BOOK REVIEWS - Township Plays, Port Elizabeth Plays and Interior Plays
In: African affairs: the journal of the Royal African Society, Band 100, Heft 398, S. 168-170
ISSN: 0001-9909
In: African affairs: the journal of the Royal African Society, Band 100, Heft 398, S. 168-170
ISSN: 0001-9909
In: http://hdl.handle.net/2027/ien.35556006413769
Typed t.-p. supplied. ; A clergyman's courtship.--Giuseppina.--The Hessian.--The patriot.--Polly in politics.--The raiders.--Riverside farm.--The sky riders.--Won by wireless.--The wooing of Wilhelmina. ; Mode of access: Internet.
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Cover -- Title Page -- Contents -- Original Production -- Note on Text -- The Political History of Smack and Crack -- Postscript: Narcotics and Counter-revolution -- Endnotes -- Further Reading -- About the Author -- Copyright and Performing Rights Information
In: Middle East international: MEI, Band 591, S. 13-14
ISSN: 0047-7249
This is the publisher's version, also available electronically from http://www.jstor.org/stable/1146214?seq=1#page_scan_tab_contents. ; No abstract is available for this item.
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Senior Project submitted to The Division of Arts of Bard College.
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The central claim of this thesis is that the correlation between the rise history play genre in the 1590s, concerns about national identity, and emerging disputes over expansion collided in the political/cultural views of proximal foreigners. By looking at those peoples with whom the English had continual exchange due to their geographic proximity, this study posits that these relationships were the ones which shaped English identity and English policy. The varying natures of the relationships between the English, Welsh, Irish, Scottish, and French all contribute varying facets to the emerging and expanding nation. ; TARA (Trinity?s Access to Research Archive) has a robust takedown policy. Please contact us if you have any concerns: rssadmin@tcd.ie
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In: http://hdl.handle.net/11427/22466
Bibliography: pages 366-380. ; In the introduction, the writer highlights Fugard's regional artistry, his authentic reflection and recreation of a nation's tormented soul. The first chapter deals with Fugard's early plays, revealing the embryonic playwright and those characteristics of imagery, construction, language and content to be developed and refined in later plays. Briefly examined within this context are No-Good Friday, Nongogo and Tsotsi, the playwright's only novel. A chapter on the Port Elizabeth plays written in Fugard's apprenticeship years, The Blood Knot, Hello and Goodbye and Boesman and Lena, focuses on his growing skill as a dramatist, his involvement in his milieu both geographically and emotionally, as well as providing detailed analysis of the plays in terms of major features such as national politics, universal values, existentialism and Calvinism. The period of collaboration in which Fugard responded to the suggestions, imaginative projections and creative stimulus of his actors, forms the content of a chapter devoted to detailed study of the improvised plays: The Coat, Orestes, Sizwe Bansi is Dead, and The Island. The later Port Elizabeth plays, A Lesson from Aloes and "Master Harold ' . and the boys, are explored from political and personal perspectives respectively, with attention paid to the intensely human dramas that dominate even the overtly ideological considerations. A chapter on the television and film scripts - The Occupation, Mille Miglia, The Guest, Marigolds in August - traces Fugard's involvement in these media, his economy of verbal descriptions and his taut control of his material generally. A chapter is devoted to Fugard' s women, the characters who present affirmative points of view, whose courage, compassion and determination infuse a hostile world with a range of possibilities beyond survival and existence. Milly in People are Living There, Frieda in Statements After An Arrest Under The Immorality Act and Miss Helen in The Road to Mecca form a Fugardian sorority of survivors. The final chapter of the thesis is devoted to Dimetos, regarded as an intensely personal artistic statement, an examination of the dramatist's alterego, the playwright's persona.
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Intro -- Title page -- Contents -- Epigraph -- Dedication -- Author's Note -- Original Production Details -- The Meaning of Zong -- Scene One -- Scene Two -- Scene Three -- Scene Four -- Scene Five -- Scene Six -- Scene Seven -- Scene Eight -- Scene Nine -- Scene Ten -- Scene Eleven -- Scene Twelve -- Scene Thirteen -- Scene Fourteen -- Scene Fifteen -- Scene Sixteen -- Scene Seventeen -- Scene Eighteen -- About the Author -- Copyright and Performing Arts Information.
In: Women, theatre and performance
"This groundbreaking anthology, part of the Women, Theatre and Performance series, brings together an extraordinary mix of one-act and full length plays and solo performance texts written by women. Included in the volume are texts by Beatrice Herford, Ruth Draper, Zora Neale Hurston and G.B. Stern, originally performed across commercial and amateur theatres in Britain and America. Some of the plays have remained unpublished since their original performance -- Georgina Weldon's Not Alone, Clothilde Graves' Mother of Three, Rachel Crother's Ourselves and Marie Stope's Our Ostriches. Others are anthologized here alongside plays with which they connect aesthetically and historically, for example, Edith Lyttelton's Warp and Woof, Elizabeth Robins' Votes for Women, Elizabeth Baker's Edith, Sophie Treadwell's Machinal and Aimée Stuarts' Nine Till Six. The volume, for students and scholars, provides an accessible collection of texts exemplifying the range and breadth of women's theatre writing from the 1880s to the early decades of the twentieth century."--Publisher's website
In: The annals of the American Academy of Political and Social Science, Band 121, Heft 1, S. 131-136
ISSN: 1552-3349
In: Političeskie issledovanija: Polis ; naučnyj i kul'turno-prosvetitel'skij žurnal = Political studies, Heft 5, S. 79-96
ISSN: 1026-9487, 0321-2017
In: MING QING YANJIU, Band 17, Heft 1, S. 1-34
ISSN: 1724-8574, 2468-4791
In the late Ming dynasty, a new genre of drama arose, which presented on stage recent political events, featuring real historical persons; this genre continued across the Ming-Qing transition. The earliest and one of the best known examples is The Cry of the Phoenix (Ming feng ji), dramatising the conflict between corrupt minister Yan Song (1481-1568) and upright official Yang Jisheng (1516-1555), and probably written by someone in the literary circle of Wang Shizhen (1526-1590). The genre reached its apogee in Kong Shangren's (1648-1718) The Peach Blossom Fan (Taohua shan). Around the Ming-Qing transition, in the Chongzhen and Shunzhi reigns, a considerable number of plays focused on the conflict during the preceding Tianqi reign between the Eastern Grove (Donglin) faction and the chief eunuch Wei Zhongxian (1568-1627). Eleven plays on this subject are known, of which three survive: Fan Shiyan's Eunuch Wei Grinds Down the Loyal (Wei jian mo zhong ji), the Clear-Whistling Scholar's (Qingxiaosheng) A Happy Encounter with Spring (Xi feng chun), and Li Yu's 李玉 A Roster of the Pure and Loyal (Qing zhong pu). Basing my argument on an examination of these plays and of another play by Li Yu, Reunion across Ten Thousand Miles (Wan li yuan), also based on contemporary events, I suggest that the lively version of events given by these political dramas both reflected and helped to develop and spread the popularly accepted view of late-Ming and Southern Ming factional conflict leading to the fall of the Ming dynasty. According to this view, broadly following the Eastern Grove and Revival Society (Fushe) narrative, the decline and fall of the Ming dynasty was the fault of corrupt officials and evil palace eunuchs who misled the Emperor and were bravely resisted by righteous and incorruptible officials who fell as martyrs to their unprincipled opponents. This simplistic view, endorsed to a great extent in the official Ming History (Ming shi), which was mostly written by former Eastern Grove and Revival Society adherents, has persisted in the popular mind to the present day. I also argue that, after the establishment of the Qing, political drama could serve as a vehicle for the covert expression of Ming loyalism.