The guide presents the major debates that surround these works as they develop, from Martin Esslin's early appropriation of the plays as examples of the Theatre of the Absurd, to recent poststructuralist and postcolonial readings by critics such as Steven Connor, Mary Bryden and Declan Kiberd. Throughout, Boxall clarifies and contextualizes critical responses to the plays, and considers the difficult relationship between Beckett and his critics.

    The woman, he gradually comes to realise, was his family's beloved servant many years ago, in his native town of Ruffano. He returns to his birthplace, and once there, finds it is haunted by the phantom of his brother, Aldo, shot down in flames in '43.Over five hundred years before, the sinister Duke Claudio, known as The Falcon, lived his twisted, brutal life, preying on the people of Ruffano. But now it is the twentieth century, and the town seems to have forgotten its violent history. But have things really changed? The parallels between the past and present become ever more evident.

    An entirely new introduction sets the tragedy in the context of pre-Civil War England and gives a revealing view of its imagery and dramatic action.From its well-documented early performances to the two productions seen in the West End of London in the 1995-96 season, a stage history gives an account of the play in performance. Students, actors, directors and theatre-goers will all find here a reappraisal of Webster's artistry in the greatest age of English theatre, which highlights why it has lived on stage with renewed force in the last decades of the twentieth century.

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    Jill's a kooky, fun-loving actress who refuses to be tied down.Don's a lovable, happy-go-lucky singer who is trying to make it on his own.How they fall in love - almost lose each other - and then learn the real meaning of love - is a funny, touching story of today.

    

    The series features line-by-line commentaries and textual notes on the plays and poems and an extensive introduction. The Winter's Tale is one of Shakespeare's most varied, theatrically self-conscious, and emotionally wide-ranging plays. Much of the play's copiousness inheres in its generic intermingling of tragedy, comedy, romance, pastoral, and the history play. In addition to dates and sources, the introduction attends to iterative patterns, the nature and cause of Leontes' jealousy, the staging and meaning of the bear episode, and the thematic and structural implications of the figure of Time. Special attention is paid to the ending and its tempered happiness. Performance history is integrated throughout the introduction and commentary. Appendices include the theatrical practice of doubling.

    Mysterious, gloomy castles and open graves at midnight are just two of the Gothic devices used to chilling effect in this 19th-century horror classic that turned an obscure figure from Eastern European folklore into a towering icon of film and literature.

    The scene is Mrs. Orcutt's boarding house, where the hopes and ambitions of sixteen young women are revealed in scenes of entertaining comedy. Contrasted with this are the cases of the girl without talent and the elderly actress whose days are over. The central plot has to do with courageous Terry Randall, who fights against discouragement to a position in the theater where we are sure she will conquer. One of her fellow aspirants gives up in despair, one gets married, and one goes into pictures, but Terry, with the help of idealistic David Kingsley, sticks to her guns.

    Her father, a famous musician, dies, and she is raised in the Paris Opera House with his dying promise of a protective angel of music to guide her. After a time at the opera house, she begins hearing a voice, who eventually teaches her how to sing beautifully. All goes well until Christine's childhood friend Raoul comes to visit his parents, who are patrons of the opera, and he sees Christine when she begins successfully singing on the stage. The voice, who is the deformed, murderous 'ghost' of the opera house named Erik, however, grows violent in his terrible jealousy, until Christine suddenly disappears. The phantom is in love, but it can only spell disaster.Leroux's work, with characters ranging from the spoiled prima donna Carlotta to the mysterious Persian from Erik's past, has been immortalized by memorable adaptations. Despite this, it remains a remarkable piece of Gothic horror literature in and of itself, deeper and darker than any version that follows.

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    Just a quick mouth swab and soon you’ll be matched with your perfect partner the one you are genetically made for.That’s the promise made by Match Your DNA. A decade ago, the company announced that they had found the gene that pairs each of us with our soul mate. Since then, millions of people around the world have been matched. But the discovery has its downsides: test results have led to the breakup of countless relationships and upended the traditional ideas of dating, romance and love.Now five very different people have received the notification that they’ve been “Matched.” They’re each about to meet their one true love. But “happily ever after” isn’t guaranteed for everyone. Because even soul mates have secrets. And some are more shocking than others…A word-of-mouth hit in the United Kingdom, The One is a fascinating novel that shows how even the simplest discoveries can have complicated consequences.

    Nine parallel lives, interlocked by four infidelities, one missing person and a mysterious stiletto, are woven through a fragmented series of confessionals and interrogations that gradually reveal a darker side of human nature.

    Moon picks up eleven years after the events described in Long Day’s Journey Into Night, asJim Tyrone (based on O’Neill’s older brother Jamie) grasps at a last chance at love under the full moonlight. This paperback edition features an insightful introduction by Stephen A. Black, helpful to anyone who desires a deeper understanding of O’Neill’s work.

    The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.