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Act Without Words I

Written by

Samuel Beckett

~playauthor~Written by~ Samuel Beckett

Faber and Faber, 2009

Faber Drama

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Summary
...A mime for one player, Act Without Words I was written in French in 1956, as Acte sans paroles I, with music by John Beckett, the author’s cousin...

Breath

Written by

Samuel Beckett

~playauthor~Written by~ Samuel Beckett

Faber and Faber, 2009

Faber Drama

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Summary
...Breath was written in English some time before it was sent to New York, in 1969, in response to Kenneth Tynan’s request for a contribution to his review Oh! Calcutta...
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...Nora Helmer has everything a young housewife could want: beautiful children, an adoring husband, and a bright future. But when a carelessly buried secret rises from the past, Nora’s well-calibrated domestic ideal starts to crumble. Ibsen...

Act Without Words II

Written by

Samuel Beckett

~playauthor~Written by~ Samuel Beckett

Faber and Faber, 2009

Faber Drama

Playtext

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Summary
...A mime for two players, Act Without Words II was written in French, as Acte sans paroles II, at about the same time as Act Without Words I (1956). It was probably first performed probably at the Institute of Contemporary Arts, London, on 25...

Coda:From Dhaka to Mabou Mines

Frode Helland

,

Frode Helland is Professor of Scandinavian Literature and Director of the Centre for Ibsen Studies at the University of Oslo, Norway. Author affiliation details are correct at time of print publication.

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Enoch Brater

Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature; Professor of English and Theater, University of Michigan and the series editor of Methuen Drama's Miller scholarly editions. He has written extensively on the work of Samuel Beckett and Arthur Miller. Author affiliation details are correct at time of print publication.

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and

Mark Taylor-Batty

Mark Taylor-Batty

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Ibsen in Practice : Relational Readings of Performance, Cultural Encounters and Power

Bloomsbury Methuen Drama, 2015

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...Instead of trying to distil a forced essence or give a synoptic repetition of the previous chapters, I will end this book through a short reflection on two important factors in the practice of Ibsen not sufficiently covered by the preceding...

Pointing at Sharp Ends – an Introduction

Peter Billingham

Dr Peter Billingham is Reader in Drama and Performance at the University of Portsmouth. Author affiliation details are correct at time of print publication.

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At the Sharp End : Uncovering the Work of Five Contemporary Dramatists

Bloomsbury Methuen Drama, 2007

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...Sharp ends hurt. Handle with care! Sharp ends aren’t polite. The sharp end is the shouting end. Not the ‘Sorry I’ll go away and come back’ end. Being at the sharp end is being where the action is. Getting involved. Making a point. Something...

Adrienne Kennedy: A Kindred Spirit to the Beats

Beat Drama : Playwrights and Performances of the ‘Howl’ Generation

Bloomsbury Methuen Drama, 2016

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...Two references to the Beat writers in Adrienne Kennedy’s work appear mystifying as well as suggestive and seem like a good starting point for an exploration of the presence of Beat elements, world view, and aesthetics in Kennedy’s writings:...

The Stoop: Anne Waldman’s Early Drama

Beat Drama : Playwrights and Performances of the ‘Howl’ Generation

Bloomsbury Methuen Drama, 2016

Books

...In 1964, Anne Waldman published her play The Stoop in a Bennington College literary magazine. Republished in Kevin Killian and David Brazil’s Kenning Anthology of Poets Theatre 1945–1985 in 2010, The Stoop is an artifact from Anne Waldman’s...

Rochelle Owens: Off Beat, Off-Off Broadway

Beat Drama : Playwrights and Performances of the ‘Howl’ Generation

Bloomsbury Methuen Drama, 2016

Books

...The jazzy language is present on the page, there is spoken word powerfully formulated to shake up the status quo, all set against a backdrop of the mid-1960s New York extreme fringe arts scene: the extraordinary drama and poetry of Rochelle...

Cowboy in the Rock Garden: Beat Influences in Sam Shepard’s Early Plays

Deborah R. Geis

Deborah R. Geis is Associate Professor of English at DePauw University in Greencastle, Indiana, USA, where she specializes in 20th and 21st-century American literature and drama. She is the author of Postmodern Theatric(k)s: Monologue in Contemporary American Drama and of Suzan-Lori Parks, and the editor of Approaching the Millennium: Essays on Angels in America (with Steven F. Kruger) and of Considering MAUS: Approaches to Art Spiegelman’s “Survivor’s Tale” of the Holocaust. She is also a published performance poet who has appeared in the National Poetry Slam and in many other venues Author affiliation details are correct at time of print publication.

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Beat Drama : Playwrights and Performances of the ‘Howl’ Generation

Bloomsbury Methuen Drama, 2016

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...Mention Sam Shepard and most of us immediately see an image of him as a movie star, with his iconic roles in such films as Days of Heaven, The Right Stuff, and many others from the late 1970s and through the following couple of decades...