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(La Vida es Sueño)
Co-Winner of the 2004 Colorado Endowment for the Humanities Publication Prize
"A snappy, playable though poetic prose translation by Michael Kidd (Carleton College) of Calderón's famous La vida es sueño. That is arguably the best of the 500 plays that survive from this dramatist's alleged 2000 efforts. Moreover, the translation comes with excellent critical introduction, supporting materials, and a glossary. Life's a Dream . . . is the best choice for any university or other theater group that wants to stage this play. The fact that modern English prose cannot capture the florid fol-de-rol of early seventeenth-century Spanish is actually an advantage. The love story and the political implications emerge unscathed."—Chronique, Biliothèque d'Humanisme et Renaissance
"An excellent and reliable English edition of one of the Spanish Golden Age's more fascinating plays."—Frederick A. de Armas, University of Chicago
”This is a faithful, accurate, and eminently actable poetic prose translation of Calderón's masterpiece, which ingeniously resolves its many intricate linguistic and semantic puzzles."—José María Ruano de la Haza, University of Ottawa
"A first-class version of one of the all-time classics of world literature."—Julio Baena, University of Colorado at Boulder
A beautiful and haunting tale of love, betrayal, knowledge, and power, Life's a Dream (La vida es sueño, 1636) is the best known and most widely admired play of Catholic Europe's greatest dramatist, Pedro Calderón de la Barca (1600-1681). Calderón's long life witnessed both the pinnacle and collapse of Spanish political power as well as the great flowering of Spanish classical literature. Michael Kidd's new prose translation renders Calderón's masterpiece into a transparent, modern American idiom that preserves the beauty and complexity of Calderón's Baroque Spanish. The result is a highly readable and adaptable text that is enhanced by a generous selection of supporting materials, including a thorough critical introduction and glossary.
Lock on My Lips, The
The Lock on My Lips foregrounds gender, narrative and identity in its representations. It tells the story of a woman who defies traditional patriarchal boundaries that deny women their rights, most especially the right to landed property and buys land in her name. Discursive constructions, ëtravelling conceptsí, metaphors, multiple perspectives, narrative, imagery, folklore, anthropological objects, and mixed-genre plot structure (narrative-(poetic)-drama), combine to tell the story of gendered beings and thus pave the way for exploring the interdisciplinary potentials of the play-text. Land and genre are gender markers. Land is definable through power and authority, constitutes the material with which masculinities are constructed, and thus becomes a space where women are excluded. The play equates land with patriarchal ideology of male virility and supremacy, but creates a mixed-genre fragmentary structure to disrupt the very patriarchal power erected through the metaphor of land.
In 1875 the Rozvi Kingdom, now in present day Zimbabwe, is indistinctly besieged from within by the convergence of a missionary, Rev. Holbrook, a militant British bourgeoisie aspiring for knighthood, Sir Crowler, and an immorally amorous war emissary allegedly from King Cetshwayo of the feared Zulu Kingdom. The ëZuluí ambassador uncompromisingly makes painstaking demands. While Rev. Holbrook is earnest in his endeavours, Sir Crowler is adamant the natives are enemies of both God and Britain meant for annihilation. The elders cannot consult the oracles; all diviners having fled before the arrival of the foreigners. An enigmatic and malicious hermit comes to the fore in the calamitous confusion that ensues. But nobody can tell with certainty if the hermit is messianic or anarchical.
Studies from the Modern London Theatre
Kent State, 1970; A Play
On May 4, 1970, National Guardsmen occupying the Kent State University campus fired 67 shots in 13 seconds, leaving four students dead. This tragedy had a profound impact on Northeast Ohio and the nation and is credited as a catalyst in changing Americans’ views toward U.S. involvement in Vietnam. Supported by the Ohio Humanities Council, May 4th Voices was originally written and performed as part of a community arts project for the 40th commemoration of the events of May 4th.
The text of David Hassler’s play is based on the Kent State Shootings Oral History Project, begun in 1990 by Sandra Halem and housed in Kent State University Libraries’ Department of Special Collections and Archives. The collection is comprised of over 110 interviews, with first-person narratives and personal reactions to the events of May 4, 1970, from the viewpoints of members of the Kent community; Kent State faculty, students, alumni, staff, and administrators who were on campus that day; and National Guardsmen, police, hospital personnel, and others whose lives were affected by their experience. Weaving these voices and stories together anonymously, Hassler’s play tells the human story of May 4th and its aftermath, capturing the sense of trauma, confusion, and fear felt by all people regardless of where they stood that day.
Directed by Katherine Burke, May 4th Voices premiered on May 2, 2010, on the Kent State University campus. It offered the Kent community an opportunity to take ownership of its own tragic story and engage in a creative, healing dialogue. Now, with the publication of the play and its accompanying teacher’s guide and DVD, May 4th Voices brings to a national audience the emotional truth of this tragedy, connecting it to the larger issues of war, conflict, and trauma. A powerful work of testimony, May 4th Voices offers a new and unique contribution to the literature of the protest movement and the Vietnam era.
Essyas on the Drama of August Wilson
This stimulating collection of essays, the first comprehensive critical examination of the work of two-time Pulitzer Prize-winning playwright August Wilson, deals individually with his five major plays and also addresses issues crucial to Wilson's canon: the role of history, the relationship of African ritual to African American drama, gender relations in the African American community, music and cultural identity, the influence of Romare Bearden's collages, and the politics of drama. The collection includes essays by virtually all the scholars who have currently published on Wilson along with many established and newer scholars of drama and/or African American literature.
Eugene O'Neill, Tennessee Williams, and U.S. Dramatic Realism
Mimetic Disillusion reevaluates the history of modern U.S. drama, showing that at mid-century it turned in the direction of a poststructuralist "disillusionment with mimesis" or mimicry.
This volume focuses on two major writers of the 1930s and 1940s--Eugene O'Neill and Tennessee Williams--one whose writing career was just ending and the other whose career was just beginning. In new readings of their major works from this period, Long Day's Journey into Night, The Iceman Cometh, The Glass Menagerie, and A Streetcar Named Desire, Fleche develops connections to the writings of Jacques Derrida, Paul de Man, and Michel Foucault, among others, and discusses poststructuralism in the light of modern writers such as Bertolt Brecht, Antonin Artaud, and Walter Benjamin. Fleche also extends this discussion to the work of two contemporary playwrights, Adrienne Kennedy and Tony Kushner. The aim of Mimetic Disillusion is not to reject "mimetic" and "realistic" readings but to explore the rich complexities of these two ideas and the fruit of their ongoing relevance to U.S. theatre.
Radio Drama as Development Theatre in Sub-Saharan Africa
This book draws on years of rich empirical research on radio drama production in Cameroon to offer a strikingly new perspective in Development Theatre discourse in Africa. Chronicling the history and evolution of Development Theatre practice in Anglophone Africa and arguing for literary forms that address the basic everyday realities of ordinary people in a medium they understand, the book revisits the crucial question of utilitarian literature in a continent that continues to brandish a begging bowl even as it celebrates fifty years of independence. Radio Theatreís inherent latitude to reach the masses in a manner and matter that they identify with makes of it an invaluable albeit often neglected sub-genre in the universe of Development Theatre. Reaching an enlarged audience through radio drama productions ñ plays that address the rustic, ascetic and practical realities of the people ñ is liberating. Through radio plays and their capacity to provide for an enormous degree of authenticity, ordinary people are able to enhance their self-esteem. Like main stream Development Theatre, Radio Drama sets out to address the concerns of all in an all-embracing approach that explores interactive learning characterized by continuous questioning of and adaptation to reality. It disparages the omniscience of the superstructure meant to be perceived as indispensable and all-knowing. As a medium of development communication with unique aesthetic qualities found in and not limited to sound and silence, Radio Drama creates events and condenses reality into dramatic constellations with a high sense of authenticity that invites its audience to participate in the creation process with a strong sense of direction in a story, a plot and a moral. This people-oriented culture re-animation process is the fertile ground for grassroots empowerment. It is the point of departure for feasible development initiatives that this book explores.
W. B. Yeats to Marina Carr, Second Edition
Modern Irish Drama: W. B. Yeats to Marina Carr presents a thorough introduction to the recent history of one of the greatest dramatic and theatrical traditions in Western culture. Originally published in 1988, this updated edition provides extensive new material, charting the path of modern and contemporary Irish drama from its roots in the Celtic Revival to its flowering in world theater. The lives and careers of more than fifty modern Irish playwrights are discussed along with summaries of their major plays and recommendations for further reading.
How do classical, highly codified theatre arts retain the interest of today's audiences and how do they grow and respond to their changing circumstances? The eight essays presented here examine the contemporary relevance and significance of the "classic" No and Kyogen theatre to Japan and the West. They explore the theatrical experience from many perspectives--those of theatre, music, dance, art, literature, linguistics, philosophy, religion, history and sociology.