Typescript, undated. Unmarked typescript used for Samuel French edition of a play directed by Anne Kaufman that had opened Jan. 15, 2009, at Soho Rep, 46 Walker Street, New York, N.Y.
The Methuen Drama Book of New American Plays is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi's Stunning, is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley's lyrical epic The Road Weeps, The Well Runs Dry deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee's Pullman, WA deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall's Hurt Village uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn's Dying City melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc's The Big Meal, an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.
HighTide Theatre Festival was founded in 2006 and has since become one of the most prolific homes of new writing. It has been described by the Telegraph as "one of the little gems of the artistic calendar in Britain" and by the Daily Mail as "famous for championing emerging playwrights and contemporary theatre". 2016 marks ten years of HighTide, during which time numerous emerging playwrights and new plays have shot to prominence. This anniversary volume brings together four of the key plays that have come out of HighTide Theatre Festival's programme during this time: Ditch by Beth Steel is a clear-eyed look at how we might behave when the conveniences of our civilisation are taken away, and a frightening vision of a future that could all too easily be ours. peddling by Harry Melling is a poetic monologue about a young homeless man, which confronts whether it's a good thing to turn a blind eye and let people get on with their lives, or whether that's exactly how people fall through the cracks. The Big Meal by American writer Dan LeFranc is a deeply comic and touching drama that looks at love, marriage, raising children and the general onslaught of life. Lampedusa by Anders Lustgarten follows the day-to-day life of those whose job it is to enforce our harsh new rules on immigration: an Italian coastguard and a payday lender from Leeds. All now established in their own right, these four plays demonstrate HighTide's extraordinary role in identifying and nurturing writers tackling some of the biggest issues of today. The volume was published to coincide with HighTide's 10th annual festival in September 2016 and features an introduction by HighTide Artistic Director, Steven Atkinson.
Set in the fictional suburb of Rancho Viejo, a couple cant bear the thought of their son and daughter-in-laws marriage troubles. No more than they can bear their awkward neighbors, or life in general. Dan LeFrancs anxious comedy ponders lifes big questions while his characters try to avoid existential exhaustion.
The concept of generation as a historical category has never been used more effectively than in Lost Comrades. The socialists of the Front Generation,young men in 1914, were driven into politicalactivity and ideological exploration by the experience of the First World War. Their efforts torenew socialism, to carry it beyond Marxism andbeyond the working class, were profound andoriginal, yet ultimately they failed. Lost Comrades follows the Front Generationsocialists from their questioning of Marxistorthodoxies in the 1920s into their confrontationswith the twin challenges of fascism and worlddepression in the early 1930s. Responding to thesedangers, they devised—with little success—counterpropaganda against the fascists and planningblueprints for the economy. Eventually, some ofthe most prominent—Sir Oswald Mosley inBritain, Hendrik de Man in Belgium, Marcel Déatin France—shifted their hopes to fascism or, dur-ing the Second World War, to collaborationism inHitler's Europe. Others, however, like CarloMierendorff and Theodor Haubach in Germany,ended as martyrs in the anti-Nazi resistance. Yeteven these divergent paths showed parallelsreflecting their common starting point. In tracing these unfulfilled careers, Whitebrings a new clarity to the hopes and limitationsof European socialism between the two worldwars.
Kovalik helps cut through the Orwellian lies and dissembling which make so-called 'humanitarian' intervention possible." —Oliver Stone War is the fount of all the worst human rights violations―including genocide―and not its cure. This undeniable truth, which the framers of the UN Charter understood so well, is lost in today’s obsession with the oxymoron known as “humanitarian" intervention. No More War: How the West Violates International Law by Using 'Humanitarian' Intervention to Advance Economic and Strategic Interests sets out to reclaim the original intent of the Charter founders to end the scourge of war on the heels of the devastation wrought by WWII. The book begins with a short history of the West’s development as built upon the mass plunder of the Global South, genocide and slavery, and challenges the prevailing notion that the West is uniquely poised to enforce human rights through force. This book also goes through recent “humanitarian" interventions carried out by the Western powers against poorer nations (e.g., in the DRC, Congo, and Iraq) and shows how these have only created greater human rights problems – including genocide – than they purported to stop or prevent. No More War reminds the reader of the key lessons of Nuremberg – that war is the primary scourge of the world, the root of all the evils which international law seeks to prevent and eradicate, and which must be prevented. The reader is then taken through the UN Charter and other human rights instruments and their emphasis on the prevention of aggressive war.
In these five profiles, four of which originally appeared in the New Yorker, the author evokes the life and work of seven gifted artists. Among those presented, often through lively conversations, are Jean Hélion, Mark Rothko, R.B. Kitaj, and Dennis Creffield. Chief among those portrayed however is Henri Cartier-Bresson (1908-2004), the great French photographer and photojournalist who, famed for dodging contact with the press, is here sketched in rare and fond detail. Of all these artists, only two still live: what emerges from this book is a picture, often bizarre, often hilarious, of a bygone bohemian world.
In this concise, bold, and innovative book, Dan Edelstein offers us an original account of the Enlightenment. It convincingly argues that the Enlightenment is above all a narrative about social and cultural changes and that its origins can be found in the Quarrel of the Ancients and the Moderns. Therefore, by reconsidering the importance of the French esprit philosophique in the Euroean Enlightenment, this book will be of considerable importance for every scholar and student interested in this period.
The Methuen Drama Book of New American Plays is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi's Stunning, is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley's lyrical epic The Road Weeps, The Well Runs Dry deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee's Pullman, WA deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall's Hurt Village uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn's Dying City melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc's The Big Meal, an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.
HighTide Theatre Festival was founded in 2006 and has since become one of the most prolific homes of new writing. It has been described by the Telegraph as "one of the little gems of the artistic calendar in Britain" and by the Daily Mail as "famous for championing emerging playwrights and contemporary theatre". 2016 marks ten years of HighTide, during which time numerous emerging playwrights and new plays have shot to prominence. This anniversary volume brings together four of the key plays that have come out of HighTide Theatre Festival's programme during this time: Ditch by Beth Steel is a clear-eyed look at how we might behave when the conveniences of our civilisation are taken away, and a frightening vision of a future that could all too easily be ours. peddling by Harry Melling is a poetic monologue about a young homeless man, which confronts whether it's a good thing to turn a blind eye and let people get on with their lives, or whether that's exactly how people fall through the cracks. The Big Meal by American writer Dan LeFranc is a deeply comic and touching drama that looks at love, marriage, raising children and the general onslaught of life. Lampedusa by Anders Lustgarten follows the day-to-day life of those whose job it is to enforce our harsh new rules on immigration: an Italian coastguard and a payday lender from Leeds. All now established in their own right, these four plays demonstrate HighTide's extraordinary role in identifying and nurturing writers tackling some of the biggest issues of today. The volume was published to coincide with HighTide's 10th annual festival in September 2016 and features an introduction by HighTide Artistic Director, Steven Atkinson.
Typescript, undated. Unmarked typescript used for Samuel French edition of a play directed by Anne Kaufman that had opened Jan. 15, 2009, at Soho Rep, 46 Walker Street, New York, N.Y.
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