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Aman
From the Introduction: "The texts of Aman used in the preparation of this edition are taken from five editions of Montchrestien's plays, i.e., 1601, 1603, 1604, 1606, 1627. There are, however, in fact only two editions which differ from each other, i.e., the 1601 and 1604 editions. . . . In the arrangement of the present text in this edition of texts of [the editions of 1601 and 1604] are printed on opposite pages."
French Theatre in the Neo-classical Era, 1550-1789
This 1997 book covers the period which saw the establishment in France of a centralized official theatre - not only the Comédie-Française (the first 'national' theatre), but an Italian theatre and a state opera; the often subversive independent theatres are also discussed. Nearly 1,000 documents deal with censorship and other aspects of external control, company management, the acting profession, dramatic theory and criticism, theatre architecture, settings and costumes, audience composition and behaviour. Over 120 pictorial documents - architectural drawings, technical engravings, frontispieces, portraits, etc. - provide a visual dimension where relevant. A full linking narrative and a copious bibliography help to make this an important reference work and a valuable research tool.
Two Tragedies
Antoine de Montchrestien's tragedies have been the object of increased critical attention over the years. This annotated edition makes two of his most interesting plays available – Hector, often recognised as one of the masterpieces of French regular rhetorical tragedy, and La Reine d'Escosse, a showcase of Montchrestien's concept of tragedy.
A Critical Bibliography of French Literature
Richard A. Brooks, general editor, v.
'Tis Pity She's A Whore
The last decade has seen a revival of interest in John Ford and especially 'Tis Pity She's a Whore, his tragedy of religious scepticism, incestuous love, and revenge. This text in particular has provided a focus for scholarship as well as being the subject of a number of major theatrical productions. Simon Barker guides the reader through the full range of previous interpretations of the play; moving from an overview of traditional readings he goes on to enlarge upon new questions that have arisen as a consequence of critical and cultural theory.
