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Books on the topic 'Male dramatists'

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Published: 4 June 2021
Last updated: 2 March 2023

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1

Miśra, Snehalatā. Betāra nāṭyasrashṭā Gopāḷa Choṭarāẏa. Kaṭaka: Biśva Buks, 2003.

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Pherṇāṇṭas, Nelsaṇ. Nāṭakarāvukaḷ. [Kottayam]: Ḍi. Si. Buks, 2011.

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A, Rāmacāmi. Caṅkaratās Cuvāmikaḷ. Putu Tilli: Cākittiya Akkātemi, 2002.

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4

Dīna, Selima Āla, Haka Maphidula, and Sena Aruṇa 1936-, eds. Sāta saodā: Selima Āla Dīna, pañcāśatama janmabārshikī śraddhyārghya. Kalakātā: Sāhitya Prakāśa, 2008.

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5

In pursuit of culture. Dhaka: Printcraft, 2008.

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6

Family secrets. New York: Samuel French, 2006.

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7

Andreini, Giovanni Battista, b.1578., Ferrone Siro 1946-, Burattelli Claudia, Landolfi Domenica, Zinanni Anna, and Università di Firenze. Dipartimento di storia delle arti e dello spettacolo., eds. Comici dell'arte: Corrispondenze. Firenze: Casa editrice Le Lettere, 1993.

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8

Peter, Nichols. Blue murder: A play or two. London: Methuen Drama, 1996.

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9

Xi nu ai le, qing zai xi zhong. [Xinjiapo]: Chuang yi quan chu ban she, 2005.

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10

Ramanathan, Geetha. Sexual politics and the male playwright: The portrayal of women in ten contemporary plays. Jefferson, N.C: McFarland, 1996.

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11

Mothers and sons: A novel. New York: Random House, 2005.

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12

Mun Ye-bong chŏn: 'ppaltchisan ŭi ch'ŏnyŏ' ka toen 'samch'ŏnman ŭi yŏbaeu'. Sŏul T'ŭkpyŏlsi: Han Sang-ŏn Yŏnghwa Yŏn'guso, 2019.

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13

The spectator: Talk about movies and plays with the people who make them. New York: New Press, 1999.

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14

44: Dublin made me. New York: Penguin Books, 2000.

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15

Sheridan, Peter. 44 Dublin made me. Thorndike, Me: Thorndike Press, 1999.

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16

44, Dublin made me: A memoir. New York: Viking, 1999.

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17

Kahana katha: Selima al Dinera nirabacita sakshatakara. Dhaka: Suddhasara, 2010.

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18

Bishop, Stephen. The medieval mind?: A study of women as perceived by male dramatists 1890-1914, and the historical context. 1986.

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19

Ramanathan, Geetha. Sexual politics and the male playwright: Portrayal of women in 10 contemporary plays. McFarland, 1995.

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20

Triple Threat. Harlequin Enterprises, Limited, 2014.

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21

Hond, Paul. Mothers and Sons: A Novel. Random House Trade Paperbacks, 2010.

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22

Mitchell, Koritha. The Pimp and Coward. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036491.003.0007.

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This chapter demonstrates that, as a genre, lynching drama challenges the assumption that men establish literary traditions and women revise them. Black male authors entered the genre in 1925, and they revised the conventions being developed by women. Women's plays present the home as the lynch victim, portraying its “castration” as the moment when the honorable black man is removed. However, male dramatists depict homes that seem “castrated” even when husbands, fathers, and uncles survive because they become immoral and cowardly to avoid the mob's wrath. The chapter argues that the pimp and coward emerge to mark the community conversation's acknowledgement that their perspectives matter as African Americans grapple with the contradictions of living with lynching.
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23

Contemporary gay American poets and playwrights: An A-to-Z guide. Westport, CT: Greenwood Press, 2003.

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24

Contemporary Gay American Poets and Playwrights: An A-to-Z Guide. Greenwood Press, 2003.

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25

The Marlowe Papers. Hodder & Stoughton General Division, 2012.

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26

Fitzpatrick, David, Thomas Talboy, and Alan H. Sommerstein. Sophocles: Selected Fragmentary Plays. Liverpool University Press, 2006. http://dx.doi.org/10.3828/liverpool/9780856687655.001.0001.

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The Athenian tragic dramatist Sophocles wrote over 120 plays in his sixty-year career, of which only seven have survived complete. This volume presents what is known, or can be inferred or conjectured, about half a dozen plays known to us only from quotations, indirect references, and occasionally a papyrus. The selection includes four plays about the Trojan War and its aftermath, all concerned with Achilles or his son Neoptolemus (The Diners, Troilus, Polyxene, and Hermione), and two presenting episodes from Athenian legend (Tereus and Phaedra). The editors have taken a special interest in the history of the myths that Sophocles dramatised and the often startling modifications he made to them; several of the plays also throw important light on parallel dramas of Euripides such as Hippolytus, Andromache, and Hecuba. The book presents Greek text with facing-page translation.
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27

PUBLISHING, Davenya. Dramatics Teachers Make a Difference Notebook: Beautiful Gift for All Dramatics Teachers, Dramatics Teachers Floral Notebook/Gifts - 100 6x9 Lined Blank Pages Planning. Independently Published, 2021.

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28

Terkel, Studs. The Spectator: Talk About Movies and Plays With Those Who Made Them. New Press, 1999.

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29

Ezell, Margaret J. M. 1700. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198183112.003.0024.

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The final section covers the reign of William III after the death of his wife, the literary responses to the situation of Princess Anne following the death of her son, and the continuing tensions in Parliament between the Whigs and Tories. There were increasing literary satires on foreigners in power and the desire to define Englishness. After the death of John Dryden, dramatists including William Congreve and John Vanbrugh continued to resist Jeremy Collier’s desire to reform the theatre. Newcomers such as Alexander Pope and Susanna Centlivre arrived and made their debut as poets and dramatists. Satires against women and marriage continued against a backdrop of famous divorce trials, while writers such as Daniel Defoe called for a reformed society starting with the aristocratic elite.
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30

Wills, Garry, and Studs Terkel. The Spectator: Talk About Movies and Plays with the People Who Make Them. New Press, 2001.

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31

Frayn, Michael. Frayn Plays 1: Alphabetical Order, Donkey's Years, Clouds, Make and Break, Noise Off (World Dramatists). Methuen Publishing, Ltd., 1985.

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32

Galvin, Rachel. Flesh Made Word. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190623920.003.0002.

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This chapter argues that César Vallejo’s engagement with journalism is crucial for comprehending the aesthetics and politics of his Spanish Civil War poetry, although this connection is often overlooked. Reading across genres brings to light Vallejo’s commitment to self-questioning as an ethical gesture in his war poems. It illuminates the idiosyncratic, dialectical poetics he developed to unite Catholicism and Marxism, lyric and epic, and poetry and news. Beyond his poetry’s political exhortation, which has received emphasis from scholars, its graphic portrayals of the relation between war death and the production of literature dramatizes the ethical and aesthetic problems inherent in transforming soldiers’ experiences into poetic material. This chapter contends that España, aparta de mí este cáliz is a meta-rhetorical reflection on its own conditions of articulation. This chapter sets the stage for those to follow, delineating issues that also motivate other civilian poets to employ meta-rhetoric in their war writing.
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33

Bearman, Robert. Shakespeare's Money: How much did he make and what did this mean? Oxford University Press, 2018.

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34

Shakespeare's Money: How much did he make and what did this mean? Oxford University Press, 2016.

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35

Pollard, Tanya. Greek Tragic Women on Shakespearean Stages. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793113.001.0001.

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Greek Tragic Women on Shakespearean Stages argues that ancient Greek plays exerted a powerful and uncharted influence on early modern England’s dramatic landscape. Drawing on original research to challenge longstanding assumptions about Greek texts’ invisibility, the book shows not only that the plays were more prominent than we have believed, but that early modern readers and audiences responded powerfully to specific plays and themes. The Greek plays most popular in the period were not male-centered dramas such as Sophocles’ Oedipus, but tragedies by Euripides that focused on raging bereaved mothers and sacrificial virgin daughters, especially Hecuba and Iphigenia. Because tragedy was firmly linked with its Greek origin in the period’s writings, these iconic female figures acquired a privileged status as synecdoches for the tragic theater and its ability to conjure sympathetic emotions in audiences. When Hamlet reflects on the moving power of tragic performance, he turns to the most prominent of these figures: “What’s Hecuba to him, or he to Hecuba/ That he should weep for her?” Through readings of plays by Shakespeare and his contemporary dramatists, this book argues that newly visible Greek plays, identified with the origins of theatrical performance and represented by passionate female figures, challenged early modern writers to reimagine the affective possibilities of tragedy, comedy, and the emerging genre of tragicomedy.
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36

Stewart, Edmund. Tragedy outside Attica c.500–450 BC. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747260.003.0005.

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Chapter 4 concerns performances of tragedy outside Athens in the first half of the fifth century. It considers firstly the contribution made by Doric dramatists in the Peloponnese and Sicily to the development of tragedy. Secondly, it examines the Sicilian context for the performance of plays by Aeschylus (and possibly Phrynichus). Sicily was a major destination for all poets at this time (including Simonides and Pindar) largely because of the patronage of the tyrants of Syracuse and Acragas. It is no surprise that Aeschylus also made the journey west. Finally, it shows why the Aetnaeae and Persians of Aeschylus, plays often associated with Sicily, should be viewed as fundamentally Panhellenic, or at least Pansicilian, in orientation.
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37

Elisha, Ron. Contemporary Australian Plays: Dead White Males/7 Stages of Grieving/Hotel Sorrento/Two/ Popular Mechanicals (Methuen Contemporary Dramatists). Methuen Publishing, Ltd., 2001.

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38

Preedy, Chloe Kathleen. Aerial Environments on the Early Modern Stage. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843326.001.0001.

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Abstract During the early days of the professional English theatre, dramatists including Dekker, Greene, Heywood, Jonson, Marlowe, Middleton, and Shakespeare wrote for playhouses that, though enclosed by surrounding walls, remained open to the ambient air and the sky above. The drama written for performance at these open-air venues drew attention to and reflected on its own relationship to the space of the air. At a time when theories of the imagination emphasized dramatic performance’s reliance upon the air through which its staged fictions were presented, plays written for performance at open-air venues frequently draw attention to that element’s theatrical significance. This book considers the various ways in which the air is brought into presence within early modern drama. Analysing more than a hundred works that were performed at London’s open-air playhouses between 1576 and 1609, I evaluate how the various textual, theatrical, and staging effects used by early modern dramatists and those presenting their plays might have foregrounded the Elizabethan and Jacobean theatre’s relationship to and impact on the actual air. I conclude that open-air drama’s ongoing attention to aerial imagery, actions, and representational strategies reflects an emerging dramaturgical consciousness that extended from the earth to encompass and make explicit the space of the air.
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39

Sheridan, Peter. 44: Dublin Made Me. Penguin (Non-Classics), 2000.

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40

Mitchell, Koritha. Scenes and Scenarios. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036491.003.0002.

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This chapter argues that blacks living during lynching's height accurately read the discourses and practices of their historical moment, and their cultural artifacts reflect their insights. Namely, the plays by black dramatists contain specific characterizations of the nature of lynching, and they inspire black community practices that enable African Americans to continue to interpret their surroundings accurately. In an environment where their extermination was said to make the nation safe, African Americans perceived the truth behind the façade—that lynching was really master/piece theater, designed to reinforce racial hierarchy. African American artists therefore offered scripts that encouraged their communities to continue to rehearse an understanding of themselves as full citizens.
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41

PUBLISHING, Davenya. Dramatics Teachers Make a Difference: Monthly and Weekly Calendar - 2021-2022 Planner for Dramatics Teachers / Yearly Planner 2021-2022 / September 2021 to December 2022 Calendar. Independently Published, 2021.

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42

Cathy, Leeney, and McMullan Anna 1957-, eds. The theatre of Marina Carr: "before rules was made". Dublin: Carysfort Press, 2003.

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43

(Editor), Cathy Leeney, and Anna McMullan (Editor), eds. The Theatre of Marina Carr: Before Rules Was Made. Carysfort Press, 2004.

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44

Pilný, Ondřej. Irish Theatre in Europe. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.40.

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While Irish drama has achieved a distinctive reputation within the Anglophone world, the situation in continental Europe has been much more complex. Wilde and Shaw continue to be widely revived but are rarely identified as Irish. Even more strikingly, contemporary Irish playwrights such as Martin McDonagh and Enda Walsh, both extremely popular in Europe, are assimilated within a general category of British theatre, while Brian Friel’s work is much less well known. There have been established theatrical traditions of playing some Irish dramatists in individual countries, as in the case of Synge in the Czech lands, or the later plays of O’Casey in postwar Germany and in Eastern Europe. Specific productions such as the German and Czech stagings of Behan’sThe Hostageillustrate well the local political and theatrical contexts which made for their success. By contrast, Irish theatre companies travelling to Europe have had a quite mixed reception.
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45

PUBLISHING, Davenya. She Believed She Could Make a Difference So She Became a Dramatics Teacher: Weekly and Monthly Calendar - 2022 Planner for Dramatics Teacher / 12 Months Organizer / 2022 Diary Book and Yearly Planner. Independently Published, 2021.

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46

Werstine, Paul. Authorial Revision in the Tragedies. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.19.

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Accepting that the controversy over Shakespeare’s possible revision of his tragedies has largely passed, this chapter explores the centuries-long speculation that the dramatist rewrote some of the works that are received as his greatest: Romeo and Juliet, Hamlet, Othello, and King Lear. Like today’s editors, their eighteenth- and nineteenth-century predecessors never found evidence persuasive enough to make the claim of authorial revision with certainty when there is variation between early printed texts of the tragedies, or even to tell the difference between such revision and possibly extra-authorial playhouse adaptation. Some recent editors’ decisions to edit the tragedies as if they could be known to have been rehandled by Shakespeare appear to arise principally from theory-driven motivations, in the absence of any evidence to support them and in the presence of documentary evidence that resists them.
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47

André, Naomi. From Otello to Porgy. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0002.

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This chapter explores representations of blackness in opera in relation to masculinity and morality. More specifically, it considers the changing codes of masculinity in leading male roles and how they are calibrated differently for white European characters and nonwhite characters with non-European ancestry. It also looks at the ways in which masculinity and heroism are brought together differently for black and non-black characters. In order to elucidate these issues, the chapter analyzes Giuseppe Verdi's Otello (1887), focusing on its references to getting the “chocolate” ready and the way Verdi dramatizes Otello's vicious murder of Desdemona. Four other operas written in the first half of the twentieth century, two of which feature white European title characters and the other two feature African American protagonists, are examined: Alban Berg's Wozzeck (1925), Ernst Krenek's Jonny spielt auf (1927), George Gershwin's Porgy and Bess (1935), and Benjamin Britten's Peter Grimes (1945).
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48

Foster, Clare L. E. Wilde and the Emergence of Literary Drama, 1880–1895. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0007.

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This chapter examines Wilde’s championship of serious theatre and the authentic performance text by analysing his reviews of the first so-called ‘archaeological’ productions of Greek plays and Shakespeare. It offers a wider context in which to understand the rapidity of his disaffection with Greek plays, as practised among the social elite; and it suggests some ways in which his early enthusiasm for authentic Greek drama and Shakespeare is related to his own later classically informed playwriting, which combines old ideas of theatre as about and for its audiences with new ideas of drama as the appreciation of a literary object. Wilde’s own work as a dramatist straddled that change, prefigured by a comment he made in 1885: ‘An audience looks at a tragedian, but a comedian looks at his audience.’ He combines both these directions of gaze in his 1895 play The Importance of Being Earnest.
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49

Read, Sophie. Shakespeare and the Arts of Cognition. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0020.

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This chapter offers a reading of some of Shakespeare’s verse that brings the newer methodologies of cognitive poetics into conversation with the discourse of classical rhetoric. It explores how we understand those moments in Shakespeare’s poems and plays that seem to make sense straight away, but get more difficult the closer we look: the intricate quick-thinking, often characterized by punning and wordplay, that dramatizes thought in language. The chapter starts with a glance at Macbeth, before moving on to the Sonnets; it attempts to demonstrate that the difficulties we find in Shakespeare’s verse are not an obstruction to our understanding, but rather an important method of meaning. It argues that rhetorical obscurity helps us to experience the emotional complexity that gives rise to it.
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50

Dossett, Kate. Radical Black Theatre in the New Deal. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654423.001.0001.

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Between 1935 and 1939, the United States government paid out-of-work artists to write, act, and stage theatre as part of the Federal Theatre Project (FTP), a New Deal job relief program. In segregated “Negro Units” set up under the FTP, African American artists took on theatre work usually reserved for whites, staged Black versions of “white” classics, and developed radical new dramas. In this fresh history of the FTP Negro Units, Kate Dossett examines what she calls the Black performance community—a broad network of actors, dramatists, audiences, critics, and community activists—who made and remade Black theatre manuscripts for the Negro Units and other theatre companies from New York to Seattle. Tracing how African American playwrights and troupes developed these manuscripts and how they were then contested, revised, and reinterpreted, Dossett argues that these texts constitute an archive of Black agency, and understanding their history allows us to consider Black dramas on their own terms. The cultural and intellectual labor of Black theatre artists was at the heart of radical politics in 1930s America, and their work became an important battleground in a turbulent decade.
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