A mixture of poetry, metaphysics, and common sense, they are ideal for the imaginative director and are easily adapted for radio or small acting areas.

    This title presents a retrospective of the beautiful haze that was rock's golden age, from the end of the hippies through glam and punk, and into 80's heavy metal.

    This volume presents a comprehensive critical study of Samuel Beckett's first and most renowned dramatic work. Lawrence Graver discusses the play's background and provides a detailed analysis of its originality and distinction as a landmark of modern theatrical art. He also reviews some of the differences between Beckett's original French version and his English translation.

    In his newest play, Celebration, he continues to examine the darker places of relationships. Celebration is an acerbic portrait of a sated culture choking on its own material success. Startling, full of black humor and wicked satire, Celebration displays a vivid zest for life. Also included in this volume is Pinter's classic play The Room. Both plays are invested with the elements that make Pinter's work unique: the disturbingly familiar dialogue, subtle characterization, and abrupt mood and power shifts among characters, which can be by turns terrifying, moving, and wildly funny.

    But when a major global catastrophic event strikes the planet, their date takes on evolutionary significance and the fate of humanity hangs in the balance. Will they survive? What about the fish in the tank? And who is that woman pulling levers and playing the timpani? An epic and intimate comedy that spans over billions of years, boom explores the influences of fate versus randomness in the course of one's life, and life as we know it on the planet.

    Maybe they’re even suspicious of it. John Coltrane’s saxophonic flights of fancy, Jimi Hendrix’s feedback drenched guitar solos, Ravi Shankar’s sitar extrapolations—all these sounds seem like so much noodling or jamming, indulgent self-expression. “Just” improvising, as is sometimes said. For these music fans, it seems natural that music is meant to be composed. In the first book of its kind, John Corbett’s A Listener’s Guide to Free Improvisation provides a how-to manual for the most extreme example of spontaneous improvising: music with no pre-planned material at all. Drawing on over three decades of writing about, presenting, playing, teaching, and studying freely improvised music, Corbett offers an enriching set of tools that show any curious listener how to really listen, and he encourages them to enjoy the human impulse— found all around the world— to make up music on the spot.           Corbett equips his reader for a journey into a difficult musical landscape, where there is no steady beat, no pre-ordained format, no overarching melodic or harmonic framework, and where tones can ring with the sharpest of burrs. In “Fundamentals,” he explores key areas of interest, such as how the musicians interact, the malleability of time, overcoming impatience, and watching out for changes and transitions; he grounds these observations in concrete listening exercises, a veritable training regime for musical attentiveness. Then he takes readers deeper in “Advanced Techniques,” plumbing the philosophical conundrums at the heart of free improvisation, including topics such as the influence of the audience and the counterintuitive challenge of listening while asleep. Scattered throughout are helpful and accessible lists of essential resources—recordings, books, videos— and a registry of major practicing free improvisors from Noël Akchoté to John Zorn, particularly essential because this music is best experienced live.           The result is a concise, humorous, and inspiring guide, a unique book that will help transform one of the world’s most notoriously unapproachable artforms into a rewarding and enjoyable experience.

    Over the course of eighteen shows, Mordden demonstrates that Sondheim is a classical composer who happens to write musicals. Sondheim has intellectualized the musical by tackling serious content usually reserved for the spoken stage: nonconformism (in Anyone Can Whistle, 1964), history (in Pacific Overtures, 1976), and cannibalism as a metaphor for class warfare (Sweeney Todd, 1979). Yet his work combines complex music and intellectual plots with a masterly skill for the fabric of theatre. His shows are all intensely theatrical, produced with flair and brilliance, whether in the lush operetta of A Little Night Music (1973) or the quixotic fairy-tale magic of Into the Woods (1987).Mordden provides fresh insights and analyses of every Sondheim show, from his first hit (West Side Story, 1957) to his most recent title (Road Show, 2008). Each musical has a dedicated chapter, including articles on Sondheim's life and his major influences, and comprehensive bibliographical and discographical essays place the Sondheim literature and recordings in perspective. Writing with his usual blend of the scholarly and the popular - with a wicked sense of humor - Ethan Mordden reveals why Stephen Sondheim has become Broadway's most significant voice in the last fifty years.

    As late as 1953, she was a starry-eyed, penniless, provincial lass in search of a good fortune in Manila. Then came Ferdinand E. Marcos, literally a knight in shining armor who rescued her from poverty and misery. "I will make you the First Lady of the land," he promised her.Complete, detailed replete with facts and documents which have been painstakingly hidden from the public by the administration's image-makers, her life story as told in generations. It explains Imelda's much vaunted charisma which in President Marcos' own words garnered one million votes in the 1965 elections.She is a person who is difficult to be indifferent to. This book tells us why.

    Into her life saunters Cliff, a hard working, hard drinking truck driver. He is rough and witty and just as starved for love as she is. Produced to great success at New York's Circle Repertory, this delicate two-character drama starred Peter Weller and Patricia Wettig. The Woolgatherer features several excellent monologues. "Energy, compassion and theatrical sense are there."-The New York Times "[Mastrosimone] has a knack for composing wildly humorous lines at the same time that he is able to penetrate people's hearts and dreams."-Hollywood Reporter

    What was life? What was love? What else could have been? Full of mordant, bitter humour, this is a passionate threnody from one of Ireland's leading playwrights.Woman and Scarecrow premieres at the Royal Court Theatre, London, in June 2006.

    This volume contains writing from 1995 to 1998 on a variety of subjects, including the eating of sheep faces, Sin City, the ugliness of comics, the parallel world where comics legend Stan Lee dies in a horrific plumbing accident, how to write for comics, and why Michael Moorcock scares the hell out of him!

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

    The eclectic band of citizens that make up this town are portrayed by only two performers, making this satire on life in rural America even more delightful as they depict all of the inhabitants of Tuna -- men, women, children and animals.

    Celebrating the year in music writing by gathering a rich array of essays, missives, and musings on every style of music from rock to hip-hop to R&B to jazz to pop to blues, it is essential reading for anyone who loves great music and accomplished writing. Scribes of every imaginable sort—novelists, poets, journalists, musicians— are gathered to create a multi-voiced snapshot of the year in music writing that, like the music it illuminates, is every bit as thrilling as it is riveting.

    In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit www.folger.edu.