ABSTRACT

This comprehensive collection gathers critical essays on the major works of the foremost American and British playwrights of the 20th century, written by leading figures in drama/performance studies.

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Who Wrote "John Arden's" Plays?

of a vanity production,
ByTish Dace

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of the Ingenious

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of The Island of the

D' Arcy are ubiquitous. of the lack of interest in D' Arcy can be found in the clip-

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of the plays, beginning with The Business ofG ood

D' Arcy' s personality even "inspired much of" D' Arcy?

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Works Cited

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Ayckboum's Theatricality

of the visual. Recog-
ByBernard F. Dukore

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of The Norman Conquests represent Ayckbourn's most

of the of Intimate Exchanges, part of of the work in the theatre is the skill with which they execute

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Works Cited

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Empire

Space in Beckett's Theater
ByWilliam E. Gruber

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windows-the

do?-were organized according to a visual pattern in which ges-

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Works Cited

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of plot structure seen only on

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of power," as Miche-

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"a real hard-on" (32). Later, Julius Caesar sends Marban's knife as a gift to her-(He toys with the knife.)

of Daui, Marban, and Adona), shields (Marban's two

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of "a King who

of the king is the birth of Arthurian of the Golden Age, the Cook's tale echoes Conlag' s folk vision of a natural world of plenty in Part One:

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Works Cited

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Monsters and Heroines: Caryl Churchill's Women

of herself is not defined of society" (47). Playwright Caryl Churchill defines her-
ByLisa Merrill

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of destiny get what we're after, even if we're destroyed by

of the adoption, however, Lisa has had second thoughts and I'm not worth nothing" (42). While manipulating Lisa into

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Works Cited

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Works Cited

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Negotiating History, Negotiating Myth: Friel among His Contemporaries

of playwrights has emerged in Ireland whose work is so of a second Irish renaissance in dramatic literature.
ByClaire Gleitman

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of any

(1985)-the dramatists revisit events that of Freedom

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of a long line of kings and chieftains-is as economically

And-we-won't-send-them-off mean."? The of starvation and that his other children are starv- of the chieftain, of abstractions that sum up the tribe's ethos,

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culture-and the present of economic and cultural

of a rural existence plagued by poverty, desperation and death,

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Hedda's Children: Simon Gray's Anti-heroes

of her life as the wife of George Tesman. She finds her pedan-
ByKatherine H. Burkman

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of the five men who await his arrival

of Bart- of Stan- of Stanley's absurdities and barbarities, that of the native, but later he will purchase of cannibalism in sketches that will overshadow Stanley's victories in all of the papers. Upon his return, Stanley, not as unaware of the absurdities of the

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of a single anti-

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Romanticism and Reaction: Hampton's Transformation

of critical reactions to Hampton's Les Liaisons Dangereuses of Laclos'
ByLiaisons Dangereuses Stephanie Barbe Hammer

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of love itself. The Chevalier's

of Tourvel in its last throes of agony.

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Works Cited

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Playing with Place: Some Filmic Techniques in the Plays of David Hare

editing-the
ByJohn Russell Brown

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of switching from place to place between short scenes, while

of a cut from episode to episode, beyond a new of the characters. But in Betrayal (1978), time changes forwards or of for- of scene; and in the course of a sin-

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Works Cited

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Master Class and the Paradox of the Diva

of the audience's applause, looks directly at the audience, and
ByCary M. Mazer

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of the Diva word?-

boast-you must be willing to subjugate yourself-is that a of her ego to her audiences. And,

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of the Diva

of sublime of Master Class lies in its twin strategies for of acting that has made her this way-one that demands

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of the play:

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Works Cited

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of his business plays, '''is to create a closed moral universe. "'7

of business of oneself [Le., the male] as breadwinner, as provider, as paterfamilias, of Men," Mamet wrote that men con-

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of American Buffalo-especially

of abuse animates Mamet's Speed-the-Plow business-in this instance the film busi-
Byfool-your fucken' sissy film-you

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side. ." (47), says Teach

like' em because of the art on it" [64], this inno- store-not for profit (Bob wants fifty dollars for it [66], the exact price he paid

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here-wearing better clothes, certainly, and working out of an

"a world of of manhood is precisely that of a "machine"- of conscience, designed simply to make money. So of the

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of "battle." Predictably, the

of the play, Levene further accused of the business world; as one of the of Williamson is unleashed by Roma, livid of his deals: ... ...

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A Place at the Table: Hunger as Metaphor in Lillian Hellman's Days to Come and Marsha Norman's 'night, Mother

ByDays to Come and Linda Ginter Brown of choice.

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of culi-

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of milk is one of

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of psychic wholeness, never acquired a true sense

of the clock, Thelma faces the awful moment of truth. Desperate shot-her body

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of women

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Works Cited

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of any clear point

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of both structural and the-

of the letter, as much as the decision to leave, makes of a homogenizing way of life and of writing plays for which he has complete of being as that-a line from one of those plays I'm clear- of it!" (90). It is, of course, the kind of play that presents "a polite, emotional mess" of implication,

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of a country in decline.The general tendency

It is only Jimmy's sustained irony that enables him to share the colonists' sense paradise-after the first five minutes, she'd have got used to of dangers to which he too is subject. In his

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of different ages, classes, genders,

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of his father's disillusionment and defeat at an

of his experience on the

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of these further possibilities and their relationship to problems of scale

of that renewal raise in another context of scale that recurs throughout the action. Jimmy wants relationships

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The Dumb Waiter, The Collection, The Lover, and The Homecoming: A Revisionist Approach

of the few advantages of growing older is that one becomes wiser; and one of becoming wiser is that one is forced to look back of one's past. of this mess, of course,
ByGeorge E. Wellwarth

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What's Wrong with this Picture? David Rabe's Comic-Strip Plays

of so
ByToby Silverman Zinman

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Works Cited

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The Artistic Trajectory of Peter Shaffer

ByGianakaris

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of signifier so that it is never itself present but is always rep-

of Chaikin's book points to his pre-occupation with the notion of "presence;" of being here of the actual space and the actual moment of the of currents of energy recurs:
Byof the Actor Chaikin writes, "Just before a per-

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of the Mind, for example) or the simple desire to tell

of Shepard's characters are desirous, their appetites impelling their if the objects of of desire is such that desire can never be fully sated. As discussed, desire is

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of us has a myriad of characters inside

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Works Cited

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Funny Money in New York Neil Simon Alan Ayckboum

and London: of mass media. Both playwrights are energetically pro-
ByRuby Cohn

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It is tempting to dive into Ayckbourn's various properties and Simon's

of the 1960s and 1970s string jokes on a thin thread of plot, but in his main work of the 1980s he filters jokes through time-bound
Bylife-Brighton Beach Memoirs (1983), Biloxi

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debts-to Oscar Wilde for mis-

of the Jewish mother of of Come Blow Your Horn anticipates her husband's of you my sister Gussie has two grandchildren and

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of Simon's autobiographical trilogy loses her husband, the

of Come Blow Your Horn turns of his monogamous father. Victor Velasco of Barefoot in the of his age. Barney Cash- of the red hot lovers, makes his final assignation with his wife.

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of Relatively Speaking;

of Way Upstream of the hard-driving male; the vulnerable

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of Disapproval is a famil-

of the of two wives, without the of marriage to either one. Guy's victim Dafydd is as clumsy a hus-

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of theatre. Ayckbourn is past master at intricate plot, economical exposition,

of Simon and Ayckbourn, we can appreciate much of their

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Works Cited

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Broadway Babies: Images

in the Musicals
ByLaura Hanson

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'''I Enjoy Being a Girl': Women in the Plays of

of celebrating the ease and spontaneity of emotion that was the of the traditional musical responding to a world it insisted was of feeling in a world where, as

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It is not that she is so chaste and

of his sleeping with another woman and of coherent existence after so many years of muddle" (157). Her self-realization is not matched by the man in her life, of Anne's youth and beauty. The of age on the image of men and women is reit-

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of her emotion the power that was denied her by her

of eco-

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of emotional closeness with his women friends,

of myth and fairy tale-or in the never-never of traditional American musical theater" (Gordon 53). of Desiree as the "perfect woman" is the undoing of "If she'd only been faded,! of a Sondheim musi- if she is perfect, and blamed if she is of Women," the egotistical Carl-Magnus extols

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Works Cited

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From Zurich to Brazil with Tom Stoppard

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David Storey's Aesthetic of "Invisible Events"

of an American reviewer of The Farm, who
ByWilliam Hutchings

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stage-or its counterpart in

theatre-has had time to recover from the shock of the event that has just of the coarsest of encouragement for Mathews: "Get your prick of Allott's "temple," an outrage revealing the unwor-
Bysimulation-a calculated hoax, a convincingly realistic

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of the author's controlling con-

of undisci- of the actions taking place on stage.

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of the title (that the play instructs the audience in understand-

(88)-as if Storey felt a certain discouragement that his plays (90)-a statement that is equally true of Storey's relationship with the

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warranted-and Storey has given

of the analogy between the students in of which are being of "invisible events" at the same time) counters of the students that was noted by John Weight- of his of life and art-a of of avant-garde "invisible events." The most of these summary statements occurs near the end of the play, as Allott

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NOTES

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of act I, represents a lesbian con-

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of the fears that

of comedy comes as much from the performance as from the script-the lewd faces, the accompanying ironic gestures to the songs, the com- of Susie Friend. Wasser-

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Works Cited

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Vision and Reality: Their Very Own Centre 42

of them. I of the
ByGolden City, Clive Barker

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of 1960 included writers, actors, and direc-

of preparation. The content of the festivals was

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August Wilson's Folk Traditions

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if he were re-experiencing the horrors of being

of laughter and song, broadly inter-

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of his past life should be "gone" or certainly going. The

of black males to life on Southern chain gangs (a of his full name and the action he effects) has removed a black man

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of Miss Mabel, Seth's

buzzards-as Hurston does in Their Eyes Were Watching of them, there- of folk materials.

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Works Cited

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The Artist in the Garden: Theatre Space Place in Lanford Wilson

Inge-whose plays share with sev- of Lanford Wilson's a distinctively midwestern setting-comments on the
ByThomas P. Adler

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of play they are about to witness: a "valentine," "a waltz. . . . One-

of story or tale is analogous to the audi- of his seventeenth summer, at times employs plot. . . such as it is" (345), or, rather like
Byof Our Teeth, commenting facetiously on the play-

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of Alan's visit to his father and then his abrupt

of place. In search of a father, Alan "left Nebraska to come to of the continent" (362, 364), yet of infinite possibilities. Under the peculiar lemon sky,

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of art and literature, one of the central archetypal images has been that

of disappearing, destroyed either by violence or by a material- of the past; in some-such as The grow-that is, theatres-prove to be for such charac-
ByBaltimore-it remains as only a fading memory

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Works Cited

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