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The Horned Owl

(L’Assiuolo)

Giovan Maria Cecchi (1517–1587) was the most prolific and popular of sixteenth-century Florentine daramatists. His best-known play, L’Assiuolo (The Horned Owl), brings to the stage the amorous adventure of two students at the university of Pisa who fall in love with the same married lady. Through a servant’s ruse they both succeed in gratifying their senses and in establishing a love affair that will see them through their undergraduate career.

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Igniting Wonder

Plays for Preschoolers

Children’s Theatre Company

Young children love to explore their world through drama—characters, dialogue, story arcs, and props are all standard elements of a child’s play. It is no surprise then that professional theatre has long been regarded as a way to support children’s social-emotional, cognitive, and creative development. Increasingly, there is an international interest in theatre for very young audiences, and the Wall Street Journal reported on a “baby boom” in American theatre, with a marked upswing in the number of stage plays being written and produced for toddlers and preschoolers.

Fueled by ongoing research into developmental psychology and theatre arts, the Children’s Theatre Company (CTC) of Minneapolis presents in this book four of its newly commissioned plays for preschoolers. CTC is widely recognized as the leading theatre for young people and families in North America; it received the 2003 Tony award for regional theatre, and Time magazine rated it the number one children’s theatre in the United States. These four plays encompass a broad range of styles and subjects: Bert and Ernie, Goodnight! is a musical about Bert and Ernie’s unlikely but true friendship, written by Barry Kornhauser and based on the original songs and scripts from Sesame Street. The Biggest Little House in the Forest is a toy-theatre play about a group of diverse animals trying to share a very tiny home, adapted by Rosanna Staffa from the book by Djemma Bider. The Cat’s Journey is a dazzling shadow-puppet play with a little girl who rides on a friendly cat, written by Fabrizio Montecchi. And Victoria Stewart’s Mercy Watson to the Rescue!, adapted from the Kate DiCamillo Mercy Watson series, is a comic romp featuring the inadvertent heroics of everyone’s favorite porcine wonder.

While these plays are as different as they could be, they all help young children to develop a moral compass and critical-thinking skills—while also showing them the power of the theatre to amaze, delight, and inspire.

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Indigenous North American Drama

Birgit Däwes

Traces the historical dimensions of Native North American drama using a critical perspective.

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Interpreting SAMSON AGONISTES

Joseph Anthony Wittreich

Joseph Wittreich reveals Samson to be an intensely political work that reflects the heroic ambitions and failings of the Puritan Revolution and the tragic ambiguities of the era. He sees in the work not the purveyance of Medieval and early Renaissance typological associations but an interrogation of them and a consequent movement away from them.

Originally published in 1986.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Intersecting Boundaries

The Theatre of Adrienne Kennedy

Paul Bryant-Jackson

Although Adrienne Kennedy's plays are highly regarded in the world of American theater, this is the first major critical study of her work. Topics covered encompass all of Kennedy's writing for the theater and explore her innovative dramaturgy in the context of its intersections with African, modern, postmodern, and contemporary drama, African-American consciousness, and feminist theory in theater. In addition to examining the incredible variety of Kennedy's work and suggesting critical strategies that will support fuller study of her dramatic writing, Intersecting Boundaries demonstrates that only through a collage of critical models can the complexity and richness of her postmodern dramaturgy be illumined. Interviews with persons directly involved in the productions of Kennedy's work emphasize the central role theater artists have had in shaping her plays--ultimately suggesting useful approaches for the production of these compelling dramas. Contents Part I: The Life and Work *Adrienne Kennedy: An Interview. Paul K. Bryant-Jackson and Lois More Overbeck *People Who Led to My Plays: Adrienne Kennedy's Autobiography, Werner Sollors *The Life of the Work: A Preliminary Sketch, Lois More Overbeck Part II: Intersecting Dramatic Traditions *Kennedy's Travelers in the American and African Continuum, Paul K. Bryant-Jackson *Diverse Angles of Vision: Two Black Women Playwrights, Margaret B. Wilkerson *Adrienne Kennedy and the First Avant-Garde *Adrienne Kennedy Through the Lens of German Expressionism, William R. Elwood *Surrealism as Mimesis: A Doctor's Guide to Adrienne Kennedy's Funnyhouse of a Negro, Robert Scanlan Part III: Changing Boundaries: Interpretive Approaches *Locating Adrienne Kennedy: Prefacing the Subject, Kimberly W. Benston *Mimesis in Syncopated Time: Reading Adrienne Kennedy, Elin Diamond *(Hetero) Sexual Terrors in Adrienne Kennedy's Early Plays, Rosemary Curb *Kennedy's Body Politic: The Mulatta, Menses, and the Medusa, Jeanie Forte *"A Spectator Watching My Life": Adrienne Kennedy's A Movie Star Has to Star in Black and White, Deborah R. Geis *Critical Reflections: Adrienne Kennedy, the Writer, the Work, bell hooks Part IV: Performance as a Collaborative Art *An Interview with Michael Kahn, Howard Stein *An Interview with Gaby Rodgers, Howard Stein *An Interview with Gerald Freedman, Paul K. Bryant-Jackson *An Interview with Billie Allen, Paul K. Bryant-Jackson and Lois More Overbeck *Developing a Concert for the Spoken Voice: Solo Voyages, and an Interview with Robbie McCauley, David Willinger

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Iredi War

A Folkscript

Sam Ukala

Iredi War was the winner of The Nigeria Prize for Literature 2014. The playwright introduces the notion of �folk script� with its special stamp. The use of the oral literature genre allows for the full exploitation of the creative licence which allows for the swings from the historical to the oral, the natural to the supernatural, the real to the fantastic.

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Irish Theater in America

Essays on Irish Theatrical Diaspora

edited by John P. Harrington

For more than 150 years, Irish playwrights, beginning with Dion Boucicault, have been celebrated by American audiences. However, Irish theater as represented on the American stage is merely a sampling of the national drama, and the underlying causes of Irish dramatic success in America illuminate the cultural state of both countries at specific historical moments. Irish Theater in America is the first book devoted entirely to the long history of this transatlantic exchange. Born out of the Irish Theatrical Diaspora project, this collection brings together leading American and Irish scholars with established theater critics. The contributors explore the history of Irish theater in America, from Harrigan and Hart to the recent productions of senior Irish playwrights such as Brian Friel and younger writers such as Martin McDonagh and Conor McPherson. Examining the complexity of the relationship between Irish theater and American audiences, this volume goes beyond analyses of plays to include examinations of company dynamics, tours of companies and actors, audience reception, and the production history of individual works.

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Irish Women Dramatists

1908-2001

edited by Eileen Kearney and Charlotte Headrick

Irish women dramatists have long faced an uphill challenge in getting the recognition and audience of their male counterparts. There are more female playwrights now than ever before, but they are often ignored by mainstream theatres. Kearney and Headrick strive to shift the spotlight with Irish Women Dramatists. The plays collected in this volume represent a cross-section of the excellent dramatic output of Irish women writing in the twentieth century. In addition to the scripts and biographical introductions, the anthology includes a detailed, critical, annotated essay addressing the development of the Irish theatre throughout this time period, and the place women have artistically carved out for themselves in a traditionally male-dominated theatre industry and dramatic canon. One of the few collections of plays by Irish women, this volume contextualizes the political and sociological climate in which these playwrights developed. As theatre practitioners—actors and directors—as well as scholars, Kearney and Headrick have devoted years of research to discovering and rediscovering the contributions these women have made—and continue to make—in the Irish and world theatre scenes.

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Javanese Shadow Plays, Javanese Selves

Ward Keeler

As with many performing arts in Asia, neither the highly stylized images of the Javanese shadow play nor its musical complexity detracts from its wide popularity. By a context-sensitive analysis of shadow-play performances, Ward Keeler shows that they fascinate so many people in Java because they dramatize consistent Javanese concerns about potency, status, and speech.

Originally published in .

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

restricted access This search result is for a Book

John Gay and the London Theatre

Calhoun Winton

The Beggar's Opera, often referred to today as the first musical comedy, was the most popular dramatic piece of the eighteenth century -- and is the work that John Gay (1685-1732) is best remembered for having written. That association of popular music and satiric lyrics has proved to be continuingly attractive, and variations on the Opera have flourished in this century: by Kurt Weill and Bertolt Brecht, by Duke Ellington, and most recently by Vaclav Havel. The original opera itself is played all over the world in amateur and professional productions.

But John Gay's place in all this has not been well defined. His Opera is often regarded as some sort of chance event. In John Gay and the London Theatre, the first book-length study of John Gay as dramatic author, Calhoun Winton recognized the Opera as part of an entirely self-conscious career in the theatre, a career that Gay pursued from his earliest days as a writer in London and continued to follow to his death. Winton emphasizes Gay's knowledge of and affection for music, acquired, he argues, by way of his association with Handel.

Although concentrating on Gay and his theatrical career, Winton also limns a vivid portrait of London itself and of the London stage of Gay's time, a period of considerable turbulence both within and outside the theatre. Gay's plays reflect in varying ways and degrees that social, political, and cultural turmoil. Winton's study sheds new light not only on Gay and the theatre, but also on the politics and culture of his era.

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