Drama and Theater Resources: Showing Now

This engaging history crackles with admiration for the women who served in the U.S. Army Signal Corps during the First World War, becoming the country's first female soldiers. Operating switchboards in France, they juggled constantly shifting lists of codes and connections, worked fast amid artillery blasts, and mastered the 'genteel diplomacy' needed to communicate with officials in French as well as English. Their technical skill was matched by what one woman called the 'great, unquenchable, patriotic desire to do my bit.' Cobbs intercuts front-line activities with political battles on the home front: the women returned from victory to an America that did not yet grant them the right to vote.

When the need for telephone operators arose in the 1870s, the assumption was that they should all be male. Wages for adult men were too high, so boys were hired. They proved quick to argue with the subscribers, so females replaced them. Women were calmer, had reassuring voices and rarely talked back. Within a few years, telephone operators were all female and would remain so. The pay was low and working conditions harsh. The job often impaired their health, as they suffered abuse from subscribers in silence under pain of dismissal. Discipline was stern--dress codes were mandated, although they were never seen by the public. Most were young, domestic and anything but militant. Yet many joined unions and walked picket lines in response to the severely capitalistic, sexist system they worked under.

NOTE: NO FURTHER DISCOUNT FOR THIS PRINT PRODUCT-- OVERSTOCK SALE -- Significantly reduced list price while supplies last (CMH Pub. 30-17. ) Army Historical Series. Traces the history of the United States Signal Corps from its beginnings on the eve of the American Civil War through its participation in the Persian Gulf conflict during the early 1990s. Shows today's signal soldiers where their branch has been and points the way to where it is going. Related products: Signal Corps- Paperback format can be found here: https: //bookstore.gpo.gov/products/sku/008-029-00405-4 Hardcover format can be found here: https: //bookstore.gpo.gov/products/sku/008-029-00404-6Logbook of the Signal Corps No. 1: The United States Army's First Airplane can be found here: https: //bookstore.gpo.gov/products/sku/008-070-00792-4 "

Race on the Line is the first book to address the convergence of race, gender, and technology in the telephone industry. Venus Green--a former Bell System employee and current labor historian--presents a hundred year history of telephone operators and their work processes, from the invention of the telephone in 1876 to the period immediately before the break-up of the American Telephone and Telegraph Company in 1984. Green shows how, as technology changed from a manual process to a computerized one, sexual and racial stereotypes enabled management to manipulate both the workers and the workplace. More than a simple story of the impact of technology, Race on the Line combines oral history, personal experience, and archival research to weave a complicated history of how skill is constructed and how its meanings change within a rapidly expanding industry. Green discusses how women faced an environment where male union leaders displayed economic as well as gender biases and where racism served as a persistent system of division. Separated into chronological sections, the study moves from the early years when the Bell company gave both male and female workers opportunities to advance; to the era of the "white lady" image of the company, when African American women were excluded from the industry and feminist working-class consciousness among white women was consequently inhibited; to the computer era, a time when black women had waged a successful struggle to integrate the telephone operating system but faced technological displacement and unrewarding work. An important study of working-class American women during the twentieth century, this book will appeal to a wide audience, particularly students and scholars with interest in women's history, labor history, African American history, the history of technology, and business history.

Recounts the role of US women in military and relief efforts at home and abroad while the men were fighting to end war. Drawing heavily from interviews, diaries, letters, and memoirs, describes service in the Navy, Marines, Signal Corp, Red Cross, Salvation Army, YMCA; and as Army Nurses, reconstruc

"In this revised version of a ground-breaking global history of women and the First World War, Susan Grayzel shows the multiple ways in which women faced the enormous challenges the war presented, both the losses as well as the opportunities that the war provided. The First World War was a total war requiring the mobilisation of millions of both civilians and combatants. It decisively shaped the modern world. A century since the signing of the last peace treaty to end this conflict, its experiences and legacies for women continue to inspire debate and interest. With new evidence from the tremendous outpouring of scholarship on women in all participant states, including those in occupied territories, Europe and its overseas empires, Asia, the Middle East, Africa, and the United States over the last twenty years, this edition greatly expands the coverage of the war geographically while continuing to showcase diverse women's voices. Topical in its approach, it allows for a thorough exploration of the intersectional experiences of women. Including new documents highlighting the ways in which women wrote their wars and that detail the impact of this conflict on women of different statuses and geographies, this book opens the door to further inquiry on the women of the First World War. With documents providing first-hand accounts, a chronology, and glossary, the book is an ideal text for students studying the First World War or the history of women"-- Provided by publisher.

The centenary of the First World War in 2014-18 offers an opportunity to reflect upon the role of gender history in shaping our understanding of this pivotal international event. From the moment of its outbreak, the gendered experiences of the war have been seen by contemporary observers and postwar commentators and scholars as being especially significant for shaping how the war can and must be understood. The negotiating of ideas about gender by women and men across vast reaches of the globe characterizes this modern, instrumental conflict. Over the past twenty-five years, as the scholarship on gender and this war has grown, there has never been a forum such as the one presented here that placed so many of the varying threads of this complex historiography into conversation with one another in a manner that is at once accessible and provocative. Given the vast literature on the war itself, scholarship on gender and various themes and topics provides students as well as scholars with a chance to think not only about the subject of the war but also the methodological implications of how historians have approached it. While many studies have addressed the national or transnational narrative of women in the war, none address both femininity and masculinity, and the experiences of both women and men across the same geographic scope as the studies presented in this volume.

War girls reveals the fascinating story of the British women who volunteered for service in the First Aid Nursing Yeomanry (FANY) during the Great War. Examining their experiences on the Western Front with the Belgian, British and French armies, this book shows how the FANY worked as nurses and ambulance driver-mechanics, inspiring stories of female heroism and solidarity. The FANY created skilled gendered performances against the cultural myths of the time, and in concert with their emerging legend. Coming from privileged backgrounds, they drew upon and subverted traditional arrangements, crafting new and unconventional identities for themselves. The author shares the stories of the FANY - a fascinating, quirky and audacious group of women - and illustrates the ways the Great War subverted existing gender arrangements. It will make fascinating reading for those working in the field of gender and war, as well as those who wish to find out more about this remarkable group of women.

Caring for the wounded of the First World War was tough and challenging work, demanding extensive knowledge, technical skill, and high levels of commitment. Although allied nurses were admired in their own time for their altruism and courage, their image was distorted by the lens of popular mythology. They came to be seen as self-sacrificing heroines, romantic foils to the male combatant and doctors' handmaidens, rather than being appreciated as trained professionals performing significant work in their own right. Christine Hallett challenges these myths to reveal the true story of allied nursing in the First World War - one which is both more complex and more absorbing. Drawing upon evidence from archives across the world, Veiled Warriors offers a compelling account of nurses' wartime experiences and a clear appraisal of their work and its contribution to the allied cause between 1914 and 1918, on both the Western and the Eastern Fronts.Nurses believed they were involved in a multi-layered battle. Primarily, they were fighting for the lives of their patients on the "second battlefield" of casualty clearing stations, transports, and military hospitals. Beyond this, they were an integral component of the allied military machine, putting their own lives at risk in field hospitals close to the front lines, on board hospital ships vulnerable to enemy submarine attack, and in base hospitals subject to heavy bombardment. As working women in a sometimes hostile, chauvinistic world, allied nurses were also fighting to gain recognition for their profession and political rights for their sex. For them, military nursing might help to win not only the war itself, but also a more powerful voice for women in the post-war world.

Shortlisted for the HW Fisher Best First Biography Prize 2012 "The only Western woman to enlist as a soldier in the First World War, the Englishwoman Flora Sandes became a heroine and a media sensation when she fought for the Serbian Army and pursued a distinguished career in its ranks. This account charts her incredible story: her tomboyish childhood in genteel Victorian England, her mission to Serbia as a Red Cross volunteer and subsequent military enrolment, her celebrity lecture tours, her marriage to a fellow officer, her survival in a Gestapo prison during the Second World War and her final years in Suffolk. A fascinating character of her times and an inspiration to women the world over, Flora Sandes is brought to life and restored to her rightful place in history by this biography, compiled with the help of her family, and using hitherto unpublished private papers and photographs."

Imagine a more controversial Rosie the Riveter--a generation older and more outlandish for her time. She was the "farmerette" of the Woman's Land Army of America (WLA), doing a man's job on the home front during World War I. From 1917 to 1920 the WLA sent more than twenty thousand urban women into rural America to take over farm work after the men went off to war and food shortages threatened the nation. These women, from all social and economic strata, lived together in communal camps and did what was considered "men's work": plowing fields, driving tractors, planting, harvesting, and hauling lumber. The Land Army was a civilian enterprise organized and financed by women. It insisted on fair labor practices and pay equal to male laborers' wages for its workers and taught women not only agricultural skills but also leadership and management techniques. Despite their initial skepticism, farmers became the WLA's loudest champions, and the farmerette was celebrated as an icon of American women's patriotism and pluck. The WLA's short but spirited life foreshadowed some of the most significant social issues of the twentieth century: women's changing roles, the problem of class distinctions in a democracy, and the physiological and psychological differences between men and women. The dramatic story of the WLA is vividly retold here using long-buried archival material, allowing a fascinating chapter of America's World War I experience to be rediscovered.

"In October 1918, a month before the end of World War I, Paul Bäumer is shot and killed by a sniper on the western front. He is the last of his classmates to fall in a war that will destroy many in his generation and disillusion those who remain. All Quiet on the Western Front chronicles Paul's observations of life and death in the mud of the trenches and the impossibility of returning to civilian life after living in hell. Paul, Müller, Kat, and Kropp are all brought briefly to life in this adaptation of one of the great anti-war classics of the twentieth century"--Page [4] of cover.

This is the story of how women in France and Britain between 1915 and 1933 appropriated the cultural identity of female war veteran in order to have greater access to public life and a voice in a political climate in which women were rarely heard on the public stage. The 'veterans' covered by this history include former nurses, charity workers, secret service agents and members of resistance networks in occupied territory, as well as members of the British auxiliary corps. What unites these women is how they attempted to present themselves as 'female veterans' in order to gain social advantages and give themselves the right to speak about the war and its legacies. Alison S. Fell also considers the limits of the identity of war veteran for women, considering as an example the wartime and post-war experiences of the female industrial workers who led episodes of industrial action.

This book explores the experiences of a range of women from the early days of 1914, through the big events of the war on the Eastern Front. Their diaries, letters, memoirs and journalism are used to investigate the extraordinary role played by British women during the fall of Serbia, the Russian Revolution and the final push, and their role in reconstruction following the Armistice. These women, and their writings, are examined through the multiple lenses of gender, nationality, patriotism, imperialism and legacy, but the book also tells the stories of individuals, and will appeal across audiences to students, researchers and general readers. This is the first book to examine the war in the East through the eyes of British women and as such makes an important contribution to First World War Studies.

All of our strength we'll gladly give you ...In their unit song, Grace Anderson and the Base Hospital No. 115 nurses promised the soldiers: ?Pride of America, we're with you, all of our strength we'll gladly give you ? More than ten thousand World War I army nurses volunteered for a perilous overseas venture. They aided the troops in the fight for democracy before American women had the right to vote.Grace, a nurse anesthetist, helped save lives in the operating rooms and hospital wards. She healed ?our boys? and her own heartaches'a life-changing romance and the tragic loss of a loved one. Her 1917?1925 letters follow her from Camp Pike training to France, occupied Germany, and her return home. The narrative interweaves her correspondence with World War I history and her personal life, including her secret relationship with an army surgeon. The true story focuses on the human side of the Great War and recounts Grace's challenges in the postwar years

They are war stories, filled with danger and deprivation, excitement and opportunity, sorrow and trauma, scandal and controversy--and because they are the war stories of nurses, they remain largely untold. Laurie Stoff's pioneering work brings the wartime experiences of Russia's "Sisters of Mercy" out of the shadows to show how these nurses of the Great War, far from merely binding wounds, provided vital services that put them squarely in traditionally "masculine" territory, both literally and figuratively. While Russian nursing shared many features of women's medical service in other nations, it was in some ways profoundly different. Like soldiers and doctors, the nurses, especially those at the frontlines, experienced extreme cold, constant fatigue, infectious diseases, deadly artillery fire, and aerial bombardment. They also assumed public leadership roles and were often in command of men. The nurses operated in a sphere traditionally considered exclusively masculine and challenged social conventions surrounding gender and war by engaging in activities considered inappropriate for women. Filled with compelling eyewitness accounts of women who stepped outside their assigned roles in Russian society, this book gives us our first clear view of what wartime service was like for these nurses in the Great War. We learn firsthand--from memoirs and diaries, contemporary periodicals and reminiscences--about these women's motivations, the nature and specifics of their work, the cultural stereotypes and conventions that shaped their experiences, and their interactions with the men they cared for and served with. Stoff also explores the cultural and social implications of the Sisters' service--in relation to the government, the military, and the church--both immediate and long-term. The first up-close and in-depth study of Russia's nurses in the Great War, Stoff's work restores a critical chapter to the historical narrative of the war, and to the larger history of gender and culture in early twentieth-century Russia.

This book explores the experiences of a range of women from the early days of 1914, through the big events of the war on the Eastern Front. Their diaries, letters, memoirs and journalism are used to investigate the extraordinary role played by British women during the fall of Serbia, the Russian Revolution and the final push, and their role in reconstruction following the Armistice. These women, and their writings, are examined through the multiple lenses of gender, nationality, patriotism, imperialism and legacy, but the book also tells the stories of individuals, and will appeal across audiences to students, researchers and general readers. This is the first book to examine the war in the East through the eyes of British women and as such makes an important contribution to First World War Studies.

The British Film Guides are a fresh departure for the Cinema and Society series, each telling the story of an important British film, presented and priced for a readership spanning scholars, students and general film enthusiasts. These compact guides, based on new and original research, present each film's historical and cinematic context within its decade, genre and director's body of work; details of its production history; a full analysis of the film itself; and a survey of critical response to the film up to the present. Combining humour and thrills in equal measure, The 39 Steps (1935) is one of Alfred Hitchcock's masterpieces. The film established Hitchcock's reputation internationally as 'the master of suspense'. It also inspired two remakes, in 1959 and again in 1978. Mark Glancy's fresh reassessment of the film examines the work of screenwriter Charles Bennett and precedents set in Hitchcock's earlier films. It follows the intriguing circumstances of its production and presents an original and close analysis of the film itself. It also explores the film's critical and cinematic legacies. This is a revealing and highly readable new account of a landmark British film.

Patrick Barlow's Olivier Award winning stage adaptation based on John Buchan's gripping whodunit - memorably fi lmed by Alfred Hitchcock in 1935 - played for nine years at the Criterion Theatre in the West End. The 39 Steps Abridged and The 39 Steps Even More Abriged are shorter versions of the play at 60 and 40 minutes respectively. They speed along but never miss any of the comic brilliance and thrilling moments of the full-length play. The shorter versions feature the most loved and legendary scenes including the chase on the Flying Scotsman the escape on The Forth Bridge the fi rst theatrical bi-plane crash ever staged and the death-defying (or nearly!) fi nale at the London Palladium! With four actors playing a minimum of one hundred and thirty-nine roles it's the most astonishing theatrical tour de force of the year.

Patrick Barlow's Olivier Award winning stage adaptation based on John Buchan's gripping whodunit - memorably fi lmed by Alfred Hitchcock in 1935 - played for nine years at the Criterion Theatre in the West End. The 39 Steps Abridged and The 39 Steps Even More Abriged are shorter versions of the play at 60 and 40 minutes respectively. They speed along but never miss any of the comic brilliance and thrilling moments of the full-length play. The shorter versions feature the most loved and legendary scenes including the chase on the Flying Scotsman the escape on The Forth Bridge the fi rst theatrical bi-plane crash ever staged and the death-defying (or nearly!) fi nale at the London Palladium! With four actors playing a minimum of one hundred and thirty-nine roles it's the most astonishing theatrical tour de force of the year.

HarperCollins is proud to present its new range of best-loved, essential classics.'I snapped the switch, but there was nobody there. Then I saw something in the far corner which made me drop my cigar and fall into a cold sweat.'When Richard Hannay is warned of an assassination plot that has the potential to take Britain into a war, and then a few days later discovers the murdered body of the American that warned him in his flat, he becomes a prime suspect. He flees to the moors of Scotland and a spirited chase begins as he is pursued by the police and the German spies involved with stealing British plans.Buchan's tale unfolds into one of the seminal and most influential 'chase' books, mimicked by many, yet unrivalled in the tension and mystery created by his writing. Buchan reveres Hannay as an ordinary man who puts his country's good before his own and the classic themes of the novel influenced many films and subsequent 'man-on-the-run' novels.

Extensive meditations on the theme of the voyage in six Hitchcock films: Psycho, The 39 Steps, The Birds, Dial M for Murder, Rich and Strange, and Suspicion. Following from An Eye for Hitchcock and A Dream for Hitchcock, this third volume of reflections upon Alfred Hitchcock's work gives extensive meditations on six films: Psycho, The 39 Steps, The Birds, Dial M for Murder, Rich and Strange, and Suspicion. Murray Pomerance's sources come from a wide territory of interest, including production study, philosophy, cultural history, and more. The book is written as an homage to, and in many ways address to, not only the story content of these films but, more importantly, their overall filmic texture, which involves compositions, visual nuances, sounds, rhythms, and Hitchcock's unique treatments of human experience. The voyage theme plays a key-and moving-role in all the films discussed here.

This research analyses Hitchcock’s The 39 Steps (1935) and his two remakes (i.e. Saboteur, 1942, and North by Northwest, 1959) as exemplars for my screenplay, ‘The Southern Cross Conspiracy’. A research-led practice methodology is applied to investigate relevant screenwriting techniques that are used in the screenplay to develop an emotional journey synonymous with The 39 Steps. The thesis is divided into three parts: theoretical, empirical, and practice. Part One applies a cognitive approach to explain how a spectator logically constructs particular character-types from The 39 Steps and its two remakes leading to identification and emotion. Murray Smith’s “structure of sympathy” (i.e. recognition, alignment and allegiance) is extended explaining the global appeal of Hitchcock’s films. To understand the process used in each film’s development, Part Two examines the practice of screenwriting from a historical perspective by applying genetic criticism to screenplays and other notations (drawn from archives at British Film Institute, London, and Meredith Herrick Library, Los Angeles) produced during the writing of The 39 Steps, Saboteur and North by Northwest. The aim of understanding these processes presented in the first two parts is to guide my pursuit of writing a remake ofThe 39 Steps so that my screenplay can potentially elicit similar emotions. Part Three acts as a proof of concept by applying the findings from Parts One and Two to remake The 39 Stepsas a period drama set in 1950s Australia during the British nuclear testing programme. Two processes emerged from this research: a process of ‘fiction identification’ located at the points of character conflict (internal and external) in Hitchcock’s films; and a ‘writer-director approach’ to screenwriting.

London's West End is a global success story, staging phenomenal hit shows that have delighted millions of spectators and generated billions of pounds in revenue. In Good Nights Out, Aleks Sierz provides a thematic survey of such popular theatre shows that were enormous commercial successes over the past 75 years. He argues that these outstanding hits have a lot to say about the collective cultural, social and political attitudes and aspirations of the country, and about how our national identity - and theatre's role in creating it - has evolved over the decades. The book spans a range of work from almost forgotten plays, such as R. F. Delderfield's Worm's Eye View and Hugh Hastings's Seagulls Over Sorrento, to well-known mega-hits, such as The Mousetrap and The Phantom of the Opera. Such popular work has tended to be undervalued by some critics and commentators mainly because it has not been thought to be a suitable subject for inclusion in the canon of English Literature. By contrast, Sierz demonstrates that genres such as the British musical, light comedy, sex farce or murder mystery are worth appreciating not only for their intrinsic theatrical qualities, but also as examples of the dream life of the British people. The book challenges the idea that mega-hits are merely escapist entertainments and instead shows how they contribute to the creation of powerful myths about our national life. The analysis of such shows also points towards the possibility of creating an alternative history of postwar British theatre.

Even twenty years after his death and nearly fifty or more years after his creative peak, Alfred Hitchcock (1899-1980) is still arguably the most instantly recognizable film director in name, appearance, vision, and voice. Long ago, through a combination of timing, talent, genius, energy, and publicity, he made the key transition from proper noun to adjective that confirms celebrity and true stature. It is a rare filmwatcher indeed who cannot define ""Hitchcockian."" As the director of such films as Psycho, North by Northwest, Spellbound, Vertigo, Rear Window, To Catch a Thief, Notorious, and The Birds, Hitchcock has become synonymous with both stylish, sophisticated suspense and mordant black comedy. He was one of the most interviewed directors in the history of film. Among the hundreds of interviews he gave, those in this collection catch Hitchcock at key moments of transition in his long career--as he moved from silent to sound pictures, from England to America, from thrillers to complex romances, and from director to producer-director. These conversations dramatize his shifting attitudes on a variety of cinematic matters that engaged and challenged him, including the role of stars in a movie, the importance of story, the use of sound and color, his relationship to the medium of television, and the attractions and perils of realism. His engaging wit and intelligence are on display here, as are his sophistication, serious contemplation, and playful manipulation of the interviewer. Sidney Gottlieb, a professor of English at Sacred Heart University in Fairfield, Connecticut, is the editor of Hitchcock on Hitchcock: Selected Writings and Interviews.

The first book on Hitchcock that focuses exclusively on his work with actors.Alfred Hitchcock is said to have once remarked, "Actors are cattle," a line that has stuck in the public consciousness ever since. For Hitchcock, acting was a matter of contrast and counterpoint, valuing subtlety and understatement over flashiness. He felt that the camera was duplicitous, and directed actors to look and act conversely. In The Camera Lies, author Dan Callahan spotlights the many nuances of Hitchcock's direction throughout his career, from Cary Grant in Notorious (1946) to Janet Leigh in Psycho (1960). Delving further, he examines the ways that sex and sexuality are presented through Hitchcock's characters, reflecting the director's own complex relationship with sexuality.Detailing the fluidity of acting - both what it means to act on film and how the process varies in each actor's career - Callahan examines the spectrum of treatment and direction Hitchcock provided well- and lesser-known actors alike, including Ingrid Bergman, Henry Kendall, Joan Barry, Robert Walker, Jessica Tandy, Kim Novak, and Tippi Hedren. As Hitchcock believed, the best actor was one who could "do nothing well" - but behind an outward indifference to his players was a sophisticated acting theorist who often drew out great performances. The Camera Lies unpacks Hitchcock's legacy both as a director who continuously taught audiences to distrust appearance, and as a man with an uncanny insight into the human capacity for deceit and misinterpretation.

Hitchcock and theAnxiety of Authorship examines issues ofcinema authorship engaged by and dynamized within the director's films. Aunique study of self-reflexivity in Hitchcock's work from his earliest Englishsilents to his final Hollywood features, this book considers how the director'sreleases constitute ever-shifting meditations on the conditions and strugglesof creative agency in cinema. Abramson explores how, located in literal andemblematic sites of dramatic production, exhibition, and reception, andpopulated by figures of directors, actors, and audiences, Hitchcock's filmsexhibit a complicated, often disturbing vision of authorship - one thatconsistently problematizes rather than exemplifies the director's longstandingauteurist image. Viewing Hitchcock in a striking new light, Abramson analyzesthese allegories of vexed agency in the context of his concepts of andcommentary on the troubled association between cinema artistry and authorship,as well as the changing cultural, industrial, theoretical, and historicalmilieus in which his features were produced. Accordingly, the book illuminateshow Hitchcock and his cinema register the constant dynamics that constitutefilm authorship.

Alfred Hitchcock's imperative was to charge the screen with emotion. Subject matter and acting were, for him, subordinate to "all of the technical aspects that made the audience scream." Focusing on onscreen objects in Hitchcock's films, this study examines staircases, eyeglasses, lamps, doors, candles, cigarettes, buildings, monuments, statues and dozens of other props that the director treated as subjective protagonists, their roles nearly equal to the actors'. Examining each of the director's 52 extant films, this book provides a comprehensive exploration of Hitchcock's treatment of objects as subjects.

Originally published in 1977 and long out of print, Maurice Yacowar's Hitchcock's British Films was the first volume devoted solely to the twenty-three films directed by Alfred Hitchcock in his native England before he came to the United States. As such, it was the first book to challenge the assumption that Hitchcock's "mature" period in Hollywood, from the late 1940s to the early 1960s, represented the director's best work. In this traditional auteurist examination of Hitchcock's early work, author Maurice Yacowar considers Hitchcock's British films in chronological order, reads the composition of individual shots and scenes in each, and pays special attention to the films' verbal effects. Yacowar's readings remain compelling more than thirty years after they were written, and some?on Downhill, Champagne, and Waltzes from Vienna?are among the few extended interpretations of these films that exist. Alongside important works such as Murder!, the first The Man Who Knew Too Much, Secret Agent, The Lady Vanishes, and Blackmail, readers will appreciate Yacowar's equal attention to lesser-known films like The Pleasure Garden, The Ring, and The Manxman. Yacowar dissects Hitchcock's precise staging and technical production to draw out ethical themes and metaphysical meanings of each film, while keeping a close eye on the source material, such as novels and plays, that Hitchcock used as the inspiration for many of his screenplays. Yacowar concludes with an overview of Hitchcock as auteur and an appendix identifying the director's appearances in these films. A foreword by Barry Keith Grant and a preface to the second edition from Yacowar complete this comprehensive volume. Anyone interested in Hitchcock, classic British cinema, or the history of film will appreciate Yacowar's accessible and often witty exploration of the director's early work.

Completed only two months before the author's execution in Granada at the age of thirty-eight, La casa de Bernarda Alba marks the completion of Lorca's 'trilogia de la tierra española' and is commonly held to be his greatest play. The theme of vitality and repression that runs as a leitmotif through his writings takes on a clearer social dimension in the 'drama de mujeres en los pueblos de España', with the presentation of a household of five unmarried daughters tyrannised by their mother's excessive concern with social class and obscurantist village morality.

This first-ever Michael John LaChiusa sheet music collection contains 39 songs from one of the most distinctive and admired theatre composers of our time. More than 250 pages of music chronicle two decades of LaChiusa shows, from early 1990s breakouts First Lady Suite and Hello Again to celebrated favorites like The Wild Party, See What I Wanna See, and much more. The composer supplied a wealth of previously unpublished music for this collection, ensuring that even the most devoted LaChiusa fan will discover new and exciting songs among these pages. Titles: * Adela (from Bernarda Alba) * Beautiful (Marie Christine) * The Bed Was Not My Own (Hello Again) * By the Way (Little Fish) * The Christian Thing to Do (The Seven Deadly Sins) * Coffee (See What I Wanna See) * Curiosity (See What I Wanna See) * Eleanor Sleeps Here (First Lady Suite) * Fraud (Broken Sleep) * The Gift of You (The Nutcracker) * He Wanted a Girl (Giant) * Heaven (Hotel C'est l'Amour) * Hello Again (Hello Again) * Hello, Lover, Hello (Send (who are you? I love you) * The Highest Yellow (The Highest Yellow) * How Many Women in the World? (The Wild Party) * I Don't Hear the Ocean (Marie Christine) * I Ran (Little Fish) * Little Fish (Little Fish) * Martirio (Bernarda Alba) * Mistress of the Senator (Hello Again) * My Husband Was an Army Man (First Lady Suite) * The One I Love (Hello Again) * Optimistic (Lovers and Friends) * People Like Us (The Wild Party) * Private Property (Giant) * Remember Me (Little Fish) * See What I Wanna See (See What I Wanna See) * She Looked at Me (See What I Wanna See) * Simple Creature (Little Fish) * The Smallest Stream (Bernarda Alba) * The Smallest Thing (First Lady Suite) * A Stranger (Giant) * There Will Be a Miracle (See What I Wanna See) * Tom (Hello Again) * Tom Sawyer (Romance Language) * Way Back to Paradise (Marie Christine) * Welcome to My Party (The Wild Party) * When It Ends (The Wild Party).

Noted scholars of Latin American and Spanish literature here explore the literary history of Latin America through the representation of iconic female characters. Focusing both on canonical novels and on works virtually unknown outside their original countries, the essays discuss the important ways in which these characters represent nature, history, race and sex, the effects of globalization, and the unknowable "other." They examine how both male and female writers portray Latin American women, reinterpreting the dynamics between the genders across boundaries and historical periods. Drawing on recent theories in literary criticism, gender, and Latin American studies, these essays illuminate the women characters as conduits for the appreciation of their countries and cultures.

Feted by his contemporaries, Federico García Lorca's status has only grown since his death in 1936. This book shows just why his fame has endured, through an exploration of his most popular works. Feted by his contemporaries, Federico García Lorca's status has only grown since his death in 1936: poet, playwright, political martyr, gay icon, champion of women, defender of the oppressed. This book guides readers through the key themes and concerns in Lorca's work. It demonstrates how Lorca applied his poetic sensibilities and lyrical craft to what were, in essence, tangible, real-life issues: the plight of Andalusia's Romani people, the idea of modernity and the condition of women in Spain. What becomes evident is that, even though he was writing at a time when many writers and artists were less inclined to deal directly with the things of the world, Lorca maintained a profound interest in the human subject and in the world around him. It is this interest, the book argues, in tandem with his poetic vision and craft, that ensured his most popular works' enduring, universal appeal.

Baroque Lorca: An Archaist Playwright for the New Stage defines Federico García Lorca's trajectory in the theater as a lifelong search for an audience. It studies a wide range of dramatic writings that Lorca created forthe theater, in direct response to the conditions of his contemporary industry, and situates the theory and praxis of his theatrical reform in dialogue with other modernist renovators of the stage. This book makes special emphasis on how Lorca engaged with the tradition of Spanish Baroque, in particular with Cervantes and Calderón, to break away from the conventions of the illusionist stage. The five chapters of the book analyze Lorca's different attempts to change the dynamics of the Spanish stage from 1920 to his assassination in 1936: His initial incursions in the arenas of symbolist and historical drama (The Butterfly's Evil Spell, Mariana Pineda); his interest in puppetry (The Billy-Club Puppetsand In the Frame of Don Cristóbal) and the two 'human' farces The Shoemaker's Prodigious Wifeand The Love of Don Perlimplín and Belisa in the Garden; the central piece in his project of 'impossible' theater (The Public); his most explicitly political play, one that takes the violence to the spectators' seats (The Dream of Life); and his three plays adopting, an altering, the contemporary formula of 'rural drama' (BloodWedding, Yermaand The House of Bernarda Alba).

La casa de Bernarda Alba (The House of Bernarda Alba) was one of the last plays to be written by Lorca, shortly before he was executed by the Franco regime at the age of 38, in 1936. It was not performed until 1945 several years after his death. Along with Blood Wedding and Yerma it forms Lorca's Rural Trilogy. The play is based around five daughters who live with their fearsome and tyrannical mother. The daughters have been kept sheltered from the opposite sex, but the arrival of a suitor after their father's death catapults the family into a downward spiral of sexual jealousy and death. The play explores themes of sexual oppression, passion, and conformity, and examines women's lives in Spain at the end of the 19th and beginning of the 20th century. Bernarda's cruel tyranny over her daughters foreshadows the stifling nature of Franco's fascist regime, which was to arrive just a few weeks after Lorca finished writing his play. The introduction by Eric Southworth addresses the main issues of the play and the issues involved in translating it.

First Published in 1990. Routledge is an imprint of Taylor & Francis, an informa company.

Has a version of "House..." rewritten by a woman playwright.

This volume of essays commemorates and celebrates the creative works of Frederico Garcia Lorca, Salvador Dali, and Luis Bunel, three contemporaries and friends. The essays suggest that the artistic creations of Lorca, Dali, and Bunel feature theoretical ideas on (their) contemporary art in general, as well as on the particualr art form cultivated by each- ideas that help us to better understand their work as it relates to a wide rane of aesthetic theories.

Jesus of love : the profane passion and holy spirit of the young poet's Cristo. The dialectic of flesh and spirit ; The flesh and its limits ; Más allá : the realm of the spirit ; The inversion of gender ; A young man's vision -- Mariana Pineda : iconic martyr to Love. Which Mariana? ; The play : its subject, structure and plot ; From 'estampa' to performance ; From the material to the ethereal ; The spiritual realm of dream and death ; Mariana the martyr : the sacrifice of the body ; 'La Mariana amante' : icon of Love -- The sacrifice of identity in Amor de Don Perlimplín con Belisa en su jardín. Perlimplín : at the heart of Garcia Lorca's theatre ; The play's dualisms : plot and themes ; Don Perlimplín : the 'monigote' humanised ; 'La blanca Belisa' : from empty vessel to eternal Love ; Subversions of identity ; Ritual and the transforming final sacrifice ; Towards a production of new subjectivity -- El público : struggling with identity. The 'impossible' drama : homosexuality, structure and style ; The key dialectic of surface and depth ; Masculinity in question ; Bodily boundaries ; Queer acts : identity and existence as performance -- ¡Hijo de mi alma! : gender inversion and the metaphysical reproduction of the Self in Yerma. A woman frustrated? : theme, plot and structure ; A masculinised Yerma and an effeminate Juan ; The theory of gender inversion ; A desire for the Soul and the reproduction of Self -- Beyond the outer walls : transvestite masquerade and transcendent escape in La casa de Bernarda Alba. Subversive acts ; The photo documentary : drama in black and white ; From realism to drag performance ; On symbols and on the signs of Camp ; The performance of gender ; Beyond the walls of the house of Alba : Adela's challenge to Bernarda.

Anne Carson has published translations of the ancient Greek poets Sappho, Simonides, Aiskhylos, Sophokles and Euripides. Antigonick is her seminal work. Sophokles' luminous and disturbing tragedy is here given an entirely fresh language and presentation. This paperback edition includes a new preface by the author, "Dear Antigone."

When her dead brother is decreed a traitor, his body left unburied beyond the city walls, Antigone refuses to accept this most severe of punishments. Defying her uncle who governs, she dares to say 'No'. Forging ahead with a funeral alone, she places personal allegiance before politics, a tenacious act that will trigger a cycle of destruction.Renowned for the revelatory nature of his work, Ivo van Hove first enthralled London audiences with his ground-breaking Roman Tragediesseen at the Barbican in 2009. Drawing on his 'ability to break open texts calcified by tradition' (Guardian), the director now turns to a classic Greek masterpiece.

The body of Polynices, Antigone's brother, has been ordered to remain unburied by Creon, the new king of Thebes. Antigone's faithfulness to her dead brother and his proper burial, and her defiance of the dictator Creon, seals her fate. Originally produced in Paris during the Nazi occupation, Anouilh's Antigone was seen by the French as theatre of the resistance and by the Germans as an affirmation of authority.Includes an interview with translator Christopher Nixon and director Brendon Fox.Also includes an interview with Ned Chaillet, a playwright, radio producer and director for the BBC. Chaillet is the former Deputy Drama Critic for the Times of London and the London theatre critic for the Wall Street Journal-Europe. He spoke with us about Antigone in the context of World War Two, the differences bewtween the original myth of Sophocles and the Anouilh version, and Anouilh's influence on later playwrights.An L.A. Theatre Works full-cast performance featuring:Jordan Bridges as Haemon and GuardDominic Fumusa as GuardFrancis Guinan as Creon John Hansen as Guard and MessengerAlan Mandell as ChorusElizabeth Marvel as Antigone Alley Mills as NannyMandy Siegfried as IsmeneDirected by Brendon Fox. Recorded before a live audience at the Skirball Cultural Center, Los Angeles.

A muscular version of Sophocles' timeless masterpiece, offering a profound reflection on the nature of power, democracy and human rights. The war has ended, but with peace comes conflict. Antigone's brother Polyneices lies on the battlefield where he fell, his burial outlawed by Creon, the new king of Thebes. Should Antigone obey Creon, or must she follow her conscience and lay her beloved brother to rest? Owen McCafferty's version of Antigone was first performed by Prime Cut Productions at the Waterfront Studio Hall, Belfast, in October 2008 as part of the Ulster Bank Belfast Festival.

This book examines the ways the encounters between modernist theatre makers and Greek tragedy were constitutive in the modernist experiments in performance. Through a series of events / instances / poses that engage visual, literary and performing arts, the modernist love/hate relationship with classical Greek tragedy is read as contributing to a modernist notion of theatricality, one that follows a double motion, revising both our understanding of Greek tragedy and of modernism itself. Isadora Duncan, Edward Gordon Craig, T.S. Eliot, Ezra Pound, W. B. Yeats, H. D, and Bertolt Brecht and their various, sometimes successful sometimes failed experiments in creating a modernist aesthetic in performing, dancing, translating, designing Greek tragedies, sometimes for the stage and sometimes for the page, are presented as radical experiments in and gestures towards the autonomy of performance. In the process the artists of the theatre themselves - the actor, the designer, the director, the playwright - are reconfigured and given a lineage and genealogy, through this modernist revision of tragedy and the tragic not as as a philosophical or philological tradition, but as a performance practice.

Antigone is one of the most influential and thought-provoking of all Greek tragedies. Set in a newly victorious society, where possibilities seem boundless and mankind can overcome all boundaries except death, the action is focussed through the prism of Creon, a remarkable anti-hero - a politician who, in crisis, makes a reckless decision, whose pride (or insecurity) prevents him from backing down until it is too late, and who thereby ends up losing everything. Not just the story of a girl who confronts the state, Antigone is an exploration of inherent human conflicts - between men and women, young and old, power and powerlessness, civil law and the 'unwritten laws' of nature. Lauded in Antiquity, it has influenced drama and philosophy throughout history into the modern age. With an introduction discussing the nature of the community for which Antigone was written, this collection of essays by 12 leading academics from across the world draws together many of the themes explored in Antigone, from Sophocles' use of mythology, his contemporaries' reactions and later reception, to questions of religion and ritual, family life and incest, ecology and the environment. The essays are accompanied by David Stuttard's performer-friendly, accurate and easily accessible English translation.