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A three-play volume in which Sue Townsend extracts comedy from the most painful social insights. The first concerns a neurotic do-gooder, the second is set in an adult literacy class and "Womberang" shows a free spirited girl bringing anarchy to the grim waiting room of a gynaecology clinic.
A play by one of Britain's best-selling writers Bazaar and Rummage brings together a neurotic do-gooder, a trainee social worker and three agoraphobics who have been persuaded to venture out of their homes to run a jumble sale. "As a study of agoraphobia, Bazaar and Rummage...is written with great verve, style and wit." (Benedict Nightingale); Set in an adult literacy class where the student's fear of ignorance is as much of a handicap as their inability to read, Groping for Words is a "close up of the social scrap-heap, written in a fine vein of comic indignation and giving a voice to people whose lives are mainly spent in queues and waiting rooms." (Irving Wardle, The Times); Womberang shows free spirit Rita Onions bringing joy and anarchy to the grim waiting-room of a gynaecology clinic. "A daydream of mastered fear" (New Society)
First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
A play by one of Britain's best-selling writers "Set in the year 2001 where the class system is numbered from one to five and only the upperclasses are allowed to breed, Ten Tiny Fingers, Nine Tiny Toes is about the births of a perfect but illegal 'class five' baby, and an imperfect 'government' baby bought by a 'class three' mother and exterminated at birth because of her nine toes...compulsive viewing...insanity is served up as commen sense - to sinister effect." Kate Kellaway, Observer
Discover the brilliantly funny True Confessions of Margaret Hilda Roberts by Sue Townsend, 'the funniest person in the world' - Caitlin Moran, The Times Tuesday May 24th Had a lie in until 6am. Then got out of bed and had a brisk rub down with the pumice stone. I opened the curtains and saw that the sun was shining brightly. (A suspicion is growing in my mind that the BBC is not to be trusted.) Margaret Hilda Roberts is a rather ambitious 14 1⁄4 year old grocer's daughter from Grantham. She can't abide laziness, finds four hours of chemistry homework delightful and believes she is of royal birth - or at least destined for great things. But Margaret knows that good things never come to those who wait . . . These are the secret diary entries of a girl born into an ordinary life, yet who might just go on to become something really rather extraordinary, and she is brilliantly brought vividly to life by bestselling author Sue Townsend, Britain's favourite comic writer for over three decades. 'Essential reading for Mole followers' Times Educational Supplement 'Wonderfully funny and sharp as knives' Sunday Times
The further misadventures of the world's oldest adolescent.
This volume contains five plays by the author of the highly successful Adrian Mole books, and includes her adaptation of the first book in the series.
"At me too someone is looking... " —Samuel Beckett, Waiting for Godot In a venturesome study of corporeality and perception in contemporary drama, Stanton B. Garner, Jr., turns this awareness of the spectator's gaze back upon itself. His book takes up two of drama's most essential and elusive elements: spatiality, through which plays establish fields of visual and environmental relationship; and the human body, through which these fields are articulated. Within the spatial terms of theater, this book puts the body and its perceptual worlds back into performance theory. Garner's approach is phenomenological, emphasizing perception and experience in the theatrical environment. His discussion of the work of playwrights after 1950-including Samuel Beckett, Eugene Ionesco, Peter Weiss, Harold Pinter, Sam Shepard, David Mamet, Edward Bond, Maria Irene Fornes, Caryl Churchill, and Ntozake Shange—explores the body's modes of presence in contemporary drama. Drawing on work in areas as diverse as scenographic theory, medical phenomenology, contemporary linguistics, and feminist theories of the body, Garner addresses topics such as theatrical image, stage objects, dramatic language, the suffering body, and the staging of gender, all with a view toward developing a phenomenology of mise en scene.