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Sam Shepard V8
These issues consist of the edited Proceedings of the Shepard conference, organized by the Belgian-Luxembourg American Studies Association and the Free University of Brussels (VUB), which took place in Brussels, 28-30 May 1993. It will be of interest to undergraduates and postgraduates, professors, critics, theater practitioners, writers and those with a keen interest in the fields of literature, theater studies and cultural studies.
Neil Simon
First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
August Wilson
First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
Mel Brooks in the Cultural Industries
Alex Symons takes a unique, artist-focused approach in order to systematically identify the range of Brooks's adaptation strategies across the Hollywood film, Broadway theatre and American television industries.
Encyclopedia of American Drama
Provides a comprehensive guide to American dramatic literature, from its origins in the early days of the nation to American classics such as Arthur Miller's Death of a Salesman and Thornton Wilder's Our Town to the groundbreaking works of today's best writers.
South African Theatre as/and Intervention
One of the most striking features of cultural life in South Africa has been the extent to which one area of cultural practice - theatre - has more than any other testified to the present condition of the country, now in transition between its colonial past and a decolonized future. But in what sense and how far does the critical force of theatre in South Africa as a mode of intervention continue? In the immediate post-election moment, theatre seemed to be pursuing an escapist, nostalgic route, relieved of its historical burden of protest and opposition. But, as the contributors to this volume show, new voices have been emerging, and a more complex politics of the theatre, involving feminist ...
Edward Albee
From the "angry young man" who wrote Who's Afraid of Virginia Woolf in 1962, determined to expose the emptiness of American experience to Tiny Alice which reveals his indebtedness to Samuel Beckett and Eugene Ionesco's Theatre of the Absurd, Edward Albee's varied work makes it difficult to label him precisely. Bruce Mann and his contributors approach Albee as an innovator in theatrical form, filling a critical gap in theatrical scholarship.
Stephen Sondheim
Stephen Sondheim is an artist with many contradictory facets: he is an avant-garde composer and lyricist working in the populist art form, an apparently dry and acerbic critic who captures all the ambivalent pain of passion, an intellectual whose work contains some of the funniest bawdy lines on the Broadway stage. He has chosen to confront an audience that is usually looking for escapist literature with the very issues it has fled to the theatre to avoid. This collection of original essays takes particular pains to present Sondheim's diversity in a chronological plan that illustrates how each new work grew out of the previous one. Some of the topics covered are the evolution of Sondheim's female characters, who take us far beyond the usual sweet ingenues; the Roman farce antecedents of A Funny Thing Happened on the Way to the Forum and the resemblances between Sondheim's chorus and the chorus in ancient Greek drama; Sondheim and the concept musical; and Sondheim's maturing philosophy. All students of the modern theatre and the modern musical will want to read this book.
Hollywood on Stage
Playwrights have been depicting Hollywood as a cultural desert and an industry of profit-driven philistines ever since the early days of the movies. This collection of original essays covers the period from the 1920s to the present but concentrates on such contempory playwrights as David Mamet, Sam Shepard, David Rabe, Arthur Kopit, and Adrienne Kennedy. A substantial proportion of the volume is devoted to a discussion of the way in which these authors deconstruct Hollywood myths to reveal painful social and psychological issues in American life, providing a deeper and darker picture than the simple satires of movie-making in the 1920s and 1930s or Odets's comparison of the commercially deba...
