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    Based on historical people and real events, Miller's drama is a searing portrait of a community engulfed by hysteria. In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town's most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence. Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy's "witch-hunts" in the United States. Within the text itself, Miller contemplates the parallels, writing "Political opposition...is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence." The Viking Critical Library edition of Arthur Miller's dramatic recreation of the Salem witch trials contains the complete text of The Crucible as well as extensive critical and contextual material about the play and the playwright, including:Selections from Miller's writings on his most frequently performed playEssays on the historical background of The Crucible, including personal narratives by participants in the trials and records of witchcraft in Salem from the original documentsReviews of The Crucible, in production by Brooks Atkinson, Walter Kerr, Eric Bentley, and othersExcerpts from Jean-Paul Sartre's Les Sorcières de Salem, a "spin-off" of Miller's play, and three analogous works by Twain, Shaw, and Budd SchulbergCritical essays on the play, on Miller, and on the play in the context of Miller's oeuvreAn introduction by the editor, a chronology, a list of topics for discussion and papers prepared by Malcolm Cowley, and a bibliography

    de Mille as the "screen's outstanding find of 1936" and by Howard Hawks as "the greatest actress I ever worked with"; join the Group Theatre, one of the most important, socially conscious and artistically groundbreaking troupes in U.S. history; and suffer a harrowing, ongoing struggle with mental illness, which kept her in various sanitariums and hospitals from 1943-1950. In 1972, her purported autobiography Will There Really Be a Morning? was published to great critical acclaim. The story might have ended there, but in 1978 Seattle film critic William Arnold published his account of Farmer's life, entitled Shadowland. Arnold claimed to have uncovered previously undisclosed information that Farmer had suffered a transorbital lobotomy at the hands of Dr. Walter Freeman, the man who, with James Watts, had introduced the prefrontal lobotomy to the United States, and who had later "refined" his technique to avoid drilling through the skull, instead resorting to inserting an icepick like device through the eye socket up into the brain to sever the frontal lobes. Arnold's disturbing account, the first time ever anyone had made the lobotomy assertion about Farmer, became the basis for the 1982 feature film Frances starring Jessica Lange.

    I'm changing things. This is it.Three old friends in their mid-twenties. One remarkable day. For Ted, Danny and Charlotte, it’s time to seize control. Make a difference. Change things. This is it.A day trip through the parks and raves and cafes of South London, where life is what you make it. The rapid fire words of Kate Tempest paint a picture of lives less ordinary in an unforgiving world, sound-tracked by an exhilarating score.The drama mixes rap-style poetry delivered with microphones and self-reflexive addresses to the audience.A play about love, life and losing your mind, and the first play from one of the UK’s most exciting performance poets, Kate Tempest.

    Huston shows a master screenwriter's skill in setting a scene and delineating a character with a few words."--New York Times Book ReviewIn An Open Book, this veteran of five marriages, innumerable friendships, practical jokes, horses, love affairs, and intellectual obsessions tells his own story in his own way. It is direct, unadorned, complete-and wonderful reading. Here is Huston on stage for the first time at age three, dressed in an Uncle Sam suit; in the ring at eighteen, boxing for small purses; selling his first short story to H.L. Mencken; down and out in London; acting in Greenwich Village; going to Hollywood to work for Jack Warner as a writer; directing his first picture, The Maltese Falcon; filming dangerous combat scenes in the Aleutians and in Italy; and making over forty years worth of movies, from Key Largo to The Man Who Would Be King. And the stories behind those movies are often as exciting as the movies themselves, featuring such notables as Hemingway, Selznick, Sartre, Hepburn, Monroe, Flynn, Welles, Gable, Bogart, Clift, and Brando. An Open Book is alive with John Huston's presence: his boldness and daring, his candor and style, and the spontaneity with which he followed his dreams to their ultimate destination, the well-deserved acclaim of a world enchanted by his work.

    Writing at a time when Athens was undergoing a crisis in its social attitudes, Aristophanes was undergoing a crisis in its social attitudes, Aristophanes was an eloquent opponent of the demagogue and the sophist, and his comedy reveals a deep sympathy and longing for the return of a peaceful and honest way of life.

    At the time of a paralyzing drought in the West we discover a girl whose father and two brothers are worried as much about her becoming an old maid as they are about their dying cattle. For the truth is, she is indeed a plain girl. The brothers try every possible scheme to marry her off, but without success. Nor is there any sign of relief from the dry heat. When suddenly from out of nowhere appears a picaresque character with a mellifluous t

    

    A young policeman's first day on duty becomes a violent initiation into the nastier aspects of law enforcement (2 acts, 4 men, 2 women).

    In English translations that achieve a lively readability without sacrificing the dramatic and comic impact of the original Latin, this volume presents all six comedies: The Girl from Andros (Andria), The Self-Tormentor (Heautontimorumenos), The Eunuch (Eunouchus), Phormios, The Brothers (Adelphoe), and Her Husband's Mother (Hecyra).

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    drunk, Effie is the kind of girl you'd avoid eye contact with, silently passing judgement. We think we know her, but we don't know the half of it. Playwright Gary Owen uses the Greek myth of Iphigenia to tell a modern story: exploring social deprivation, poverty and class in contemporary Wales.

    Shot on a shoe-string budget of $175,000 in black-and-white 16mm, the film was made with Spike Lee's persistence and talent plus the help of family and friends. It grossed $8 million at the box office and proved to be a major hit with both critics and audiences. Now Spike Lee reveals how he did it, mapping out the entire creative and production processes-from early notebook jottings to film festival awards. Spike Lee's Gotta Have It is a unique document in film literature - it's funny, absorbing, and fresh as the hit film itself.

    Yet many may be surprised to learn that the true story behind the making of the film is as captivating as the film itself. In The Making of Slap Shot, veteran sports writer Jonathon Jackson lets fans not only relive just how the film was made, but brings to light surprising facts (i.e., Al Pacino was the first choice for the role of Reggie Dunlop; almost every scene-even the absurd and unbelievable ones-depicts a real life event). With access to those involved in the making of the film, he brings to life some of the magic behind the creation of memorable scenes and characters, especially the Charleston Chiefs, one of the most popular fictional sports teams in history. Based on interviews with over 50 cast members, production staff, and anyone of note involved in the film's creation Destined to be a collectible and keepsake (along with the jerseys, bobbleheads, and other paraphernalia associated with the film), The Making of Slapshot is a must for fans eager to learn even more about their favorite film.

    Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama.Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists.