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Wax Impressions, Figures, and Forms in Early Modern Literature: Wax Works (Early Modern Cultural Studies 1500–1700)
by Lynn M. MaxwellThis book explores the role of wax as an important conceptual material used to work out the nature and limits of the early modern human. By surveying the use of wax in early modern cultural spaces such as the stage and the artist’s studio and in literary and philosophical texts, including those by William Shakespeare, John Donne, René Descartes, Margaret Cavendish, and Edmund Spenser, this book shows that wax is a flexible material employed to define, explore, and problematize a wide variety of early modern relations including the relationship of man and God, man and woman, mind and the world, and man and machine.
The Way I Was
by Marvin Hamlisch Gerald GardnerThe EGOT-winning composer of The Way We Were and A Chorus Line recounts his remarkable life from childhood to Broadway and Hollywood. The son of Jewish Viennese immigrants, six-year-old Marvin Hamlisch&’s early musical talent and discipline led him to Julliard, where he studied for more than a decade. From there, Hamlisch got his start as a rehearsal pianist for Funny Girl starring Barbra Streisand. He went on to co-create the classic American musical A Chorus Line and wrote the Oscar Award–winning musical score for The Way We Were. Hamlisch is one of only a handful of people to achieve EGOT status—winning an Emmy, a Grammy, an Oscar, and a Tony. In this autobiography, Hamlisch tells the tale of his life and career, revealing personal stories of his childhood, his marriage, and his friendships with stars including Liza Minnelli, Groucho Marx, and others. It offers an intimate view of his life and a compelling portrait of Broadway and Hollywood through the second half of the twentieth century.
The Way of Acting
by J. Thomas Rimer Tadashi SuzukiThe most influential contemporary theatre director in Japan, Suzuki provides a thorough and accesible formulation of his ideas and beliefs, and insights into his training methods. Features his compelling adaptation of Clytemnestra--finding an astonishing parallel between ancient Greek and modern Japanese society, Suzuki melds traditional and avant-garde techinques to shed new light on this primal tale.
The Way of the World
by William CongreveThe play is based around the two lovers Mirabell and Millamant. In order for the two to get married and receive Millamant's full dowry, Mirabell must receive the blessing of Millamant's aunt, Lady Wishfort. Unfortunately, she is a very bitter lady, who despises Mirabell and wants her own nephew, Sir Wilful, to wed Millamant.
The Way of the World
by William CongreveOne of the greatest of all Restoration comedies, this knowing comedy of manners depicts the scheming of a nest of shallow, deceitful aristocrats to prevent two lovers from marrying. The play abounds with felicitous phrasing, delicious verbal battles of the sexes and a depth of feeling and sensitivity.
The Way of the World and Other Plays
by William CongreveWith piercing accuracy William ongreve depicted the shallow, brittle world of 'society' where the right artifice in manners, fashion and conversation--and money--eased the passage to success. Through sparkling, witty dialogue and brilliant characterisation--Lady Plyant, Valentine, Lady Touchwood, Mirabell and Millamant--Congreve exposed the follies and vanities of that world, and suggested that behind the glinting mirror lay something more brutal. 'The language is everywhere that of Men of Honour, but their Actions are those of Knaves; a proof that he was perfectly well acquainted with human Nature, and frequented what we call polite company.' --Voltaire 'Congreve quitted the stage in disdain, and comedy left it with him.' --A contemporary
The Way of the World and Other Plays
by William Congreve Eric S. RumpWilliam Congreve depicted the shallow, brittle world of "society" where the right artifice in manners, fashion and conversation and money eased the passage to success. Through sparkling, witty dialogue and brilliant characterisation Lady Plyant, Valentine, Lady Touchwood, Mirabell and Millamant, he exposed the follies and vanities of that world, and suggested that behind the glinting mirror lay something more brutal.
Way to Heaven
by Juan MayorgaThe heart of Europe. 1942. Children playing, lovers' tiffs, a deserted train station and a ramp rising towards a hangar. This is what you can see, but what should the Red Cross representative report say? <p><p>Way to Heaven has previously been produced at the Teatro Mara Guerrero, Madrid by the Centro Dramatico Nacional. A production of this English translation opened at the Royal Court Theatre, London in June 2005. Juan Mayorga's work has been produced in Spain and around Europe as well as the USA.
The Way We Get By: A Play
by Neil LaButeMeet Beth and Doug: two people who have no problem getting dates with their partners of choice. What they do have, however, is a very awkward encounter after spending one hot night together following a drunken wedding reception they attend. They wake up to a blurry morning where the rules of attraction, sex and society are waiting for them before their first cup of coffee, leading them to ponder how much they really know about each other and how much they really care about what other people think. Slyly profound and irresistibly passionate, The Way We Get By is Neil LaBute's audacious tale of a very modern romance—a sharp, sexy, fresh look at love and lust and the whole damn thing.
A Way With Words
by Frank D. GilroyContents: A Way with Words Fore Match Point Real to Reel Give the Bishop My Faint Regards
The Ways of the Word: Episodes in Verbal Attention
by Garrett StewartIn The Ways of the Word, Garrett Stewart steps aside from theory to focus on the sheer pleasure of attentive reading and the excitement of recognizing the play of syllables and words upon which the best literary writing is founded. Emerging out of teaching creative writing and a broader effort to convene writers and critics, Stewart's "episodes in verbal attention" track the means to meaning through the byways of literary wording.Through close engagement with literary passages and poetic instances whose imaginative demands are their own reward, Stewart gathers exhibits from dozens of authors: from Dickinson, Dickens, and DeLillo to Whitman, Woolf, and Colson Whitehead. In the process, idiom, tense, etymology, and other elements of expressive language and its phonetic wordplay are estranged and heard anew. The Ways of the Word fluidly and intuitively reveals a verbal alchemy that is as riveting as it is elusive and mysterious.
Ways of the World: Theater and Cosmopolitanism in the Restoration and Beyond
by Laura J. RosenthalWays of the World explores cosmopolitanism as it emerged during the Restoration and the role theater played in both memorializing and satirizing its implications and consequences. Rooted in the Stuart ambition to raise the status of England through two crucial investments—global traffic, including the slave trade, and cultural sophistication—this intensified global orientation led to the creation of global mercantile networks and to the rise of an urban British elite who drank Ethiopian coffee out of Asian porcelain at Ottoman-inspired coffeehouses. Restoration drama exposed cosmopolitanism's most embarrassing and troubling aspects, with such writers as Joseph Addison, Aphra Behn, John Dryden, and William Wycherley dramatizing the emotional and ethical dilemmas that imperial and commercial expansion brought to light.Altering standard narratives about Restoration drama, Laura J. Rosenthal shows how the reinvention of theater in this period—including technical innovations and the introduction of female performers—helped make possible performances that held the actions of the nation up for scrutiny, simultaneously indulging and ridiculing the violence and exploitation being perpetuated. In doing so, Ways of the World reveals an otherwise elusive consistency between Restoration genres (comedy, tragedy, heroic plays, and tragicomedy), disrupts conventional understandings of the rise and reception of early capitalism, and offers a fresh perspective on theatrical culture in the context of the shifting political realities of seventeenth- and eighteenth-century Britain.
We All Want Impossible Things: A Novel
by Catherine NewmanLook for Wreck, the new novel by Catherine Newman—a deeply moving story of laughter and heart, about marriage, family, and what happens when life doesn’t go as planned—Coming October 2025. “Catherine Newman sees the heartbreak and comedy of life with wisdom and unflinching compassion. The way she finds the extraordinary in the everyday is nothing short of poetry. She’s a writer’s writer—and a human’s human.”—New York Times bestselling author Katherine Center“A riotously funny and fiercely loyal love letter to female friendship. The story of Edi and Ash proves that a best friend is a gift from the gods. Newman turns her prodigious talents toward finding joy even in the friendship’s final days. I laughed while crying, and was left revived. Newman is a comic masterhand and a dazzling philosopher of the day-to-day.”—Amity Gaige, author of Sea Wife“The funniest, most joyful book about dying—and living—that I have ever read.”—KJ Dell'Antonia, author of the New York Times bestselling The Chicken SistersFor lovers of Meg Wolitzer, Maria Semple, and Jenny Offill comes this raucous, poignant celebration of life, love, and friendship at its imperfect and radiant best. Edith and Ashley have been best friends for over forty-two years. They’ve shared the mundane and the momentous together: trick or treating and binge drinking; Gilligan’s Island reruns and REM concerts; hickeys and heartbreak; surprise Scottish wakes; marriages, infertility, and children. As Ash says, “Edi’s memory is like the back-up hard drive for mine.” But now the unthinkable has happened. Edi is dying of ovarian cancer and spending her last days at a hospice near Ash, who stumbles into heartbreak surrounded by her daughters, ex(ish) husband, dear friends, a poorly chosen lover (or two), and a rotating cast of beautifully, fleetingly human hospice characters.As The Fiddler on the Roof soundtrack blasts all day long from the room next door, Edi and Ash reminisce, hold on, and try to let go. Meanwhile, Ash struggles with being an imperfect friend, wife, and parent—with life, in other words, distilled to its heartbreaking, joyful, and comedic essence.For anyone who’s ever lost a friend or had one. Get ready to laugh through your tears.
We Are Not These Hands
by Sheila CallaghanComedy / 1m, 2f / Simple Set Ever since their school blew up, Moth and Belly have taken to stalking an illegal internet café in the hopes o/ f one day being allowed in. They take particular interest in Leather, a skittish older man doing research in the café. Leather is a self-proclaimed "freelance scholar" from a foreign land with a sketchy past and a sticky secret. Leather begins to fall head over heals in love with Moth... but what about Belly? This play explores the effects of rampant capitalism on a country that is ill-prepared for it. "Bold and engaging, We Are Not These Hands is as fun as it is engaging...Rich in detail and full of humor and pathos." - Oakland Tribune "Swaggering eccentricity...Callaghan takes a lavish mud bath in a broken language...Ripe apocalyptic slang; at its best, it's racy and unrefined, the kind of stuff you might imagine kids in the back alleys of a decaying world might sling around." - The Washington Post "The gap between rich and poor yawns so wide it aches in Sheila Callaghan's We Are Not These Hands, but much of the ache is from laughter. Hands is a comically engaging, subversively penetrating look at the human cost of unbridled capitalism on both sides of the river...the anger of the play's social vision is partly concealed by its copious humor, emerging more forcefully after it's over...Hands bristles with bright, comic originality, particularly in depicting the limitations of its people." - San Francisco Chronicle
We Can't Be Friends: A True Story
by Cyndy EtlerThe companion to The Dead Inside, "[An] unnerving and heartrending memoir" (Publishers Weekly) This is the story of my return to high school. This is the true story of how I didn't die. High school sucks for a lot of people. High school extra sucks when you believe, deep in your soul, that every kid in the school is out to get you. I wasn't popular before I got locked up in Straight Inc., the notorious "tough love" program for troubled teens. So it's not like I was walking around thinking everyone liked me. But when you're psychologically beaten for sixteen months, you start to absorb the lessons. The lessons in Straight were: You are evil. Your peers are evil. Everything is evil except Straight, Inc. Before long, you're a true believer. And when you're finally released, sent back into the world, you crave safety. Crave being back in the warehouse. And if you can't be there, you'd rather be dead.
We Danced All Night: My Life Behind the Scenes with Alan Jay Lerner
by Doris ShapiroMrs. Shapiro's 14 years as an assistant to Alan Jay Lerner, from before "My Fair Lady" to "On a Clear Day You Can See Forever."
We the Family
by George F. WalkerWe the Family brings us three plays on family and education: Parents' Night documents a teacher's response to an overbearing father; The Bigger Issue examines teacher-student violence; We the Family follows the ripple effects of a culturally diverse wedding.George F. Walker is one of Canada's most prolific and popular playwrights.
A Weaver-Poet and the Plague: Labor, Poverty, and the Household in Shakespeare’s London (Cultural Inquiries in English Literature, 1400–1700 #3)
by Scott OldenburgWilliam Muggins, an impoverished but highly literate weaver-poet, lived and wrote in London at the turn of the seventeenth century, when few of his contemporaries could even read. A Weaver-Poet and the Plague’s microhistorical approach uses Muggins’s life and writing, in which he articulates a radical vision of a commonwealth founded on labor and mutual aid, as a gateway into a broader narrative about London’s "middling sort" during the plague of 1603.In debt, in prison, and at odds with his livery company, Muggins was forced to move his family from the central London neighborhood called the Poultry to the far poorer and more densely populated parish of St. Olave’s in Southwark. It was here, confined to his home as that parish was devastated by the plague, that Muggins wrote his minor epic, London’s Mourning Garment, in 1603. The poem laments the loss of life and the suffering brought on by the plague but also reflects on the social and economic woes of the city, from the pains of motherhood and childrearing to anxieties about poverty, insurmountable debt, and a system that had failed London’s most vulnerable. Part literary criticism, part microhistory, this book reconstructs Muggins’s household, his reading, his professional and social networks, and his proximity to a culture of radical religion in Southwark.Featuring an appendix with a complete version of London’s Mourning Garment, this volume presents a street-level view of seventeenth-century London that gives agency and voice to a class that is often portrayed as passive and voiceless.
A Weaver-Poet and the Plague: Labor, Poverty, and the Household in Shakespeare’s London (Cultural Inquiries in English Literature, 1400–1700)
by Scott OldenburgWilliam Muggins, an impoverished but highly literate weaver-poet, lived and wrote in London at the turn of the seventeenth century, when few of his contemporaries could even read. A Weaver-Poet and the Plague’s microhistorical approach uses Muggins’s life and writing, in which he articulates a radical vision of a commonwealth founded on labor and mutual aid, as a gateway into a broader narrative about London’s “middling sort” during the plague of 1603.In debt, in prison, and at odds with his livery company, Muggins was forced to move his family from the central London neighborhood called the Poultry to the far poorer and more densely populated parish of St. Olave’s in Southwark. It was here, confined to his home as that parish was devastated by the plague, that Muggins wrote his minor epic, London’s Mourning Garment, in 1603. The poem laments the loss of life and the suffering brought on by the plague but also reflects on the social and economic woes of the city, from the pains of motherhood and childrearing to anxieties about poverty, insurmountable debt, and a system that had failed London’s most vulnerable. Part literary criticism, part microhistory, this book reconstructs Muggins’s household, his reading, his professional and social networks, and his proximity to a culture of radical religion in Southwark.Featuring an appendix with a complete version of London’s Mourning Garment, this volume presents a street-level view of seventeenth-century London that gives agency and voice to a class that is often portrayed as passive and voiceless.
Weavers of Dreams, Unite!: Actors' Unionism in Early Twentieth-Century America
by Sean P. HolmesPublished to coincide with the centenary of the founding of the Actors' Equity Association in 1913, Weavers of Dreams, Unite! explores the history of actors' unionism in the United States from the late nineteenth century to the onset of the Great Depression. Drawing upon hitherto untapped archival resources in New York and Los Angeles, Sean P. Holmes documents how American stage actors used trade unionism to construct for themselves an occupational identity that foregrounded both their artistry and their respectability. In the process, he paints a vivid picture of life on the theatrical shop floor in an era in which economic, cultural, and technological changes were transforming the nature of acting as work. The engaging study offers important insights into the nature of cultural production in the early twentieth century, the role of class in the construction of cultural hierarchy, and the special problems that unionization posed for workers in the commercial entertainment industry.
Weber and Fields: Their Tribulations, Triumphs, and Their Associates (New York Classics)
by Felix IsmanJoe Weber and Lew Fields were the dominant musical comedy team at the turn of the last century. They created classic comedic characters and routines and formed their own theatrical troupe, running a theater in New York for many years where they produced successful revues that combined music, dance, and song. So famous were they in their time that they inspired a full-length biography by a major publisher.Weber and Fields follows the duo from their childhood on New York's rough-and-tumble Lower East Side to the creation of their best-known characters, the Dutch knockabout comedians Mike and Myer, and continues with the opening of their own theater in 1896 (with landmark productions through 1904) to their reunion in 1912. This new edition brings an out-of-print classic to a new generation of theater loves. A new introduction by Ken Bloom carries the story through the rest of their careers, showing how Weber and Fields set the stage for comic duos that followed, including Mutt and Jeff of comic book fame, Laurel and Hardy, Abbott and Costello, Rowan and Martin, and countless others.
The Wedding: A Screenplay
by Charles PlatkinTwentysomething New Yorkers and lifelong friends Halley and Tim have spent their entire lives living at home and avoiding responsibility at all costs. When their parents finally have had enough and turn them loose on the world to fend for themselves, the two suddenly find themselves being forced to deal with odd jobs and cockroach-infested apartments. Desperate for their old, comfortable lives, Halley and Tim devise what they think is the perfect plan to get back into the good graces of their parents.A four-act screenplay from author Charles Platkin, THE WEDDING is a humorous look at two lives of Generation Y, as they go from pampered to paupers.
Wedding Belles
by Alan Bailey5f / Comedy / Exterior Four garden-club ladies meet a young girl who has come to their little Texas town to marry an infantryman before he ships off for World War II. The women impulsively decide to throw the girl an elaborate wedding, and their lives and friendships are thrown into turmoil as they race to accomplish the nuptials in one frenzied afternoon. "Delightful! ... Funny and folksy ... The ladies light up the stage!" - Dallas Morning News
The Wedekind Cabaret
by Eric BentleyTranslated and adapted by Eric Bentley / Music by Arnold Black, William Bolcom, Lucas Mason, and Peter Winkler / Flexible casting, 1m., 1f. or expanded to more actors as needed /Musical Revue / A first draft of this entertainment was produced at The Ballroom in New York City in 1994, starring Alvin Epstein and directed by Isaiah Sheffer. Howard Kissel, Daily News, commented: "Bentley's pungent translations of Wedekind's lyrics have been set deftly by three composers, Arnold Black, William Bolcom and Peter Winkler... Tingle Tangle [as the work was then called] is well performed and invariably fascinating." For the Wedekind renaissance of the 21st century Eric Bentley has re-arranged the material and added to it. The piece now consists of two cabaret programs which could be performed together in one long evening or separately. The first program is framed by two Bentley ballads telling the stories of Spring's Awakening and The First Lulu, respectively. Within that frame is a varied series of Wedekind songs and spoken poems. The second program is framed by two Wedekind short stories, neither of them ever before presented on an American (or any other) stage. Within this second frame come poems and songs in which we meet another Wedekind, a wild poet who also had a tender, even elegiac side. The two-part show ends with a song by Eric Bentley and Arnold Black which celebrates, not Wedekind the rebel, but Wedekind the artist.