bluuebunny/crossref_metadata_2025_split huggingface dataset:
From Macbeth to Macbett
Authors: Lamont Rosette 
Published: April 2013

"THE TITLE OF MY PLAY has two t's so that people won't get it confused with that of Shakespeare's, familiar, I imagine, to a good many." When interviewed, Ionesco the Prankster — he who enjoys saying that he belongs to "the cabaret school of literature" — is sure to make his entrance. The author of Macbett, however, though still in command of his great sense of humor, is a serious political thinker. Like Picasso's drawings based on Manet's Le Dejeuner sur l'Herbe, Macbett is art on art. Yet the aesthetic aspect here is, if not forgotten, transcended. Politics is lonesco's concern in his latest play, as it was in Rhinoceros, but whereas in the latter the playwright presented a monstrous happening, a moment of savagery, of regression to the beast in the development of civilization, the present play deals with the relentless, cyclic return of destruction, the playing and the playing out of political ambition.
Richard III and the Modernizing of Shakespeare
Authors: Parker Brian 
Published: April 2013

THE PROBLEMS OF MODERNIZING ARE PERENNIAL, and the basic arguments, pro and con, so well known that to repeat them is like entering a nightmare in which one tries to explain the difference between red and blue. l The audience beats one with white sticks, and one deserves it. Instead, I should like to suggest certain areas of agreement which may allow us to see these problems as a dialectic, not a deadlock. One is that we all now acknowledge that drama exists properly only in performance, not as something which is merely read; and, though drama may include permanent and continuing truths, the actual performance is necessarily — and quite properly — ephemeral. When the curtain falls, the show is over; and no repetition will be quite like it again. Secondly, I think we must admit that there is no such thing as performing a play "straight." This demand is the opposite heresy from the demand for topicality. In its extreme form, it is really only a sophistication of the romantic argument that it is better to read plays (to put them on, as it were, in the "theatre of the mind") than to see the limitations of even the best performance. This was Charles Lamb's opinion about King Lear. But, as John Russell Brown amongst others has pointed out, there are many different ways of saying almost every line (Hal's "I do. I will" to Falstaff, for instance, or Lear's own "Never, never, never, never, never"); and the actor's choice of reading will always depend on his understanding of the line's context; which, in turn, will not infrequently involve his interpretation of the whole play. Readers may happily hold in suspension several possibilities at once, but performance always requires an existential choice — in a word, it requires interpretation. Lastly, a third principle which seems common sense (though I have heard it denied): such interpretation is bound to be modern, strained through the sensibilities of actors, directors, designers, and audience which, willy nilly, have been set — "programmed," if you like — by the conditions of modern experience.
Book Reviews
Authors: Page Malcom , Salmon Eric , Johnson Walter , Wagenknecht Edward , Bree Germaine , Hetrick Phyllis , Matlaw Myron , Giankaris  , Decoster Cyrus , Riese Laure , Saul Brandon , Marker Lise-Lone 
Published: April 2013

John Russell Taylor, The Second Wave: British Drama For The Seventies, reviewed by Malcolm Page Dan H. Laurence ed., The Bodley Head Bernard Shaw: Collected Plays With Their Prefaces, Vol 4, , reviewed by Eric Salmon Dan H. Laurence ed., Bernard Shaw: Collected Letters, Vol 2, reviewed by Eric Salmon Anthony Swerling ed., In Quest Of Strindberg: Letters To A Seeker, reviewed by Walter Johnson Gerda Taranow, Sarah Bernhardt: The Art Within The Legend, reviewed by Edward Wagenknecht Editions du Centre National de la Recherche Scientifique, L'Expressionisme Dans Le Theatre Europeen, reviewed by Germaine Bree Bernard F. Dukore, Bernard Shaw Director, reviewed by Phyllis B. Hetrick Morris Freedman, American Drama In Social Context, reviewed by Myron Matlaw Anne Paolucci, From Tension To Tonic: The Plays Of Edward Albee, reviewed by C. J. Gianakaris Rafael Martinez Nadal, El Publico. Amor, Teatro Y Caballos En La Obra De Federico Garcia Lorca, reviewed by Cyrus Decoster Harold Wilson, Claudel's Immortal Heroes: A Choice Of Death, reviewed by Laure Riese Michael J. Sidnell, George P. Mayhew, and David R. Clark, Druid Craft, The Writing Of The Shadowy Waters, reviewed by George Brandon Saul Richard Moody, Lillian Hellman, Playwright, reviewed by Lise-Lone Marker
Artaud's Use Of Language, Sound, And Tone
Authors: Labelle Maurice 
Published: April 2013

"OH, FOR A LANGUAGE TO WRITE DRAMA IN," Eugene O'Neill wrote in 1929. "I'm so strait-jacketed by writing in terms of talk! But where to find that language?"l His cry of frustration reiterated the feelings of one of his French contemporaries, Antonin Artaud (1896-1948). Although O'Neill failed to answer his question, Artaud, in his plays and poems, undertook a long series of experiments in language, sound, and tone in an attempt to develop new means of communication. The Spurt of Blood (Le Jet de sang) (1925), a play which was the highpoint of his early period (1924-1931), demonstrates the subservient role Artaud assigned to language. The work is a montage of short, highly visual episodes. Briefly, the work opens with a love scene between a young couple, which is interrupted by a cosmic convulsion in which parts of human anatomy, temples, and insects fall from the sky. After the storm, the man and girl leave, and then a Knight and Nurse enter. Following their sexually suggestive actions and discussion, the Young Man returns. His conversation with a Priest is terminated when God reaches down and grabs a Whore, who has appeared on the scene. Resisting His action, she bites His wrist; at once blood spurts across the stage. God, wounded, retreats in a fury of lightning. The action then quickly moves to a highly imagistic and erotic scene which concludes the play.
Book Reviews
Authors: Parker  , Cohn Ruby , Leggatt Alexander , Neglia Erminio , Esslin Martin 
Published: April 2013

Mardi Valgemae, Accelerated Grimace: Expressionism In The American Drama Of The 1920s, reviewed by R. B. Parker Eric Bentley, Theatre Of War, reviewed by Ruby Cohn Walter Lazenby, Arthur Wing Pinero, reviewed by Alexander Leggatt Robert Lima, Ramon Del Valle-Inclan, reviewed by Erminio G. Neglia Nicholas Hern, Peter Handke, reviewed by Martin Esslin
Book Reviews
Authors: Findlay Robert , Sprinchorn Evert , Brown John , Fugei John , Leggatt Alexander , Riese Laure 
Published: April 2013

Roy S. Waldau, Vintage Years Of The Theatre Guild, reviewed by Robert R. Findlay Charles R. Lyons, Henrik Ibsen: The Divided Consciousness, reviewed by Evert Sprinchorn James Hurt, Catiline's Dream. An Essay On Ibsen's Plays, reviewed by Evert Sprinchorn John Northam, Ibsen: A Critical Study, reviewed by Evert Sprinchorn Arthur Ganz, Pinter: A Collection Of Critical Essays, reviewed by John Russell Brown C. D. Innes, Erwin Piscator's Political Theatre: The Development Of Modern German Drama, reviewed by John Fuegi William H. New, Dramatists In Canada: Selected Essays, reviewed by Alexander Leggatt Jean-Louis Barrault, Le Bourgeois Or The Poetry Of Laughter, reviewed by Laure Riese
Book Reviews
Authors: Mielziner Jo , Edwards  , Carpenter Charles , Davies Robertson 
Published: April 2013

Roderick Ham ed., Theatre Planning, reviewed by Jo Mielziner Simon Trussler, John Arden, reviewed by A. C. Edwards Raymond J. Porter, Brendan Behan, reviewed by A. C. Edwards Harold Ferrar, John Osborne, reviewed by A. C. Edwards Myron Matlaw, Modern World Drama: An Encyclopedia, reviewed by Charles A. Carpenter Michael Anderson, Jacques Guicharnaud, Kristin Morrison, Jack D. Zipes, and others, Crowell's Handbook Of Contemporary Drama, reviewed by Charles A. Carpenter John Gassner and Edward Quinn, The Reader's Encyclopedia Of World Drama, reviewed by Charles A. Carpenter Margery M. Morgan, The Shavian Playground, reviewed by Robertson Davies
Book Reviews
Authors: Hultberg Helge , Mason Michael 
Published: April 2013

John Fuegi, The Essential Brecht, reviewed by Helge Hultberg James Reaney, Listen To The Wind , reviewed by Michael Mason James Reaney, Colours In The Dark, reviewed by Michael Mason George Ryga, The Ecstasy Of Rita Joe, reviewed by Michael Mason George Ryga, Captives Of The Faceless Drummer, reviewed by Michael Mason Jackie Crossland and Rudy LaValle, Rinse Cycle, reviewed by Michael Mason Beverly Simons, Crabdance, reviewed by Michael Mason David Watmough, Ashes For Easter And Other Monodramas, reviewed by Michael Mason
"The Zola of the Occult": Strindberg's Experimental Method
Authors: Spinchorn Evert 
Published: April 2013

"I DON'T KNOW WHAT FATE HOLDS IN STORE FOR ME, but I feel the hand of the Lord resting upon me." So wrote Strindberg to a good friend and confidant in 1894. "A change is about to take place, whether upwards or straight down to the center of the earth, who can tell?" Two years later Strindberg plumbed the depths of his personal inferno, and out of the experiences of 1896 emerged a different Strindberg who created a new kind of novel and a new kind of drama. Since Professor Gunnar Brandell in his Strindbergs Infernokris has brilliantly charted Strindberg's course toward a new art form, all I propose to do here is to show that that course was less erratic than generally assumed and that in spite of the storms that beset him Strindberg never lost his way. Even two years before he enters the inferno he plots a course toward it. It was after leaving the pit of this inferno that he declared his intention of becoming a "lola of the occult.” The phrase, dropped in Strindberg's mind by a theosophist correspondent, is particularly apt since it suggests both how long and how short was the journey from naturalism to mysticism.
Peter Terson's Vale of Evesham
Authors: Elvgren Jr. Gillette 
Published: April 2013

PETER TERSON IS CERTAINLY one of the more significant playwrights being staged in Great Britain today. Since 1967 ten of Terson's plays have received West End showings. In 1967 he shared with Peter Nichols the John Whiting Award from the Arts Council; and in 1972 he received the British Writers Guild Award for the best radio play, The Fishing Party. Widely produced and written about in Europe, his almost total lack of recognition in North America remains a mystery. Since 1963 Peter Terson has written over sixty plays in addition to his radio and television dramas. Most of his produced stage work has been originally performed at the Victoria Theatre in Stoke-on-Trent, a small Midlands theatre-in-the-round which has developed an international reputation for its support of new playwrights and for its innovative work in musical documentary drama. Terson was resident playwright at the Victoria under the director Peter Cheeseman from 1965-1967, and has been officially connected with the theatre as a writer-in-association ever Since.
Individual and Society in the Early Plays of John Arden
Authors: Day Paul 
Published: April 2013

CRITICS HAVE BEEN WARY in their attempts to come to terms with the works of John Arden. The majority of them, in fact, confine themselves to an astonished description of his several works, with tolerant comments on their "diversity," "unpredictability," "uncommitedness," "amorality" and so on. Only two or three have approached the works in tentative analysis — among them John Russell Taylor and J.D. Hainsworth. And Hainsworth's article springs from a minor disagreement with a statement by Taylor. Taylor's criticism of Arden in Anger and After seeks to validate his contention that this writer changes his ground continually, seeking in every fresh playa fresh viewpoint: "There seems to be brooding one basic principle: not exactly the obvious one that today there are no causes — that would be altogether too facile, and in any case just not true — but that there are too many."
Beyond Absurdity: Albee's Awareness of Audience in Tiny Alice
Authors: Coe Richard 
Published: April 2013

CLASSICALLY, theatre of the absurd was a Negation. As typified by the plays of Beckett, Ionesco, and Genet written in the 50's, it attacked conventional modes of perception and expression in order to negate the conceptions which formed and were signified by those modes. Like surrealism, its first goal was to destroy an outmoded vision of reality. Thus, as seemed to befit a theatre of negation, it utilized satire, paradox and surrealistic allegory. The absurdist playwright eschewed any mimicking of surface reality lest he seem to imply its validity — as Sartre writes of Genet, "in order to be sure of never making proper use of appearance [he] wants his fancies, at two or three stages of derealization, to reveal themselves in their nothingness. “I Consequently, absurdist plays usually related only allegorically to the audience's reality.
Samuel Beckett's Interest in Form: Structural Patterning in Play
Authors: Pountney Rosemary 
Published: April 2013

THE FORM EXPRESSES THE CONTENT in the work of Samuel Beckett - and it is precisely this fusion of content with form that he approved in the writing of Proust and Joyce. "It is the shape that matters," Beckett once said, expressing enthusiasm over the proportion of a sentence of St. Augustine's, a sentence he has echoed in Waiting/or Godot. At the end of his article on J oyce5 Beckett considers in some detail the patterning in Joyce and Dante, comparing Dante's conical view of purgatory with Joyce's spherical one. Since Play, the most perfectly patterned of Beckett's plays, also takes the purgatorial theme and makes use of both motifs, this comparison is of especial interest.
Book Reviews
Authors: Pronko Leonard , Vowles Richard , Gilbert Vedder 
Published: April 2013

Antonin Artaud, THE THEATER AND ITS DOUBLE, reviewed by Leonard C. Pronko Doris V. Falk, EUGENE O'NEILL AND THE TRAGIC TENSION: AN INTERPRETIVE STUDY ,reviewed by Richard B. Vowles John Heath-Stubbs, HELEN IN EGYPT AND OTHER PLAYS,reviewed by Vedder M. Gilbert
Book Reviews
Authors: Waggoner George , Solomon Stanley , Worth George , Lacampagne Robert 
Published: April 2013

Louis Simon, SHAW ON EDUCATION, reviewed by George Waggoner Paul Kozelka, A GLOSSARY TO THE PLAYS OF BERNARD SHAW, reviewed by Stanley Solomon Julian B. Kaye, BERNARD SHAW AND THE NINETEENTH-CENTURY TRADITION, reviewed by George Worth Committee on Playlist of the N. C. T. E., Joseph Mersand, Chairman, GUIDE TO PLAY SELECTION, reviewed by Robert J. Lacampagne
Book Reviews
Authors: Crafton Allen , Hirschbach Frank , Kaye Julian 
Published: April 2013

Alice Lewisohn Crowley, The Neighborhood Playhouse, reviewed by Allen Crafton Elder Olson, Plays and Poems, reviewed by Frank D. Hirschbach Robert Boies Sharpe, Irony In The Drama: An Essay On Impersonation, Shock, And Catharsis, reviewed by Julian B. Kaye
The Career Of Maxwell Anderson: A Check List Of Books And Articles
Authors: Gilbert Vedder 
Published: April 2013

ON OCTOBER 18, 1958, not long before his death, Maxwell Anderson celebrated thirty-five years in the professional theater, a career that began in 1923 with the short-lived production of White Desert at the Princess Theatre, New York. He ended his years of service to the American theater with two plays: The Day the Money Stopped (in collaboration with Brendan Gill) and The Golden Six. This bibliography of items by and about Mr. Anderson, though not complete, is comprehensive enough to demonstrate that he merits the respect his friends have paid him.
Book Reviews
Authors: Valency Maurice , Orel Harold , Kern Edith 
Published: April 2013

Robert J. Nelson, Play Within a Play: The Dramatist's Conception Of His Art: Shakespeare To Anouilh, reviewed by Maurice Valency Richard Cordell and Lowell Matson, eds., The Off-Broadway Theatre, reviewed by Harold Orel John Willet, The Theatre of Bertolt Brecht; A Study From Eight Aspects, reviewed by Edith Kern
Book Reivews
Authors: Riese Laure , Savona Jeannette Laillou , Harris Peter , Martin Robert , Leggatt Alexander 
Published: April 2013

Ralf Breuer, DIE KUNST DER PARADOXIE KRITISCHE INFORMATION. reviewed by Laure Riese Betty Rojlman, FORME ET SIGNIFICATION DANS lE THEATRE DE BECKETT, reviewed by Jeannette Laillou Savona Claude Hill, BERTOLT BRECHT, reviewed by Peter Harris George H. Jensen, ARTHUR MILLER: A BIBLIOGRAPHICAL CHECKLIST, reviewed by Robert A. Martin CANADIAN THEATRE REVIEW, reviewed by Alexander Leggatt
Book Reviews
Authors: Saari Sandra , Echevarria Evelio 
Published: April 2013

James Walter McFarlane, THE OXFORD IBSEN, VOLUME VIII: LITTLE EYOLF, JOHN GABRIEL BORKMAN, WHEN WE DEAD AWAKEN, reviewed by SANDRA E. SAARI Martin Esslin, ENCYCLOPEDIA OF WORLD THEATRE, reviewed by EVELIO ECHEVARRIA
Book Reviews
Authors: Moss Leonard , Clark Juidth Hersch , Carpenter Charles 
Published: April 2013

Robert A. Martin, THE THEATER ESSAYS OF ARTHUR MILLER, reviewed by Leonard Moss Jac Tharpe, TENNESSEE WILLiAMS: A TRIBUTE, reviewed by Juidth Hersch Clark Stephen S. Stan, TENNESSEE WILLIAMS: A COLLECTION OF CRlTICAL ESSAYS, reviewed by Juidth Hersch Clark E. H. Mikhail, ENGLISH DRAMA. 1900-1950, A GUIDE TO INFORMATION SOURCES, reviewed by Charles A. Carpenter E. H. Mikhail, CONTEMPORARY BRITISH DRAMA, 1950-1976: AN ANNOTATED CRITICAL BIBLIOGRAPHY, reviewed by Charles A. Carpenter
Book Reviews
Authors: Cohn Ruby , Imhof Rudiger , Chamberlain John 
Published: April 2013

Deirdre Bair, SAMUEL BECKETT. A BIOGRAPHY, reviewed by Ruby Cohn Paul Goetsch, BAUFORMEN DES MODERNEN ENGLISCHEN UND AMERIKANISCHEN DRAMAS, reviewed by Rudiger Imhof Ronald Gray, IBSEN -A DISSENTING VIEW, reviewed by John S. Chamberlain
Reviews
Authors: Lynch Dennis , Welch Lilliane , Elliot Susan 
Published: April 2013

John lahr, Prick Up Your Ears: The Biography of Joe Orton, reviewed by Dennis Lynch ` Kenneth Steele White, Man's New Shapes: French Avant-Garde Drama's Metamorphoses, reviewed by Lilliane Welch Steven H. Gale, Harold Pinter: An Annotated Bibliography, reviewed by Susan M. Elliot
Book Reviews
Authors: Curb Rosemary , Knapp Bettina , McGuinness Arthur , Schmitt Natalie Crohn , Jenckes Norma , Moss Leonard , Yacowar Maurice , Schlueter June , Pronko Leonard , Carpenter Charles , Carpenter Charles , Morrison Kristen 
Published: April 2013

Janet Brown, Feminist Drama: Definition and Critical Analysis, reviewed by Rosemary Curb Thomas John Donahue, The Theatre of Fernando Arrabal: A Garden of Earthly Delights, reviewed by Bettina L. Knapp Elizabeth Hale Winkler, The Clown in Modern Anglo-Irish Drama, reviewed by Arthur E. McGuinness Anthony Bradley, William Butler Yeats, reviewed by Natalie Crohn Schmitt J. L. Wisenthal, ed., Shaw and Ibsen: Bernard Shaw's The Quintessence of Ibsenism and Related Writings, reviewed by Norma Jenckes James J. Martine, Critical Essays on Arthur Miller, reviewed by Leonard Moss Felicia Hardison Londre, Tennessee Williams, reviewed by Maurice Yacowar Nelvin Vos, The Great Pendulum of Becoming: Images in Modern Drama, reviewed by June Schlueter Maurice Valency, The End of the World: An Introduction to Contemporary Drama, reviewed by Leonard C. Pronko Kimball King, Twenty Modern British Playwrights: A Bibliography, 1956 to 1976, reviewed by Charles A. Carpenter Kimball King, Ten Modern Irish Playwrights: A Comprehensive Annotated Bibliography, reviewed by Charles A. Carpenter Edward A. Kopper, John Millington Synge: A Reference Guide, reviewed by Kristin Morrison
Book Reviews
Authors: Estrine Mark , Lederer Katherine , Arnold Armin , Riése Laure 
Published: April 2013

Doris V. Falk, Lillian Hellman, reviewed by Mark W. Estrin Katherine Lederer, Lillian Hellman, reviewed by Mark W. Estrin Lois C. Gottlieb, Rachel Crothers, reviewed by Mark W. Estrin Steven H. Bills, Lillian Hellman: An Annotated Bibliography, reviewed by Katherine Lederer Mary Marguerite Riordan, Lillian Hellman, A Bibliography: 1926-1978, reviewed by Katherine Lederer Kenneth S. Whitton, The Theatre of Friedrich Diirrenmatt: A Study in the Possibility of Freedom, reviewed by Armin Arnold René Bablet, ed., Les Voies de La création théâtrale, reviewed by Laure Riése
Book Reviews
Authors: Jones Daniel , Gontarski  , Miller Judith , Savona Jeannette , Leland Charles , Rey John , Lachman-Kalitzki Eva , Gerould Daniel 
Published: April 2013

Malcolm Hay and Philip Roberts, Bond: A Study of his Plays, reviewed by Daniel R. Jones James Knowlson and John Pilling, Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett, reviewed by S.B. Gontarksi Ruby Cohn, Just Play: Beckett's Theater, reviewed by Judith G. Miller Patrice Pavis, Dictionnaire du théâtre, reviewed by Jeannette Laillou Savona Henrik Ibsen, Peer Gynt, reviewed by Charles Leland Brian Johnston, To the Third Empire: Ibsen's Early Drama, reviewed by Charles Leland Olga Ragusa, Pirandello: An Approach to his Theatre, reviewed by John B. Rey Michael Ossar, Anarchism in the Dramas of Ernst Toller, reviewed by Eva Lachman-Kalitzki Bettina L. Knapp, Theatre and Alchemy, reviewed by Daniel Gerould
Armand Gatti on Time, Place, and the Theatrical Event
Authors: Lenin Jean–Pail 
Published: April 2013

Most followers of contemporary theatrical developments know that since 1960 Annand Gatti, playwright and director, has been one of a small number working to create a twentieth ~century theatre. I address the following introductory remarks to those unfamiliar with some of these changes or with Gatti's work. After the styles of Ionesco, Beckett and Adamov that characterized the theatre of the fifties, two well-known plays by Jean Genet — The Blacks, performed in 1959, and The Screens. banned in France, but partially performed in Berlin in 1961 — set new directions for dramatic research and, responding to a preoccupation with specifically political concerns, brought back to the stage a broader investigation of the conflicts then stirring French society. The war in Algeria, then in its cruellest phase, was at the centre of violent social unrest; and the atmosphere of world conflict, revolutionary struggle and insurrection inspired, and continues to inspire, Annand Gatti .
Book Reviews
Authors: Fueoj John , Knapp Bettina , Schlueter June , Todd Ian , Rusinko Susan , Brigg Peter , Parker Gerald , Werner Craig , Brown Janet , Gabbard Lucina , Lima Robert 
Published: April 2013

Christopher Innes, Modern German Drama: A Study in Form, reviewed by John Fueoj Christopher Innes, Holy Theatre: Ritual and the Avant Garde, reviewed by Bettina L. Knapp C.W.E. Bigsby ed., Contemporary English Drama, reviewed by June Schlueter Douglas Colby, As the Curtain Rises: On Contemporary British Drama 1966-1976, reviewed by June Schlueter Bernard F. Dukore, The Theatre of Peter Barnes, reviewed by Ian Todd John Elsom, Post-war British Theatre Criticism, reviewed by Susan Rusinko J.B. Priestly, A.A. Devitis And Albert E. Kalson, reviewed by Peter Brigg A.D. Choudhury, The Face of Illusion in American Drama, reviewed by Gerald D. Parker Samuel J . Bernstein, The Strands Entwined: A New Direction in American Drama, reviewed by Craig Werner, Judith Olauson, The American Woman Playwright: A View of Criticism and Characterization, reviewed by Janet Brown Samar Atiar, The Intruder in Modern Drama, reviewed by Lucina P. Gabbard Phyllis Zatlin Boring, Victor Ruiz Iriarte, reviewed by Robert Lima