Widely Acclaimed By Eliot Critics Both At Home And Abroad, The Book Has Been Mentioned In Various Reference Books Of International Renown, Such As The Dictionary Of Literary Biography (Gale Research Company, Detroit, Michigan, 1982, Vol. 10, Part-I), The International Authors And Writers Who S Who (International Biographical Centre, Cambridge, May 2000), A History Of Indian English Literature By M.K. Naik (Sahitya Akademi, 1982), Indian Journal Of American Studies (Vol. 18, No. 2, 1988), T.S. Eliot Centenary Number (American Studies Research Centre) And Various Other Books Of Reference.Professor Dame Helen Gardner From Oxford Wrote In 1974: I Have Read Your Book Now. It Seems To Me Well-Informed And Sensible And Sympathetic To Eliot S Aims While Recognizing His Defects As A Playwright. I Feel At Least Until The Letters Are Published, There Is Not A Great Deal More To Say. Dr. W.M. Merchant Of Exeter University Describes This Study As: Astonishing And Meticulous. Professor Amalendu Bose Says: The Present Work, Fruit Of Several Years Of Concentrated Study, Will Intensify The Eliot Admirer S Response As Much To The Poetry-Drama Relationship In The Master S Work As To The Variety And Beauty Of The Dramas Themselves. Professor K. Viswanatham Of Andhra University Wrote In 1973: I Am Sure Every Student Of Eliot Drama Will Look Into Your Book. It Is Scrupulously, Compellingly Documented.
In these passionate and witty essays on the theatre, J B Priestley distills his experience as a playwright, producer, director and - just once - actor. Relishing the past, analysing the present, and predicting the future, he tells his own 'story of the theatre'. Published as a companion to Oberon's two volumes of Priestley's best plays, this new collection is part defence of theatre, part incisive criticism, and, in the renowned Old Vic lecture The Art of the Dramatist, part instructive guide for would-be playwrights.
This edition first published in 1982. Previous edition published in 1972 by Houghton Mifflin. Outlining methods and techniques for reading Shakespeare's plays, Roland Frye explores and develops a comprehensive understanding of Shakespeare's drama, focussing on the topics which must be kept in mind: the formative influence of the particular genre chosen for telling a story, the way in which the story is narrated and dramatized, the styles used to convey action, character and mood, and the manner in which Shakespeare has constructed his living characterizations. As well as covering textual analysis, the book looks at Shakespeare's life and career, his theatres and the actors for whom he wrote and the process of printing and preserving Shakespeare's plays. Chapters cover: King Lear in the Renaissance; Providence; Kind; Fortune; Anarchy and Order; Reason and Will; Show and Substance; Redemption and Shakespeare's Poetics.
First published in 1961. On her death, Professor Ellis-Fermor left behind some uncollected essays and part of a book on Shakespeare the Dramatist. This volume includes the chapters of the unfinished work and three further articles on Shakespeare. It discusses Shakespeare's methods with regard to plot, character, diction, and imagery and it contains comparative analysis of Shakespeare with other dramatists, including Ibsen and Corneille.
The Value of His Operas to Him, to His Age and to Us
Author: Brigid Brophy
Publisher: Faber & Faber
Category: Biography & Autobiography
Brigid Brophy first published her passionate, profoundly original Mozart the Dramatist in 1964, revisiting it subsequently in 1988. Organised by theme, the text offers brilliant readings of Mozart's five most famous operas - Die Entfhrung aus dem Serail, Le Nozze di Figaro, Don Giovanni, Cos fan tutte, and Die Zauberflte - while a 1988 preface reconsiders Idomeneo and La Clemenza di Tito. Brophy's analysis is richly informed by her readings and interests in psychoanalysis, myth, and relations between the sexes, but her stress above all is on Mozart's 'unique excellence', his 'double supremacy' both as a 'classical' and 'psychological' artist. 'An illuminating, invigorating, thought-provoking and profoundly human book, of immense value to any lover of Mozart.' Jane Glover
Richard Wagner has fascinated every generation of opera-lovers for over a century, and a mass of literature has interpreted and reinterpreted not only his character, but also the components of the great music dramas that are still some of the most captivating and complex operas in the international repertory today. In this excellent study, Garten examines the cultural and historical sources of these operas: the myths and legends that Wagner employed, in which much of his works' interest, other than the purely musical, can be found. Garten's study also shows how legends of the old Nordic gods, the troubadours and Minnesingers, the quest for the grail, as well as stories taken from folklore and history, were transformed into the theatrical mythology of Wagner's music dramas.
In this informative guide, Sweet discusses such matters as: the building blocks of playwriting; how characters relate to one another; the differences and similarities between musicals and plays; and screenwriting vs. playwriting. --from publisher description.