1996 0-7734-8814-6
Papers collected in this volume were given at the Arts Centre, Aberystwyth, in March, 1993, at a conference organised to coincide with the English premiere of the first English-language staging of Pietro Aretino's Talanta. Grants had been obtained to construct the Roman perspective set described with such enthusiasm by contemporaries such as Vasari and Aretino himself for the Venice staging of the play in 1542. According to current research, the set has been seen as one of the earliest attempts to reproduce a real place on a stage with topographical accuracy. This set had been reconstructed full-size on the Aberystwyth stage according to the suggested source, and the play had been translated, adapted with new music and modern choreography. Experts on Renaissance theatre practice and in particular on aspects of staging and set-design gathered for this conference. Contains many photographs and drawings.

Secret Messages in African American Theater
2006 0-7734-5642-2
This book is the first anthropological study on the political economy of African American theater and its use in contesting power and oppression through various ‘hidden’ scripts embedded in rituals, rhetorical strategies, and theatrical conventions, including dialogue, stagecraft, lighting, color, design, and spectacle. This ethnography focuses on the pre-production, production, and post-production of plays during the 2000-2001 theater season, with special emphasis on Ntozoke Shange’s world premiere of Sparkle: The Musical (an adaptation of Joel Schumacher’s 1976 hit screenplay of the same title). Productions of African American theater point to the real and concrete ways that classism, sexism and oppression affect and influence contemporary constructions of black identity, life, and culture, and what can be done to countermand them.

Selected Plays of Irish Playwright Teresa Deevy, 1894-1963
2003 0-7734-6635-5
This volume is a welcome re-issuing of the dramatic writings of one of Ireland’s most important women writers. Teresa Deevy’s plays provided a viable female viewpoint on the tensions between individual selfhood and nationhood in Ireland in the 1930s and 1940s. This volume includes her most critically acclaimed writing for Dublin’s Abbey Theatre: The King of Spain’s Daughter, Katie Roche and The Wild Goose. It also publishes, for the first time, her compelling radio drama, Supreme Dominion. Deevy’s plays have continued to attract popular interest since her death in 1963, and her importance in terms of modern theatre, Irish studies, and women’s studies cannot be underestimated.

Selective Study of English History Plays in the Period Between 1960 and 1977
1985 0-7734-0197-0
Includes discussion of Robert Bolt's A Man for All Seasons, State of Revolution, and Vivat! Vivat Regina!, John Osborne's Luther, John Whiting's The Devils, and Peter Shaffer's The Royal Hunt of the Sun.

1996 0-7734-8745-X
Selene is quintessential court theater, written by a courtier, performed before courtiers, and depicting events at a fictitious court. This volume proposes that after 1546, when he entered the service of the Duke of Ferrara as Secretary, Giraldi the playwright had more practical and pressing concerns than the pursuit of literary fame. Charged with the organization of dramatic entertainment, his prime obligation was to devise lively theatrical spectacles for the enjoyment and edification of his peers at court, and he used the theater as an instrument of moral and religious persuasion and as a vehicle for dynastic propaganda. In 1546 Giampaolo Manfrone had been convicted of two assassination attempts against Duke Ercole; it was politically apt, therefore, that Giraldi's choice of plot for the cautionary drama Selene should have been the downfall of a power-hungry noble intent upon murdering his sovereign. The introduction discusses personal experiences and cultural influences at work in Selene. Chapter I examines Giraldi's exposé of court life written for the guidance of an aspiring young courtier and based on his knowledge of the Ferrarese court. Chapter II illustrates his close rapport, as dramatist, with the Duke. Chapter III sets the play in the context of the burgeoning contemporary literature concerning the excellence of women. The Notes to the play comment on its ideological content, resolve syntactical problems, and clarify the movements of the actors on stage. The Glossary lists all word-forms found in the text not represented in modern Italian.

Senso - Visconti's Film and Boito's Novel a Case Study in the Relation Between Literature and Film
1991 0-7734-9746-3
Brings together for the first time a modern translation of the 19th century novella, a discussion of the literary and historical background to the story, an account of the making of Visconti's film, and an analysis of the film itself. It offers new information on both the print-text and the film-text, illuminating the creative genius of Camille Boito and Luchino Visconti. This is an original study in an increasingly important area of academic scrutiny -- the relationship between literature and film.

Seven Plays by Argentine Playwright Susana Torres Molina
2006 0-7734-5620-1
This anthology features a collection of translated plays by Argentine actress and playwright Susana Torres Molina. The seven pieces gathered in this collection are some of the works that established Torres Molina’s reputation as one of the most outstanding and innovative female playwrights in contemporary Latin American theatre. Each piece not only reveals the author’s creative talents as a dramatist, director, and stage designer, but also offers an aesthetic perspective that challenges more realistic and conventional forms of playwriting.

Sexuality and Politics in Renaissance Drama
1991 0-88946-078-7
Focuses on the effects that radical instability, provoked in part by economical and theological transformations, had on gender relations and women's behavior during the English Renaissance.

Shakespeare Productions of Max Reinhardt
2005 0-7734-6231-7

Silence of God Creative Response to the Films of Ingmar Bergman
1989 0-88946-951-2
A perennially popular reprint about the filmmaker who "exposed on film his own inner vision."

Six Medieval French Farces Translated, with an Introduction and Commentary
1999 0-7734-8038-2
This volume offers English translations of six French farces dating from the beinning to the mid-16th century. Each play portrays particular features of French farce. The author has clearly illustrated these informative aspects, allowing the reader to appreciate the finer distinctions between works within the genre. The Introduction provides a clear profile of the corpus of plays as well as a brief but enlightening history of farce itself. Each chapter/play includes its own introduction and set of notes, providing historical, cultural, and staging information.

Socialist Shakespeare Productions in KÁdÁr-Regime Hungary: Shakespeare Behind the Iron Curtain
2009 0-7734-4746-6
This study examines how productions of Shakespeare’s plays subverted or strengthened the official doctrines of late Socialist Hungary.

Socio-Political Theatre in Nigeria
1992 0-7734-9963-6
This work is a study of Nigerian drama from the eve of independence to the 80s with supportive materials from Nigeria's socio-political history. It examines the appropriateness and usage of the term "Nigerian Drama" and sets limits on its meaning. It also looks at what influences the Negritude movement and independence had on Nigerian drama, and why it is important to study Nigerian drama of socio-political concern. Examines pre-Colonial Nigeria, the style of politics and electioneering that marked the first Republic, the Marxist phenomenon in drama, the effects of the civil war, and the drama that resulted. Includes play synopses, biographies of playwrights, and glossary.

Staging and Transformation of Gender Archetypes in a Midsummer Night’s Dream, M. Butterfly, and Kiss of the Spider Woman
2003 0-7734-6891-9
This study employs Jungian and post-Jungian hermeneutics to address psychological, social and political perspectives in A Midsummer Night’s Dream, M. Butterfly, and Kiss of the Spider Woman. These plays and their Broadway productions contain mythic narratives and dreams that Jung described as visionary drama. Peter Brooks’s production of A Midsummer Night’s Dream stages Jungian archetypes that bridge modern and postmodern production sensibilities and aesthetics. David Henry Hwang’s M. Butterfly deconstructs patriarchal personae and stages projection and introjection. Terrence McNally’s Kiss of the Spider Woman, an adaptation of Manuel Puig’s novel, demonstrates the fluidity of meaning in postmodern archetypes. This book will engage theatre scholars and practitioners as well as scholars of popular culture and interdisciplinary studies. It models archetypal hermeneutics as a useful analytical tool for postmodern performance criticism. Illustrated with production photographs.

Staging Irish Dramas in Japanese Theatre: Studies in Comparative Theatrical Performance
2014 0-7734-3515-8
This unique collection of essays explores the relationship between Japan and Ireland and their theatres, appealing to both scholars and students in a multitude of disciplines. It demonstrates the complex cultural interaction from both an historic and present practice approach to reveal the relationship between intercultural Irish theatre and the traditional theatres of Japan.

Staging of Shakespeare's Romeo and Juliet as a Ballet
1992 0-7734-9856-7
This study focuses on three stagings of the ballet: Vincenzo Galeotti's 1811 production of ROMEO OG GIULIETTA for the Royal Danish Ballet in Copenhagen; Leonid Lavrovsky's 1940 full-length production for the Kirov Ballet in Leningrad; and Antony Tudor's 1943 one-act production for Ballet Theatre in New York. The ballets chosen define dance tradition at a given period or extend the dance through some crucial enlargement. Also, they reflect the aesthetic theories and tastes of their choreographers, the technique and training of the dancers, modes of artistic interpretation and performance, and, finally, the politics of the country as expressed through company production policies and selections. The book uses contemporary reports, musical scores, stage plans, production pictures, journal entries and the recorded memories of the performing and producing artists.

Staging Shakespeare’s Hamlet: A Director’s Interpreting Text Through Performance
2005 0-7734-6117-5
The aim of this study is to investigate the original text and background of Shakespeare’s Hamlet by separating the play from four hundred years of accumulated layers of theatrical and critical tradition. The outstanding popularity of the tragedy has caused the text to be altered according to the particular tastes and morals of various ages; the critical distortion occurred most notably in the Romantic Period (with Goethe, Coleridge and Hazllitt) and was perpetuated by performers of the Victorian Age and beyond. Even when cuts and changes have gradually been abandoned in favour of Shakespeare’s original text, tradition has proceeded to present, by and large, the Romantic Hamlet of the nineteenth century and an infallible protagonist strangely at odds with the rest of the Shakespeare cannon, as Joseph Hunter observed in 1845 when he said of the play that it was ‘quite at variance with the ordinary modes of thinking of its author’. In 1930, Wilson Knight stated that the price of sentimentalizing Hamlet is our failure to understand him. For the benefit of scholars as well as theatre people, this investigative study of the text and tradition of Hamlet hopes to demonstrate that Shakespeare’s original play and its hero were much less of a mystery than commonly perceived today.

Staging Yeats in the Twenty-First Century
2006 0-7734-5570-1
An avant garde playwright whose theories of stagecraft evolved through performance experience, W.B. Yeats left a complex body of dramatic materials. This book establishes dramaturgical criteria, based on the playwright’s own words, by which all productions of his plays might be judged. Then, through an analysis of Yeats’s plays in performance, it suggests how new stage productions might best engage audiences without violating either texts or theories. Based on fifty years of study and publication about Yeats’s stagecraft and on direct experience with the plays in production both in America and in Ireland, this study develops dramaturgical plans for new productions and shares with readers behind-the-scenes notes from the author’s American Yeats production and from the first three years of James W. Flannery’s International W.B. Yeats Theatre Festival at Dublin’s Abbey Theatre. Its basic premise turns on the belief that with new technology and with directors who accept the text as living theatre worthy of imaginative stage productions for a more general audience, rather than period pieces intended for an elite few, Yeats could finally emerge as a dramatist on a scale with Beckett, Strindberg, O’Neill and other major innovators of the modern stage.

Standing of the German Cinema in Great Britain After 1945
2003 0-7734-6786-6
This is the first study available of the standing in Great Britain of the post-war German cinema, seen here as part of the wider issue of foreign-language film distribution and exhibition in the UK. An analysis of the relevant structural conditions of the industry as well as public attitudes toward non-English-language cinema is followed by a detailed reconstruction of the way films from both West and East Germany have been made available to British audiences, including an assessment of how they have been promoted both commercially and culturally. The final chapter aims at ascertaining to what extent the critical response to contemporary German features is a reflection of the general British perception of the films’ country of origin. An extensive appendix presents a list of some 800 feature films, with details of their screening on British television and in the cinema over five decades, as well a bibliography that includes the details of hundreds of film reviews, mainly from newspapers and specialist publications.

State Acting Academy of East Berlin - A History of Actor Training From Max Reinhardt’s Schauspielschule to the Hochschule FÜr Schauspielkunst “ernst Busch”
1999 0-7734-7916-3
This study deals with the establishment of Reinhardt's school, the training that took place until WWII (including the implementation of nazi officials at the institution), the program of study during the German Democratic Republic, and finally the Hochschule für Schauspielkunst "Ernst Busch". By offering a detailed account of actor training methods which existed shortly after the fall of the Berlin Wall, the study examines the shift in emphasis from a socialist Realistic school of acting, as one of the state institutes of the GDR, to a more eclectic, broad-based approach. As witneessed in 1993, the tprofram showed the influence of Reinhardt's theories of acting as well as those of Stanislaviski and Brecht. Several of the schools' main teachers and leaders throughout its almost ninety year history are profiled, with their corresponding theoretical views included.

Study of Theatrical Vision in Arthur Rimbaud's Illuminations
1993 0-7734-9349-2

Teatro Argentino: La DirecciÓn Teatral En Buenos Aires
2009 0-7734-4869-1
This work examines the hermeneutic work of theater directors as artists, a rarely considered aspect of contemporary theater in Argentina. In Spanish.

Teatro y Revolución Cubana - Subversión y Utopía En Los Siete Contra Tebas De Antón Arrufat / Theater and Cuban Revolution - Subversion and Utopia in Seven Against Thebes by Antón Arrufat
2002 0-7734-7140-5
This study offers a profound study of Arrufat’s play, using most recent critical trends concerning the performance aspect of the drama. It examines the genre of the drama and its relationship to the phenomenon of the Cuban Revolution, Arrufat as a Cuban playwright of the 60s and his re-writing of the Greek theme of the fratricidal fight in Aeschylus’ Seven Against Thebes. Also contains a recent interview with Arrufat in which he describes the social circumstances surrounding the play and some of his classical re-writing techniques. In Spanish. “With the useful journey through Seven Against Thebes and its epoch furnished by this book, two assertions are well-established: first, the play is one of the masterpieces of Cuban theater of all time; and second, Barquet’s study constitutes a model of criticism in the field of Latin-American drama.” – José A. Escarpanter

Techniques and Training for Staged Fighting
1999 0-7734-8200-8
This study offers practical suggestions for training actor-combatants in a university environment. Guidelines for teaching staged fighting are based on the author's first-hand experience in both performance and education at the college level. The study also examines the ethics of staging violence in light of modern sociological studies.

Textual Analysis of Marlowe's Doctor Faustus with Director's Book Stage Action as Metaphor
1996 0-7734-8802-2
This study establishes the critical need for stage action in order to understand fully the theme of Marlowe's Doctor Faustus. Marlowe's primary intent is to invert the morality play, illustrating the distortions and ambiguities of a systematized religion and to establish the human dilemma when man is faced with moral choices, using emblematic action for an effect opposite to that of the traditional moralities. Chapters consider textual problems inherent within any study of Doctor Faustus; the importance of audience response; a critical review of historical staging practices (including stage size, costuming, and special effects); a scene by scene analysis of the text with special attention to the action as metaphor; and a final chapter which is a separate director's book, with the text reproduced, together with the researcher's marginal notes on specific blocking, and with footnotes emplacing and expanding on the metaphorical action as it appears in the text.

The History of the Performance of American Drama in Spain 1912-1977: Theatre as a Weapon Against Political Authoritarianism (3 Volume Set)
This study traces the evolution and significance of American drama and theater in Spain between 1912 and 1977 offering fresh evidence how American theater clashed against a largely stale, xenophobic Spanish establishment. It explores how the meanings surrounding American productions were negotiated both on the stages and outside and how American drama has impacted Spanish theater by challenging the political status quo.

Theater Directing - Art, Ethics, Creativity
2000 0-7734-7828-0
This book is a presentation of a directorial style and a method of teaching directing. First, the book presents, for the first time in English, the directorial studies, training and steps of a directorial career in Poland. Second, the book introduces, explains, and describes a method of teaching and exercising a ‘creative directing’ – based on imagination, oriented toward the unknown, asking fundamental existential, philosophical, moral, and political questions, as to opposed to ‘functional directing’ which focuses on the technical, practical, and managerial aspects of directing. The book is oriented toward readers interested in 20th century theater, but at the same time, it is a textbook for directing students, and can serve teachers on both high school and college levels. Supplemented by 60 photographs from various productions directed by the author.

Theater of Galdos -- Realidad, 1892
1993 0-7734-9254-2
This new annotated edition of the great Spanish writer Galdós' first staged play, Realidad, marks the centary of its début in 1892. The compromise to which the new dramatist was subjected in the creative process is traced through the text by reference to the four sets of manuscripts conserved in the Casa-Museo in Las Palmas. Much of the confusion and apparent contradiction found in the published text of this ambitious play is thus clarified, and its latent dimensions revealed.

Theater of Galdos: La Loca De La Casa (1893)
1996 0-7734-8862-6
This new annotated edition of Galdós's second staged play, La loca de la casa (1893), is the second in the series The Theatre of Galdós launched in 1992 to mark the centenary of this great writer's turn to the stage. All manuscripts, adaptaciones and reviews available in the Casa-Museo in Las Palmas and the Biblioteca Nacional in Madrid have been consulted in order to provide as informed an edition as possible. Issues of class and gender are of particular interest in La loca de la casa, where social classes clash and then fuse as the power of motherhood is exploited and arguably abused.

Theatre as the Essential Liberal Art in the American University
2002 0-7734-7182-0
This is the first work to construct a unified theory of educational theatre and suggest ways in which that theory may apply to everything from curriculum to educational theatre design. Part One investigates learning theories and suggests that educational theatre might be a nearly perfect paradigm for those theories. Part Two offers a sample curriculum and what that curriculum requires of the theatre facility. While supporting the possibility that a minority of students might achieve a career in theatre, it stresses the reality that most will not. Preparing this majority – through theatre education – for a broader array of futures requires a reassessment of goals and resources.

Theatre of JosÉ Martin Recuerda, Spanish Dramatist Dramas of Franco and Post-Franco Spain
1993 0-7734-9356-5
This collection provides scholars and researchers unique access to valuable, but heretofore unpublished work by one of Spain's most talented contemporary playwrights of the Franco and post-Franco eras. Of particular importance is the inclusion of El Enemigo, a psychological drama written in 1943 to which many of the elements of his more mature theatre may be traced. The remaining plays written between 1982 and 1991 are crucial in helping us gain greater insight and appreciation for the development of his theatre during the first full decade of Democratic Spain. The prefatory study and introduction provide a solid framework, and the volume contains the most extensive critical bibliography on his theatre to date.

Theatre of Yesterday and Tomorrow Commedia Dell'arte on the Modern Stage
1992 0-7734-9529-0
This is an examination of the widespread influence of commedia dell'arte, one of the rarest of theatrical forms - a non-literary theatre that emphasized the skill of the improvising actor. In the twentieth century an astonishingly diverse group of playwrights, actors, directors, and designers rediscovered the art of commedia in ways that permanently changed the direction of the modern theatre. Luigi Pirandello, Edward Gordon Craig, Vsevolod Meyerhold, Max Reinhardt, Jacques Copeau, Dario Fo, Eugenio Barba, and many more sought liberation from formal literary drama. They viewed commedia as theatrical art at its pinnacle of expressivity and creativity. Includes chapters on Italy, Spain, England, Russia, Eastern Europe and Scandinavia, Germany, France, and the United States.

Theatrical Training During the Age of Shakespeare
1995 0-7734-8881-2
This collection of essays examines the method and traditions of Elizabethan actors' training. The work includes chapters on the education of William Shakespeare, the training of the apprentices in the professional theatre companies, the organization and instruction of the "Boys Theatre Companies" and recommendations for application in contemporary classrooms. The first book in print on this subject, this volume will be of interest to both theatre and English teachers. Because some chapters focus on the performance education of young adults and children, many of the recommendations can be applied to performance training.

Three Plays with an Exit
1995 0-7734-0007-9
Three short poetic dramas about family dynamics, and contemporary relationships: Cuckoo, Ollie, and Fran; A Couple of Damned Spots; and Cabin Fever.

Three Renaissance Comedies
1991 0-7734-9450-2
This volume collects three Italian Renaissance comedies not readily available to the English-speaking reader and director: Ariosto's Lena (never before translated into English); Ruzante's Posh Talk (also never translated from the Paduan and Bergamask dialects); and Aretino's Talanta. Of contrasting styles, they share some characteristics, which mirror the advance of all Italian literature from humanism to the Counter-reformation, from Bembo to Sperone Speroni and from rudimentary or symbolic staging to a comparatively sophisticated realism in the treatment of stage space. With illustrations.

Traditional Theatre of Japan
2006 0-7734-5798-4
There has never been a comprehensive survey in English of all the main forms of traditional Japanese drama – kyogen, noh, kabuki and puppetry. Individual works have been written on each form in abundance, some of them in English, and the majority of them are excellent, but they do not make the reader aware of the close connections between all of these older theatrical forms – their common origins in sacred dance, the high degree of stylization they all share, the selectivity in their use of gesture, the symbolic function of costume, the strict code of honour, which westerners often find so difficult to understand, and the heady mixture of violence with the appreciation of elegant form and a fragile, ephemeral beauty. The forms and conventions of theatre involved are also unique and challenge many of the theories that have been developed about the western stage. In fact, traditional Japanese drama is an area of theatre which should form an essential part of every dramatic specialist’s education.

Transitions in Italian-american Immigrant Theatre- Transients to Residents
2012 0-7734-2664-7
This book is a comprehensive and detailed study of the Italian immigrant theatre of New York City from 1746 to 1899. It is chronologically and geographically detailed, along with details about the actors and principals of that theatre. The author provides factual, personal and anecdotal stories about the principals of this theatre, such as Lorenzo Da Ponte, Adelina Patti, Guglielmo Ricciardi and Antonion Maiori. Through these details, the book explains why theatre was so important to the Italian immigrant population, suggesting that, for one thing, life among the immigrants was itself dramatic, if not theatrical. With its thoroughness and emphasis on the humanness of Italian immigrant society clearly conveyed, this book will be an important contribution to scholarship.

Translation of Jose Zorrilla’s Don Juan Tenorio
2003 0-7734-6732-7

Trissino's Sophonisba and Aretino's Horatia Two Italian Renaissance Tragedies
1997 0-7734-8659-3
These are the first English translations of two of the most significant tragedies of the Italian Renaissance. Trissino's Sophonisba, written in 1515, is considered the first "regular" tragedy written in Italian and the one which paved the way for the other Italian and European tragedies of the century. Aretino's Horatia, published in Venice in 1546, has been hailed not only as one of the most important works of Aretino's literary production, but also as one of the best tragic compositions of sixteenth-century Europe.

Tristana - BuÑuel's Film and Galdos's Novel a Case Study
1995 0-7734-9089-2

Triumph of Ballet in Moliere's Theatre
1992 0-7734-9567-3
This study points to the evidence that during Molière's most creative period in Paris, comedy and ballet were increasingly integrated in a unified spectacle. They are not viewed as competing art forms, but in a natural and complementary relationship. In the evolution of comic form, ballet is seen to offer aesthetic patterns through which comedy comments on characters who themselves, in the cyclic circular rhythms regulating behavior and speech, possess a strong affinity with ballet.

Use of Drama in the Rehabilitation of Violent Male Offenders
2003 0-7734-6849-8
This study examines male criminal violence; its causes and explanations; and how creative drama-based criminal justice programs can respond to working with violent men. It will serve as a guide to innovative creative arts work in criminal justice settings, as a discussion of research methods, and as a series of recommendations for professional practice. It provides practical examples of how theory, empirical research and multi-disciplinary professional practice can be integrated to develop more innovative creative responses to male violence. Drawing on five years of programme experience with offenders, five sections provide step-by-step instruction on how to use drama based interventions in programmes dealing with violent behavior. It will interest scholars and practitioners in the fields of criminology and criminal justices, arts therapies, psychology, and the performing arts.

Use of Masks in Igbo Theatre in Nigeria
2008 0-7734-5175-7
This study examines the aesthetics of Igbo mask theatre in South-Eastern Nigeria. The author contextualizes this art in contemporary Igbo society, at a time of renewed global interest in the theater of masks. The implications of the theater’s association with new religions (Islam and Christianity) and the extant vestiges of a traditional religion that has changed beyond recognition.

Vera; Or, the Nihilist
1989 0-88946-931-8
A critical edition that sets out the final version of Vera, Wilde's first performed play, as it was presented at its premiere on August 20, 1883, at the Union Square Theater in New York

Violent Woman as a New Theatrical Character Type
2007 0-7734-5445-4
This book analyzes plays by Canadian women that deal with real-life incidents of violent women. In each of the plays under consideration, the playwright is theatrically engaged with the social meaning of the woman’s violent act, asking how it was interpreted in public discourse, and investigating the implications of that interpretation. The female playwrights in this study have each made individual choices about the form in which they will tackle their tricky subject matter, and their choices make for varied and intriguing relationships with their audiences. Each play is also placed in the context of its social milieu by means of an examination of some of the inter-textual discourse surrounding its appearance. In every case, the fundamental question remains: what and how does the violent woman mean?

Voice, Boundary and Identity in the Works of James Joyce
2006 0-7734-5522-1
This book is a study of the weaving and unweaving of particular subject positions within James Joyce’s major works (Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and Finnegan’s Wake) through representations of voice, which necessarily negotiates identity, authority, and subjectivity. In the narrowest sense, voice reveals itself as a portion of the narrative which in turn stands as part of the discourse of a particular work. A movement to a more broadly conceived view of voice has it supersede the narrative and function throughout the discourse. Permutations of these concepts locate voice at nearly all levels of Joyce’s fiction. This work explores the myriad of ways that Joyce portrays and negotiates identity through voice and the conceptualization of boundaries that exist “in between” different and distinct subjectivities. The author explores those negotiative identities and subjectivities from within the conceptualization and representation of voice. More often than not, however, a study of voice reveals the inevitability of specific identities to merge and flow into one another, despite futile attempts to retain individuality. The space existing between two seemingly distinct voices blurs in Joyce’s fiction in the din of conversation and in the fuzziness of representation.

Volume One the Italian-american Immigrant Theatre of New York City 1746-1899: Book 7 Singers and Aerial Swingers, Actors and Comedians at Mid Century 1850-april 1853
2012 0-7734-3935-8
This book is a comprehensive and detailed study of the Italian immigrant theatre of New York City from 1746 to 1899. It is chronologically and geographically detailed, along with details about the actors and principals of that theatre. The author provides factual, personal and anecdotal stories about the principals of this theatre, such as Lorenzo Da Ponte, Adelina Patti, Guglielmo Ricciardi and Antonion Maiori. Through these details, the book explains why theatre was so important to the Italian immigrant population, suggesting that, for one thing, life among the immigrants was itself dramatic, if not theatrical. With its thoroughness and emphasis on the humanness of Italian immigrant society clearly conveyed, this book will be an important contribution to scholarship.

Women in the Theatre of GaldÓs From Realidad (1892) to Voluntad (1895)
1990 0-88946-391-3
Examines in depth the great Spanish novelist's turn to the stage in 1892 and his simultaneous shift in approach towards the roles of women in society. Particular attention is paid to the creation of and compromise involved in Galdós' dramatic debut, Realidad, which marks a significant turning point in both artistic and ideological terms. Analyzes through the contemporary drama of "the first period" the subsequent evolution of "la mujer nueva" on stage. All the relevant manuscripts, correspondence, and reviews available in the Casa-Museo and the Biblioteca Nacional have been studied in order to present as complete a picture as possible of this crucial phase in Galdós' career.

Work of Vinnette Carroll, an African American Theatre Artist
1999 0-7734-7940-6
This study examines Vinnette Carroll's coantributions to theatre and musical theatre, and especially her work as developer of the song play through her collaboration with composer Micki Grant and her work with Langston Hughes. It focuses on her attempt to revitalize the spirit of the African American theatre experience through h directing, development of the gospel song-play, and her innovative administrative style. Research consisted of evaluating plays written, directed and collaborated on by Carroll in conjunction with the review of available prompt scripts. Critical reviews from public performances were evaluated, historical and biographical data compiled. Interviews with Carroll and other artists with whom she were worked were conducted.

Writers and Performers in Italian Drama From the Time of Dante to Pirandello
1991 0-7734-9717-X
These essays cover much of the span of Italian drama, from its origins, via the Renaissance and the 19th century, to Pirandello and versions for radio and theatre of Svevo's best-known novel. Contributors raise interesting questions concerning the nature of drama and how and where it can be identified.

Yoruba Drama in English Interpretation and Production
1989 0-88946-726-9
The first important work to analyze Nigeria's Yoruba drama, which has grown steadily in popularity in the United States, and clarify its mysteries. Also serves as a reference work for staging Yoruba drama.