bluuebunny/crossref_metadata_2025_split huggingface dataset:
Genet-Triana-Kopit: Ritual as "Danse Macabre"
Authors: Murch Anne 
Published: April 2013

MAN AT ODDS WITH HIMSELF AND HIS WORLD - groping for a new image… Is Man behind his times, or is he ahead of them? Is he hankering after some mythical past where charisma was there f9r the taking, or projecting himself into some utopian, McLuhanish future of "tribal," electronic bliss? Either way he is a misfit in the present and this condition is reflected in the drama he creates… One recurrent element in that drama is ritual action. We shall consider such action in three contemporary plays: Genet's The Maids, Triana's The Night of the Assassins,and Kopit's Chamber Music, Belonging respectively to the French, the Spanish-Cuban, and the North American cultures, these plays illustrate in their striking analogies a much talked-about phenomenon: the emergence of a planet-wide culture, whose common denominator, in the western world, seems to be the individual's show of alienation.
Embers and the Sea: Beckettian Intimations of Mortality
Authors: Alpaugh David 
Published: April 2013

DESPITE HUGH KENNER'S INVITING CHARACTERIZATION of Embers as "Beckett's most difficult work" and one which "coheres to perfection," this radio play has received remarkably little critical attention. Perhaps the play's emotional tone and un-Beckettian "surface realism” pose ironic enigmas for readers who have learned to reach essentially intellectual meanings through the absurd surfaces of Waiting for Godot and Endgame. The failure of communication between Henry and his family; the internal fiction of nameless need and utter isolation that Henry weaves around the old men, Bolton and Holloway; and the sense of emotional washout which closes the drama are all presented with a lyrical simplicity which seems to defy protracted analysis. It is not surprising, then, that most of the play's critics have hesitated to go beyond paraphrase. Several have denied that the play merits critical attention at all. Richard Coe dismisses Embers as "banal and melodramatic" and Michael Robinson declares that here "the chaotic pain of life shows through the artisan's attempt to give it coherence.” Are these critics justified in suggesting that Embers is little more than a poignant emotional outburst?5 Does Beckett purchase the play's realism by sacrificing the symbolic dimension which has so fascinated readers of Godot and Endgame? Or have these critics simply overlooked such a dimension?
Book Reviews
Authors: Messenger Ann , Jones John , Dietrich  , Armato Philip , Parker Brian , Banham Martin , Meserve Walter , Riese Laure , Parkin Andrew , Imhof Rudiger 
Published: April 2013

James Reaney, Masks Of Childhood: The Easter Egg, Three Desks, The Killdeer, reviewed by Ann P. Messenger Robertson Davies, Hunting Stuart and Other Plays, reviewed by Ann P. Messenger Robert Gurik, The Hanged Man, reviewed by Ann P. Messenger Marcel Dube, The White Geese, reviewed by Ann P. Messenger David French, Leaving Home, reviewed by Ann P. Messenger John H. Ferres ed., Twentieth Century Interpretations Of The Crucible, reviewed by John Bush Jones Paul A. Hummert, Bernard Shaw's Marxian Romance, reviewed by R. F. Dietrich Frederick Lumley, New Trends In 20th Century Drama: A Survey Since Ibsen And Shaw, reviewed by Philip M. Armato Travis Bogard, Contour In Time: The Plays Of Eugene O'Neill, reviewed by Brian Parker Bakary Traore, The Black African Theatre And Its Social Functions, reviewed by Martin Banham Melvin Landsberg, Dos Passos' Path To U.S.A: A Political Biography 1912 - 1936, reviewed by Walter J. Meserve E. Freeman, The Theatre Of Albert Camus. A Study, reviewed by Laure Riese E. H. Mikhail, A Bibilography OF Modern Irish Drama 1899 - 1970, reviewed by Andrew Parkin Simon Trussler, The Plays Of Harold Pinter: An Assessment, reviewed by Rudiger Imhof
Patterns of Structure and Character in Ibsen's Rosmersholm
Authors: Carlson Marvin 
Published: April 2013

IN HENRIK IBSEN'S FINAL PLAY, When We Dead Awaken, the reader can scarcely escape an impression of careful and conscious arrangement of elements. The progression of the settings from a veranda near the fjords to the high fells, then to the mountain site of the final apotheosis, has the clear symbolic shape of a Strindberg pilgrimage drama. The main characters form complementary and contrasting patterns so consciously balanced that some critics have likened the working out of the play to the construction of a string quartet. Ibsen's last drama, however, merely brings to the surface a concern with the careful patterning of character and situation which can be found throughout the dramatist's work, even in the plays of his middle period, where a basically realistic approach tends to mask its importance. Taking Rosmersholm as an example, I propose to demonstrate how an awareness of the patterns beneath the surface of this play, perhaps the most complex Ibsen ever created, can guide us through much of its dynamic.
A Calendar for the Production and Reception of Cathleen Ni Houlihan
Authors: Coleman Antony 
Published: April 2013

20 JANUARY 1902, Yeats writes to Lady Gregory. "[Maud Gonne] is anxious by the by to play Kathleen ny Hoolihan for us. She will certainly be a draw if she does. Fay could easily find all the rest of the company." Yeats had written to Ellen O'Leary, in 1889, "Did I tell you how much I admire Miss Gonne? She will make many converts to her political belief. If she said the world was flat or the moon an old caubeen tossed up into the sky I would be proud to be of her party." W.G. Fay claims that Yeats persuaded Maud Gonne to take the title part. His account of the production continues
Book Reviews
Authors: Estrin Mark , Donhue Joseph , Grecco Stephen , Dukore Bernard , Lazenby Walter , Neglia Erminio , Wall Richard 
Published: April 2013

Dan Vogel, The Three Masks Of American Tragedy, reviewed by Mark W. Estrin Garff B. Wilson, Three Hundred Years Of American Drama And Theatre: From Yebearand Yecubb To Hair, reviewed by Joseph Donohue Malcolm Goldstein, The Political Stage, reviewed by Stephen Grecco Stanley Weintraub, Saint Joan Fifty Years After: 1923/24 — 1973/74, reviewed by Bernard F. Dukore Charles A. Berst, Bernard Shaw And The Art Of Drama, reviewed by Bernard F. Dukore J.L. Wisenthal., The Marriage Of Contraries: Bernard Shaw's Middle Plays, reviewed by Bernard F. Dukore J.P. Wearing, The Collected Letters Of Sir Arthur Pinero, reviewed by Walter Lazenby Jose Ramon Cortina, Ensayos Sobre El Teatro Moderno, reviewed by Erminio G. Neglia Peter Rene Gerdes, The Major Works Of Brendan Behan, reviewed by Richard Wall
Book Reviews
Authors: Cohn Ruby , Styan  , Murphy Vincent , Dietmann Margaret , Hoff Frank , Lane Harry , Berckman Edward , O'Conner Patricia , Blumenthal Eileen , Page Malcolm , Meserve Walter 
Published: April 2013

Emmanuel Jacquart, Le Theatre De Derision, reviewed by Ruby Cohn Andrew K. Kennedy, Six Dramatists In Search Of A Language: Studies In Dramatic Language, reviewed by J.L. Styan Ruby Cohn, Back To Beckett, reviewed by Vincent J. Murphy John H. Reilly, Arthur Adamov, reviewed by Margaret Dietemann J. Thomas Rimer, Toward A Modern Theatre: Kishida Kunio, reviewed by Frank Hoff Goran Stockenstrom, Ismael I. Öknen: Strindberg Som Mystiker, reviewed by Harry Lane David Caute, The Illusion. An Essay On Politics, Theatre And The Novel, reviewed by Edward M. Berckman Karen Malpede Taylor, People's Theatre In Amerika, reviewed by Edward M. Berckman John Weisman, Guerilla Theater: Scenarios For Revolution, reviewed by Edward M. Berckman Karen Malpede, Three Works By The Open Theater, reviewed by Eileen Blumenthal Wilma Newberry, The Pirandellian Mode In Spanish Literature, reviewed by Patricia W. O'Connor Arnold P. Hinchcliffe, British Theatre 1950-70, reviewed by Malcolm Page Winifred Fraser, E. G. and E. G. O.: Emma Goldman And The Iceman Cometh, reviewed by Walter J. Meserve
Comedy and Philosophy in Man and Superman
Authors: Gibbs  
Published: April 2013

MAN AND SUPERMAN is sub-titled "A Comedy and a Philosophy." Shaw himself, in his discussion of the play and its antecedents in the Epistle Dedicatory addressed to A.B. Walkley, tends to encourage the notion that the comedy and philosophy are largely unrelated entities in the work. He refers to the dream-sequence as something "totally extraneous" to the "perfectly modern three-act play," and compares himself~ in his offering Walkley a glimpse of the Mozartian Don Juan and his antagonist in the Dream, to "the strolling theatrical manager who advertizes the pantomime of Sinbad the Sailor with a stock of second-hand picture posters designed for Ali Baba. He simply thrusts a few oil jars into the valley of diamonds, and so fulfils the promise held out by the hoardings to the public eye." But the dramatic artist at work in Man and Superman brings the play and the philosophical Dream into a much more closely integrated relation than this comparison suggests. The play and the Dream are mutually modifying and mutually illuminating, and the "philosophy," that complex amalgam of views on politics, evolution, art, the relations of the sexes, and human nature in general which emerges from the work, is partly defined in its import and directions by the shape and development of the comic action. This essay explores the relations between the philosophical themes expressed in the discussions in the play and Dream, and the meanings inherent in the action and in Shaw's manipulation of dramatic conventions.
Book Reviews
Authors: Murphy Vincent , Saari Sandra , Imhof Rüdiger , North  , Boring Zatlin , Moody  
Published: April 2013

Ruby Cohn ed., Samuel Beckett: A Collection Of Criticism, reviewed by Vincent J. Murphy by Frederick J. Marker and Lise-Lone Marker, The Scandinavian Theatre: A Short History, reviewed by Sandra E. Saari Austin E. Quigley, The Pinter Problem, reviewed by Rüdiger Imhof Griffith R. Hughes and Ruth Bury, Eugene Ionesco, reviewed by R. J. North Douglas R. McKay, Enrique Jardiel Poncela, reviewed by Phyllis Zatlin Boring Christopher Collins ed., Life As Theater: Five Modern Plays By Nikolai Evreinov, , reviewed by C. Moody
Toward A New Interpretation Of Lenormand's Theatrical Ethos
Authors: White Kenneth 
Published: April 2013

IN 1951, GABRIEL MARCEL termed H. R. Lenormand, the French playwright, "indisputably the man who contributed most to the French theater between the two World Wars." This assertion would arouse hot dispute, if not ridicule, from most present-day critics, who have pigeonholed Lenormand's dramas in that obscure drawer marked "out of date and dusty." During the playwright's lifetime (1882-1951), his works were incessantly attacked and deplored by indignant writers proceeding on false assumptions about his dramatic ethos and aims. The most influential of these antagonists was Andre Rouveyre, the powerful drama critic of the Mercure de France. Virtually every time a new play by Lenormand appeared, Rouveyre released a flood of sarcastic epithets, condemning the author as a morbid eccentric, a pathological and essentially un-French dramatist.
Book Reviews
Authors: O'Connor Patricia , Page Malcolm , Imhof Rüdiger , Wolter Jürgen 
Published: April 2013

Martha T. Halsey, Antonio Buero Vallejo, reviewed by Patricia O'Connor Terry W. Browne, Playwrights' Theatre: The English Stage Company At The Royal Court, reviewed by Malcolm Page Peter Ansorge, Disrupting The Spectacle: Five Years Of Experimental and Fringe Theatre In Britain, reviewed by Malcolm Page Ronald Hayman, The First Thrust: The Chichester Festival Theatre, reviewed by Malcolm Page Rudolf Halbritter, Konzeptionsformen Des Modernen Angloamerikanischen Kurzdramas, reviewed by Rüdiger Imhof Herbert Grabes, ed., Das Amerikanische Drama Der Gegenwart, reviewed by Jürgen Wolter
Book Reviews
Authors: Saddlemyer Ann , Tracy Gordon , Vowles Richard , Vowles Richard 
Published: April 2013

Edward A. Kopper, Jr., LADY ISABELLA PERSSE GREGORY, reviewed by ANN SADDLEMYER Robert Hogan and James Kilroy, THE MODERN IRISH DRAMA II : LAYING THE FOUNDATIONS 1902-1904, reviewed by ANN SADDLEMYER Helfried W. Seliger, DAS AMERIKABILD BERTOLT BRECHTS, reviewed by GORDON TRACY Egil Tornqvist, SVENSKA DRAMASTRUKTURER, reviewed by RICHARD B. VOWLES Frederick J. Marker, KJELD ABELL, reviewed by RICHARD B. VOWLES
Book Reviews
Authors: Cohn Ruby , Ben-Zvi Linda , Adler Thomas , Styan  
Published: April 2013

Arnold F. Hincliffe, THE ABSURD, reviewed by Ruby Cohn Arthur Pollard, SATIRE, reviewed by Ruby Cohn D.C. Muecke, IRONY, reviewed by Ruby Cohn Moelwyn Merchant, COMEDY, reviewed by Ruby Cohn John D. Jump, BURLESQUE, reviewed by Ruby Cohn Philip Thomson, THE GROTESQUE, reviewed by Ruby Cohn Jessica Milner Davis, FARCE, reviewed by Ruby Cohn David L. Hirst, COMEDY OF MANNERS, reviewed by Ruby Cohn LAWRENCE GRAVER AND RAYMOND FEDERMAN, EDS. , Samuel Beckell: The Critical Heritage, reviewed by Linda Ben-Zvi FOSTER HIRSCH, A Portrait ofthe Artist: The Plays ofTennessee Williams, reviewed by Thomas P. Adler JUNE SCHLUETER, Metafictional Characters in Modern Drama, reviewed by J.L. Styan
Book Reviews
Authors: Gale Steven , Schlueter June 
Published: April 2013

RONALD HAYMAN, British Theatre since 1955: A Reassessment, reviewed by Steven H. Gale OLEG KERENSKY, The New British Drama: Fourteen Playwrights since Osborne and Pinter, reviewed by Steven H. Gale RONALD HAYMAN, Theatre and Anti-Theatre: New Movements since Beckett, reviewed by June Schlueter
Book Reviews
Authors: Tracy Gordon , Innes Christopher , Page Malcolm , Paolucci Anne 
Published: April 2013

BENJAMIN BENNETT, Modern Drama and German Classicism: Renaissance from Lessing to Brecht, reviewed by Gordon Tracy JOHN WILLETT, The Theatre of Erwin Piscator., reviewed by Christopher Innes ERIC SALMON, The Dark Journey: John Whiting as Dramatist., reviewed by Malcolm Page DENNIS A. KLEIN, Peter Shaffer, reviewed by Malcolm Page ROGER W. OLIVER, Dreams of Passion: The Theater of Luigi Pirandello, reviewed by Anne Paolucci
Book Reviews
Authors: Durbach Errol , Donohue Joseph , Rusinko Susan , Silverstein Mariem , Gerould Daniel , Parkin Andrew , Ben-Zvi Linda 
Published: April 2013

Ronald Gene Rollins, Sean O'Casey's Drama: Verisimilitude and Vision, reviewed by Errol Durbach B.T. Smith, O'Casey's Satiric Vision, reviewed by Errol Durbach Russell Jackson, ed., The Importance of Being Earnest: A Trivial Comedy For Serious People, reviewed by Joseph Donohue Michael Darlow and Gillian Hodson, Terence Rattigan: The Man and His Work, reviewed by Susan Rusinko Victor L. Cahn, Beyond Absurdity: The Plays of Tom Sloppard, reviewed by Mariem Silverstein Harold B. Segel, Twentieth-Century Russian Drama: From Gorky to the Present, reviewed by Daniel Gerould Hugh Hunt, The Abbey: Ireland's National Theatre 1904-1978, reviewed by Andrew Parkin Jean Chothia, Forging a Language: A Study of the Plays of Eugene O'Neill, reviewed by Linda Ben-Zvi
Book Reviews
Authors: Feral Josette , Brater Enoch , Neglia Erminio 
Published: April 2013

Keir Elam, The Semiotics of Theatre and Drama, reviewed by Josette Feral James Knowlson, Samuel Beckett: Krapp's Last Tape (Theatre Workbook 1, reviewed by Enoch Brater Marion Peter Holt, Jose Lopez Rubio, reviewed by Erminio G. Neglia
Book Reviews
Authors: Morrison Kristin , Rinear David , Floyd Virginia , Martine James , Back Lillian , Richards David , Kern Edith , Shapiro Norman , Champigny Robert , Burnham Richard , Schlueter June , Wisenthal  , Nickson Richard 
Published: April 2013

Hedwig Bock And Albert Wertheim, eds., Essays on Contemporary British Drama, reviewed by Kristin Morrison Hedwig Bock And Albert Wertheim, eds., Essays on Contemporary American Drama, reviewed by David L. Rinear Jackson R. Bryer, ed, "The Theatre We Worked For": The Letters of Eugene O'Neill to Kenneth Macgowan, reviewed by Virginia Floyd Neil Carson, Arthur Miller, reviewed by James J . Martine Bernard F. Dukore, Harold Pinter, reviewed by Lillian Back Julian Hilton, Georg Bachner, reviewed by David G. Richards David G. Richards, Eugene Labiche and Georges Feydeau, reviewed by Edith Kern Stuart E. Baker., Georges Feydeau and the Aesthetics of Farce, reviewed by Norman Shapiro H.G. Mcintyre, The Theatre of Jean Anouilh, reviewed by Robert Champigny David Krause, The Profane Book of Irish Comedy, reviewed by Richard Burnham Carol Kleiman, Sean O'Casey's Bridge of Vision: Four Essays on Structure and Perspective, reviewed by Sean O'Casey's Bridge of Vision: Four Essays on Structure andPerspective Gerald M. Berkowitz, New Broadways: Theatre Across America 1950-1980, reviewed by June Schlueter Brian Tyson, The Story of Shaw's Saint Joan, reviewed by J.L. Wisenthal Stanley Weintraub, he Unexpected Shaw: Biographical Approaches to G.B.S. and His Work, reviewed by Richard Nickson
Simone de Beauvoir as Dramatist: Les Bouches Inutiles
Authors: Jones Judith Zykofsky , Reinelt Janelle 
Published: April 2013

In his Italian Chronicles, Sismondi reports that during sieges fighters sometimes disposed of the "useless mouths" by casting the women, the old people, and the children into the trenches. Simone de Beauvoir, intrigued with the dramatic possibilities inherent in these accounts, patterned her only play, Les Bouches Inutiles (Useless Mouths, 1945), on an analogous situation: she merely transposed the action from Italy to Flanders, where similar practices had taken place. Although the play is seldom produced and has never been translated into English, Les Bouches Inutiles deserves careful study because it sheds light on the writer's evolving perspective on women and stresses the existentialist underpinnings of de Beauvoir's feminism. By focusing on the familiar existentialist themes of freedom and responsibility, as well as on the relationship between means and ends, the writer dramatized key feminist themes in Les Bouches Inutiles a number of years before she formalized her position in The Second Sex (1949). Although she credits Jean-Paul Sartre with drawing her attention to the woman question in 1946,2 the play reveals that de Beauvoir had already formulated several major concepts describing the role and place of woman in Western society.
The Proletarian Carnival of Fo's Non si paga! Non si paga!
Authors: Walsh Martin 
Published: April 2013

The Italian playwright Dario Fo has attracted attention recently from major theatre journals and from American and British audiences. He is recognized as a supremely talented comic performer, master of improvisation in the manner of the commedia dell' arte, and a dedicated if unorthodox political artist, head of an innovative theatre commune in his native Milan. Formal discussion of his theatre pieces as drama , however, has hardly begun. There are several reasons for this state of affairs: a) low-comic forms generally receive less critical attention than other kinds; b) much of Fo's work is deliberately topical, with few established texts; c) Fo's political "message" and the question of its effectiveness tend to monopolize attention. This paper will attempt to make a clear-cut beginning in the direction of considering Fo' s pieces as drama. It will take one of his best-known works, Non si pogo! Non si pogo! (We Won't Pay! We Won't Pay!) , I examine the particular way it works , establish its integrity as a play within the broad tradition of farcical comedy, and, it is hoped, demonstrate the continued relevance of traditional, popular forms for the politically committed theatre.
Alexandre Dumas's Kean: An Adaptation by Jean-Paul Sartre
Authors: Luce Louise Fiber 
Published: April 2013

On August 31, 1836, Alexandre Dumas brought to the Paris theatergoer Kean, a play based on the life of his contemporary, the celebrated British actor Edmund Kean. Just over a century later the title Kean would reappear in Paris. This time it would be on the playbill of the Sarah Bernhardt Theatre in Jean-Paul Sartre's adaptation of the Dumas text. The date is now November 14, 1953 Confronted by these two dates and texts, one asks what drew Sartre to this particular Dumas piece? Sartre had, after all , already established his genius for writing for the stage: Huis Clos, Le Diable el Ie bon Dieu and La PUlain respeclueuse had preceded Kean; Les Sequestres d' Allona would follow. Why would Sartre then (not unlike Camus, Brecht, and Faulkner, for that matter) submit to the constraints inherent in adaptations — to plots previously defined, to characters already playing out their lives?
Book Reviews
Authors: Hiedemann Robert , Zilllacus Class , Akademi Abo , Zangrilli Franco , Gale Steven , Harty John , Knapp Bettina , Sanders Leslie , Wilson Ann , Parker Brian , Walther Ingborg 
Published: April 2013

Lenora Champagne, French Theatre Experiment since 1968, reviewed by Robert E. Hiedemann Morris Beja, S.E. Gontarski And Pierre Astler eds., Samuel Beckett: Humanistic Perspectives, reviewed by Clas Zilllacus, Abo Akademi Marlo B. Mignone, Eduardo De Filippo, reviewed by Franco Zangrilli Guido Almansi And Simon Henderson, Harold Pinter, reviewed by Steven H. Gale Richard Corballjs, Stoppard: The Mystery and the Clockwork, reviewed by John Harty Bernard F. Dukore, American Dramatists 1918–1945, reviewed by Bettina L. Knapp Genevltve Fabre, Drumbeats, Masks, and Metaphor: Contemporary Afro-American Theatre, reviewed by Leslie Sanders Ron Mottram, Inner Landscapes: The Theater of Sam Shepard, reviewed by Ann Wilson Richard Perkyns ed., Major Plays of the Canadian Drama, 1934-1984, reviewed by Brian Parker Richard Plant ed., The Penguin Book of Modern Canadian Drama, Volume I , reviewed by Brian Parker Jerry Wasserman ed., Modern Canadian Plays, reviewed by Brian Parker Richard W. Blevins, Frallz Xaver Kroetz: The Emergence afa Political Playwright, reviewed by Ingborg Walther
Book Reviews
Authors: Hinden Michael , Morris John , Zapf Hubert , Pickar Gertrud , Marker Frederick 
Published: April 2013

James J. Martine, ed. , Critical Essays on Eugene O'Neill, reviewed by Michael Hinden Tim Brassell, Tom Stoppard: An Assessment, reviewed by John Morris Rodney Simard, Postmodern Drama: Contemporary Playwrites in America and Britain, reviewed by Hubert Zapf Gerhard F. Probst and Jay F. Bodine eds., Perspectives on Max Frisch, reviewed by Gertrud B. Pickar Gunnar Syrehn, Maktenoch ensamheten: Studier i Lars Forssells historiedramatik, reviewed by Frederick J. Marker Brian Parker, Corrigendum
A Study in Auto Hypocrasy:Mortis Sans Sepulture
Authors: Abraham Claude 
Published: April 2013

NONE OF THE LEGION of articles written about Morts sans sepulture since its first presentation in November; 1946, center around the presence- or lack-of bad faith in the various characters of the play. It is this lacuna that I shall attempt to fill. Let us first define what is meant by "bad faith." In daily speech, the grocer who knowingly cheats his customers, but hides the lie with which he lives, is guilty of bad faith. In Sartrian terms, however, it is only when the grocer, hypnotized by his own trickery, begins to believe in his basic honesty, that he becomes guilty of bad faith. It is only when hypocrisy turns into autohypocrisy that bad faith in the Sartrian way sets in. This is the case of Egisthe in Les Mooches. As all Sartrian plays, Morts sans sepulture is centered around one theme. In this case, it is duty. All the characters of the play have forgotten how to live. Instead, they "act" in a fashion dictated by their notion of their duty. This role, though self-imposed, destroys all subjectivity and brings about a state of utter bad faith.