The story of the mythological king, who is doomed to kill his father and marry his mother, has resonated in world culture for almost 2,500 years. But Sophocles’ drama as originally performed was much more than a great story—it was a superb poetic script and exciting theatrical experience. The actors spoke in pulsing rhythms with hypnotic forward momentum, making it hard for audiences to look away. Interspersed among the verbal rants and duels were energetic songs performed by the chorus.            David Mulroy’s brilliant verse translation of Oedipus Rex recaptures the aesthetic power of Sophocles’ masterpiece while also achieving a highly accurate translation in clear, contemporary English. Speeches are rendered with the same kind of regular iambic rhythm that gave the Sophoclean originals their drive. The choral parts are translated as fluid rhymed songs. Mulroy also supplies an introduction, notes, and appendixes to provide helpful context for general readers and students.

    Three plays from Pulitzer-Prize winning playwright August Wilson: Ma Rainey's Black Bottom, Fences, and Joe Turner's Come and Gone.

    The Telfairs are stonemasons and have been for generations. Ben Telfair has given up his education to apprentice himself to his grandfather, Papaw, a man who knows that "true masonry is not held together by cement but...by the warp of the world." Out of the love that binds these two men and the gulf that separates them from the Telfairs who have forsaken -- or dishonored -- the family trade, Cormac McCarthy has crafted a drama that bears all the hallmarks of his great fiction: precise observation of the physical world; language that has the bite of common speech and the force of Biblical prose; and a breathtaking command of the art of storytelling.

    And which one of him is the original. . . ?“Churchill’s harrowing bioethics fable leaves us with a number of things to chew on.” –Kris Vire, Time Out Chicago“A Number confirms Churchill’s status as the first dramatist of the 21st century. On the face of it, it is human cloning… Like all Churchill’s best plays, A Number deals with both the essentials and the extremities of human experience… The questions this brilliant, harrowing play asks are almost unanswerable, which is why they must be asked.” –Sunday Times“Caryl Churchill’s magnificent new play only last an hour but contains more drama, and more ideas, than most writers manage in a dozen full-length works.” –Daily TelegraphCaryl Churchill has written for the stage, television and radio. A renowned and prolific playwright, her plays include Cloud Nine, Top Girls, Far Away, Drunk Enough to Say I Love You?, Bliss, Love and Information, Mad Forest and A Number. In 2002, she received the Obie Lifetime Achievement Award and 2010, she was inducted into the American Theater Hall of Fame.

    He never went to school but received most of his education in the streets of Dublin, and taught himself to read at the age of fourteen. He was successively a newspaper-seller, docker, stone-breaker, railway-worker and builders' labourer. In 1913 he helped to organise the Irish Citizen Army which fought in the streets of Dublin, and at the same time he was learning his dramatic technique by reading Shakespeare and watching the plays of Dion Boucicault. His early works were performed at the Abbey Theatre, Dublin, and Lady Gregory made him welcome at Coole, but disagreement followed and after visiting America in the late thirties O'Casey settled in Devonshire. He lived there until his death in 1964, though still drawing the themes of many of his plays from the life he knew so well on the banks of the Liffey. Out of the ceaseless dramatic experimenting in his plays O'Casey created a flamboyance and versatility that sustain the impression of bigness of mind that is inseparable from his tragi-comic vision of life.

    Starring Leonardo DiCaprio (What's Eating Gilbert Grape, The Basketball Diaries) and Claire Danes (My So-Called Life, Little Women) as the doomed lovers, the film is set in a modern city. The actors speak Shakespeare's words--but with their own American accents.Readers can now experience this new vision of Shakespeare's violent, tragic play alongside the Bards original text, in a special single volume that features an introduction by the film's director.--back cover

    The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

    Each casebook reprints documents relating to a work's historical context and reception, presents the best critical studies, and, when possible, features an interview with the author. Accessible and informative to scholars, students, and nonspecialist readers alike, the books in this series provide a wide range of critical and informative commentaries on major texts. Gabriel Garcia Marquez's One Hundred Years of Solitude is arguably the most important novel in twentieth-century Latin American literature. This Casebook features ten critical articles on Garcia Marquez's great work. Carefully selected from the most important work on the novel over the past three decades, they include pieces by Carlos Fuentes, Iris Zavala, James Higgins, Jean Franco, Michael Wood, and Gene H. Bell-Villada. Among the intriguing aspects of the work discussed are its mythic dimension, its "magical" side, its representations of women, its relationship with past chronicles of exploration and discovery, its portrayals of Western power and imperialism, its astounding diffusion throughout the globe and the media, and its simple truth-telling, its fidelity to the tangled history of Latin America. The book incorporates several theoretical approaches--historical, feminist, postcolonial; the first English translation of Fuentes's renowned, oft-cited, eight page meditation on the work; a general introduction; and a 1982 interview with Garcia Marquez.

    

    Brilliant, prolific, uniquely American, Pulitzer prizewinning playwright Sam Separd is a major voice in contemporary theatre. And here are seven of his very best. "One of the most original, prolific and gifted dramatists at work today."--"The New Yorker" "The greatest American playwright of his generation...the most inventive in language and revolutionary in craft, [he] is the writer whose work most accurately maps the interior and exterior landscapes of his society."--"New York Magazine" "If plays were put in time capsules, future generations would get a sharp-toothed profile of life in the U.S. in the past decade and a half from the works of Sam Shepard."--"Time " "Sam Shepard is the most exciting presence in the movie world and one of the most gifted writers ever to work on the American stage."--Marsha Norman, Pulitzer prizewinning author of "'Night, Mother. " "One of our best and most challenging playwrights...his plays are a form of exorcism: magical, sometimes surreal rituals that grapple with the demonic forces in the American landscape."--"Newsweek" "His plays are stunning in thier originality, defiant and inscrutable."--"Esquire" "Sam Shepard is phenomenal..the best practicing American playwright."--"The New Republic"

    A farce with a hilarious drunk scene for two stylish comediennes.

    Failed ideals and human disillusionment give way in Hamletmachine to the youth clamoring in reaction against the past in order to change the present. To break free of the continual cycle of violence within history the past is questioned and deconstructed. Moving away from psychological narrative, Hamletmachine creates a landscape of the betrayed revolution. Brown's production challenges and provides resistance to this complicated text, inciting spectators to do the same. This performance is an exploration into the place of theatre as a sight of revolutionary change. In Müller's words, "the slogan of the Napoleonic era still applies: Theater is the Revolution on the march."

    The play begins in 1977, with a meeting between adulterous lovers, Emma and Jerry, two years after their affair has ended. During the nine scenes of the play, we move back in time, through the states of their affair, with the play ending in the house of Emma and Robert, her husband, who is Jerry's best friend.The classic dramatic scenario of the love triangle is manifest in a mediation on the themes of marital infidelity, duplicity, and self-deception. Pinter writes a world that simultaneously glorifies and debases love.

    While focusing on the words from the project, new photography launches each section which speaks to the reader's journey through the world: Love Found, Being In Love, Love Lost, Hope, Despair, Living and Dying.

    Sweet recollections of driving with her beloved uncle intermingle with lessons about the darker sides of life. Balmy evenings are fraught with danger; seductions happen anywhere. Li'l Bit navigates a narrow path between the demands of family and her own sense of right and wrong.