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• Introduction Preface Plot Summary Analysis
• 1. Historical and Literary Contexts
• 2. Performance Aspects of the Text
• 3. Critical Interpretations Resources and Annotated Bibliography A Note on the Text The Play.
• (source: Nielsen Book Data)

This fully re-edited, modernised play text is accompanied by insightful commentary notes, while its lively introduction provides an essential contextual grounding in the court scandals, anti-Catholic sentiment and Senecan drama that formed a backdrop to Webster's tragedy. Exploring the challenges of staging this highly melodramatic play, Karen Britland guides you through the most interesting points of its rich performance history, and analyses recent productions such as Dominic Dromgoole's version at the Sam Wanamaker Playhouse, starring Gemma Arterton. Analysing its masterful poetry, she shows how the work can be harnessed to engage in contemporary social debates about privacy, torture, surveillance, and personal freedom, and empowers you to do likewise. Supplemented by a plot summary, an annotated bibliography, production images, useful web links and sample questions and essay ideas, this edition is the most enlightening and engaging you will find.
(source: Nielsen Book Data)

• Editor's Acknowledgements List of Illustrations
• 1.
• Luis Alfaro's Griego Drama: An Introduction
• 2.
• Electricidad: A Chicanx Tragedy between Family and Feminism
• 3. Electricidad
• 4. Blind Love and the Chains of Destiny: Oedipus el Rey
• 5. Oedipus el Rey
• 6. Mojada: Dramatizing Latinx Migrations
• 7. Mojada
• 8. Production History
• 9. Glossary
• 10. Interview with Luis Alfaro
• 11. Further Reading.
• (source: Nielsen Book Data)

The Greek Trilogy of Luis Alfaro gathers together for the first time the three 'Greek' plays of the MacArthur Genius Award-winning Chicanx playwright and performance artist. Based respectively on Sophocles' Electra and Oedipus, and Euripides' Medea, Alfaro's Electricidad, Oedipus El Rey, and Mojada transplant ancient themes and problems into the 21st century streets of Los Angeles and New York, in order to give voice to the concerns of the Chicanx and wider Latinx communities. From performances around the world including sold-out runs at New York's Public Theater, these texts are extremely important to those studying classical reception, Greek theatre and Chicanx writers. This unique anthology features definitive editions of all three plays alongside a comprehensive introduction which provides a critical overview of Luis Alfaro's work, accentuating not only the unique nature of these three 'urban' adaptations of ancient Greek tragedy but also the manner in which they address present-day Chicanx and Latinx socio-political realities across the United States. A brief introduction to each play and its overall themes precedes the text of the drama. The anthology concludes with exclusive supplementary material aimed at enhancing understanding of Alfaro's plays: a 'Performance History' timeline outlining the performance history of the plays; an alphabetical 'Glossary' explaining the most common terms in Spanish and Spanglish appearing in each play; and a 'Further Reading' list providing primary and secondary bibliography for each play. The anthology is completed by a new interview with Alfaro which addresses key topics such as Alfaro's engagement with ancient Greek drama and his work with Chicanx communities across the United States, thus providing a critical contextualisation of these critically-acclaimed plays.
(source: Nielsen Book Data)

• Mormons in Paris / Louis Leroy and Alfred Delacour
• Berthelier Meets the Mormons
• Japheth's Twelve Wives / Antony Mars and Maurice Desvallières
• Stephana's Jewel / Arthur Bernède and Albert Dubarry

In the late nineteenth century, numerous French plays, novels, cartoons, and works of art focused on Mormons. Unlike American authors who portrayed Mormons as malevolent 'others, ' however, French dramatists used Mormonism to point out hypocrisy in their own culture. Aren't Mormon women, because of their numbers in a household, more liberated than French women who can't divorce? What is polygamy but another name for multiple mistresses? This new critical edition presents translations of four musical comedies staged or published in France in the late 1800s: Mormons in Paris (1874), Berthelier Meets the Mormons (1875), Japheth's Twelve Wives (1890) and Stephana's Jewel (1892). Each is accompanied by a short contextualizing introduction with details about the music, playwrights, and staging. Humorous and largely unknown, these plays use Mormonism to explore and mock changing French mentalities during the Third Republic, lampooning shifting attitudes and evolving laws about marriage, divorce, and gender roles.
(source: Nielsen Book Data)

• Introduction - Melinda Powers-- 1 Numunu Waiipunu (The Comanche Women) (based on Euripides' Trojan Women) - Terry Gomez-- Interview with Terry Gomez - Shane Breaux-- 2 The Bacchae (an all-male adaptation of Euripides' Bacchae) - Allain Rochel-- Interview with Allain Rochel - Shane Breaux-- 2 The Wrath of Aphrodite (based on Euripides' Hippolytus) - Tim O'Leary-- Interview with Tim O'Leary - Melinda Powers-- 3 Honey I'm Home: The Alcestis Story (based on Euripides' Alcestis)-- Interview with Lois Weaver - Melinda Powers-- 4 Riot Antigone (after Sophocles' Antigone)-- Interview with Seonjae Kim - Kiara Rolon, Marco Grazide, Nakiah Williams, Vijaya Bandu, and Melinda Powers-- 5 Dancing with the Clown of Love (Written, produced and performed by Cultural Odyssey's The Medea Project: Theater for Incarcerated Women in collaboration with UC San Francisco's HIV Women's Clinic)-- Interview with Rhodessa Jones - Melinda Powers-- 6 Sapo (Inspired by Aristophanes' The Frogs) by Richard Montoya for Culture Clash-- Interview with Richard Montoya - Melinda Powers.
• (source: Nielsen Book Data)

Reclaiming Greek Drama for Diverse Audiences features the work of Native-American, African-American, Asian-American, Latinx, and LGBTQ theatre artists who engage with social justice issues in seven adaptations of Sophocles' Antigone, Euripides' Trojan Women, Hippolytus, Bacchae, Alcestis, and Aristophanes' Frogs, as well as a work inspired by the myth of the Fates. Performed between 1989 and 2017 in small theatres across the US, these contemporary works raise awareness about the trafficking of Native-American women, marriage equality, gender justice, women's empowerment, the social stigma surrounding HIV, immigration policy, and the plight of undocumented workers. The accompanying interviews provide a fascinating insight into the plays, the artists' inspiration for them, and the importance of studying classics in the college classroom. Readers will benefit from an introduction that discusses practical ways to teach the adaptations, ideas for assignments, and the contextualization of the works within the history of classical reception. Serving as a key resource on incorporating diversity into the teaching of canonical texts for Classics, English, Drama and Theatre Studies students, this anthology is the first to present the work of a range of contemporary theatre artists who utilize ancient Greek source material to explore social, political, and economic issues affecting a variety of underrepresented communities in the US.
(source: Nielsen Book Data)

Euripides' Electra opened up for its audience an opportunity to become self-aware as to the appeal of tragic Kunstsprache: it both reflected and sustained traditional, aristocratically-inflected assumptions about the continuity of appearance and substance, even in a radical democracy. A complex analogy between social and aesthetic valuation is played out and brought to light. The characterization of Orestes early in the play demonstrates how social appearances made clear the identity of well-born, and how they were still assumed to indicate superior virtue and agency. On the aesthetic side of the analogy, one of the functions of tragic diction, as an essential indication of heroic character and agency, comes into view in a dramatic and thematic sequence that begins with Achilles ode and ends with the planning of the murders. Serious doubts are created as to whether Orestes will realize the assumed potential inherent in his heroic genealogy and, at the same time, as to whether the components of his character as an aesthetic construct are congruent with such qualities and agency. Both sides of this complex analogy are thus problematized, and, at a metapoetic level, its nature and bases are exposed for reflection.
(source: Nielsen Book Data)

The intelligent, intuitive, indomitable, large, black, American male actor explores Shakespeare, race, and America ... not necessarily in that order. Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love. American Moor has been seen across America, including a successful run off-Broadway in 2019. This edition features an introduction by Professor Kim F. Hall, Barnard College.
(source: Nielsen Book Data)

"Dans les années 50, le maccarthysme sévissait aux États-Unis. Le sénateur Joseph McCarthy encourageait les Américains à dénoncer les "espions communistes" imaginaires qui auraient infiltré le pays. Durant cette "peur rouge", des dizaines de milliers de personnes étaient accusées, déclarées coupables, puis renvoyées du travail. Aujourd'hui, hélas, la peste est revenue avec le trumpisme et son "cool aid" empoisonné qui font des ravages, sur la chaîne de télé "Faux News" et sur internet. Un climat malsain de haine et de peur s'est abattu sur beaucoup de villes, où des jeunes fascistes manifestent avec des torches et des chants nazis. L'auteur de cette pièce a imaginé Albert Camus à l'automne 1959, quelques mois avant sa mort. Invité par Germaine Brée, son amie de la Résistance, il s'est rendu dans le Midwest des États-Unis, dans la région de Chicago, encore gravement touchée par la peste maccarthyste."--Page 4 of cover.