Pastoral Drama and Healing in Early Modern Italy represents the first full-length study to confront seriously the well-rehearsed analogy of the pastoral poet as healer. Usually associated with the ...edifying function of the Renaissance pastoral, this analogy, if engaged more profoundly, raises a number of questions that remain unanswered to this day. How does the pastoral heal? How exactly do the inner workings of the text cater to the healing? What socio-cultural conventions make the healing possible? What are the major problems that pastoral poetry as mimesis must overcome to make its healing morally legitimate? In the wake of Derrida's seminal work on the Platonic pharmakon, which has in turn led recent criticism to formulate a much more concrete understanding of the theater/drug analogy, the stringent approach to the therapeutic function of the Renaissance pastoral offered in this work provides a valuable critical tool to unpack the complexity contained within a little-understood cliché.
Dark Mattermaps the invisible dimension of theater whose effects are felt everywhere in performance. Examining phenomena such as hallucination, offstage character, offstage action, sexuality, ...masking, technology, and trauma, Andrew Sofer engagingly illuminates the invisible in different periods of postclassical western theater and drama. He reveals how the invisible continually structures and focuses an audience's theatrical experience, whether it's black magic inDoctor Faustus, offstage sex inA Midsummer Night's Dream, masked women inThe Rover, self-consuming bodies inSuddenly Last Summer, or surveillance technology inThe Archbishop's Ceiling. Each discussion pinpoints new and striking facets of drama and performance that escape sight. Taken together, Sofer's lively case studies illuminate how dark matter is woven into the very fabric of theatrical representation. Written in an accessible style and grounded in theater studies but interdisciplinary by design,Dark Matterwill appeal to theater and performance scholars, literary critics, students, and theater practitioners, particularly playwrights and directors.
A New Companion to Renaissance Drama provides an invaluable summary of past and present scholarship surrounding the most popular and influential literary form of its time. Original interpretations ...from leading scholars set the scene for important paths of future inquiry. ● A colorful, comprehensive and interdisciplinary overview of the material conditions of Renaissance plays, England's most important dramatic period ● Contributors are both established and emerging scholars, with many leading international figures in the discipline ● Offers a unique approach by organizing the chapters by cultural context, theatre history, genre studies, theoretical applications, and material studies ● Chapters address newest departures and future directions for Renaissance drama scholarship ● Arthur Kinney is a world-renowned figure in the field
Playing for time explores connections between theatre time, the historical moment and fictional time. Geraldine Cousin persuasively argues that a crucial characteristic of contemporary British ...theatre is its preoccupation with instability and danger, and traces images of catastrophe and loss in a wide range of recent plays and productions. The diversity of the texts that are examined is a major strength of the book. In addition to plays by contemporary dramatists, Cousin analyses staged adaptations of novels, and productions of plays by Euripides, Strindberg and Priestley. A key focus is Stephen Daldry’s award-winning revival of Priestley’s An Inspector Calls, which is discussed in relation both to other Priestley ‘time’ plays and to Caryl Churchill’s apocalyptic Far Away. Lost children are a recurring motif: Bryony Lavery’s Frozen, for example, is explored in the context of the Soham murders (which took place while the play was in production at the National Theatre), whilst three virtually simultaneous productions of Euripides’ Hecuba are interpreted with regard to the Beslan massacre of schoolchildren.
The Cincinnati Shakespeare Company's May 2013 Measure for Measure, directed by Producing Artistic Director Brian Isaac Phillips, opened with an extra-textual scene in Mistress Overdone's "house of ...resort" (cf. 1.2.82). The jazz soundtrack and the flapper dresses and finger waves of Mistress Overdone's clientele established a Roaring Twenties, Prohibition-era setting, but the rollicking atmosphere of the show's first few moments was soon overturned by the court characters. Yet this malleable set and the insertion of court characters into the seamier side of Vienna did not integrate the play's disparate worlds, linking or strongly paralleling the concerns of speakeasy and governing bureaucracy. The loss of an accessory so integral to Angelo's rigid identity indicated his embrace of hypocrisy and abuse of power.