Often referred to as a "comedy of manners", "The School for Scandal" is one Sheridan's most performed plays and a classic of English comedic drama.

    But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    After a lifetime, her only real accomplishment is her longevity: everyone she reads about in the obituaries has died younger than she is now. Afraid that her life will be over before anyone knows that she lived, Mathea digs out her old wedding dress, bakes some sweet cakes, and heads out into the world—to make her mark. She buries a time capsule out in the yard. (It gets dug up to make room for a flagpole.) She wears her late husband’s watch and hopes people will ask her for the time. (They never do.) Is it really possible for a woman to disappear so completely that the world won’t notice her passing? The Faster I Walk, the Smaller I Am is a macabre twist on the notion that life “must be lived to the fullest.”

    After devoting their energies and income for ten years to replacing a borrowed diamond necklace which they have lost, a woman and her husband learn the irony of their efforts.

    Told by an eclectic group of historical and modern characters in a continuous conversation across ages and generations, Top Girls was hailed as 'the best British play ever from a woman dramatist' by The Guardian.

    He asked them to take out their school edition of The Wild Duck. He was once more struck by their hostile attitude toward him. But it couldn't be helped, he had a task to perform and was going through with it. It was from them as a group that he sensed that massive dislike sent forth by their bodies. Individually they could be very pleasant, but together, positioned like now, at their desks, they constituted a structural enmity, directed at him and all that he stood for. Elias Rukla begins yet another day under the leaden Oslo sky. At the high school where he teaches, a novel insight into Ibsen's The Wild Duck grips him with a passion so intense that he barely notices the disinterest of his students. After the lesson, when a broken umbrella provokes an unpredictable rage, he barely notices the students' intense curiosity. He soon realizes, however, that this day will be the decisive day of his life.With Shyness and Dignity, Dag Solstad - praised in Norway as one of the most innovative novelists of his generation - offers an intricate and richly drawn portrait of a man who feels irrevocably alienated from contemporary culture, politics, and, ultimately, humanity.

    But as her economic dependence becomes brutally clear, Nora's acceptance of the status quo undergoes a profound change. To the horror of the bewildered Torvald, himself caught in the tight web of a conservative society which demands that he exert strict control, Nora comes to see that only possible true course of action is to leave the family home.Frank McGuinness's version of A Doll's House received its London premiere in October 1996 and opened on Broadway in 1997, where the production won four Tony Awards.

    With stage performance specifically in mind, Ahl renders Seneca's dramatic force in a modern idiom and style that move easily between formality and colloquialism as the text demands, and he strives to reproduce the richness of the original Latin, to retain the poetic form, images, wordplays, enigmas, paradoxes, and dark humor of Seneca's tragedies.In this powerful and imaginative translation of Medea, Frederick Ahl retains the compelling effects of the monologues, as well as the special feeling and pacing of Seneca's choruses.

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    Now, as I write this, you know nothing about anything, about what awaits you, the kind of world you will be born into. And I know nothing about you...I want to show you our world as it is now: the door, the floor, the water tap and the sink, the garden chair close to the wall beneath the kitchen window, the sun, the water, the trees. You will come to see it in your own way, you will experience things for yourself and live a life of your own, so of course it is primarily for my own sake that I am doing this: showing you the world, little one, makes my life worth living.Autumn begins with a letter Karl Ove Knausgaard writes to his unborn daughter, showing her what to expect of the world. He writes one short piece per day, describing the material and natural world with the precision and mesmerising intensity that have become his trademark. He describes with acute sensitivity daily life with his wife and children in rural Sweden, drawing upon memories of his own childhood to give an inimitably tender perspective on the precious and unique bond between parent and child. The sun, wasps, jellyfish, eyes, lice—the stuff of everyday life is the fodder for his art. Nothing is too small or too vast to escape his attention.This beautifully illustrated book is a personal encyclopaedia on everything from chewing gum to the stars. Through close observation of the objects and phenomena around him, Knausgaard shows us how vast, unknowable and wondrous the world is.

    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.

    Unlike an earlier version adapted for the English-language stage, this translation adheres faithfully to the author's original play as it was published and performed in German.The action of The Visit takes place in the small town of Guellen, "somewhere in Central Europe." An elderly millionairesse, Claire Zachanassian, returns to Guellen, her home town, after an absence of many years. Merely on the promise of her millions, she shortly turns what has been a depressed area into a boom town. But there is a condition attached to her largess, which the natives of Guellen realize only after they have become enmeshed in her vengeful plot: murder. Out of these elements, Durrenmatt has fashioned a many-leveled play which is at once a macabre parable, a deeply moving tragedy, and a scathing indictment of the power of greed.

    Many have large casts and an equal mix of boy and girl parts. This play deals with the horror and futility of trench warfare, as Captain Stanhope and his officers await attack in their dugout.

    At first the Sycamore family seems mad, but it is not long before we realize that if they are mad, the rest of the world is really verklempt.