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The comedy of errors
\"Shakespeare's dexterous comedy of two twin masters and two twin servants continually mistaken for one another is both farce and more than farce. The Comedy of Errors examines the interplay between personal and commercial relationships, and the breakdown of social order that follows the disruption of identity\" -- Provided by publisher.
Book
The Boys from Siam
Announcing the 2007 winner of the Yale Drama Series
John Connolly'sThe Boys from Siamhas been chosen as the first winner of the Yale Drama Series. This play was selected by playwright and contest judge Edward Albee, winner of the Pulitzer prize. Based loosely on the lives of nineteenth-century brothers Chang and Eng Bunker (the source of the term \"Siamese twins\"),The Boys from Siamis the haunting and lyrical story of conjoined twins Pigg and Pegg. In his foreword, Edward Albee writes that the work is \"a beautifully realized concentrated universe. It takes big chances along the way . . . and makes us care-really care.\"
For more information and complete rules for the Yale Drama Series, visit yalebooks.com
eBook
Twelfth night
Includes an overview of Shakespeare's theatrical career, commentary on past productions, and a scene-by-scene analysis accompany Shakespeare's play about unrequited love and mistaken identity.
Book
The comedy of errors
A man arrives in a strange town only to find that everyone knows his name, but thinks he's someone else.
Streaming Video
The comedy of errors
A man arrives in a strange town only to find that everyone knows his name, but thinks he's someone else.
Streaming Video
Transplantation and Immortality: A Selective History of Boston University’s Center for Health Law, Ethics & Human Rights
The celebration of the anniversary of the Center for Health Law, Ethics & Human Rights (the “Center”) provides an opportunity to reflect on what defines the field of health law, as well as its conjoined twins of bioethics and human rights. The related fields are vast, and the subjects they encompass are ever-expanding. It is probably impossible to lay out a summary that does justice to their expansive, interdisciplinary scope. Instead, my discussion of the Center examines a subject that barely existed when the Center was formed in 1958 1 and that continues to make headlines more than sixty–six years later — organ transplantation. Transplantation is useful as an illustration of the joint fields of health law, bioethics, and human rights. It is a field that grew with us from infancy to maturity during the time of the Center’s growth and that illustrates how several related disciplines — most notably law and medical sciences — are essential to the development of organ transplantation. Additionally, organ transplantation and experiments involving organ transplantation have produced some of the most spectacular cases of human experimentation. Because of both the novelty and human drama these experiments involve, I will use some of them as examples of the pivotal health law and bioethics work the Center engages in. These examples, and others that will be touched on, lead me to conclude that there is no field that matches the life and death drama of health law, especially in the human organ transplantation field. This selective history of health law at the Center, including the definition of death and the limits of surrogate consent, suggest that the legal and bioethical issues brought to us by innovative organ transplantation surgery are unlikely to be exhausted any time soon.
Journal Article
Vuelve cuando hayas ganado la guerra
\"Es una historia algo ruda. Miguel, Ofe y Javi son tres personajes familiares: intolerantes, racistas, apáticos, malinchistas, temerosos, solos, desprotegidos, urbanos. Como cualquiera de nosotros. En el segundo piso del pequeño departamento de Ofelia, ella recibe a Miguel, su hermano gemelo, al que no ha visto en los últimos diez años. Pero también está Javier, ese anodino vecino de Ofelia que extrañamente no los deja solos ni un instante y al que Ofelia por alguna razón, parece proteger más que a su hermano. Mientras, afuera, cientos de personas tienen sitiada la calle en una gran marcha silenciosa de manifestantes en contra de ... lo de siempre. Esta obra transcurre en una noche, donde el vino y los cacahuates van haciendo estragos en el cuerpo y el corazón. Es una obra sobre irse y regresar. O sobre la imposibilidad de realmente irse, y realmente regresar. Es sobre lo que nos queda dentro, de aquello que quisimos ser, y jamás pudimos.\"--playwright's website.
It's a pretty rough story. Miguel, Ofe and Javi are three familiar characters: intolerant, racist, apathetic, malinchistas, fearful, alone, unprotected, urban. Like any of us. On the second floor of Ofelia's small apartment, she welcomes Miguel, her twin brother, whom she hasn't seen in the last ten years. But there is also Javier, that nondescript neighbor of Ofelia who strangely doesn't leave them alone for a moment and whom Ofelia, for some reason, seems to protect more than his brother. Meanwhile, outside, hundreds of people besiege the street in a large silent march of protesters against ... the usual. This work takes place in one night, where wine and peanuts wreak havoc on the body and the heart. It is a play about leaving and coming back. Or about the impossibility of really leaving, and really coming back. It's about what remains inside us, about what we wanted to be, and never could.
eBook
In Memoriam: Joan Copeland 1922–2022
Acclaimed stage, film, and television actress Joan Copeland, the sister of Arthur Miller, passed away in her home in Manhattan on January 4, 2022, just six months short of her 100 th birthday. Copeland also graced a number of daytime soap operas, including Search for Tomorrow, Love of Life (in which she played twins), The Edge of Night, As the World Turns, and One Life to Live, where she was a tour-de-force playing Selma Hanen. In recent years, she voiced Tanana in Disney's Brother Bear and had a role in The Private Lives of Pippa Lee, directed by her niece, Rebecca Miller.
Journal Article