bluuebunny/crossref_metadata_2025_split huggingface dataset:
Book Reviews
Authors: Black Stephen , Parker  , Kolin Philip , Weaver Lauren , Roudane Mathew , Olshen Barry , Freedman John , Langford N. Kim , Lamont Rosette , Carballis Richard 
Published: April 2013

Dorthy Commins, eds., "Love and Admiration and Respect": The O'Neill—Commins Correspondence, reviewed by Stephen A. Black Roger Boxill, Tennessee Williams, reviewed by R.B. Parker Gerry McCarthy, Edward Albee, reviewed by Philip C. Kolin Philip C. Kolin abd J. Madison Davis, eds., Critical Essays on Edward Albee, reviewed by Laura H. Weaver Lynda Hart, Sam Shepard's Metaphorical Stages, reviewed by Mathew C. Roudane Dorthy Parker, ed., Essays on Modern American Drama: Williams, Miller. Albee, and Shepard, reviewed by Barry N. Olshen Henri Troyat, Chekhov, reviewed by John Freedman Peter Gidal, Understanding Beckett: A Study of Monologue and Gesture in the Works of Samuel Beckett, reviewed by N. Kim Langford Michelene Wandor, Carry On, Understudies: Theatre and Sexual Politics, reviewed by Rosette C. Lamont Dennis Carroll, Australian Contemporary Drama 1909—1982: A Critical Introduction, reviewed by Richard Carballis
Book Reviews
Authors: Laughlin Karen , Leland Charles , Morris John , Hays Michael , Fisher James , Lovrick Peter 
Published: April 2013

Martin Esslin, The Field a/Drama: How the Signs of Drama Create Meaning on Stage and Screen, reviewed by Karen Laughlin Frederick J. Marker and Lise-Lone Marker, eds., Ingmar Bergman: A Project for the Theatre, reviewed by Charles Leland Anthony Jenkins, The Theatre of Tom Stoppard, reviewed by John Morris Michael Billington, Stoppard: The Playwright, reviewed by John Morris Beate Neumeier, Spiel und Politik: Aspekte der Komik bei Tom Stoppard, reviewed by Michael Hays Robert F. Kiernan, Noel Coward, reviewed by James Fisher Francis Gray, Noel Coward, reviewed by James Fisher Hsu Tao-Ching, The Chinese Conception of the Theatre, reviewed by Peter Lovrick
Book Reviews
Authors: Fischer James , Adler Thomas , Morrow Laura , Youngs Tim , Merritt Susan Hollis , Lamont Rosette , Norwood James 
Published: April 2013

Brenda Murphy, American Realism and American Drama, 1880-1940, reviewed by James Fischer Carl Rollyson, Lillian Hellman: Her Legend and her Legacy, reviewed by Thomas P. Adler Philip C. Kolin, David Rabe: A Stage History and A Primary and Secondary Bibliography, reviewed by Laura Morrow Leslie Catherine Sanders, The Development of Black Theatrein America: From Shadows to Selves, reviewed by Tim Youngs Steven G. Gale, ed., Harold Pinter: Critical Approaches, reviewed by Susan Hollis Merritt Michael Scott, Harold Pinter: The Birthday Party, The Caretaker, The Homecoming. A Casebook., reviewed by Susan Hollis Merritt Jordan R. Young, The Beckett Actor, reviewed by Rosette C. Lamont Julian Hilton, Performance, reviewed by James Norwood
Tragedy in a Postmodern Vein Ugo Betti Our Contemporary?
Authors: Arnett Lloyd 
Published: April 2013

"The years: 1941-1953. The form: Tragedy. The setting: undetermined sites on the landscape of the twentieth century. The style: Symbolist-Realism. The principal dramatic technique: postmodern dissociation. Theatre-goers of the last decade have watched the growing phenomenon of the postmodern aesthetic as it has infected the production styles of stages in New York and Minneapolis and at whatever outposts the imitators of Foreman, Schechner and Breuer can be found . As with every theatrical period, when lack of innovative writing leaves directors twiddling their thumbs or attempting avant garde productions of classics, postrnodernism has left the philistines puzzled and aficionados uncomfortable.
Book Reviews
Authors: Leland Charles , Fisher James , Parker Brian , Tailman Ken , Gerould Daniel , Bucholic Maria , Corballis Richard , Schuler Chatherine 
Published: April 2013

Per Schelde and Barbara ass Leavy, Ibsen's Forsaken Merman: Folklore in the Late Plays, reviewed by Charles Leland Eugene Van Erven, Radical People's Theatre, reviewed by James Fisher Philip C. Kolin, American Playwrights Since 1945: A Guide to Scholarship, Criticism, and Performance, reviewed by Brian Parker Andrew K. Kennedy, Samuel Beckett, reviewed by Ken Tallman J.A.N. Curtis, Bulgakov's Last Decade: The Writer as Hero, reviewed by Daniel Gerould E.J. Czerwinski, Contemporary Polish Theater and Drama (1956-1984), reviewed by Maria Bucholic Richard Stourac And Kathleen Mccreery., Theatre as Weapon: Worker's Theatre in the Soviet Union, Germany and Britain, 1917-[934, reviewed by Catherine Schuler Veronica Kelly, ed.,Louis Nowra, reviewed by Richard Corballis May-Brit Akerholt, Patrick White, reviewed by Richard Corballis Paul McGillick, Jack Hibberd, reviewed by Richard Corballis Otrun Zuber-Skerritt, ed.,David Williamson, reviewed by Richard Corballis
A Worm in the Wood: The Father-Son Relationship in the Plays of Sam Shepard
Authors: Schvey Henry 
Published: April 2013

In his illuminating essay "Conditions and Limits of Autobiography," Georges Gusdorf observes that "Confession, an attempt at remembering, is at the same time a searching for a hidden treasure, for a last delivering word, redeeming in the final appeal a destiny that doubted its own value. For the one who takes up the venture it is a matter of concluding a peace treaty and a new alliance with himself and with the world." Implicit in Gusdorf's essay on autobiography is the notion that confessional literature is an attempt to heal a basic breach between the self and the other. Nowhere is this search for redemption more obvious than in the late work of America's most confessional dramatist, Eugene O'Neill. We know from his wife, Carlotta, that the writing of his autobiographical family play, Long Day's Journey into Night, in June 1939 was "a thing that haunted him. He was bedeviled into writing it … He had to get it out of his system, he had to forgive whatever it was that caused this tragedy between himself and his mother and father.”
Book Reviews
Authors: Adam Julie , Cunningham Frank , Filewood Alan , Hinden Michael 
Published: April 2013

June Schlueter, ed., Feminist Rereadings of Modern American Drama, reviewed by Julie Adam Mark W. Estrin, ed., Conversations with Eugene O'Neill, reviewed by Frank R. Cunningham Marc Maufort, Songs of American Experience: The Vision of O'Neill and Melville, reviewed by Frank R. Cunningham Sue-Ellen Case and Janelle Reinelt, eds., The Performance of Power: Theatrical Discourse and Politics, reviewed by Alan Filewood Richard F. Moorton, Jr., ed., Eugene O'Neil's Century: Centennial Views on America's Foremost Dramatist , reviewed by Michael Hinden
Book Reviews
Authors: Jenkins Anthony , Gieri Manuela , Spahr Juliana , Zimmermann Heiner , Godard Barbara , Morrow Laura 
Published: April 2013

Christopher Innes, Modern British Drama: 1890—1990, reviewed by Anthony W. Jenkins John Louis Digetani, ed., A Companion to Pirandello Studies, reviewed by Manuela Gieri Jane Palatini Bowers, "They Watch Me as They Watch This": Gertrude Stein's Melodrama, reviewed by Juliana Spahr Robert Wilcher, Understanding Arnold Wesker, reviewed by Heiner Zimmermann Annie Brisset, Sociocritique de la traduction: Theatre et alterite au Quebec (1968-1988), reviewed by Barbara Godard William W. Demastes, Beyond Naturalism: A New Realism in American Theatre, reviewed by Laura Morrow
Book Reviews
Authors: Gilbert John , Jenkins Anthony , Schuler Catherine , Krasner David 
Published: April 2013

Jaques Body, Jean Giradoux, The Legend and the Secret, reviewed by John K. Gilbert Katherine E. Kelly, Tom Stoppard and the Craft of Comedy: Medium and Genre at play, reviewed by Anthony Jenkins Sharon Marie Carnicke, The Theatrical Instinct: Nikolai Evreinov and the Russian Theatre of the Early Twentieth Century, reviewed by Catherine Schuler Tony Calabro, Bertolt Brecht's Art of Dissemblance, reviewed by David Krasner
Book Reviews
Authors: Cypress Sandra , Cummings Scott , Lindheim Ralph , Plunka Gene , Fischer Eileen , Manheim Michal , Spector Susan , Wilcox Leonard , Hays Peter , Copeland Nancy 
Published: April 2013

Severino Jao Alburquerque, Violent Acts: A Study of Contemporary Latin American Theatre, reviewed by Sandra M. Cypress David George, The Modern Brazilian Stage, reviewed by Scott T. Cummings Andrew Donskov,Richard Sokolowski With Roman Weretelnyk And John Woodsworth, eds.,Slavic Drama. The Question of Innovation, reviewed by Ralph Lindheim C.J. Gianakaris, Peter Schaffer, reviewed by Gene A. Plunka J.W. Fenn, Levitating the Pentagon: Evolutions in the American Theatre of the Vietnam War Era, reviewed by Eileen Fischer Doris Alexander, Eugene O'Neill's Creative Struggle: The Decisive Decade, 1924—1933, reviewed by Michael Manheim Brenda Murphy, Tennessee Williams & Elia Kazan: A Collaboration in the Theatre, reviewed by Susan Spector David Derose, Sam Shepard, reviewed by Leonard Wilcox Gerald M. Berkowitz, American Drama of the Twentieth Century, reviewed by Peter L. Hays C.W.E. Bigsby, Modern American Drama, reviewed by Peter L. Hays Andre Helbo, J. Dines Johansen, Patrice Pavis, Anne UbersfeldApproaching Theatre, reviewed by Nancy Copeland
Book Reviews
Authors: Clum John , Pilkington Lionel , Hughes Alan , Parker Brian , Bak John , Norrish Peter , Krasner David , Malkin Jeanette 
Published: April 2013

Amelia Howe Kritzer, The Plays of Caryl Churchill, reviewed by John M. Clum Stephen Watt, Joyce, O'Casey, and the Irish Popular Theater, reviewed by Lionel Pilkington Richard Foulks, ed., British Theatre in the 1890s: Essays on Drama and the Stage., reviewed by Alan Hughes Philip C. Kolin, ed., Confronting Tennessee Williams' "A Streetcar Named Desire": Essays in Critical Pluralism, reviewed by Brian Parker David Savran, Communists, Cowboys, and Queers: The Politics of Masculinity in the Work of Arthur Miller and Tennessee Williams, reviewed by John S. Bak Gene A. Plunka, The Rites of Passage of Jean Genet: The Art and Aesthetics of Risk Taking, reviewed by Peter Norrish William Grange, Partnership in the German Theatre: Zuckmayer and Hilpert, 1925—1961, reviewed by David Krasner Richard Arthur Firda, Peter Handke, reviewed by Jeanette A. Malkin
Book Reviews
Authors: Leland  , Fischer Eileen , Cocalis Susan , Burkman Katherine , Clum John 
Published: April 2013

Henrik Ibsen, Catiline and the Burial Mound, reviewed by C.W. Leland W.B. Worthen, Modern Drama and the Rhetoric of Theater, reviewed by Eileen Fischer Henry J. Schmidt, How Dramas End: Essays on the German Sturm und Drang, Büchner, Hauptmann, and Fleisser, reviewed by Susan L. Cocalis Ruby Cohn, Retreats From Realism in Recent English Drama, reviewed by Katherine F. Burkman Samuel L. Leiter, From Stanislavski to Barrault: Representative Directors of the European Stage, reviewed by John M. Clum
Book Reviews
Authors: Howard Patricia , King Kimball , Locatelli Carla , Krasner Daivd , Demastes William , Dicenzo Maria , Brown Erlla , Jenkins Anthony , Haxo Paul , Baker-White Robert , Burkman Katherine , Lingard John , Fischer Eileen , Carnicke Marie , Berkowitz Gerald , Aston Elaine , Watson Charles , Filewood Alan , Pilkington Lionel , O'Malley Lurana Donnels , Neglia Erminio 
Published: April 2013

Enoch Brater, ed., The Theatrical Gamut: Notes for a Post-Beckettian Stage, reviewed by Patricia Howard Louis Gordon, The World of Samuel Beckett, 1906-1946, reviewed by Kimball King Lois Oppenheimer, ed., Directing Beckett, reviewed by Carla Locatelli Peter Thomson and Glendyr, ed., The Cambridge Companion to Brecht, reviewed by David Krasner Una Chaudhuri, Staging Place: The Geography of Modern Drama, reviewed by William W. Demastes John Bull, Stage Right: Crisis and Recovery in British Contemporary Mainstream Theatre, reviewed by Maria Dicenzo Gene A. Plunka, ed., Antonin Artaud and the Modern Theater, reviewed by Erella Brown Charles Duff, The Lost Summer: The Heyday of the West End Theatre, reviewed by Anthony Jenkins Carol Homden, The Plays of David Hare, reviewed by Anthony Jenkins Jonathan Wake, ed., John Arden and Margaretra D'Arcy: A Casebook, reviewed by Paul Haxo Susan Hollis Merritt, Pinter in Play: Critical Strategies and the Plays of Harold Pinter, reviewed by Robert Baker-White Martin S. Regal, Harold Pinter: A Question of Timing, reviewed by Katherine H. Burkman Egil Tönkvist, Ibsen: A Doll's House, reviewed by John Lingard Richard Gilman, Chekhov's Plays: An Opening into Eternity, reviewed by Eileen Fischer Edward Braun, Meyerhold: A Revolution in Theatre, reviewed by Sharon Marie Carnicke Joel Pfister, Staging Depth: Eugene O'Neill and The Politics of Psychological Discourse, reviewed by Gerald M. Berkowitz Linda Ben-Zvi, ed., Susan Glaspell: Essays on Her Theater and Fiction, reviewed by Elaine Aston Rebecca Luttrell Briley, You Can Go Home Again: The Focus on Family in the Works of Horton Foote, reviewed by Charles S. Watson Neil Carson, Harlequin in Hogtown: George Luscombe and Toronto Workshop Productions, reviewed by Alan Filewood Anthony Roche, Contemporary Irish Drama: From Beckett to McGuinness, reviewed by Lionel Pilkington Spencer Golub, The Recurrence of Fate: Theatre and Memory in Twentieth-Century Russia, reviewed by Lurana Donnels O'Malley Robert Lima, Dark Prisms: Occultism in Hispanic Drama, reviewed by Erminio G. Neglia
Book Reviews
Authors: Mitchell P. , Wahlgren Erik , Groff Edward , Waggoner George 
Published: April 2013

Gustav Adolf , by August Strindberg, reviewed by P.M. Mitchell August Strindberg, The Saga of the Folkungs. Engelbrekt, reviewed by Erik Wahlgren Kenneth Thorpe Rowe, Funk and Wagnalls Company, A Theatre in your head, reviewed by Edward Groff Arthur H. Nethercot, The First Five Lives of Annie Besant, reviewed by George Waggoner
Translation and Adaptation in the Contemporary Drama
Authors: Knepler Henry 
Published: April 2013

GENERAL RULES for the translation of literary works have to be so general that their usefulness becomes questionable. The literary genre, the time of writing, the relationship of the languages involved, and other factors provide too many variables. It is possible, however, to set standards for groups of works which are sufficiently homogeneous in kind or purpose to permit reasonably specific definitions. The contemporary drama of Western culture constitutes such a group. The importance of its transfer from one language to another needs no discussion. But apart from its importance it also presents interesting and complex problems, for in the drama, more so than in any other literary form, prominent consideration has to be given to matters not connected with the verbal transfer of the work from one language to another. The reason for the presence of these extralinguistic components is that the drama is a communal experience which transcends the realm of written material.
Benavente on Shakespearean Characters
Authors: Schwartz Kessel 
Published: April 2013

BENAVENTE, INFLUENCED by Shakespeare in many of his dramas,l has also written extensively on various Shakespearean problems such as acting, staging, and the like.2 Benavente fancied himself an expert on all matters pertaining to Shakespeare. He quotes constantly and often dogmatically from Shakespearean texts: ''The rest is silence. This does not signify the remainder as many translators of Shakespeare have understood it; the rest means . . . repose which meaning it still has in English and it was so used almost exclusively in the time of Shakespeare.” Even numerology interested him. He commented that Shakespeare's birth date, 1564, has digits totaling 16. Twice sixteen equals 1616, the date of Shakespeare's death, which fact impressed Benavente greatly to judge by the number of times he refers to it (O.C., XI, 174; O.C., XI, 70; O.C., XI, 297; O.C., IX, 697). When Benavente visited Stratford on Avon, he found the general atmosphere congenial and full of "the spirit of sweet Shakespeare” (O.C., IX, 700), but he was shocked to discover that most Englishmen knew Shakespeare only superficially and then only the most popular works. He distrusted English admiration for Shakespeare as dogmatic, cold, and insincere and felt that the Shakespearean spirit was neither very English nor very Protestant (O.C., IX, 1028).
The Prelate and the Pachyderm: Rear Guard and Vanguard Drama in the French Theater
Authors: Pronko Leonard 
Published: April 2013

IT HAS BEEN CUSTOMARY to divide the theaters of Paris into three groups. The Boulevard traditionally produces fluffy plays of pure entertainment, and is primarily interested in commercial success. A second group includes the subsidized theaters, the Comedie Frangillse and the Theatre National Populaire, devoted to the dramatic classics, both ancient and modem. The last group produces serious plays by modem authors, either in the philosophical, poetic, or avant-garde vein. It is sometimes called the avant-garde theater, sometimes the literary. Such a division today is highly artificial, for the large plush theaters of the Boulevards have frequently forgotten commercialism and turned to the plays of serious thinkers like Sartre or Camus, while the Comedie Frangaise has sometimes been led astray into the facile fields of frothy and insubstantial commercial comedy. Moreover, since the reforms effected by Andre Malraux a year or so ago, the purposes of the subsidized theaters have been more clearly defined, and through the experimental theaters placed under the direction of Jean-Louis Barrault and Jean Vilar, a helping hand has been extended to young writers exploring new ways of dramatic expression.
A Scene from an Unpublished Version of Frank Wedekind's Lulu-Tragedy
Authors: Wedekind-Biel Kadidja 
Published: April 2013

THE STORY OF LuLu as known from Frank Wedekind's two plays Earth-Spirit and The Box of Pandora was originally written as one play in five acts, beginning with the scene in the painter's studio where Lulu's picture is painted, and ending in a London garret where she is murdered by Jack the Ripper. In the later versions-the ones which were published-the author made changes which are mainly a sort of heartbreaking and desperate compromise with the moral and theatrical standard of his time. Wedekind was not the man to whom making a compromise would come easily. Consequently, by this unfortunate procedure the meaning of the original creative idea was well-nigh obliterated. Since after the completion of the original version, several scenes, particularly in the last act, were objected to as unproduceable, the author decided to take the play apart. He took the first three acts, and he wrote a new act to precede the one which now is the last act of Eart-Spirit. To this play in four acts he wrote a prologue. The title "Earth-Spirit" is taken from the Greek Gäa, another name of Pandora. Pandora.
The Ibsenite Maugham
Authors: Fielding John Steward 
Published: April 2013

No PLAYWRIGHT IN HISTORY has so pleased the general public of his day as has W. Somerset Maugham. His commercial success has been truly fabulous, bringing him millions. On the other hand, no playwright of equal popularity-and ability-ever met with the condescension and outright hostility from critics and students of the drama as has Maugham. It is true that he has not been without his supporters; such persons as Sir Desmond MacCarthy and St. John Ervine have praised him highly. Possibly it was his commercial success itself that led critics to assume, as Richard Aldington once pointed out, "that a writer who has continued to delight large audiences all over the world for several decades must be ephemeral and in some unspecified way unworthy of 'serious consideration.” Glenway Wescott, in Harper’s Magazine, observed that the booming market for whatever Maugham wrote made critics doubly disrespectful of his merits, so much that they became what Wescott aptly called "anti-fans." The result of this lack of critical approval has been that Maugham's dramatic work has received little attention in currently available surveys of twentieth century drama. Only one book has been devoted to a study of Maugham as a playwright: Paul Dottin's superficial Le Theatre de Somerset Maugham.
A Week in Dublin
Authors: Moseley Virginia 
Published: April 2013

DURING MY FIRST WEEK IN IRELAND, I have been overwhelmed by the magnificent vitality of current dramatic production that I have seen in Dublin as well as read about in numerous periodical accounts concerning county festivals going on all over the island. I find little evidence, at least in the dramatic medium, of the paralysis that crippled Joyce's Dubliners. Rather there is everywhere apparent the spiritual regeneration he envisioned as potential, especially in his "two-sighted" story "The Dead." Remarkably, my introduction to Irish theater was Tennessee Williams' new play, You Touched Me, presented by the Gas Company Players of Dun Laoghaire, a suburban theatrical society of surprising ability. Donald Windham's re-vamping of this American drama to suit British audiences was stirringly acted by these "professional" amateurs.
Book Reviews
Authors: Nadon Daniel-Raymond , Deeney John , Foulkes Richard , Northof Anne , Cocalis Susan 
Published: April 2013

Nora M. Alter, Vietnam Protest Theatre: The Television War on Stage, reviewed by Daniel-Raymond Nadon Michael Billington, The Life and Work of Harold Pinter, reviewed by John F. Deeney Michael R. Booth and Joel H. Kaplan, eds., The Edwardian Theatre: Essays on Performance and the Stage, reviewed by Richard Foulkes Finlay Donesky, David Hare: Moral and Historical Perspectives, reviewed by Anne F. Northof Michelle M. Mattson, Franz Xaver Kroetz: The Construction of a Political Aesthetic, reviewed by Susan L. Cocalis
Book Reviews
Authors: Lingard John , Balkian Jan , Heuvel Micahel Vanden , Shimakawa Karen , Jenkins Anthony 
Published: April 2013

Frederick J. Marker and Lise-Lone Marker, A History of Scandinavian Theatre, reviewed by John Lingard Alice Griffin, Understanding AUhtor Miller, reviewed by Jan Balkian Ronald H. Wainscott, The Emergence of the Modern American Theatre 1914-1929, reviewed by Michael Vanden Heuvel Josephine Lee, Performing Asian America: Race and Ethnicity on the Contemporary Stage, reviewed by Karen Shimakawa Geoffrey Wansell, Terence Rattigan: A Biography, reviewed by Anthony Jenkins
Book Reviews
Authors: Leland Charles , Taub Michael , Bak John , Dicenzo Maria , Demastes William , Reid  , Thomas Alan , Johnson Stephen , Fischer Eileen 
Published: April 2013

Harry G. Carlson, Out of Inferno: Strindberg's Reawakening as an Artist, reviewed by Charles Leland Edward R. Isser, Stages of Annihilation: Theatrical Representations of the Holocaust, reviewed by Michael Taub Anne Fleche, Mimetic Disillusion: Eugene O'Neill, Tennessee Williams, and U.S. Dramatic Realism, reviewed by John S. Bak Randall Stevenson & Gavin Wallace, eds., Scottish Theatre Since the Seventies, reviewed by Maria Dicenzo Susan Harris Smith, American Drama: The Bastard Art, reviewed by William W. Demastes Nicole Boireau, ed., Drama on Drama: of Theatricality on the Contemporary British Stage, reviewed by J.M. Reid Charles Lamb, Howard Baker's Theatre of Seducation, reviewed by Alan Thomas David Krasner, Resistance, Parody, and the Double Counsciousness in African American Theatre, 1895-1910, reviewed by Stephen Johnson Arthur Holmberg, The Theatre of Robert Wilson, reviewed by Eileen Fischer