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The Theatre of Shelley
This is the first full-length study of Shelley’s plays in performance. It offers a rich, meticulously researched history of Shelley’s role as a playwright and dramatist and a reassessment of his \"closet dramas\" as performable pieces of theatre. With chapters on each of Shelley’s dramatic works, the book provides a thorough discussion of the poet’s stagecraft, and analyses performances of his plays from the Georgian period to today. In addition, Mulhallen offers details of the productions Shelley saw in England and Italy, many not identified before, as well as a vivid account of the actors and personalities that constituted the theatrical scene of his time. Her research reveals Shelley as an extraordinarily talented playwright, whose fascination with contemporary theatrical theory and practice seriously challenges the notion that he was a reluctant dramatist. Prof. Stephen Behrendt (Nebraska) has described the book as \"wonderfully convincing\" and \"something wholly new in Shelley studies\", while Prof. Tim Webb (Bristol) describes Mulhallen as having a \"more precisely developed sense of the theatrical possibilities of Shelley's work than almost anybody who has written about Shelley\". The Theatre of Shelley is essential reading for anyone interested in Romanticism, nineteenth-century culture and the history of theatre.
eBook
The Making of Theatrical Reputations
Today's successful plays and playwrights achieve their prominence not simply because of their intrinsic merit but because of the work of mediators, who influence the whole trajectory of a playwright's or a theatre company's career. Critics and academic writers are primarily considered the makers of reputations, but funding organizations and various media agents as well as artistic directors, producers, and directors also pursue separate agendas in shaping the reputations of theatrical works. InThe Making of Theatrical ReputationsYael Zarhy-Levo demonstrates the processes through which these mediatory practices by key authority figures situate theatrical companies and playwrights within cultural and historical memory.
To reveal how these authorizing powers-that-be promote theatrical events, companies, and playwrights, Zarhy-Levo presents four detailed case studies that reflect various angles of the modern London theatre. In the case of the English Stage Company's production of John Osborne'sLook Back in Anger, she centers on a specific event. She then focuses on the trajectory of a single company, the Theatre Workshop, particularly through its first decade at the Theatre Royal, Stratford East, London. Next, she explores the career of the dramatist John Arden, especially its first ten years, in part drawing upon an interview with Arden and his wife, actress and playwright Margaretta D'Arcy, before turning to her fourth study: the playwright Harold Pinter's shifting reputation throughout the different phases of his career.
Zarhy-Levo's accounts of these theatrical events, companies, and playwrights through the prism of mediation bring fresh insights to these landmark productions and their creators.
eBook
Establishing Our Boundaries
An impressive collection of essays by 21 of English Canada's leading theatre critics provides a cultural history of Canada, and Canadians intense relationship to theatre, from 1829 to 1998, and across the whole country.
eBook
Staging ageing : theater, performance and the narrative of decline
Drawing primarily on the Western dramatic canon, on contemporary British theater, on popular culture, and on paratheatrical practices, this book investigates theatrical engagement with aging from the Greek chorus to Reminiscence Theater. It also explores the relationship of the plays, performances, and practices to the material, social, and ideological conditions that produced them.
Book
L'assomption du (bon) gout de l'indetermination
During the 17th century, a certain \"good taste\" built up into a well-known system of rules laid down by the \"learned\". Meanwhile, a \"good taste\" of another kind comes to light. This one is not determined by rules. It asserts itself without any determination. Consequently, both the indeterminacy of the criteria of judgement criterion and indeterminacy as a criterion step into the ring. This new aesthetic paradigm partakes in several changes concerning the critical gaze, whose attention shifts from one preferred representation's object to another, from one representational mode to another, and from the representation's object to the object's representation.
Journal Article
