She understands and exploits the unique strengths of her medium: the ability to viscerally connect with an audience.” –The EconomistExperimental Korean American theatre artist Young Jean Lee has been called “one of the best experimental playwrights in America” (Time Out New York). This volume contains two of her recent works:In The Shipment, Lee provides a provocative look at African-American identity in our not-yet post-racial society. The New York Times calls this take on cultural images of black America “a subversive, seriously funny new theater piece… Ms. Lee wields sharp, offbeat humor to point up the clichés, distortions and absurdities” (Charles Isherwood, New York Times).LEAR is Lee’s own version of Shakespeare’s tragedy, focusing on the king’s three daughters. A production in which Lear himself never appears, LEAR is a “wacky blend of ‘To be or not to be,’ Beckett, and Pirandello…full of exhilarating, illuminating moments” (Village Voice).Young Jean Lee has written and directed shows in New York with Young Jean Lee’s Theater Company and toured her work to over twenty cities around the world. Her plays include Straight White Men, We’re Gonna Die, Untitled Feminist Show, The Shipment, Lear and Songs of the Dragons Flying to Heaven. Awards include two Obies, the Festival Prize of the Zuercher Theater Spektakel, a Prize in Literature from the American Academy of Arts and Letters, a Guggenheim Fellowship and a Doris Duke Artist Award.

    Raised by an unbalanced mother who thinks the perfect birthday gift is plastic surgery, and a shy uncle who spends most of his time painting miniatures, Panny is afraid she s hopelessly different. Thanks to a fortuitous misdial, she strikes up a phone friendship that seems to be the connection she s been longing for. However, she soon finds that out in BFE, a.k.a. "the middle of nowhere," anything can happen and usually does.

    We cling onto age-old traditions, but a holiday can alter our accent. To us, caste and community is a badge of trust, religion is a line of control and a godman is an anti-depressant.We won’t stop at a zebra crossing, but we will damn well stop on it. We build things to prove our worth and break things to prove a point. We love the concept of independence, but we need our parents to help raise our kids. And we scripted the Kamasutra. Easy to forget, since we also ruined sex.So how do we tell the real from the farcical? The farcical from the nutty? And the nutty from the downright ridiculous?Easy. We just go along.Daksh Tyagi's funny and insightful 'A Nation of Idiots' is the ideal guide to surviving the modern Indian life with your scruples intact.

    They sailed far out to sea. The blue one returned to the harbor. The red one sailed home too. But the yellow boat sailed up to the sun." Benjamin always concluded his bedtime ritual by saying, "Mom, you can be the red boat or the blue boat, but I am the yellow boat." This remarkable voyage of Benjamin was extensively developed and widely produced in America for several years, always to ovations. Cast of 4 men and 3 women.THE YELLOW BOAT is based on the true story of David and Sonja Saar's son, Benjamin, who was born with congenital hemophilia, and died in 1987 at the age of 8 of AIDS related complications. A uniquely gifted visual artist, Benjamin's buoyant imagination transformed his physical and emotional pain into a blaze of colors and shapes in his fanciful drawings and paintings. The story of THE YELLOW BOAT Is a glorious affirmation of a child's life, and the strength and courage of all children. Recommended for children of age 8 and older, parents, families and adults.

    DramaFull LengthCast: 3 men, 1 woman: 4 totalSetting: EXTERIORTHE STORY: Tracing the legacy of war through three generations of a Puerto Rican family, the play focuses on nineteen-year-old Elliot, a recently anointed hometown hero who returns from Iraq with a leg injury and a difficult question: Will he go back to war a second time? While on leave, Elliot learns the stories of his father and grandfather who served in Korea and Vietnam before him.

    Opening with his childhood in working-class Belfast, in a neighborhood of drinkers and dreamers, Branagh describes the fires of early ambition that drew him to the stage and to the plays of Shakespeare. At age twenty-four he founded his own actor's troupe with the goal of performing those plays; at twenty-eight, he directed and starred in the movie of "Henry V," the role that won him international fame. "Beginning" is crammed with colorful anecdotes and insights into the actor's and director's craft, including: Stories about Olivier, Gielgud, Finney, Jacobi, and a private audience with Prince Charles to research the role of Henry VAd-libbing Shakespeare when props are missingThe differences in performing on stage, television, and large-screen filmsA near-miss in landing the role of Mozart in the film "Amadeus": an actor's dream turned nightmareRaising millions from scratch and filming "Henry V" in seven weeksWritten with great humor and a natural storyteller's gift, "Beginning" is an intriguing book for anyone interested in theater and film.

    Now they aren't even speaking. When CBS requests them for a "History of Comedy" retrospective, a grudging reunion brings the two back together, along with a flood of memories, miseries and laughs."It's ham on wry...Simon's sure footed craftsmanship and his one liners are as exquisitely apt as ever."-New York Post"Delicious and oddly affecting."-T

    He directed both the London and Broadway productions of Miss Saigon, each of which ran for ten years. He directed Alan Bennett's The Madness of George III on both stage and screen. In short: He is one of today's most successful and admired theatrical impresarios.In Balancing Acts, Hytner gives us a detailed behind-the-scenes look at his creative process. From reviving classic musicals and mastering Shakespeare to commissioning new plays, he shows theater making to be a necessarily collaborative exercise, and he writes insightfully about the actors and playwrights he's worked with: Derek Jacobi, Richard Griffiths, Helen Mirren, Maggie Smith, Michael Gambon, Harold Pinter, and Tom Stoppard among them. With a cultural range that spans from The Mikado to The Lady in the Van, Balancing Acts is not only a memoir but a gathering of illuminating notes on the art of directing and a thoughtful meditation on the purpose of theater.

    Producing plays that reflected topical issues of the decade and giving a creative chance to actors, directors, and playwrights who were either fed up with or shut out of commercial theater, the "Group" remains a permanent influence on American drama despite its brief ten-year life.It was here that method acting, native realism, and political language had their tryouts in front of audiences who anticipated--indeed demanded--a departure from the Broadway "show-biz" tradition. In this now classic account, Harold Clurman, founder of the Group Theatre and a dynamic force as producer-director-critic for fifty years, here re-creates history he helped make with Lee Strasberg, Elia Kazan, Irwin Shaw, Clifford Odets, Cheryl Crawford, Morris Carnovsky, and William Saroyan. Stella Adler contributed a new introduction to this edition which remembers Clurman, the thirties, and the heady atmosphere of a tumultuous decade.

    He has also written fim scripts and for television.

    The three are attended and visited by family and close friends: Agnes and her mother Felicity, estranged further by the latter's dementia; Brian and Beverly whose martial complications are exacerbated by Brian's new lover, Mark; and Joe and Maggie, unready for the strain of Joe's impending death and it's effect on their teenage son.

    A story of sibling love that explores subjects closely linked to science: faith and reason, certainty and uncertainty, the pursuit of excellence and scientists’ constant struggle to balance their research ambitions with family life.

    Simple, isn’t it? But what if you neither have the guts to leave the job nor know what you love to do? Complicated, isn’t it?Meet Raghav, who like millions of other software professionals, is stuck in a similar situation. But don’t worry, his destiny has better plans for him. What plans you may ask? Well, getting him fired.This novella takes you on a light-hearted tour of the contemporary software industry where you can ask the haunting question loudly- is getting sacked a blessing in disguise? About the author Sandeep is a software professional and lives in Pune. He is an IIT Bombay alumnus but doesn't brag about it unless a situation emerge. He spends more time observing people than on his monitor. He loves tea but hates many things like writing about himself as a third person. Thank God I'm Fired is his second book.

    The gaucheness, the rush of excitement, and the inarticulate tenderness of young love are beautifully captured in writing of great truth and delicacy. Only the most irrational of homophobes could fail to be moved by it."—Daily Telegraph"Deliciously upbeat ... seldom has there been a play which so exquisitely and joyously depicts what it's like to be sixteen, in the first flush of love and full of optimism. Truly a most unusual and beautiful thing."—Guardian"An unfakeably truthful portrait of adolescent self-discovery, showing sensitivity and fun pushing up like wild flowers through the concrete crevices of a Thamesmead estate. This is the most heartening working-class comedy since A Taste of Honey."—Independent on Sunday

    In the hilly village of pathri Aali, where legends appear true, Aslam and ashwar, two young lovers, dream of marriage and of good things of life. But that is not to be. Unable to cope, Aslam leaves pathri Aali forever. Years later, as men migrate to Saudi Arabia for employment, pathri Aali is populated mostly by women and children. Soon they realize the mujahedeen, who guise themselves as their liberators, are the worst perpetrators, and misery seems inescapable. Ashwar refuses to be cowed down by this reign of terror and is determined not to let it devastate the once-peaceful village. The only one she can Bank on is aslam—and she calls out to him across the distance of time and space, to return and live up to the legends of their village. Snakes in the meadows is a saga of the onset of militancy, and the suffering and the resilience of pir panjal—the ‘and’ of Jammu and Kashmir.