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The Dark Lady of the Sonnets

The Dark Lady of the Sonnets is a 1910 short comedy by George Bernard Shaw in which William Shakespeare, intending to meet the "Dark Lady", accidentally encounters Queen Elizabeth I and attempts to persuade her to create a national theatre.

The Dark Side of Stand-Up Comedy (Palgrave Studies in Comedy)

This book focuses on the “dark side” of stand-up comedy, initially inspired by speculations surrounding the death of comedian Robin Williams. Contributors, those who study humor as well as those who perform comedy, join together to contemplate the paradoxical relationship between tragedy and comedy and expose over-generalizations about comic performers’ troubled childhoods, addictions, and mental illnesses. The book is divided into two sections. First, scholars from a variety of disciplines explore comedians’ onstage performances, their offstage lives, and the relationship between the two. The second half of the book focuses on amateur and lesser-known professional comedians who reveal the struggles they face as they attempt to hone successful comedy acts and likable comic personae. The goal of this collection is to move beyond the hackneyed stereotype of the sad clown in order to reveal how stand-up comedy can transform both personal and collective tragedies by providing catharsis through humor.

The Dark Theatre: A Book About Loss

The Dark Theatre is an indispensable text for activist communities wondering what theatre might have to do with their futures, students and scholars across Theatre and Performance Studies, Urban Studies, Cultural Studies, Political Economy and Social Ecology. The Dark Theatre returns to the bankrupted warehouse in Hope (Sufferance) Wharf in London’s Docklands where Alan Read worked through the 1980s to identify a four-decade interregnum of ‘cultural cruelty’ wreaked by financialisation, austerity and communicative capitalism. Between the OPEC Oil Embargo and the first screening of The Family in 1974, to the United Nations report on UK poverty and the fire at Grenfell Tower in 2017, this volume becomes a book about loss. In the harsh light of such loss is there an alternative to the market that profits from peddling ‘well-being’ and pushes prescriptions for ‘self-help’, any role for the arts that is not an apologia for injustice? What if culture were not the solution but the problem when it comes to the mitigation of grief? Creativity not the remedy but the symptom of a structural malaise called inequality? Read suggests performance is no longer a political panacea for the precarious subject but a loss adjustor measuring damages suffered, compensations due, wrongs that demand to be put right. These field notes from a fire sale are a call for angry arts of advocacy representing those abandoned as the detritus of cultural authority, second-order victims whose crime is to have appealed for help from those looking on, audiences of sorts.

The Darkest Hour

Drama / 3m, 2f / One of the most powerful stories ever condensed into a one act play, The Darkest Hour tells the story of young John Madison, within four hours of his execution for murder, having been found guilty on circumstantial evidence. He is innocent, but has no way of proving it, as appearances have been too strongly against him. His sorrowing mother comes to pay her last visit before the State exacts its toll. He reiterates his innocence and relates the entire circumstances to her in this heartbreaking tale.

The Dating Game: Short Stories About the Search for Mr. Right

From fairytale romances to dating disasters and everything in between, The Dating Game chronicles the stories of hopefuls on their journey toward happily ever after. In this compilation of dating stories, sixteen writers share tales of adventures and experiences while on the quest toward finding Mr. Right. From Tania Renee Zayid 's story of what happens when one woman becomes determined to keep the perfect man that she met online . . . to Natalie Leffall's hilarious look into the dating world of a plus-size girl . . . to Keleigh and Gina's rib-tickling and surprisingly dangerous, speed dating fiasco. . . and Gina Torres' tale of love, heartache, and the power of letting go . . . these diverse stories will make you laugh, cry, and root for the characters to land Mr. Right.

The DbD Experience: Chance Knows What it's Doing!

First, pick up a copy of Rachel Rosenthal’s inspiring The DbD Experience; Part manual, part manifesto, part memoir, then head for Los Angeles… FRIDAY - OriginsArrive at the Doing by Doing workshop to be greeted by Rosenthal, pioneering theatre explorer and your host for the weekend ahead. Explore non-human ways of living and moving. Begin to develop a shared vocabulary with your fellow students through exercises. SATURDAY - ConnectionsContinue to connect with the group on an energetic level. Make the journey from Kansas to OZ. Collaborate and create as a group, moving and vocalising without language. Improvise boldly at every step. Treat music, voice, lighting, costume, sets, props and fellow performers as equals. SUNDAY - PowerLearn to arrive in the moment when you are needed. Engage with transformative processes and take part in the Star Meditation. Understand your own individual power, joining your physical and emotional self. Perform solo improvisations and the Rambler – the final, extended culmination of everything that you have learned through the 34 hour experience.

The Dead Inside: A True Story

For readers of Girl Interrupted and Tweak, Cyndy Etler's gripping memoir gives readers a glimpse into the harrowing reality of her sixteen months in the notorious "tough love" program the ACLU called "a concentration camp for throwaway kids."I never was a badass. Or a slut, a junkie, a stoner, like they told me I was. I was just a kid looking for something good, something that felt like love. I was a wannabe in a Levi's jean jacket. Anybody could see that. Except my mother. And the professionals at Straight.From the outside, Straight Inc. was a drug rehab. But on the inside it was...well, it was something else.All Cyndy wanted was to be loved and accepted. By age fourteen, she had escaped from her violent home, only to be reported as a runaway and sent to a "drug rehabilitation" facility that changed her world.To the public, Straight Inc. was a place of recovery. But behind closed doors, the program used bizarre and intimidating methods to "treat" its patients. In her raw and fearless memoir, Cyndy Etler recounts her sixteen months in the living nightmare that Straight Inc. considered "healing."

The Deadly Catch (The Midnight Library #8)

1. Adam and David go canoeing. Trouble awaits them in the water. The hungry kind of trouble. 2. Katie screams when she sees a mouse. And another one. And another one. And another one. 3. Kelly pursues a dream role in the school play. Offstage, her life is becoming a nightmare.

The Death and Life of Drama: Reflections on Writing and Human Nature

What makes a film "work," so that audiences come away from the viewing experience refreshed and even transformed in the way they understand themselves and the world around them? In The Death and Life of Drama, veteran screenwriter and screenwriting teacher Lance Lee tackles this question in a series of personal essays that thoroughly analyze drama's role in our society, as well as the elements that structure all drama, from the plays of ancient Athens to today's most popular movies. Using examples from well-known classical era and recent films, Lee investigates how writers handle dramatic elements such as time, emotion, morality, and character growth to demonstrate why some films work while others do not. He seeks to define precisely what "action" is and how the writer and the viewer understand dramatic reality. He looks at various kinds of time in drama, explores dramatic context from Athens to the present, and examines the concept of comedy. Lee also proposes a novel "five act" structure for drama that takes account of the characters' past and future outside the "beginning, middle, and end" of the story. Deftly balancing philosophical issues and practical concerns, The Death and Life of Drama offers a rich understanding of the principles of successful dramatic writing for screenwriters and indeed everyone who enjoys movies and wants to know why some films have such enduring appeal for so many people.

The Death of Character: Perspectives on Theater after Modernism (Drama and Performance Studies)

"Extremely well written, and exceedingly well informed, this is a work that opens a variety of important questions in sophisticated and theoretically nuanced ways. It is hard to imagine a better tour guide than Fuchs for a trip through the last thirty years of, as she puts it, what we used to call the 'avant-garde.'" —Essays in Theatre". . . an insightful set of theoretical 'takes' on how to think about theatre before and theatre after modernism." —Theatre Journal"In short, for those who never experienced a 'postmodern swoon,' Elinor Fuchs is an excellent informant." —Performing Arts Journal". . . a thoughtful, highly readable contribution to the evolving literature on theatre and postmodernism." —Modern Drama"A work of bold theoretical ambition and exceptional critical intelligence. . . . Fuchs combines mastery of contemporary cultural theory with a long and full participation in American theater culture: the result is a long-needed, long-awaited elaboration of a new theatrical paradigm." —Una Chaudhuri, New York University"What makes this book exceptional is Fuchs' acute rehearsal of the stranger unnerving events of the last generation that have—in the cross-reflections of theory—determined our thinking about theater. She seems to have seen and absorbed them all." —Herbert Blau, Center for Twentieth Century Studies, University of Wisconsin, Milwaukee"Surveying the extraordinary scene of the postmodern American theater, Fuchs boldly frames key issues of subjectivity and performance with the keenest of critical eyes for the compelling image and the telling gesture." —Joseph Roach, Tulane University" . . . Fuchs makes an exceptionally lucid and eloquent case for the value and contradictions in postmodern theater." —Alice Rayner, Stanford University"Arguably the most accessible yet learned road map to what remains for many impenetrable territoryan obligatory addition to all academic libraries serving upper-division undertgraduates and above." —Choice"A systematic, comprehensive and historically-minded assessment of what, precisely, 'post-modern theatre' is, anyway." —American TheatreIn this engrossing study, Elinor Fuchs explores the multiple worlds of theater after modernism. While The Death of Character engages contemporary cultural and aesthetic theory, Elinor Fuchs always speaks as an active theater critic. Nine of her Village Voice and American Theatre essays conclude the volume. They give an immediate, vivid account of contemporary theater and theatrical culture written from the front of rapid cultural change.

The Death of Hamlet: A Counterfactual Reading of Shakespeare (Routledge Studies in Shakespeare)

This book is an intervention in Hamlet scholarship. In Thus Spake Zarathustra (1885), Nietzsche famously posited the death of God, taken to mean the dissolution of all horizons within which human beings construct a plausible ontology that gives words significance. The idea of God, as a transcendental signified (to borrow from Derrida), underwrites meaning and values. Socrates placed knowing as the highest philosophical good over two millennia ago; however, once we find that God (i.e. any transcendental signified) is unknowable, the world vanishes. In a world bereft of concepts and meaning, Nietzsche’s philosophical project becomes one of “redeeming” pure willing as itself constitutive of world.Hamlet and the criticism surrounding it is caught within competing horizons we know are circuitous and unending. We tiresomely make theoretical rounds between competing sets of interpretations that boil down to either establishing meaning within the play (the text transcending its history and revealing universal truths) or situating the text within its proper historical timeframe in order to get it to speak. In short, we are trapped between contextualizing and decontextualizing approaches. Yet we know both approaches, as competing horizons we commit to at the outset, are dead. But to abandon both at the outset means that the text, Hamlet, is itself dead. So how to get it to speak?

The Death of Tragedy

An engrossing and provocative look at the decline of tragedy in modern art"All men are aware of tragedy in life. But tragedy as a form of drama is not universal." So begins George Steiner's adept analysis of the demise of classic tragedy as a dramatic depiction of heroism and suffering. In The Death of Tragedy, Steiner examines the uniqueness and importance of the Greek classical tragedy--from antiquity to the age of Jean Racine and William Shakespeare--as providing stark insight into the grief and joy of human existence. Then, delving into the works of John Keats, Henrik Ibsen, Samuel Beckett, and many more, Steiner demonstrates how the tragic voice has greatly diminished in modern theater, and what we have lost in the process.

The Death of the Actor: Shakespeare on Page and Stage

In The Death of the Actor Martin Buzacott launches an all-out attack on contemporary theatrical practice and performance theory which identifies the actor, rather than the director, as the key creative force in the performance of Shakespeare. Because actors are absent from the site of Shakespearean meaning, he argues, the illusion of their centrality is sustained only by a rhetoric of heroism, violence and imperialism.

The December Man (L'homme de décembre)

In the aftermath of the 1989 Montreal Massacre, Benoît and Kathleen do everything they can to help their beloved son cope with his guilt and rage… but Jean's young life becomes unglued. Using humour and the humdrum of everyday life, Murphy intuitively moves backwards in time to the fateful day when Jean, the only ray of hope in this working-class family, escaped the massacre… or thought he did. This searing drama on courage, heroism, and despair explores the long private shadow that public violence casts. Winner of the 2007 Governor General's Literary Award for Drama and the 2008 CAA Carol Bolt Award.

The Decorator

Comedy . Characters: 1 male, 2 female. Interior Set. Marcia returns to her flat to find it has not been painted as she arranged. A part time painter who is filling in for an ill colleague is just beginning the work when the wife of the man with whom Marcia is having an affair arrives to tell all to Marcia's husband. Marcia hires the painter a part time actor to impersonate her husband at the confrontation. Hilarity is piled upon hilarity as the painter, who takes his acting very seriously, portrays the absent husband. The wronged wife decides that the best revenge is to sleep with Marcia's husband an ecstatic experience for them both. When Marcia learns that the painter/actor has slept with her rival, she demands the opportunity to show him what really good sex is. . "Irresistible." London Daily Telegraph. . "This play will leave you rolling in the aisles.... I all but fell from my seat laughing." London Star.

The Decroux Sourcebook

The Decroux Sourcebook is the first point of reference for any student of the ‘hidden master’ of twentieth century theatre. This book collates a wealth of key material on Etienne Decroux, including: an English translation of Patrice Pezin’s ‘Imaginary Interview’, in which Decroux discusses mime’s place in the theatre. previously unpublished articles by Decroux from France’s Bibiothèque Nationale. essays from Decroux’s fellow innovators Eugenio Barba and Edward Gordon Craig, explaining the synthesis of theory and practice in his work. Etienne Decroux’s pioneering work in physical theatre is here richly illustrated not only by a library of source material, but also with a gallery of images following his life, work and influences. The Decroux Sourcebook is an ideal companion to Thomas Leabhart’s Etienne Decroux in the Routledge Performance Practitioners series, offering key primary and secondary resources to those conducting research at all levels.

The Designated Mourner

"The play nicely combines Pinterian menace with caustic political commentary." -Time"Acerbic, elusive, poetic and chilling, the writing is demanding in a rarefied manner. Its implications are both affecting and disturbing." -Los Angeles Times"In his exquisitely written dramatic lament for the decline of high culture. . . . [Shawn] offers a definition of the self that should rattle the defenses of intellectual snobs everywhere." -The New York TimesWriter and performer Wallace Shawn's landmark 1996 play features three characters--a respected poet, his daughter, and her English-professor husband--suspected of subversion in a world where culture has come under the control of the ruling oligarchy. Told through three interwoven monologues, the Orwellian political story is recounted alongside the visceral dissolution of a marriage. The play debuted at the Royal National Theatre in London, in a production directed by David Hare, who also directed the film version, starring Mike Nichols and Miranda Richardson. The play's subsequent New York premiere was staged in a long-abandoned men's club in lower Manhattan, directed by Shawn's longtime collaborator André Gregory.Wallace Shawn is the author of Our Late Night (OBIE Award for Best Play), Marie and Bruce, Aunt Dan and Lemon, The Fever, and the screenplay for My Dinner with André. His most recent play, Grasses of a Thousand Colors, premiered last year in London.

The Desperate Hours

Melodrama / 11m, 3f / Unit Set / A smash hit on Broadway with Paul Newman and winner of the Tony Award, this revised edition of The Desperate Hours has been simplified to employ a less complicated set. The Hilliards are a typical family living on the outskirts of Indianapolis; abruptly, their pleasant home becomes a jungle full of cunning and violence. Mr. Hilliard and 19 year old Cindy are allowed to go to work while Mrs. Hilliard and 10 year old Ralphie remain in the house as hostages. Meanwhile, the police search closes in inexorably, conducted by a deputy sheriff who has his own reasons for wanting to kill. The Hilliards are helpless. A murder occurs. The police move closer.

The Development of African Drama (Routledge Revivals)

Originally published in 1982, this book explores concepts such as ‘traditional performance’ and African theatre’. It analyses the links between drama and ritual, and drama and music and diagnoses the confusions in our thought. The reader is reminded that drama is never merely the printed word, but that its existence as literature and in performance is necessarily different. The analysis shows that literature tends to replace performance; and drama, removed from the popular domain, becomes elitist. The book’s richness lies in the constantly stimulating analysis of ‘art’ theatre, as exemplified in protest plays, in African adaptations and transpositions of such classical subjects as the Bacchae and Everyman, in plays on African history, on colonialism and neo-colonialism. The final chapters argue that the form of African drama needs to evolve as the content does.

The Development of Shakespeare's Imagery (University Paperbacks Ser.)

First published in 1951. The edition reprints the second, updated, edition, of 1977. When first published this book quickly established itself as the standard survey of Shakespeare's imagery considered as an integral part of the development of Shakespeare's dramatic art. By illustrating, through the use of examples the progressive stages of Shakespeare's use of imagery, and in relating it to the structure, style and subject matter of the plays, the book throws new light on the dramatist's creative genius. The second edition includes a new preface and an up-to-date bibliography.

The Devil and His Boy

The English Ladder is a four-level course designed to help pupils take their first steps in English. Join the Fantastic family for fun, adventure and lively language learning through engaging stories, challenging songs, games, tongue twisters, and communication activities. This Level 3 Pupil's Book features topic-based units introducing new vocabulary, phonics activities for enjoyable pronunciation practice, a CLIL feature in every unit, focusing on core subjects such as science and maths, and clear grammar targets for each unit.

The Devil's Charter: A Tragedie, Conteining The Life And Death Of Pope Alexander The Sixt (classic Reprint) (Globe Quartos)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

The Devil's Disciple

Purchase of this book includes free trial access to www. million-books. com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: Act ra Early neat morning the sergeant, at the British headquarters in the Town Hall, unlocks the door of a littie empty panelled waiting room, and invites Judith to enter. She has had a bad night, probably a rather delirious one; for even in the reality of the raw morning, her fixed gaze comes back at moments when her attention is not strongly held. The sergeant considers that her feelings do her credit, and is sympathetic in an encouraging military way. Being a fine figure of a man, vain of his uniform and of his rank, he feels specially qualified, in a respectful way, to console her. Sergeant. You can have a quiet word with him here, mum. Judith. Shall I have long to wait ? Sergeant. No, mum, not a minute. We kep him in the Bridewell for the night; and he's just been brought over here for the court martial. Don't fret, mum: he slep like a child, and has made a rare good breakfast. Judith (incredulously). He is in good spirit a Sergeant. Tip top, mum. The chaplain looked in to see him last night; and he won seventeen shillings off him at spoil five. He spent it among us like the gentleman he is. Duty's duty, mum, of course; but you're among friends here. (The tramp of a couple of soldiers is heard approaching. ) There: I think he's coming. (Richard comes in, without a sign of care or captivity in his bearing. The sergeant nods to the two soldiers, and shews them the key of the room in his hand. They withdraw. ) Your good lady, sir. Richard (going to her). What My wife. My adored one. (He takes her hand and kisses it with a perverse, raffishgallantry. ') How long do you allow a brokenhearted husband for leave-taking, Sergeant? Sergeant. As long as we can, sir. We shall not disturb you till the court sits. Richard. But it has struck the hour. Sergea. . .

The Devil's Disciple

The Devil's in the Diva

Bryan Stark describes himself as the "Greek Chorus," constantly watching the action and drama unfold around him in the arena with the most high school divas possible--the theater! At Orion Academy, his posh private school in Malibu, the teens are entitled, the boys are cute, and the theater productions extremely elaborate. Bryan sees it all as he directs his best friend Samantha, the most talented of the Orion divas, through the throng. This bind-up is filled with friends, theater, and romance--and throughout it all, Drama! is a heartfelt comedic series.