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See below for a selection of the latest books from Plays, playscripts category. Presented with a red border are the Plays, playscripts books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Plays, playscripts books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
Nothing but the Truth is a story of two brothers, of sibling rivalry, of exile, of memory and reconciliation, of perplexities of freedom.
This superb collection of eighteen plays has long been needed. It provides a sound and solid introduction to the rich field of modern Irish drama, and should be as delightful to the private reader as it will be useful for university classes. --Journal of Irish Literature Contents: Spreading the News and The Gaol Gate-- Lady Gregory; On Baile's Strand and the Only Jealousy of Emer--W.B. Yeats; The Land--Padraic Colum; The Playboy of the Western World--J.M. Synge; Maurice Harr--T. C. Murray; The Magic Glasses--George Fitzmaurice; Juno and the Paycock- -Sean O'Casey; The Big House--Lennox Robinson; The Old Lady Says No! --Denis Johnston; As the Crow Flies--Austin Clarke; The Paddy Pedlar--M. J. Malloy; The Vision of Mac Conglinne--Padraic Fallon; The Quare Fellow--Brendan Behan; All that Fall--Samuel Becket; Da--Hugh Leonard; Translations--Brian Friel
Born in Ireland in 1934, Thomas Kilroy attended the University College of Dublin, where he received a degree in education that led to a teaching career. With the 1973 success of his novel The Big Chapel , Kilroy took a break from teaching and devoted time to writing for the stage. Although he returned to the university scene in 1979 with a professorship at the University of Galway, he remained active in the dramatic arts, becoming a member of the Royal Society for Literature and the Irish Academy of Letters. Today, he has a number of plays and adaptations to his credit including The O'Neill , The Death and Resurrection of Mr. Roche , Tea and Sex and Shakespeare and an adaptation of Ibsen's Ghosts . This appraisal of the works of Thomas Kilroy focuses on the common themes and methodology of his plays, including an unusual alliance between serious theatrical complexity and varied but demanding forms of comedy. A separate chapter is devoted to each play with the exception of The Death and Resurrection of Mr. Roche and The MacAdam Travelling Theatre , whose complementary themes are discussed together. Reflecting on the essence of theatre, Kilroy's works combine meditations on humanity with references to Irish history, generally using historical reality as a dramatic starting point. Plays discussed include Kilroy originals such as Talbot's Box , The Secret Fall of Constance Wilde and Blake as well as adaptations of well-known works such as The Seagull and Henry . Interviews with stage directors and the playwright himself contribute to this in-depth analysis of Kilroy's dramatic art. Photographs of staged plays and a list of premieres of Kilroy's works (plays and adaptations) are also included.
As South Africa continues to advance towards the fulfilment of its visionary constitution, significant shifts in the mode, style, and theme of its nation's theatre have begun to take hold. The four plays in this collection, by Lara Foot Newton, Mike van Graan, Motshabi Tyelele and Craig Higginson, offer insights into an emerging national identity. The primary themes explored in the four texts - reconciliation, matriarchy, justice, accountability, corruption, truth, memory, and violence - reflect on the challenges and questions South Africans are confronted with in their nascent democratic state. In the two essays that complement this anthology, theatre director Greg Homann argues that South African theatre and her playwrights have surfaced into a new period, one that signals new themes and challenges. The mode of representation has shifted and the monological form we came to both loathe and love has dissipated to match a democratic society grappling with multiple points of view. Reach (Lara Foot Newton) is a story of trying to connect. Two South Africans from different generations reach out across conflicting experiences and racial lines in an attempt to reconcile their shared past. Some Mother's Sons (Mike van Graan) questions the success and failure of the South African criminal and justice system. Vusi and Braam, two lawyers and friends, negotiate their experiences of apartheid violence and post-apartheid criminality. Shwele Bawo!! (Motshabi Tyelele) is a one-woman play detailing how wife and mother, Dikeledi Nkabinde, has found herself locked up for the murder of her Black Economic Empowered husband. Dream of the Dog (Craig Higginson) is set on the eve of Richard and Patricia Wiley's departure from their KwaZulu-Natal farm. A series of interactions that challenge notions of truth, revenge, memory, and justice unfold when a familiar visitor arrives.
Ike Holter's Sender thrives on the contrast between order and chaos and the tensions that emerge as we leave childhood and adolescence behind to contend with the demands of adulting. In this comedy, Holter presents us with four millennial friends wrestling with these issues. While each is at a different stage of growing up, one of the friends has disappeared and has been presumed dead. Yet, at the beginning of the play, he returns and completely upends the balance established in his absence. This witty, foul mouthed, and razor-sharp play asks: What does growing up mean . . . and is it even desired in this day and age? Sender is one of seven plays in Holter's Rightlynd Saga, all to be published by Northwestern University Press. Modeled on August Wilson's iconic series exploring African American life in Pittsburgh, Holter's plays are set in Chicago's fictional fifty-first ward. The other plays in the cycle are Exit Strategy, Lottery Day, Prowess, Red Rex, Rightlynd, and The Wolf at the End of the Block.
This is the first new full-scale anthology of Restoration and eighteenth-century drama in over sixty years. Concentrating on plays from the heyday of 1660-1737, it focuses especially on Restoration drama proper (1660-1688) and Revolution drama (1689-1714), with a smaller selection of plays from the early Georgian period (1715-1737) and a glimpse at the later Georgian period's laughing comedy (1770s and 80s). It includes nine sub-genres (heroic romance, political tragedy, personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy), with the preponderance of exposure given to the jewel of this theatre, its comedy. The core canonical plays from the era-from Dryden's All for Love and Behn's The Rover to Congreve's The Way of the World and Sheridan's School for Scandal-are all here, but so are a remarkably wide range of non-canonical works. There are many more plays by women than in any previous general anthology of drama of the period. Also included are a number of works from the neglected 1660s, whose comedies feature delightful, subversive, levelling folk elements. In all there are forty-one plays; each is fully annotated and prefaced with an historical introduction. Also included are a general introduction, head-notes for each genre, and a glossary.
First performed by Shakespeare's rivals in the 1590s, Christopher Marlowe's The Jew of Malta was a trend-setting, innovative play whose black comedy and final tragic irony illuminate the darker regions of the Elizabethan cultural imagination. Although Jews were banished from England in 1291, the Jew in the form of Barabas, the play's protagonist, returns on the stage to embody and to challenge the dramatic and cultural anti-Semitic stereotypes out of which he is constructed. The result is a theatrically sophisticated but deeply unsettling play whose rich cultural significance extends beyond the early modern period to the present day. The introduction and historical documents in this edition provide a rich context for the world of the play's composition and production, including materials on Jewishness and anti-Semitism, the political struggles over Malta, and Christopher Marlowe's personal and political reputation.
Unique among his works, Oscar Wilde's play Salome (1893) was written originally in French. Joseph Donohue's new translation of the horrific New Testament story has recast Wilde's shockingly radical drama in the natural idiomatic language of our own day. Presenting a colloquial and spare American English version of Wilde's consciously stylised French, Donohue's approach gives full value to the Irish author's dark ruminations on evil and perversity in a world on the brink of a new, unsettling Christian dispensation. The play was first translated into English in 1894 by Wilde's young friend Lord Alfred Douglas, but Wilde was far from pleased with the outcome. And yet Douglas's stilted, inaccurate version has somehow retained a long-standing place on the stage and in the study. Donohue's lucid vernacular transformation of Douglas's safe, thee-and-thou faux-biblical language has the quality of a startling modern-dress remounting of an overly familiar classic play. This new Salome is calculated to bring both readers and playgoers into close, disturbing confrontation with one of the most erotic and bloodiest sequences of testamentary lore. Brilliantly complementing Donohue's unprecedented approach is a set of engravings by a master illustrator of our time. Barry Moser is an artist who speaks the blunt yet fluent language of present-day communication through the penetrating gestural vocabulary of the graphic arts. The resulting combination of words and images directly engages with Wilde's characters and their story, setting a bold new standard for the melding of literary and pictorial excellence. At the same time, it leads readers and audiences alike to rediscover perennially significant themes-of love, death, power, and individuality.
Edouard Glissant's Monsieur Toussaint tells the tragic story of Toussaint Louverture, the charismatic leader of the revolution - the only successful slave revolt in history - that led to Haiti's independence two-hundred years ago. Translated by the author himself in collaboration with J. Michael Dash, this new edition captures the striking essence of the original French play (first published in 1961).
Two very different women meet during a long wait to buy subsidized rice and discover they have more in common than their poverty; an old man and child share a last, loving waltz; a cynical, disabled gangster learns humanity from a committed social worker; and a young girl finds her missing father and her role in the political struggle. This colleciton of three plays and one cine poem captures the essence of Zakes Mda's method as a dramatist. In most of the works, the chartacters have no names: they come onto the stage with no identity - except perhaps for the kind of clothes they wear - and slowly reveal themselves. What the reader experiences is a slow but intimate process of revelation (on the part of the characters) and discovery (on the part of the audience or readers).