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Books on the topic 'French drama Drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Prest, Julia. Controversy in French Drama. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137344007.

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2

David, Bradby, ed. Modern French drama, 1940-1990. 2nd ed. Cambridge: Cambridge University Press, 1991.

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3

Orientalism in French classical drama. Cambridge: Cambridge University Press, 2002.

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4

Rodmell, GrahamE. French drama of the revolutionary years. London: Routledge, 1990.

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5

Rodmell, G. E. French drama of the revolutionary years. London: Routledge, 1990.

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6

National biases in French and English drama. New York: Garland Pub., 1990.

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7

Eaton, Michael, translator. writer of introduction, ed. The priest of Nemi: A philosophical drama (1886). Beeston, Nottingham: Shoestring Press, 2013.

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8

Contrary Marys in medieval English and French drama. New York: P. Lang, 1995.

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9

Kurz, Gerhard. The great drama: Germany and the French revolution. Bonn: Inter Nationes, 1989.

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10

Res/verba: A study in medieval French drama. Leiden: E.J. Brill, 1985.

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11

1947-, Gandon Odile, ed. Le Cid: Tragi-comédie : 1637-1660 : texte intégral. [Paris]: Nathan, 2006.

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12

Molière. Dom Juan, ou, Le festin de pierre: Comédie, 1665. Paris: Le Livre de poche, 1985.

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13

Sylvie, Joye, ed. Le Cid: Tragi-comédie. Paris: Larousse, 2008.

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14

Dorat, Claude Joseph. Régulus: Tragédie de Claude-Joseph Dorat (1765 & 1773). [Perpignan]: Presses universitaires de Perpignan, 1996.

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15

Le cid. New York, NY: Dramatists Play Service, Inc., 2012.

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16

Philippe, Caylus Anne Claude. Histoire et recueil des Lazzis. Oxford: Voltaire Foundation, 1996.

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17

Staging politics and gender: French women's drama, 1880-1923. New York: Palgrave Macmillan, 2005.

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18

Céline, Louis-Ferdinand. The Church: A comedy in five acts. København [Denmark]: Green Integer, 2003.

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19

Libraries, State University of New York at Albany University. French theatrical works, 1650-1803. [Albany]: University Libraries, University at Albany, State University of New York, 1990.

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20

Sartre, Jean Paul. A puerta cerrada ; La puta respetuosa. Madrid: Editorial Losada, 2004.

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21

Musset, Alfred de. Les caprices de Marianne. Ottawa: eBooksLib, 2005.

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22

Paul, Sartre Jean. Huis clos: Piece en un acte. London: Methuen Educational, 1987.

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23

1956-, Bean Richard, and Campbell Chris, eds. The hypochondriac: In a new version. London: Oberon, 2005.

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24

Paul, Sartre Jean. No exit ; & The flies: Huis clos, a play in one act : Les mouches, a play in three acts. New York: A. Knopf, 1985.

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25

Bates, Alfred. French Drama V9. Kessinger Publishing, LLC, 2007.

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26

Controversy in French Drama. Palgrave Macmillan, 2013.

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27

Harold, Bloom. French Drama Through 1915. Chelsea House Pub (L), 1994.

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28

Bates, Alfred. French Drama Part Nine. Kessinger Publishing, LLC, 2005.

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29

Harold, Bloom. Modern French Drama (French Literature Series). Chelsea House Pub (L), 1992.

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30

Kadler, Eric H. Literary Figures in French Drama. Springer, 2011.

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31

Musikalisches Drama und Boulevard. Metzler, 2002.

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32

Filon, Augustin. The Modern French Drama: Seven Essays. Kessinger Publishing, LLC, 2007.

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33

Essif, Les. American âUncultureâ in French Drama. Palgrave Macmillan, 2013. http://dx.doi.org/10.1057/9781137299031.

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34

Filon, Augustin. The Modern French Drama: Seven Essays. Kessinger Publishing, 2005.

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35

Molière. The Hypochondriac (Drama Classics). Nick Hern Books, 1995.

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36

(Translator), Martin Sorrell, ed. Tartuffe (Drama Classics). Nick Hern Books, 2002.

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37

Molière. The Misanthrope (Drama Classics). Nick Hern Books, 2007.

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38

Longino, Michèle. Orientalism in French Classical Drama (Cambridge Studies in French). Cambridge University Press, 2001.

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39

Longino, Michèle. Orientalism in French Classical Drama (Cambridge Studies in French). Cambridge University Press, 2006.

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40

Paraschas, Sotirios. Romantic Drama. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.6.

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Abstract:

The French Romantic artist often has to define his place and his function in society in ways external to the essence of his work or to the aesthetic domain: he has to assume a mask. This conflict between the artist of genius or the exceptional individual and his time is explored in multifarious ways in Romantic texts. Strategically, drama was of crucial importance for the Romantics, not least because it was the last stronghold of neo-classicism; the stage was the field in which the battle between the ‘Classicists’ and the ‘Romantics’ was fought at its fiercest. The underlying idea of the plays discussed in the chapter is the internal conflict between the ‘authentic’, ‘pure’, ‘innocent’ self of the artist (the genius) and the ‘mask’ he has to assume in order to survive in a materialistic society and in the literary marketplace.

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41

Landmarks of French Classical Drama (Play Anthologies). Heinemann, 1991.

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42

An Italian Straw Hat (Drama Classics). Nick Hern Books, 2001.

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43

Beth, Rose Mary, ed. Perspectives on renaissance drama. Evanston: Northwestern University Press and the Newberry Library Center for Renaissance Studies, 1995.

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44

Perspectives on Renaissance drama. Evanston: Northwestern University Press, 1993.

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45

Renaissance Drama 24: New Series XXIV 1993 Perspectives on Renaissance Drama. Northwestern University Press, 1995.

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46

Schnitzler, Arthur. La Ronde (Drama Classics). Nick Hern Books, 2008.

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47

1960-, Magruder James, Coleman C. B, Le Sage, Alain René, 1668-1747., Marivaux, Pierre Carlet de Chamblain de, 1688-1763., and Labiche Eugène 1815-1888, eds. Three French comedies. New Haven: Yale University Press, 1996.

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48

Barnwell, H. T. French Classical Tragedy: The Stage and the Drama. University of Birmingham, 1992.

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49

Trachte, Sharon Reed. Doctrine and aesthetics in French Christmas liturgical drama. 1987.

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50

French Renaissance and Baroque Drama: Text, Performance, Theory. University of Delaware Press, 2015.

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