Author: Mary Luckhurst
View: 8662One of Europe's greatest playwrights, Caryl Churchill has been internationally celebrated for four decades. She has exploded the narrow definitions of political theatre to write consistently hard-edged and innovative work. Always unpredictable in her stage experiments, her plays have stretched the relationships between form and content, actor and spectator to their limits. This new critical introduction to Churchill examines her political agendas, her collaborations with other practitioners, and looks at specific production histories of her plays. Churchill's work continues to have profound resonances with her audiences and this book explores her preoccupation with representing such phenomena as capitalism, genocide, environmental issues, identity, psychiatry and mental illness, parenting, violence and terrorism. It includes new interviews with actors and directors of her work, and gathers together source material from her wide-ranging career.
Author: Griselda Gambaro
Publisher: Northwestern University Press
View: 8652One of Latin America's most important and prolific writers, Griselda Gambaro has focused on the dynamics of repression, complicity, and violence--specifically, the terror of violent regimes and their devastating effects on the moral framework of society. Information for Foreigners is a drama of disappearance, an experimental work dealing with the theme of random and meaningless punishment in which the audience is led through darkened passageways to a series of nightmarish tableaux. The collection also includes The Walls and Antigona Furiosa.
Author: David Bridel
Publisher: Original Works Publishing
View: 7734Synopsis: I Gelosi (The Zealous Ones) lovingly recreates the world of the commedia dell'arte and tells the story of Italy's first great traveling theatre troupe. In the late 16th Century the Gelosi company takes the provinces by storm, thanks to the beauty, wit and charm of Isabella Andreini, one of the very first women ever to play on the stage. Invited to perform at the Court of King Charles IX of France, the Gelosi become the toast of Europe - until they risk the wrath of the Pope with a virulent theatrical satire. Hounded from the French Court, the company's fortunes sink, despite the increasing brilliance of Isabella's talents. Jealousy, madness, and selfishness tear the company apart. Finally, the Gelosi return to the poverty from whence they came. Cast Size: 6 Males, 4 Females
Author: Jamila Gavin
Category: London (England)
View: 6187The Whitbread 2000 Book of the Year is a haunting and captivating work of historical fiction for children. The Coram man takes babies and money from desperate mothers, promising to deliver them safely to a Foundling Hospital in London. Instead, he murders them and buries them by the roadside, to the helpless horror of his mentally ill son, Mish. Mish saves one, Aaron, who grows up happily unaware of his history, proving himself a promising musician. As Aaron's new life takes him closer to his real family, the watchful Mish makes a terrible mistake, delivering Aaron and his best friend Toby back into the hands of the Coram man. It tells the story of a dark time in English history. Fans of The Boy in the Striped Pyjamas and Goodnight Mr Tom will love this. A great read for children aged 10+. Look out for Jamilla's other titles: The Eye of the Horse The Robber Baron's Daughter The Track of the Wind Wheel of Surya Coram Boy won the 2000 Whitbread Children's Book of the Year, was shortlisted for the Carnegie Medal and has been adapted into a highly acclaimed stage play. Jamila Gavin was born in Mussoorie, India, in the foothills of the Himalayas. With an Indian father and an English mother, she inherited two rich cultures which ran side by side throughout her life, and which always made her feel she belonged to both countries. The family finally settled in England where Jamila completed her schooling, was a music student, worked for the BBC and became a mother of two children. It was then that she began writing children's books, and felt a need to reflect the multi-cultural world in which she and her children now lived.
Author: Rachel Crothers
Publisher: Sagwan Press
View: 7096This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Caryl Churchill
Publisher: MIT Press
View: 1833An early play by one of our leading dramatists, written before her breakthrough successes with Cloud Nine and Top Girls. Like a painting by Escher 'where the objects can exist on paper, but would be impossible in life', Traps is a mindbending dramatic concoction in which the characters can be thought of as living all their possibilities at once.
Author: William S. Haney II
Publisher: Cambridge Scholars Publishing
Category: Performing Arts
View: 7120Different symbolic traditions have different ways of describing the shift of awareness toward sacred events. While not conforming to familiar states of phenomenality, this shift of awareness corresponds to Turner's liminal phase, Artaud's metaphysical embodiment, Grotowski's “translumination,” Brook's “holy theater,” and Barba's “transcendent” theater—all of which are linked to the Advaitan taste of a void of conceptions. This book argues that, by allowing to come what Derrida calls the unsayable, the theater of Tom Stoppard, David Henry Hwang, Caryl Churchill, Sam Shepard, Derek Walcott and Girish Karnad induces characters and spectators to deconstruct habitual patterns of perception, attenuate the content of consciousness, and taste the void of conceptions. As the nine plays discussed in this book suggest, the internal observer lies behind all cultural constructs as a silent beyond-ness, and immanently within knowledge as its generative condition of unknowingness. The unsayable (and the language used to convey it) that Derrida finds in literature has clear affinities with the Brahman-Atman of Advaita Vedanta. Derridean deconstruction contains as a subtext the structure of consciousness that it both veils with the undecidable trappings of the mind and allows to come as an unsayable secret through a play of difference. Although Derrida views theater and the text as mutually deconstructing and claims that presence or unity “has always already begun to represent itself,” the six playwrights discussed here show that cultural performance indeed points through its universally ambiguous and symbolic types toward a trans-verbal, trans-cultural wholeness.
Author: Caryl Churchill
Publisher: MIT Press
View: 1348An extraordinary play combining English folk tales with modern urban life in a physically and verbally stunning creation. The Skriker of English legend is 'a shapeshifter and death portent, ancient and damaged'. In the play we follow in its search for love and revenge, as it pursues two young women to London, changing its shape at every new encounter. Along with the Skriker come Rawheadandbloodybones, the Kelpie, the Green Lady, Black Dog and more, till the whole country is swarming with enticing and angry creatures that have burst from the underworld. 'unwholesome, hypnotic and born in the dark... spellbinding' Independent on Sunday
The Father; Miss Julie; The Ghost Sonata
Author: August Strindberg
Publisher: A&C Black
View: 8746This volume contains three of Strindberg's most famous plays, spanning twenty years of prodigious creativity and recurrent personal crises: The Father, which displays Strindberg's suspicion of women at its most implacable, 'powerful and profound' (Guy de Maupassant); Miss Julie (1888), which he called his masterpiece, and in which he presents with startling modernity the conflict between sexual passion and social position; and The Ghost Sonata (1907), written in physical pain and spiritual torment, which is a phantasmagoric dream play, 'a direct source for the Theatre of the Absurd' (Martin Esslin)."Michael Meyer is the translator most actors turn to when seeking a definitive text" (Sunday Times)
Post-War British Playwrights
Author: Michael Patterson
Publisher: Cambridge University Press
View: 1730This volume provides a theoretical framework for some of the most important play-writing in Britain in the second half of the twentieth century. Examining representative plays by Arnold Wesker, John Arden, Trevor Griffith, Howard Barker, Howard Brenton, Edward Bond, David Hare, John McGrath and Caryl Churchill, the author analyses their respective strategies for persuading audiences of the need for a radical restructuring of society. The book begins with a discussion of the way that theatre has been used to convey a political message. Each chapter is then devoted to an exploration of the engagement of individual playwrights with left-wing political theatre, including a detailed analysis of one of their major plays. Despite political change since the 1980s, political play-writing continues to be a significant element in contemporary play-writing, but in a very changed form.
Author: Caryl Churchill
Publisher: A&C Black
View: 893"A breathless, exhilarating crash course in the low morality of high finance" (Independent) Serious Money is perhaps Caryl Churchill's most notorious play. A satirical study of the effects of the Big Bang, it premiered at the Royal Court in 1987 and transferred to the West End. Since then, it has prompted city financiers the world over to applaud and decry its presentation of their lives. British Telecom refused to provide telephones for the Wyndham's production, writing to say that "This is a production with which no public company would wish to be associated".