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Nice Fish: A Play (Books That Changed the World)
by Louis Jenkins Mark Rylance“A quirky charmer of a play [that] contains, beneath its homely surfaces, larger meanings that glide softly into your mind and heart.”—The New York Times (Critics’ Pick)On a frozen Minnesota lake, the ice is beginning to creak and groan. It’s the end of the fishing season and on the frostbitten, unforgiving landscape, two friends are out on the ice, angling for something big, something down there that, had it the wherewithal, could swallow them whole. With the existentialism of a Beckett two-hander but set in the icy and folksy depths of the Midwest, Nice Fish is a unique portrayal of a friendship forged out of boredom, bad jokes, and an ability to wait for a really nice fish. Nice Fish premiered at the American Repertory Theater in Cambridge Massachusetts, directed by Claire van Kampen; played to rave reviews in a sold-out extended run in New York in February 2016 at St. Ann’s Warehouse, starring Mark Rylance and Jim Lichtscheidl, and featuring Louis Jenkins; and transferred to London for a run in the West End at the Harold Pinter Theatre, beginning in November 2016.
Nicholas Nickleby
by Charles Dickens Jonathan HollowayNicholas Nickleby is newly employed as a teacher at Dotheboys' Hall in Yorkshire thanks to his manipulative and avaricious uncle Ralph, a businessman. There he witnesses the cruel treatment of boys at the hands of despotic headmaster Wackford Squeers and his wife. In coming to the defence of one boy, Smike, Nicholas assaults Squeers. Thinking he has killed him, he escapes with Smike to London and on to Portsmouth where the pair join the Crummles Theatre Company. Ralph uses Nicholas's sister Kate as bait further to ensnare a young and wealthy lord who is already in his debt. Learning of the abuse Kate has been exposed to, Nicholas goes to London and her aid, but even greater dangers lurk around the corner. This stunning adaptation of Charles Dickens's third novel toured the UK in 2001 and 2002 in a production by Red Shift Theatre Company.
Niedecker
by Kristine ThatcherDrama / 1 m., 3 f. / Interior and Exterior combined / This is a lovely play about an obscure but fine American poet, Lorine Niedecker. It focuses on the relationship between the poet and a young woman who is determined to make the world acquainted with Ms. Niedecker's work. Produced Off Broadway. / "A lovely play." N.Y. Post.
Nietzsche on Tragedy
by Stern J. P. SilkThis is the first comprehensive study of Nietzsche's earliest (and extraordinary) book, The Birth of Tragedy (1872). When he wrote it, Nietzsche was a Greek scholar, a friend and champion of Wagner, and a philosopher in the making. His book has been very influential and widely read, but has always posed great difficulties for readers because of the particular way Nietzsche brings his ancient and modern interests together. The proper appreciation of such a work requires access to ideas that cross the boundaries of conventional specialisms. This is now provided by M. S. Silk and J. P. Stern in their joint study of Nietzsche's book. They examine in detail its content, style and form; its strange genesis and hybrid status; its biographical background and the controversy engendered by its publication; its value as an account of ancient Greek culture and as a theory of tragedy and music; its relation to other theories of tragedy; and its place in the history of German ideas and in Nietzsche's own philosophical career.
Nigerian Female Dramatists: Expression, Resistance, Agency (Global Africa)
by Bosede Funke AfolayanThis book showcases the important, but often understudied, work of Nigerian women playwrights. As in many spheres of life in Nigeria, in literature and other creative arts the voices of men dominate, and the work of women has often been sidelined. However, Nigerian women playwrights have made important contributions to the development of drama in Nigeria, not just by presenting female identities and inequalities but by vigorously intervening in wider social and political issues. This book draws on perspectives from culture, language, politics, theory, orality and literature, to shine a light on the engaged creativity of women playwrights. From the trail blazing but more traditional contributions of Zulu Sofola, through to contemporary postcolonial work by Tess Osonye Onwueme, Julie Okoh, and Sefi Atta, to name just a few, the book shows the rich variety of work being produced by female Nigerian dramatists. This, the first major collection devoted to Nigerian women playwrights, will be an important resource for scholars of African theatre and performance, literature and women’s studies.
Night At The Nutcracker,A
by Jane Milmore Billy Van Zandt Ed AltonMusical farce / 7m, 5f (2 dancers) / Unit set / Reminiscent of the screwball farces during the golden age of cinema, this romping musical teams Felix T. Filibuster, the greatest detective in the world, up with Pinchie the silent butler, and his Italian friend and coworker, Pepponi. The trio, along with a classic comedic cast, try to prove that Clyde Ratchette is trying to swindle the wealthy Mrs. Stuffington, who has just invested a bundle in the production of The Nutcracker Suite. The mishaps, jokes, musical numbers and mayhem lead to a farcical climax that incorporates elements of The Nutcracker Suite into its craziness. A guaranteed crowd pleaser.
Night Of The Foolish Moon
by Luigi JannuzziFull length, comedy / 4m, 2f / Interior / Roger, a man obsessed with Don Quixote, falls in love with a witness in a murder trial. She is running for her life and seeks refuge at a beach house belonging to the district attorney, Roger's brother. Meanwhile, Sancho Panza breaks through a time warp to bring Roger the quest he has longed for. Coincidentally, Roger's mother is trying to cast Man of La Mancha for the local theater. Sancho comes to her aid and romance blossoms.
Night is a Room (TCG Edition)
by Naomi Wallace"Naomi Wallace commits the unpardonable sin of being partisan, and, the darkness and harshness of her work notwithstanding, outrageously optimistic. She seems to believe that the world can change. She certainly writes as if she intends to set it on fire."—Tony Kushner"Wallace is that unfashionable thing - a deeply political US playwright who unashamedly writes about ideas rather than feelings."—The GuardianLauded for her topical, searing explorations of the intricate and pressing issues that affect humanity, Naomi Wallace's new work Night is a Room centers around the timeless subject of love and relationships, specifically in their tenuousness. This story of a seemingly ideal married couple is torn apart when the husband's previously unknown birth mother makes a surprise visit for his fortieth birthday. In Night is a Room, Wallace examines the heart of human connections, and the intimate challenges love can create, romantic or otherwise. Naomi Wallace's plays—which have been produced in the United Kingdom, Europe, the United States, and the Middle East—include In the Heart of America, Slaughter City, One Flea Spare, The Trestle at Pope Lick Creek, Things of Dry Hours, The Fever Chart: Three Short Visions of the Middle East, And I and Silence, The Hard Weather Boating Party, and The Liquid Plain. She has been awarded the Susan Smith Blackburn Prize twice, the Joseph Kesselring Prize, the Fellowship of Southern Writers Drama Award, an Obie Award, and the 2012 Horton Foote Award for most promising new American play.
Niizh
by Joelle PetersIt’s summertime on the rez. The frybread is sizzling, and the local radio station plays bluegrass, Anishinaabemowin lessons, and Friday-night bingo numbers. Lenna, the youngest of the Little family, is preparing to leave home for her first year of college, with little enthusiasm or help from her stubborn father and reckless brother. Amidst lingering doubts about departing the family flock, Lenna collides into a meet-cute with the charming and awkward Sam Thomas, who is returning to the reserve after many years away. With the promise of a romance budding between them, Lenna is caught in a whirlwind of uncertainty, wondering if she’s ready to bid farewell just as she's about to take flight.Filled with Indigenous humour, small-town seasoning, and dream-world interludes, this heartwarming love story captures the bittersweet highs and lows of a rural teenage upbringing. A love letter to community, Niizh is a refreshing coming-of-age romcom about two young lovebirds leaving the nest.
Nikolai Demidov
by Nikolai DemidovAt the time of his death, Stanislavsky considered Nikolai Demidov to be ‘his only student, who understands the System’. Demidov’s incredibly forward-thinking processes not only continued his teacher’s pioneering work, but also solved the problems of an actor’s creativity that Stanislavsky never conquered. This book brings together Demidov’s five volumes on actor training. Supplementary materials, including transcriptions of Demidov’s classes, and notes and correspondence from the author make this the definitive collection on one of Russian theatre’s most important figures.
Nine Irish Plays for Voices
by Eamon GrennanA vibrant collection of short plays bringing Irish history and culture alive through an extraordinary collage of documents, songs, poems, and texts.In Nine Irish Plays for Voices, award-winning poet Eamon Grennan delves deep into key Irish subjects—big, small, literary, historical, political, biographical—and illuminates them for today’s audiences and readers. These short plays draw from original material centering on important moments in Irish history and the formation of the Irish Republic, such as the Great Famine and the Easter Rising; the lives of Irish literary figures like Yeats, Joyce, and Lady Gregory; and the crucial and life-changing condition of emigration.The rhythmic, musical, and vivid language of Grennan’s plays incorporates traditional song lyrics, lines of Irish poetry, and letters and speeches of the time. The result is a dramatic collage that tells a story through the voices of characters contemporary to the period of the play’s subject. By presenting subjects through the dramatic rendering of the human voice, the plays facilitate a close, intimate relationship between players and the audience, creating an incredibly powerful connection to the past. Historical moments and literary figures that might seem remote to the present-day reader or audience become immediate and emotionally compelling.One of the plays, Ferry, is drawn entirely from the author’s imagination. It puts unnamed characters who come from the world of twentieth-century Ireland on a boat to the underworld with the philosopher Ludwig Wittgenstein. On their journey the five strangers, played by two voices, tell stories about their lives, raising the question of how language both captures and transforms lived experience. Addressing the Great Famine, Hunger uses documentary evidence to give audiences a dramatic feel for what has been a silent and traumatic element in Irish history. Noramollyannalivialucia: The Muse and Mr. Joyce is a one-woman piece that depicts James Joyce’s wife as an older woman sharing her memories and snippets from the works of her husband. Also included in this rich volume is the author’s adaptation of Synge’s Aran Islands, as well as Emigration Road, History! Reading the Easter Rising, The Muse and Mr. Yeats, The Loves of Lady Gregory, and Peig: An Ordinary Life.
Nine Plays Of The Modern Theater: The Caucasian Chalk Circle - Waiting For Godot - The Visit - The Balcony - The Birthday Party - Rhinoceros - Tango - Rosencrantz And Guildenstern Are Dead - American Buffalo
by Harold ClurmanVladimir, the more “philosophical” of the two vagrants in Beckett’s Waiting for Godot, stiffens their morale by asking, “. . . what’s the good of losing heart now? We should have thought of it a million years ago, in the nineties!” What does this mean in the play’s context? What were the nineties that these bewildered blighters should recall them with regret? It was perhaps a time when they had not yet entered upon their agony. It was a time of certainty, a beautiful time-or so it seemed to them and to most of their contemporaries.
Nine questions every actor of color should consider when tokenism is not enough
by Shanésia DavisThis book confronts and analyzes the systemic racism that confronts actors of color in the USA through interviews with leading performers in the nation’s theatrical epicentre of Chicago.Each chapter deals with a different central question, from how these actors approach roles and the obstacles that they face, to the ways in which the industry can change to better enable actors of color. By bringing together these actors and sharing the ways in which they have functioned within the white theatre world, we can appreciate how theatre needs to embrace their identities so that all voices are heard, understood, and valued. The stories of these actors will reflect the systemic racism of the past and present with the hope of remaking the future.This is an important book for students, teachers, and professionals who engage in theatre work, helping them to understand the lived experiences of actors of color through those actors’ own words.
Nineteen Cent Theat Spain: A Bibliography of Criticism and Documentation
by Margaret A ReesFirst Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
Nineteenth Century British Theatre (Routledge Library Editions: Victorian Theatre)
by KENNETH RICHARDS AND PETER THOMSONOriginally published in 1971. Nineteenth-century theatre in England has been greatly neglected, although serious study would reveal that the roots of much modern drama are to be found in the experiments and extravagancies of the nineteenth-century stage. The essays collected here cover a range of topics within the world of Victorian theatre, from particular actors to particular theatres; from farce to Byron’s tragedies, plus a separate section about Shakespearean productions.
Nineteenth-Century Theatre and the Imperial Encounter (Routledge Advances in Theatre & Performance Studies)
by Marty GouldIn this study, Gould argues that it was in the imperial capital’s theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful and yet uncertain site for the transmission of official imperial ideologies. Nineteenth-century playwrights fed the public’s interest in Britain’s Empire by producing a wide variety of plays set in colonial locales: India, Australia, and—to a lesser extent—Africa. These plays recreated the battles that consolidated Britain’s hold on overseas territories, dramatically depicted western humanitarian intervention in indigenous cultural practices, celebrated images of imperial supremacy, and occasionally criticized the sexual and material excesses that accompanied the processes of empire-building. An active participant in the real-world drama of empire, the Victorian theatre produced popular images that reflected, interrogated, and reinforced imperial policy. Indeed, it was largely through plays and spectacles that the British public vicariously encountered the sights and sounds of the distant imperial periphery. Empire as it was seen on stage was empire as it was popularly known: the repetitions of character types, plot scenarios, and thematic concerns helped forge an idea of empire that, though largely imaginary, entertained, informed, and molded the theatre-going British public.
No Applause—Just Throw Money: The Book That Made Vaudeville Famous
by S. D. TravA seriously funny look at the roots of American EntertainmentWhen Groucho Marx and Charlie Chaplin were born, variety entertainment had been going on for decades in America, and like Harry Houdini, Milton Berle, Mae West, and countless others, these performers got their start on the vaudeville stage. From 1881 to 1932, vaudeville was at the heart of show business in the States. Its stars were America's first stars in the modern sense, and it utterly dominated American popular culture. Writer and modern-day vaudevillian Trav S.D. chronicles vaudeville's far-reaching impact in No Applause--Just Throw Money. He explores the many ways in which vaudeville's story is the story of show business in America and documents the rich history and cultural legacy of our country's only purely indigenous theatrical form, including its influence on everything from USO shows to Ed Sullivan to The Muppet Show and The Gong Show. More than a quaint historical curiosity, vaudeville is thriving today, and Trav S.D. pulls back the curtain on the vibrant subculture that exists across the United States--a vast grassroots network of fire-eaters, human blockheads, burlesque performers, and bad comics intent on taking vaudeville into its second century.
No Biz Like Show Biz (Katie Kazoo Switcheroo #24)
by Nancy KrulikWhen Miriam gets Suzanne's role in the school play, Katie knows there will be trouble. But she certainly doesn't plan on being involved in it! Unfortunately, the magic wind has plans of its own it turns Katie into Miriam just before the show!
No Exit and Three Other Plays
by Albert Camus Jean-Paul Sartre4 plays about an existential portrayal of Hell, the reworking of the Electra-Orestes story, the conflict of a young intellectual torn between theory and conflict and an arresting attack on American racism.
No Exit and Three Other Plays
by Jean-Paul SartreFour plays about an existential portrayal of Hell, the reworking of the Electra-Orestes story, the conflict of a young intellectual torn between theory and conflict and an arresting attack on American racism.
No Fear Shakespeare: A Companion
by Daniel O. WilliamsLet's face it. Hearing people talk about Shakespeare can be pretty annoying. Particularly if you feel like you don't understand him. When people talk about which of Shakespeare's plays they like best, or what they thought of so-and-so's performance, they often treat Shakespeare like membership in some exclusive club. If you don't "get" him, if you don't go to see his plays, you're not truly educated or literate. You might be tempted to ask whether the millions of people who say they love Shakespeare actually know what they're talking about, or are they just sheep?No Fear Shakespeare: A Companion gives you the straight scoop on everything you really need to know about Shakespeare, including: What's so great about Shakespeare? How did Shakespeare get so smart? Five mysteries of Shakespeare's life - and why they matter Did someone else write Shakespeare's plays? Where did Shakespeare get his ideas? Shakespeare's world Shakespeare's theater Shakespeare's language The five greatest Shakespeare Characters.
No Fear Shakespeare: As You Like It
by William ShakespeareThe complete text of the original play. <P><P>A line-by-line translation that puts the words into everyday language. <P><P>A complete list of characters, with descriptions. Plenty of helpful commentary.
No Fixed Points: Dance In The Twentieth Century
by Nancy Reynolds Malcolm McCormickThis book chronicles one hundred years of dramatic developments in ballet, modern, and experimental dance for stage and screen in Europe and North America. The volume is magisterial in scope, encompassing the history of theatrical dance from 1900 through 2000. Beginning with turn-of-the-century dancer-choreographers like Loie Fuller, Isadora Duncan, Michel Fokine, and a bit later Vaslav Nijinsky, and proceeding through the profusion of dance styles performed today, the book provides an unparalleled view of dance in performance as it changed and grew in the twentieth century. Nancy Reynolds and Malcolm McCormick set dance in broader cultural and historical contexts, examine specific dance works, and explore the contributions of outstanding choreographers, performers, visual artists, impresarios, composers, critics, and other figures. They discuss the breakaway barefoot dance of the early 1900s and demonstrate its links with later forms and styles. With unusual detail, fascinating illustrations, and wide-ranging insights, this book is an indispensable guide to the transformations in the dance scene of the twentieth century.
No Man's Land
by David W. RobinsonThe political events of "annus mirabilis" 1989 marked a rare turning point in world history, but the significance of the year for German literary history is unique. As the 40-year-old German Democratic Republic ceased to exist, so too did the special circumstances which had fostered a literature separate from and in competition with that of the Federal Republic of Germany. A new period of literary history was delimited almost overnight: Germany Democratic Republic literature now was something to be examined as a whole, cultural movement. At the same time, the literary traditions of the German Democratic Republic have continued to influence the contemporary cultural scene, often in ways that are only gradually becoming clear.The essays, memoirs, and plays collected in this special issue of Contemporary Theatre Review represent an early attempt to assess and reassess one of the German Democratic Republic's richest cultural domains: its theatre. Contributors include David W. Robinson, C