It is one of the great love stories, and also one of the most enigmatic: how reliable a witness is Des Grieux, Manon's lover, whose tale he narrates? Is Manon a thief and a whore, the image of love itself, or a thoroughly modern woman? Prevost is careful to leave the ambiguities unresolved, and to lay bare the disorders of passion." This new translation includes the vignette and eight illustrations that were approved by Prevost and first published in the edition of 1753.

    As Strindberg himself wrote in his Preface, he wanted “to imitate the disjointed yet seemingly logical shape of a dream. Everything can happen, everything is possible and probable. Time and place do not exist.”Caryl Churchill’s spare and resonant new version was first staged at the National Theatre, London, in a production by Katie Mitchell, where A Dream Play was called “fresh, new and magical” (Telegraph).Caryl 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.August Strindberg (1849-1912) was a novelist and playwright from Stockholm, Sweden. His plays include Miss Julie, The Father, To Damascus, A Dream Play, and The Pelican. In 1912 Strindberg's birthday was marked by a torchlight procession through Stockholm, where his radical journalism had earned him the title of ‘people’s writer.’

    While Roxane is in love with the beautiful but inarticulate Christian.Cyrano's generous offer to act as go-between sets in motion a poignant and often hilarious love-triangle, in which each character is torn between the lure of physical attraction and the seductive power of words.Martin Crimp's adaptation of Edmond Rostand's Cyrano de Bergerac premiered at the Playhouse Theatre, London, in November 2019.

    That current is best identified by its catch-labels--Theater of the Absurd, Black Comedy, the Theater of Cruelty--which is to say the theater of alienation, of moral anarchy and despair. To the practitioners of those philosophies Man of La Mancha must seem hopelessly naive in its espousal of illusion as man's strongest spiritual need, the most meaningful function of his imagination. But I've no unhappiness about that. "Facts are the enemy of truth," says Cervantes-Don Quixote. And that is precisely what I felt and meant."--Dale Wasserman, from the Preface.

    His death has brought into her midst both her sister, Claire, who wants to take Catherine back to New York with her, and Hal, a former student of Catherine's father who hopes to find some hint of Robert's genius among his incoherent scribblings. The passion that Hal feels for math both moves and angers Catherine, who, in her exhaustion, is torn between missing her father and resenting the great sacrifices she made for him. For Catherine has inherited at least a part of her father's brilliance -- and perhaps some of his instability as well. As she and Hal become attracted to each other, they push at the edges of each other's knowledge, considering not only the unpredictability of genius but also the human instinct toward love and trust.

    Over the years these authoritative, critically acclaimed editions have been the preferred choice of more than three million readers for personal libraries and individual study as well as for classroom use.

    Impulsive, reckless and heroic, Meaulnes embodies the romantic ideal, the search for the unobtainable, and the mysterious world between childhood and adulthood.

    First performed by the American Repertory Theatre to critical acclaim, this translation by Gideon Lester is set on a contemporary battlefield of the sexes, with the performers going at one another with wit and passion.

    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.