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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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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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Jonson and the Psychology of Public Theater

To Coin the Spirit, Spend the Soul

John Gordon Sweeney

This book is a study of Ben Jonson's relationship with his audience in the public theater, as the relationship changed in the course of his career from the comical satires to Bartholomew Fair

Originally published in 1984.

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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Key Change

New Musicals for Young Audiences

Children’s Theatre Company

Key Change: New Musicals for Young Audiences presents four groundbreaking musicals developed by Children’s Theatre Company, widely regarded as the leading theatre of its kind in North America. These works embody singular styles and sounds, yet all represent the robust spirit of unique people finding their way in the world. They are all sure to entertain, including the Broadway hit A Year with Frog and Toad.

The quirky Tale of a West Texas Marsupial Girl, by Lisa D’Amour, with music by Sxip Shirey, is set in a town unprepared to accept a girl born with a pouch. But eventually, with the help of her friend Sue, everyone comes to understand just how wonderful Marsupial Girl is. Madeline and the Gypsies—adapted by Barry Kornhauser from the popular book by Ludwig Bemelmans, with music by Michael Koerner—gives little Madeline and her friend Pepito a taste of circus life after they get lost at a carnival and Gypsies carry them away. In Buccaneers! (written by Liz Duffy Adams, with music by Ellen Maddow) a girl leads the young pirates who capture her toward a better life through her wits and tenacity. A Year with Frog and Toad chronicles the unlikely friendship of silly Toad and responsible Frog that endures all seasons. Based on the classic books by Arnold Lobel, adapted by Willie Reale, with music by Robert Reale, it made its mark on Broadway and was nominated for three Tony Awards, including Best Musical.

Each of these musicals guarantees a distinctive, delightful theatrical experience. Now teachers and children far and wide can read them in one volume and produce them in their own schools, theatres, and communities.


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The King's Wages

Augustine Brempong

Containing hints of political satire, The King's Wages is a play that seeks to unmask the wicked absurdity of getting power at all costs. It tells the story of a man called Tutu who wants to be king and murders his own brother in pursuit of his plan. Tutu finally becomes king, but soon realizes that there is more to it than he bargained for. The chief among the Akan gods, Tano, becomes angry and is bent on punishing Tutu for the fratricide he committed. The ghost of Tutu's brother comes back to haunt him and Tutu is desperate to avert this from happening again. He does not only do the unthinkable as an expedient to save his life, but also manifests his weakness by following the advice of his long-time friend Bota. As a result, he is cursed by his own daughter who commits suicide immediately afterwards. In the end, he loses everything but his life. The story may strike us as mythical, but Brempong deliberately goes beyond the limits of the natural to invest his story with more beauty and profound pathos. He uses glittering expressions and simple language, with slight touches of archaism and interspersed with Akan proverbs. The story he tells is interesting enough, but his brilliant writing style also makes it one of the outstanding works to be seen in modern African literature.

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A la Tete du Client and Fly Over the Crooks Crooked nest

Mercedes Fouda

A la tete du client is a vitriolic indictment of the unsettling myths and stereotypes surrounding the HIV/AIDS pandemic in Cameroon. It problematizes and lampoons the unethical practices of medical personnel that have made this disease an intractable ailment in Cameroon and beyond. The English translation of A la t�te du client titled Fly over the Crooks� Crooked Nest denounces and scourges the predatory behaviour of the wicked who take advantage of the weakest in a context of HIV/AIDs. When two rascals decide to open their own laboratory for medical analysis, without any skills or equipment, the least harmful results amount to �Obama... blood type O, Axelrod...blood type A...

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The Last Hope

This play was written as part of an evaluation of Africaís oldest and most diverse rainforest conservation initiative in the Korup area, with the aim of highlighting and sharing some lessons learnt from the creation of the Korup National Park, through a period of full activity, to when activities were considerably reduced. It is a fine blend of the results of the evaluation and some carefully developed fictional, artistic materials for the achievement of an overall dramatic effect. Ekpe Inyang gives an informed artistic touch to achieve dramatic effects, succinctly relating the story of Cameroonís first rainforest national park, Korup.

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Latin American Melodrama

Passion, Pathos, and Entertainment

Darlene J. Sadlier

Like their Hollywood counterparts, Latin American film and TV melodramas have always been popular and highly profitable. The first of its kind, this anthology engages in a serious study of the aesthetics and cultural implications of Latin American melodramas. Written by some of the major figures in Latin American film scholarship, the studies range across seventy years of movies and television within a transnational context, focusing specifically on the period known as the "Golden Age" of melodrama, the impact of classic melodrama on later forms, and more contemporary forms of melodrama. An introductory essay examines current critical and theoretical debates on melodrama and places the essays within the context of Latin American film and media scholarship._x000B__x000B_Contributors are Luisela Alvaray, Mariana Baltar, Catherine L. Benamou, Marvin D'Lugo, Paula Felix-Didier, Andres Levinson, Gilberto Perez, Darlene J. Sadlier, Cid Vasconcelos, and Ismail Xavier.

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