bluuebunny/crossref_metadata_2025_split huggingface dataset:
Book Reviews
Authors: Whitaker Thomas , Whitaker Thomas , Ley Ralph , Kane Martin , Fuegi John , Weals Gerald , Schlueter June , Raleigh John Henry , Meserve Walter , Eddleman Eugene , Dick Bernard , Schmiit Natalie Crohn 
Published: April 2013

Arthur Ganz, Realms of the Self: Variations on a Theme in Modern Drama, reviewed by Thomas R. Whitaker James K. Lyon, Bertolt Brecht in America, reviewed by Ralph J. Ley Patty Lee Parmalee, Brecht's America, reviewed by Ralph J. Ley Jan Needle And Peter Thomson, Brecht, reviewed by Martin Kane Eric Bentley, The Brecht Commentaries: 1943-1980, reviewed by John Fuegi Bernard F. Dukore, Money and Politics in Ibsen, Shaw, and Brecht, reviewed by Gerald Weales Michael Patterson, The Revolution in German Theatre 1900-1933, reviewed by June Schlueter Virginia Floyd ed., Eugene O'Neill at Work: Newly Released Ideas/or Plays, reviewed by John Henry Raleigh Anthony F. R. Palmieri, Elmer Rice: A Playwright's Vision of America, reviewed by Walter J. Meserve Charles Lee Green, Edward Albee: An Annotated Bibliography , reviewed by Walter J. Meserve Drewey Wayne Gunn, Tennessee Williams: A Bibliography, reviewed by Floyd Eugene Eddleman Mark W. Estrin, Lillian Hellman: Plays, Films, Memoirs. A reference guide, reviewed by Bernard F. Dick Timothy J. Wiles, The Theater Event: Modern Theories of Performance, reviewed by Natalie Crohn Schmiit
Book Reviews
Authors: Innes Christopher , Schlueter June , Sanders Ivan , Page Malcom , Kalson Albert , Cevasco  , Whitman Robert , Smith Carol , Rood Arnold , Chamberlain John 
Published: April 2013

J ,L. Styan, . Modern drama in theory and practice (Volume I: Realism and naturalism; Volume 2: Symbolism, surrealism and the absurd; Volume 3: Expressionism and epic theatre), reviewed by Christopher Innes Normand Berlin, The Secret Cause: A Discussion of Tragedy, reviewed by June Schlueter Clara GyörgyeyFerenc Molnar, reviewed by Ivan Sanders John McGrath, A Good Night Out. Popular Theatre: Audience, Class and Form, reviewed by Malcom Page Ian Watson, Conversations with Ayckbourn., reviewed by Albert E. Kalson Robert Keith Miller, Oscar Wilde, reviewed by G.A. Cevasco Charles A. Berst ed., Shaw and Religion, reviewed by Robert F. Whitman E. Martin Browne With Henzie Browne, Two in One, reviewed by Carol H. Smith Frederick J. Marker and Lise-Lone Marker, Edward Gordon Craig and the Pretenders: A Production Revised, reviewed by Arnold Rood Richard Hornby, Patterns in Ibsen's Middle Plays, reviewed by John S. Chamberlain
Book Reviews
Authors: Berlin Normand , Griffin Ernest , O'Connor John , Mendelsohn Michael , Rutenberg Michael , Hill Linda , Leland Charles , Browkaw John , Lima Robert , Lewis Janet 
Published: April 2013

John Orr, Tragic Drama and Modern Society: Studies in the Social and Literary Theory of Drama From 1870 to the Present, reviewed by Normand Berlin Virginia Floyd ed., Eugene O'Neill: A World View, reviewed by Ernest G. Griffin Loren K . Ruff, Edward Sheldon, reviewed by John S. O'Connor Margaret Brenman-Gibson, Clifford Odets: American Playwright. The Years from 1906 to 1940, reviewed by Michael J. Mendelsohn Joan Jeffri, The Emerging Arts: Managemellt, Survival and Growth, reviewed by Michael E. Rutenberg June Schlueter, The Plays and Novels of Peter Handke , reviewed by Linda Hill John Ward, The Social and Religious Plays of Strindberg, reviewed by Charles Leland Roni Unger, Poesia en Voz Alta in the Theater of Mexico, reviewed by John W. Brokaw Emanuel Levy, The Habima–Israel's National Theater 1917-1977. A Study of Cultural Nationalism, reviewed by Robert Lima John Macnicholas, James Joyce's Exiles: A Textual Companion, reviewed by Janet Lewis
Natasha Ivanovna, the Lonely Bourgeoise
Authors: Majdalany Marina 
Published: April 2013

Whilst all commentators of Chekhov's play dwell at length upon the aesthetic longings of the three sisters, and tenderly evoke their sensitivity bruised by frustration , no comparable sympathy is extended to Natasha, their brother's young wife. She is indeed as vain, selfish and even ruthless as she has been categorized; but what all these attributions have crowded out is the fact that first and foremost she is a disoriented petite bourgeoise, socially insecure and lonely in an alien and hostile environment. To maintain objectivity, the critic must resist the temptation to redress the balance by tilting it in Natasha's favour. She is no more a flawless heroine than any of her sisters-in-law, but she deserves a fair appraisal. Natasha should be examined as an individual with feelings and attitudes which , although they may lack subtlety and charm, still have a right to our understanding and a claim on our compassion. Yet, what invariably seems to happen is that she is criticized as the sisters' antagonist, who she is in a sense, and it is not taken into account that the source of the conflict resides in a personal and social incompatibility for which all four women must share equal responsibility.
America as Junkshop: The Business Ethic in David Mamet's American Buffalo
Authors: Schlueter June , Forsyth Elizabeth 
Published: April 2013

The America of Nathanael West's Miss Lonelyhearts is a spiritual wasteland, the suffering of its people chronicled in the doleful letters received by "Miss Lonelyhearts," the newspaper advice columnist. Psychologically exhausted by the pleas of his readers, Miss Lonelyhearts imagines himself gazing at "the paraphernalia of suffering" through a pawnshop window, seeing among its accumulated objects the remnants of America's broken dreams. Some fifty years later, the secondhand shop reappears in David Mamet's American Buffalo, not as pawnshop, from which possessions may be redeemed, but as junkshop. In Mamet's play, the castoff objects of American life, including souvenirs from the "Century of Progress" exhibition at the Chicago World's Fair and a buffalo nickel, form the pile of cultural artifacts thatthe shop's proprietor, Don, peddles as junk. Within thejunkshop, Mamet's three petty criminals plan the robbery that symbolizes the corrupted, contemporary version of the American success myth. As plans for the heist continue, it becomes clear that for Mamet the decadence of the American dream is directly attributable to the dominance of the American business ethic.
Carr's Views on Art and Politics in Tom Stoppard's Travesties
Authors: Rod David 
Published: April 2013

Most critical treatments of Tom Stoppard's Travesties have characterized the playas a debate about the proper relationship between art and politics. Critics have recognized that the three major historical figures in the play — James Joyce, Lenin, and Tristan Tzara — represent contrasting views on the issue, views that Stoppard juxtaposes with one another within the comic framework of the play. For the most part, critics have focused on the conflict between Joyce's and Lenin's positions; Tzara is generally acknowledged as a third party in the debate but not considered to be a serious contender. The aesthetic—political views of Henry Carr, the protagonist of Travesties, are frequently ignored altogether. Yet the debate occurs, as the critics point out, within Carr's memory, and the play makes it clear that the events presented are highly colored by Carr's remembering them. Indeed, Carr's introductions of each of the other three participants in the debate emphasize their status as products of his memory.
Book Reviews
Authors: Reinert Otto , Sondrup Steven , Gerould Daniel , Parkin Andrew , Ritchie  , Zipes Jack , Arnold Herbert , Weals Gerald 
Published: April 2013

John S. Chamberlain, Ibsen: The Open Vision, reviewed by Otto Reinert Harry G. Carlson, Strindberg and the Poetry of Myth, reviewed by Steven P. Sondrup Laurence Senellck ed., Russian Dramatic Theory from Pushkin to the Symbolists, reviewed by Daniel Gerould Edward Braun, The Theatre of Meyerhold: Revolution on the Modern Stage, reviewed by Andrew Parkin Paul Schmidt ed., Meyerhold at Work, reviewed by Andrew Parkin Henry I. Schvey, Henry I. Schvey, reviewed by J.M. Ritchie Michael Patterson, Peter Stein: Germany's Leading Theatre Director, reviewed by Jack Zipes J.L. Styan, Max Reinhardt, reviewed by Herbert A. Arnold Ruby Cohn, New American Dramatists: 1960-1980, reviewed by Gerald Weales
Ambiguity, Discontinuity and Overlapping in Peer Gynt
Authors: Benston Alice 
Published: April 2013

"Peer, you're lying!" From this famous first line we are given a characterization that invites us to view the play's hero negatively. But the speaker is Aase, Peer's mother, and her love for him is obvious from this first scene. This double or ambivalent reaction has been mirrored in the critical tradition. As Bernard Shaw puts it, " ... Peer Gynt, selfish rascal as he is, is not unlovable." In explaining this ambivalence, Shaw notes Peer's affinity to Don Quixote. Their common error is the pursuit of beautiful, seductive "ideals." But even in their failure to recognize the "real," Shaw adds, one cannot "despise [them] or wish [them] to have been ... Philistine[s]." Shaw's comparison of Peer to Don Quixote is continued by Brian Downs, whose overall distaste for Peer's character is expressed in his wonder that Peer had become "something in the nature of a national hero." Downs contents himself, finally, with the observation that comparable characters like "Don Quixote ... exhibit attributes by no means altogether consonant with perfection or palatable to the more discerning among their compatriots.” Peer Gynt, in his view, "is the tragedy of a man who, however much of amor he may have, lacks principle and ignores ideals."
Book Reviews
Authors: Hinden Michael , Ben-Zvi Linda , Paolucci Anne , Paolucci Anne , Taylor Thomas , Gale Steven , Kuzicka Danuta , Sandrow Nahma , Hiedemann Robert 
Published: April 2013

Carol Rosen, Plays of Impasse: Contemporary Drama Set in Confining Institutions, reviewed by Michael Hinden Robert Karoly, Jig Cook and the Provincetown Players: Theatre in Ferment, reviewed by Linda Ben-Zvi Julian N. Wasserman, Joy L. Linsley And Jerome A. Kramer ed., Edward Albee: An Interview and Essays, reviewed by Anne Paolucci Richard E. Amacher, Edward Albee, Revised Edition, reviewed by Anne Paolucci Richard Schechner, The End of Humanism: Writings on Performance, reviewed by Thomas J. Taylor Herbert Goldstone, Coping with Vulnerability: The Achievement of John Osborne, reviewed by Steven H. Gale Patrice Pavis, Languages of the Stage: Essays in the Semiology of Theatre , reviewed by Danuta Kuznicka Ellen Schiff, From Stereotype to Metaphor: The Jew in Contemporary Drama, reviewed by Nahma Sandrow Kenneth S. White, Einstein and Modem French Drama: An Anthology, reviewed by Robert E. Hiedemann
Television Drama and the People's War: David Hare's Licking Hitler, Ian McEwan's The Imitation Game, and Trevor Griffiths' s Country
Authors: Johnstone Richard 
Published: April 2013

But as the sixties themselves began, with hindsight, to take on those very qualities "of manoeuvre, concession, and studied betrayal" of which Calder speaks, so his view of the Second World War achieved a wider currency, not least through its influence on some of the best of recent television drama. In David Hare's Licking Hitler (first broadcast by the B.B.C. in 1978), Ian McEwan's The Imitation Game (i980), and Trevor Griffiths's Country (1981), we have attempts by three writers, themselves children of the forties, to deal with what, largely as the result of Calder's work, they have come to see as the true historical significance of the War - an historical significance that lies beneath the familiar iconography of Spitfires and buzz-bombs, of fishing boats off the coast of Dunkirk, of sleeping figures on the platforms of the underground. It was as a direct result of reading Calder's book in 1978 that Ian McEwan "resolved to write something one day about the war." For David Hare, "reading Angus Calder's The People's War changed all my thinking as a writer; an account of the Second World War through the eyes of ordinary people, it attempts a complete alternative history to the phoney and corrupting history I was taught at school.” What caught these writers' imaginations, and seemed to strike them as true, was the paradox that Calder deliberately emphasizes in everything he has to say about the War: that a national experience which seemed, despite the suffering, to offer new beginnings, new roles, which seemed to point the way to an exciting and fulfilling future, was in fact a dead end.
Shaw's Comedy of Disillusionment
Authors: Garner, Jr. Stanton 
Published: April 2013

A number of years ago, the New Yorker printed a remarkable cartoon, at once ludicrous and poignant. It consisted of a snowman, assembled with more eagerness than skill, stick arms propped awkwardly in its sides. Leaning slightly forward, it stared into the middle distance with an expression of alarm and despair. As the cartoon's caption explained it: 'The snowman realizes what he is." Frozen both physically and spiritually in its icebound anagnorisis, the snowman enacts a gaze which lies at the heart of Western drama. For while drama clearly lies within what Susanne K. Langer calls "the mode of Destiny" — springing along its vectors of project and action, "always great with things to come" — it is no less characterized by those moments when forward movement halts, when the dramatic character must confront himself in the stillness and silence which uniquely characterize the theater as an artistic medium. Typically, such pauses are also moments of truth: the guiding motivation of a misperception collapses in the face of the real state of affairs, and the character must reconstruct his understanding of himself and others in light of his new realizations. Othello, driven by an increasingly blinding delusion, is brought to the point where delusion ends, in the realization of how he has been manipulated, what he has done, and how deeply it has cost him. Othello realizes - more fully and tragically - what he is, and his concluding speech reflects this insight: "I pray you, in your letters,/ When you shall these unlucky deeds relate,/ Speak of me as 1 am.”
Book Reviews
Authors: McGuiness Arthur , Simard Rodney , Chaudhuri Una , Brater Enoch , Harrop John , Page Malcome 
Published: April 2013

Robert G. Lowery ed., A Whirlwind in Dublin: The Plough and the Stars Riots, reviewed by Arthur E. McGuinness Susan Valeria Harris Smith, Masks in Modern Drama, reviewed by Rodney Simard Jeanette L. Savona, Jean Genet, reviewed by Una Chaudhuri David Self, Television Drama: An Introduction, reviewed by Enoch Brater Tony Dunn ed., Gambit: Howard Barker Special Issue,, reviewed by John Harrop Sidney Howard White, Alan Ayckbourn, reviewed by Malcome Page Michael Billington, Alan Ayckbourn, reviewed by Malcome Page
Book Reviews
Authors: Leyburn Ellen Douglass , Barthelme Marilyn , Dahlstrom Carl 
Published: April 2013

David H. Greene and Edward M. Stephens, J. M. SYNGE, 1871-1909, reviewed by Ellen Douglass Leyburn Gennaine Bree, CAMUS, reviewed by Marilyn M. Barthelme Jean-Jacques Bernard , “MON AMI LE THEATRE”, reviewed by Simone Dosmond Walter H. Sokel, THE WRITER IN EXTREMIS, EXPRESSIONISM IN TWENTIETH-CENTURY GERMAN LITERATURE, reviewed by Carl E. W. L. Dahlstrom
Book Reviews
Authors: Charpentier Christian , Ellen Sister Francis , Sokel Walter , Shattuck Charles 
Published: April 2013

Jean-Louis Barrault, NOUVELLES REFLEXIONS SUR LE THEATRE, reviewed by Christian Charpentier Joseph Chiari, THE CONTEMPORARY FRENCH THEATRE. THE FLIGHT FROM NATURALISM, reviewed by Sister Francis Ellen H. F. Garten, MODERN GERMAN DRAMA, reviewed by Walter H. Sokel Martin Esslin, BRECHT: THE MAN AND HIS WORK, reviewed by Charles H. Shattuck
Mourning Becomes Electra And The Prodigal Electra And Orestes
Authors: Weissman Philip 
Published: April 2013

OFF BROADWAY, this season, a striking psychological portrait of a modem Orestes has been created by twenty-four year old Jack Richardson. His play, The Prodigal, based on the original House of Agamemnon legend, recreates the spirit of Athenian times. In the fifth century B.c., a middle-aged Athenian could have seen during his lifetime the original productions of Aeschylus', Euripides', and Sophocles' plays based on this legend. Today a middle-aged New Yorker could have seen the original productions of two great modem psychological dramas based on the same legend, Mourning Becomes Electra and The Prodigal. The Prodigal is as reflective of today's generation as O'Neill's play mirrored the mood of the preceding generation. For both O'Neill and Richardson are clairvoyant spokesmen of their respective eras. The late twenties and early thirties were imbued with the new discoveries of Freud. Man's fate and destiny were reshaped and re-evaluated by artists as well as scientists in the context of this new knowledge. O'Neill's Mourning Becomes Electra succeeded in such an undertaking. In his working notes on this play, O'Neill commits himself to create a drama in which he can "give modem Electra figure (Lavinia) in the playa tragic ending worthy of character." He wanted to convey "a modem tragic interpretation of classic fate without benefit of gods-for it must, before everything, remain [aJ modem psychological play-fate springing out of family life."
The "Discovery Scene" in Billy Budd
Authors: Goldsmith Arnold 
Published: April 2013

IN 1952, writing in the Pacific Spectator, Tyros Hillway made a surprising statemeIlt about Professors Coxe and Chapman's dramatic adaptation of Herman Melville's Billy Budd. According to Mr. Hillway, ... the final interview between Billy and Captain Vere could not have been what Coxe and Chapman make of it; for they have Billy going to his doom bewildered and still appalled by the fact that he must suffer. In the book, on the other hand, he has clearly come at this point not only to an understanding of his fate but even to a willingness to accept it. As for the exact words used by Captain Vere in explaining matters to Billy, Melville, indeed, leaves us in ignorance. Not only do I disagree with Mr. Hillway, but I also feel that the exact opposite is true: in the play, Billy Budd is no longer bewildered when he climbs to his death, and he has finally recognized his tragic flaw. In fact, Coxe and Chapman have made Billy a kinetic character, whereas Melville's is static. In the novel there is no evidence to support the statement that Billy ''has clearly come at this point to an understanding of his fate." On the contrary, when Billy forgives Captain Vere, he does so out of the same blind ignorance and naivete that have characterized his short life.
Book Reviews
Authors: Parkin Andrew , Leland Charles , Laughlin Karen , Jacobs Barry , Schlueter June , Gale Steven , Hinden Michael , Innes Christopher 
Published: April 2013

James Simmons, Sean O'Casey, reviewed by Andrew Parkin Robert G. Lowery And Patricia Angelin, eds. My Very Dear Sean: George Jean Nathan to Sean O'Casey, Letters and Articles, reviewed by Andrew Parkin Thomas Postlewait, ed.,William Archer on Ibsen: The Major Essays, 1889-1919, reviewed by Charles Leland Helene Keyssar, Feminist Theatre: An Introduction to Plays a/Contemporary British and American Women, reviewed by Karen Laughlin Elizabeth J. Natalle, Feminist Theatre: A Study in Persuasion, reviewed by Karen Laughlin Lisa-Lone Marker and Frederick J. Marker, Ingmar Bergman: Four Decades in the Theater, reviewed by Barry Jacobs C.W.E. Bigsby, A Critical Introduction to Twentieth-CemuryAmerican Drama, Volume Two: Williams/Miller/Albee, reviewed by June Schlueter Leslie Kane, The Language a/Silence: On the Unspoken and Unspeakable in Modern Drama, reviewed by Steven H. Gale Judith E. Barlow, Final Acts: The Creation o/Three Late O'Neill Plays, reviewed by Michael Hinden George Rowell and Anthoony Jackson, The Repertory Movement: A History of Regional Theatre ill Britain, reviewed by Christopher Innes
Book Reviews
Authors: Parkin Andrew , Fisher James , Kalson Albert 
Published: April 2013

Mary C. King, The Drama of J.M. Synge, reviewed by Andrew Parkin Joel Schechter, Durov's Pig: Clowns, Politics and Theatre, reviewed by James Fisher Martin Green and John Swan, The Triumph of Pierrot: The Cammedia dell' Arte and the Modern Imagination, reviewed by James Fisher Elizabeth Swain, David Edgar: Playwright and Politician, reviewed by Albert E. Kalson
Book Reviews
Authors: Couchman Jane , Robinson Gabrielle , Cahn Victor , Paul Norman 
Published: April 2013

Bettina L. Knapp, French Theatre 1918-1939, reviewed by Jane Couchman David Bradby, Modern French Drama, 1940-1980, reviewed by Jane Couchman David L. Hirst, Edward Bond, reviewed by Gabrielle Robinson David L. Hirst, Tragicomedy, reviewed by Victor L. Cahn Richard Dutton, Modern Tragicomedy and the British Tradition, reviewed by Victor L. Cahn Paul Hernadi, Interpreting Events: Tragicomedies of History on the Modem Stage, reviewed by Victor L. Cahn John Rudlin, Jacques Copeau, reviewed by Norman H. Paul
Book Reviews
Authors: Lamont Rosette , Black Stephen , Fisher James 
Published: April 2013

John Fuegi, Bertolt Brecht: Chaos According to Plan, reviewed by Rosette C. Lamont Pia Kleber, Exceptions and Rules: Brecht, Planchon and "The Good Person of Szechwan.", reviewed by Rosette C. Lamont H.A. Mason, The Tragic Plan, reviewed by Stephen A. Black Christine Dymkowski, Harley Granville Barker: A Preface to Modern Shakespeare, reviewed by James Fisher Dennis Kennedy, Granville Barker and the Dream of Theatre, reviewed by James Fisher Dennis Kennedy, eds., Plays by Harley Granville Barker, reviewed by James Fisher Eric Salmon, eds., Granville Barker and His Correspondents, reviewed by James Fisher Philip Roberts, The Royal Court Theatre. 1965-1972, reviewed by James Fisher
Book Reviews
Authors: Fisher James , Adler Thomas , Hart Lynda , Kolin Philip 
Published: April 2013

John Peters, Vladimir's Carrot: Modern Drama and the Modern Imagination, reviewed by James Fisher Judith J. Thompson, Tennessee Williams' Plays: Memory, Myth, and Symbol, reviewed by Thomas P. Adler Philip C. Kolin, ed., Conversations with Edward Albee, reviewed by Thomas P. Adler Mathew C. Roudane, ed.,Conversations with Arthur Miller, reviewed by Thomas P. Adler June Schlueter and James K. Flanagan, Arthur Miller, reviewed by Thomas P. Adler William Herman, Understanding Contemporary American Drama, reviewed by Lynda Hart Mathew C. Roudane, Understanding Edward Albee, reviewed by Laynda Hart David Savran, In Their Own Words: Contemporary American Playwrighls, reviewed by Philip C. Kolin
Book Reviews
Authors: Garner Stanton , Fisher James , Zinman Toby Silverman , Brink Andrew , Morrow Laura , Demastes William , Schuler Catherine 
Published: April 2013

Beltina L. Knapp, The Reign of the Theatrical Director: French Theatre, 1887-1924, reviewed by James Fisher Enoch Drater, Beyond Minimalism: BeckeN's Late Style in the Theatre, reviewed by Toby Silverman Zinman Bennett Simon, Tragic Drama And The Family: Psychoanalytic Studies From Aeschylus To Beckett, reviewed by Andrew Brink Gna A. Plunka, Peter Shaffer: Roles, Rites, and Rituals ill the Theater, reviewed by Laura Morrow Adrienne Kennedy, People Who Led to My Plays, reviewed by Toby Silverman Zinman Gabriel Miller, Clifford Odets, reviewed by William W. Demastes Michael Kirby, A Formalist Theatre, reviewed by Dr. Catherine Schuler Rosemary Poutney, Theatre of Shadows: Samuel Becken's Drama. 1956-76, reviewed by Stanton B. Garner Jr.