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Drama
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Una de las voces más interesantes de la narrativa chilena contemporánea. En estos siete espléndidos cuentos, Patricio Jara nos sumerge…
en los mundos subterráneos de hombres y mujeres que, por diversas razones, son enfrentados a la tragedia. Entre el desierto de Atacama y la periferia de la gran ciudad, los relatos se conectan y nos permiten ingresar al universo psicológico de quienes habitan estos paisajes. Una piloto que diseña las rutas de los aviones, un buzo profesional que no quiere volver al mar después de un accidente y una pareja de investigadores en la desembocadura del río Loa son algunos de los personajes que difuminan la línea entre lo correcto e incorrecto, y que demuestran que el paso de lo cotidiano a lo siniestro es estrecho. Un conjunto de relatos donde lo temible se abre paso con la fuerza del oleaje.
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General fiction, Family storiesDrama
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Una novela sobre el duelo y la alegría de vivir que se ha convertido en un fenómeno internacional. Cuando Yui,…
una joven de treinta años, pierde a su madre y a su hija de tres años en un tsunami, empieza a medir el paso del tiempo a partir de entonces: todo gira alrededor del 11 de marzo de 2011, cuando la ola gigantesca devastó Japón y el dolor se apoderó de ella. Un día oye hablar de un hombre que tiene una cabina de teléfono abandonada en su jardín, adonde las personas acuden desde todos los rincones de Japón para hablar con quienes ya no están y hallar la paz en el duelo. Pronto, Yui emprende su propio peregrinaje hasta allí, pero al levantar el auricular no encuentra las fuerzas para pronunciar una sola palabra. Entonces conoce a Takeshi, un médico cuya hija de cuatro años ha dejado de hablar tras la muerte de su madre, y su vida da un vuelco. La crítica ha dicho:«Un impactante haiku sobre el corazón humano.»The Times «Esta novela posee una fuerza muy sutil. [...] Leerla es como un bálsamo para el alma. [...] Uno de los libros del año.»Waterstones «Un libro bellísimo y muy oportuno, que nos cuenta las consecuencias que quedan de un desastre humanitario mucho después del desastre.»Bookbag «Una lectura imprescindible, un texto precioso.»Kirkus Reviews «Con su estilo sobrio y poético, este precioso libro es una íntima historia de amor y, al tiempo, una expansiva meditación sobre la pérdida y el duelo.»Heat «Un libro para leer hoy.»Cosmopolitan (UK) «Esta historia, contada con sumo cuidado, resulta particularmente oportuna en nuestros días.»Stylist «Absolutamente impactante; te deja sin aliento.»Christy Lefteri «Laura es experta en hurgar en los bolsillos secretos de Japón. Esta vez ha encontrado un teléfono y algo de viento, y con ello ha creado una obra maestra. Es, sin duda, mi nueva escritora preferida.»Orsola Branzi (La Pina) «El espacio que separa el mundo de los vivos del de los muertos, es, a menudo, muy sutil. Y Laura Imai Messina parece conocerlo a la perfección.»Romana Petri
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Drama
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One of the most popular of all Shakespeare's history plays, Henry IV, Part I re-creates actual events from early-15th-century English…
history as King Henry deals with his kingdom led by Harry Percy ("Hotspur") and other notables. Besides this mutinous action, the king must also contend with the dissolute ways of his son, Prince Hal, who spends much of his time in the company of the witty, rotund, tavern-haunting Sir John Falstaff, one of Shakespeare's immortal comic characters. During the rebellion against his father, however, Hal acquits himself honorably in battle, portending the eventual transformation in later plays of the wild prince into a great warrior-king.These various themes are woven together here in s superb blend of brilliantly staged scenes depicting the king's attempts to pacify the rebels and maintain his power, the plotting of Percy and other insurgents, grim action on the battlefield, and the low comedy of Falstaff and his comrades -- all brought to life in some of Shakespeare's finest blank verse and raciest prose.
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Drama
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Fabian socialist and ardent proselytizer, George Bernard Shaw viewed his role as a playwright as far more than that of…
an entertainer. His audiences heard fully articulated sermons on moral and economic issues, a potentially dry theatrical experience enlivened by Shaw's genius for creating vital characters and scintillating dialogue. Major Barbara offers a sparkling example of its author's unique gift for presenting social theories in an engaging format.The eponymous heroine, an officer in the Salvation Army, is the daughter of Andrew Undershaft, a wealthy armaments manufacturer. When the Army accepts donations from Undershaft and a whiskey distiller, whose money Barbara regards as tainted, she resigns in disgust, but eventually sees the truth of her father's reasoning that social iniquity derives from poverty; it is only through accumulating wealth and power that people can help each other.
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Drama
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Winner of the Nobel Prize for Literature in 1934, Italian playwright Luigi Pirandello (1867-1936) explored such themes as the relativity…
of truth, the vanity and necessity of illusion, and the instability of human personality. In this famous play, an expressionistic parable set in a small Italian town in the early twentieth century, Pirandello skillfully dramatizes these issues.The observer Laudisi derides the townspeople for their insistence on knowing the secrets of Mrs. Frola and her married daughter: Why does Mrs. Frola live alone and not with her daughter? Why do the two never visit each other? The answers to these questions lie at the heart of this play and at the center of Pirandello's artistic vision. Presented in an excellent new English translation, this inexpensive edition will delight students and lovers of modern drama.
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Drama, Ancient history, Criticism
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Considers how ancient Greek comedy offers a model for present-day politics. With Democratic Swarms, Page duBois revisits the role…
of Greek comedy in ancient politics, considering how it has been overlooked as a political medium by modern theorists and critics. Moving beyond the popular readings of ancient Greece through the lens of tragedy, she calls for a revitalized look at Greek comedy. Rather than revisiting the sufferings of Oedipus and his family or tragedy’s relationship to questions of sovereignty, this book calls for comedy—its laughter, its free speech, its wild swarming animal choruses, and its rebellious women—to inform another model of democracy. Ancient comedy has been underplayed in the study of Greek drama. Yet, with the irrepressible energy of the comic swarm, it provides a unique perspective on everyday life, gender and sexuality, and the utopian politics of the classical period of Athenian democracy. Using the concepts of swarm intelligence and nomadic theory, duBois augments tragic thought with the resistant, utopian, libidinous, and often joyous communal legacy of comedy, and she connects the lively anti-authoritarianism of the ancient comic chorus with the social justice movements of today.
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Drama, Ancient history, Criticism
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Considers how ancient Greek comedy offers a model for present-day politics. With Democratic Swarms, Page duBois revisits the role…
of Greek comedy in ancient politics, considering how it has been overlooked as a political medium by modern theorists and critics. Moving beyond the popular readings of ancient Greece through the lens of tragedy, she calls for a revitalized look at Greek comedy. Rather than revisiting the sufferings of Oedipus and his family or tragedy’s relationship to questions of sovereignty, this book calls for comedy—its laughter, its free speech, its wild swarming animal choruses, and its rebellious women—to inform another model of democracy. Ancient comedy has been underplayed in the study of Greek drama. Yet, with the irrepressible energy of the comic swarm, it provides a unique perspective on everyday life, gender and sexuality, and the utopian politics of the classical period of Athenian democracy. Using the concepts of swarm intelligence and nomadic theory, duBois augments tragic thought with the resistant, utopian, libidinous, and often joyous communal legacy of comedy, and she connects the lively anti-authoritarianism of the ancient comic chorus with the social justice movements of today.
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Drama, Ancient history, Criticism
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Considers how ancient Greek comedy offers a model for present-day politics. With Democratic Swarms, Page duBois revisits the role…
of Greek comedy in ancient politics, considering how it has been overlooked as a political medium by modern theorists and critics. Moving beyond the popular readings of ancient Greece through the lens of tragedy, she calls for a revitalized look at Greek comedy. Rather than revisiting the sufferings of Oedipus and his family or tragedy’s relationship to questions of sovereignty, this book calls for comedy—its laughter, its free speech, its wild swarming animal choruses, and its rebellious women—to inform another model of democracy. Ancient comedy has been underplayed in the study of Greek drama. Yet, with the irrepressible energy of the comic swarm, it provides a unique perspective on everyday life, gender and sexuality, and the utopian politics of the classical period of Athenian democracy. Using the concepts of swarm intelligence and nomadic theory, duBois augments tragic thought with the resistant, utopian, libidinous, and often joyous communal legacy of comedy, and she connects the lively anti-authoritarianism of the ancient comic chorus with the social justice movements of today.
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Drama
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Toda la obra dramática del Premio Nobel de Literatura portugués reunida en un solo volumen por primera vez en español:…
una perfecta combinación de ideas plenamente vigentes y maestría literaria. «La memoria es el dramaturgo que todos tenemos dentro. Pone en escena e inventa un disfraz para cada ser vinculado con nosotros. La distancia entre lo que fue una persona y lo que se recuerda de ella es literatura.»José Saramago José Saramago se llamaba a sí mismo «el dramaturgo involuntario» porque siempre sintió que su contribución a ese género venía marcada por circunstancias azarosas. Pero incluso así, su genio creativo dio luz a las cinco obras teatrales que se reúnen ahora en este volumen: La noche (1979), ¿Qué haré con este libro? (1980), La segunda vida de Francisco de Asís (1987), In Nomine Dei (1993) y Don Giovanni o El disoluto absuelto (2005). Salvo La noche e In Nomine Dei, se publican por primera vez en castellano. Con la hondura propia de toda su obra -aunque revestida de una aparente simplicidad-, brilla en estas piezas magistrales la ironía del autor y la agudeza de sus reflexiones. Los grandes héroes dejan paso a los hombres y mujeres sencillos que, desde la honestidad y la firmeza de sus convicciones, luchan por la libertad, la justicia y un futuro mejor. Ambientadas en lugares y épocas distintos que van desde el Portugal del triunfo de la revolución de los Claveles o el renacentista del poeta Camões, a la Alemania de la reforma luterana, la Italia de don Giovanni o la intemporalidad deslocalizada de una empresa en crecimiento, en ellas las grandes cuestiones que caracterizan el pensamiento del autor están expuestas sin enjuiciamientos ni sentencias. Todas ellas son parte de un diálogo que Saramago mantiene para siempre, desde cada una de las páginas que escribió, con suslectores.
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Journals and memoirs, Drama, United States history, Arts and entertainment
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In this poignant and personal history of one of America’s oldest theaters, Leslie Stainton captures the story not just of…
an extraordinary building but of a nation’s tumultuous struggle to invent itself. Built in 1852 and in use ever since, the Fulton Theatre in Lancaster, Pennsylvania, is uniquely ghosted. Its foundations were once the walls of a colonial jail that in 1763 witnessed the massacre of the last surviving Conestoga Indians. Those same walls later served to incarcerate fugitive slaves. Staging Ground explores these tragic events and their enduring resonance in a building that later became a town hall, theater, and movie house—the site of minstrel shows, productions of Uncle Tom’s Cabin, oratory by the likes of Thaddeus Stevens and Mark Twain, performances by Buffalo Bill and his troupe of “Wild Indians,” Hollywood Westerns, and twenty-first-century musicals. Interweaving past and present, private anecdote and public record, Stainton unfolds the story of this emblematic space, where for more than 250 years Americans scripted and rescripted their history. Staging Ground sheds light on issues that continue to form us as a people: the evolution of American culture and faith, the immigrant experience, the growth of cities, the emergence of women in art and society, the spread of advertising, the flowering of transportation and technology, and the abiding paradox of a nation founded on the principle of equality for “all men,” yet engaged in the slave trade and in the systematic oppression of the American Indian.
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Drama, Criticism
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Brian Johnston's approach to Ibsen, now well known, is unlike any other. Johnston sees Ibsen's twelve realist plays as a…
single cyclical work, the "realist" method of which hides a much larger poetic intention than has previously been suspected. He believes that the cycle constitutes one of the major works of the European imagination, comparable in scale to Goethe or Dante. And he has shown Ibsen to be the heir to Romantic and Hegelian art and thought, adapting this heritage to the circumstances of his own day.This work demonstrates how the language and scene, characters and "props," of the Ibsen dramas establish a bold and far-reaching theatrical goal: nothing less than an account of our biological and cultural identity in its multilayered totality. Johnston argues that Ibsen's realist text, while stimulating the appearance of nineteenth-century life, also objectively and precisely builds up an alternative image in which archetypal figures and situations from our cultural past repossess the realist stage. Thus he sees the Ibsen "strategy" in his realist plays as twofold: (1) the dialectical subversion of the nineteenth-century reality presented in the plays, and (2) the forced recovery of the archetypal from the past, in a procedure similar to James Joyce's in Ulysses. By "supertext" Johnston means a reservoir of cultural reference upon which Ibsen continuously drew in his realist work just as in is earlier poetic and historical dramas.
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Drama, Christianity
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This volume demonstrates how, from the beginning of the Atlantic slave trade, enslaved and free Africans in the Americas used…
Catholicism and Christian-derived celebrations as spaces for autonomous cultural expression, social organization, and political empowerment. Their appropriation of Catholic-based celebrations calls into question the long-held idea that Africans and their descendants in the diaspora either resignedly accepted Christianity or else transformed its religious rituals into syncretic objects of stealthy resistance.In cities and on plantations throughout the Americas, men and women of African birth or descent staged mock battles against heathens, elected Christian queens and kings with great pageantry, and gathered in festive rituals to express their devotion to saints. Many of these traditions endure in the twenty-first century. The contributors to this volume draw connections between these Afro-Catholic festivals—observed from North America to South America and the Caribbean—and their precedents in the early modern kingdom of Kongo, one of the main regions of origin of men and women enslaved in the New World. This transatlantic perspective offers a useful counterpoint to the Yoruba focus prevailing in studies of African diasporic religions and reveals how Kongo-infused Catholicism constituted a site for the formation of black Atlantic tradition.Afro-Catholic Festivals in the Americas complicates the notion of Christianity as a European tool of domination and enhances our comprehension of the formation and trajectory of black religious culture on the American continent. It will be of great interest to scholars of African diaspora, religion, Christianity, and performance.In addition to the editor, the contributors include Kevin Dawson, Jeroen Dewulf, Junia Ferreira Furtado, Michael Iyanaga, Dianne M. Stewart, Miguel A. Valerio, and Lisa Voigt.
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Drama, Criticism, Psychology
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In Eugene O'Neill's Creative Struggle, Doris Alexander gives us a new kind of inside biography that begins where the others…
leave off. It follows O'Neill through the door into his writing room to give a blow-by-blow account of how he fought out in his plays his great life battles—love against hate, doubt against belief, life against death—to an ever-expanding understanding. It presents a new kind of criticism, showing how O'Neill's most intimate struggles worked their way to resolution through the drama of his plays. Alexander reveals that he was engineering his own consciousness through his plays and solving his life problems—while the tone, imagery, and richness of the plays all came out of the nexus of memories summoned up by the urgency of the problems he faced in them. By the way of O'Neill, this study moves toward a theory of the impulse that sets off a writer's creativity, and a theory of how that impulse acts to shape a work, not only in a dramatist like O'Neill but also in the case of writers in other mediums, and even of painters and composers. The study begins with Desire Under the Elms because that play's plot was consolidated by a dream that opened up the transfixing grief that precipitated the play for O'Neill, and it ends with Days Without End when he had resolved his major emotional-philosophical struggle and created within himself the voice of his final great plays. Since the analysis brings to bear on the plays all of his conscious decisions, ideas, theories, as well as the life-and-death struggles motivating them, documenting even the final creative changes made during rehearsals, this book provides a definitive account of the nine plays analyzed in detail (Desire Under the Elms, Marco Millions, The Great God Brown, Lazarus Laughed, Strange Interlude, Dynamo, Mourning Becomes Electra, Ah, Wilderness!, and Days Without End, with additional analysis of plays written before and after.
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Drama, Ancient history, Criticism
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Plato's conversations of Socrates are among the most accessible philosophical texts most of us have ever read, yet the more…
one pursues the art or intelligibility of this writing, the more mysterious and paradoxical the Platonic texts become. What does it mean to study Plato, not philosophically as a maker of arguments, not poetically as a maker of dialogues, but literally as a maker of texts? This is a question that Jacques Derrida has made his own, and in this book Farness creates a dialogue with Derrida on Plato's texts.Missing Socrates also provides a dialogue between Plato and Socrates on the question of speech versus writing and a study of the materiality of Plato's writing. Included among the various dialogues and themes developed here are rhetoric and courtroom practice in the Apology of Socrates; religion, skepticism, and the idea of transcendence in the Euthyphro; artistic practice and tradition in the Ion; education and political discipline in the Charmides; and rhetoric, writing, commemoration, and the motives of authorship in Phaedrus. In each of these discursive settings, Socrates unsuccessfully seeks a place or a mode for philosophy; Farness shows that the dialogues of Plato uncannily supply that lack.
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Drama, Criticism
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Why does Shakespearean tragedy continue to move spectators even though Elizabethan philosophical assumptions have faded from belief? Shakespearean Tragedy and…
Its Double seeks answers in the moment-by-moment dynamics of performance and response, and the Shakespearean text signals those possibilities.Shakespearean Tragedy and Its Double investigates the poetics of audience response. Approaching tragedy through the rhythms of spectatorial engagement and detachment ("aesthetic distance"), Kent Cartwright provides a performance-oriented and phenomenological perspective. Shakespearean Tragedy and Its Double analyzes the development of the tragic audience as it oscillates between engagement—an immersion in narrative, character, and physical action—and detachment—a consciousness of its own comparative judgments, its doubts, and of acting and theatricality. Cartwright contends that the spectator emerges as a character implied and acted upon by the play. He supports his theory with close readings of individual plays from the perspective of a particular element of spectatorial response: the carnivalesque qualities of Romeo and Juliet; the rhythm of similitude, displacement, and wonder in the audience's relationships to Hamlet; aesthetic distance as scenic structure in Othello; the influence of secondary characters and ensemble acting on the Quarto King Lear; and spectatorship as action itself in Antony and Cleopatra.Shakespearean Tragedy and Its Double treats the dramatic moment in Shakespearean tragedy as uncommonly charged, various, indeterminate, always negotiating unpredictably between the necessary and the spontaneous. Cartwright argues that, for the audience, the very dynamism of tragedy confers a certain enfranchisement, and the spectator's experience emerges as analogous to, though different from, that of the protagonist. Through its own engagement and detachments the audience becomes the final performer creating the play's meaning.
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Arts and entertainment, Drama, Criticism
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Shakespeare’s Contested Nations argues that performances of Shakespearean history at British institutional venues between 2000 and 2016 manifest a post-imperial…
nostalgia that fails to tell the nation’s story in ways that account for the agential impact of women and people of color, thus foreclosing promising opportunities to re-examine the nation’s multicultural past, present, and future in more intentional, self-critical, and truly progressive ways. A cluster of interconnected stage and televisual performances and adaptations of the history play canon illustrate the function that Shakespeare’s narratives of incipient "British" identities fulfill for the postcolonial United Kingdom. The book analyzes treatments of the plays in a range of styles—staged performances directed by Michael Boyd with the Royal Shakespeare Company (2000–2001) and Nicholas Hytner at the National Theatre (2003, 2005), the BBC’s Hollow Crown series (2012, 2016), the RSC and BBC adaptations of Wolf Hall and Bring Up the Bodies (2013, 2015), and a contemporary reinterpretation of the canon, Mike Bartlett’s King Charles III (2014, 2017). This book will be of great interest to scholars and students of Shakespeare, theatre, and politics.
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Drama
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Drama / 4m, 3f Set in the 1970s on the Texas border separating the United States and Mexico, Lydia is…
an intense, lyrical, and magical new play. The Flores family welcomes Lydia, an undocumented maid, into their El Paso home to care for their daughter Ceci, who was tragically disabled in a car accident on the eve of her quincea era, her fifteenth birthday. Lydia's immediate and seemingly miraculous bond with the girl sets the entire family on a mysterious and shocking journey of discovery.
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Drama
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A moving story of the joy and terror of awakening passion which shows how the love of a boy and…
girl can be perverted and twisted out of beauty and meaning by the corrupt values of their elders
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Drama, Ancient history
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The first detailed cultural and theatrical history of a major literary form, this landmark introduction examines Roman tragedy and its…
place at the centre of Rome’s cultural and political life. Analyzing the work of such names as Ennius, Pacuvius and Accius, as well as Seneca and his post-Neronian successors, Anthony J. Boyle delves into detailed discussion on every Roman tragedian whose work survives in substance today. Roman Tragedy examines: the history of Roman tragic techniques and conventions the history of generic form and change the debt that Rome owes to Greece, and text owes to text the birth, development and death of Roman tragedy in the context of the cities evolving, institutions, ideologies and political and social practices tragedy proper and the historical drama (fabula praetexta), which the Romans allied to tragedy. With parallel English translations of Latin quotations, this seminal work not only provides an invaluable resource for students of theatre, Roman political history and cultural history, but it is also accessible to all interested in the social dynamics of writing, spectacle, ideology and power.
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Drama, Poetry
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Poems about human emotions. Many emotions that make part of human being, since most times can be contradictory and indecisive.…
As much pessimist as optimist. A mosaic of feelings that remains within human heart.