During the past ten years Harold Pinter has written a new play, three film scripts, sheaves of poems, several sketches and created, with composer James Clarke, a pioneering work for radio, Voices. He has acted on stage, screen and radio, he has appeared on countless political platforms, and his work has been extensively celebrated in festivals at Dublin's Gate Theatre and New York's Lincoln Center. In 2005 he was awarded the Nobel Prize for Literature and in 2006, the European Theatre Prize. As if this were not enough, he has in the last five years twice come close to death. But he has faced hospitalisation with stoic resilience and his spirit remains as fiercely combative as ever. As he wrote in 2005 to Professor Avraham Oz, one of Israel's leading internal opponents of authoritarianism: "Let's keep fighting."

    Its coverage progresses from an introduction through the evolution of switching systems and electromechanical systems to stored-program-controlled digital systems and future broadband systems. Coverage includes: modern digital networks; modern digital switching systems; digital transmission, including synchronous digital hierarchy; broadband networks including ATM; and integrated services digital network (ISDN). The book is intended for use on graduate courses in telecommunications.

    In How to Write a Selling Screenplay, he takes writers through the entire process, from developing a story to finding the best agent. Using an annotated version of an often-optioned screenplay of his own, and citing examples from movies ranging from Casablanca and Lethal Weapon to Sling Blade and The English Patient, he discusses how to create three-dimensional characters, find a compelling story, build an airtight plot structure, fine-tune dialogue, and much more. Keane's tips on the difference between writing for film and television, as well as his advice on dealing with Hollywood movers and shakers, make this an essential companion for people writing their first--or their fortieth--screenplay.

    He works with dysfunctional teenagers, and where everyone else sees apprentice career criminals, he sees hope. No-one has ever taught him to accentuate the positive; his mind is simply built that way. He adores his family: Karen and the children are the centre of his world. So when he finds that one of his few teenage success stories has wound up working in a massage parlour, he knows he has to help. He’ll pop in for a little chat – thats all it will be. But try telling that to anyone else. Karen’s not convinced, and maybe she has her reasons to be suspicious. Alvin finds that one mistake, arising from the noblest of motives, will propel events out of control. Now cast adrift, Alvin’s only allies are the teenagers everyone’s given up on. They’re great at supplying dodgy DVDs and ringtones – but can they help him get his life back?

    In a series of sketches and animations, the Pythons recount scenes from the Grail legend in which the knights forsake their chorus line can-can dancing in Camelot for a higher aim. Typically, the Pythons set-up a 'historical' tale which is really a take on the modern world. Memorable scenes, like Graham Chapman's King Arthur battling with John Cleese's Black Knight until the latter is reduced limb by limb down to a speaking stump of a torso, capture both the hilarity and grotesque nature of brutality. In scene after scene King Arthur's men are led a merry chase through the countryside, encountering life on many different social levels. This screenplay edition contains just the script and is supplemented by stills from the film.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    Arranged in chronological order, this ongoing series includes the original cast listings and production notes.Volume 1 leads with Battle of Angels Williams's first produced play (1940), and early version of Orpheus Descending. this is followed by the texts of his first great popular successes: The Glass menagerie (1945) and the Pulitzer Prize-winning A Streetcar Named Desire (1947), which established Williams's reputations once and for all as a genius of the modern American theatre.

    In the first book designed to introduce students to the broad outlines and significant legacies of the affair, the author deftly interweaves text with documents, tracing the course of events. He highlights the many issues connected with the case, including anti-Semitism, militant nationalism, socialism, the birth of modern Zionism, and the separation of church and state. Sixty-six documents are embedded in the narrative, offering students a broad range of sources to examine, including newspaper editorials, letters, trial testimony, and diary entries. A list of the principal characters is included in the appendices.

    Six cities. A thousand stories.Newsroom, political platform, local hot spot, confession box, preacher-pulpit and football stadium. For generations, African men have gathered in barber shops to discuss the world.

    With keen insight and a ceaseless attention to detail, The Flick pays tribute to the power of movies and paints a heartbreaking portrait of three characters and their working lives. A critical hit when it premiered Off-Broadway, this comedy, by one of the country's most produced and highly regarded young playwrights, was awarded the coveted 2013 Susan Smith Blackburn Prize, an Obie Award for Playwriting and the 2014 Pulitzer Prize for Drama.

    

    Cover topics as terroism, racism, thnic conflict and sexuality. No CD ROM

    When she resorts to telling fortunes in a Manhattan restaurant, she finds she has a knack for intuitively picking up the details of other people's lives and astounding them with what she knows. Here she meets Matt, a friendly, out-of-town veterinarian, and when she attempts to tell his fortune, he becomes the love of her life. Matt and Lilly plan to marry, so Matt brings his teenage daughter, Dinah, to New York City to meet his bride. Suddenly, a tragic accident occurs, and the man they both love dies. Now Lilly is taking Dinah to Pittsburgh to live with Matt's mother, Dell, the hardworking grandmother Dinah barely knows. After that, Lilly intends to drive madly across the country, hoping to stay just ahead of her grief. But the connections between the women will stop her from moving on so easily. Their shared love for Matt has forever tangled, knotted together, and inextricably intertwined their lives. What they have to give each other, and what they need to take, will astonish you and touch your heart.

    There are introductions to each play, and general introductory chapters cover Aristophanes, his theater and the women in his plays; an appendix contains relevant additional material from Aristophanes' lost comedies. Three Plays by Aristophanes will interest both readers of classical drama and students of gender studies and social history.

    A family enters the apartment of a young man and announces that they will save him from his loneliness by living with him. Slowly, they destroy everything, in the cheerful psychotic name of "brotherly love".