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This fine selection of 20th century plays includes contributions from Robert Emmons Rogers ("The Boy Will"), Booth Tarkington ("Beauty and the Jacobin"), Ernest Dowson ("The Pierrot of the Minute"), Oliphant Down ("The Maker of Dreams"), Percy MacKaye ("Gettysburg"), A.A. Milne ("Wurzel-Flummery"), Harold Brighouse ("Maid of France"), Lady Gregory ("Spreading the News"), Jeannette Marks ("Welsh Honeymoon"), John Millington Synge ("Riders to the Sea"), Lord Dunsany ("A Night at an Inn"), Stark Young ("The Twilight Saint"), Lady Alix Egerton ("The Masque of the Two Strangers"), Maurice Maeterlinck ("The Intruder"), Josephine Preston Peabody ("Fortune and Men's Eyes"), and John Galsworthy ("The Little Man"). All of these plays may be staged free of charge in the United States (and possible in other countries--check your local copyright laws for details).
This exciting anthology of one-act plays includes classics such as Anton Chekhov's "The Boor" and John Millington Synge's "Riders to the Sea" as well as lesser-known gems such as Alice Gerstenberg's "Fourteen" and Percival Wilde's "The Sequel." Other plays in the collection include August Strindberg's "The Stronger," Moliere's "The Pretentious Young Ladies," Neith Boyce's "Enemies," Horace Holley's "The Genius," Susan Glaspell's "Trifles," and Ferenc Molnar's "A Matter of Husbands." Best of all, every play in this anthology is in the public domain and may, therefore, be performed without paying royalties, making this a great resource for theatres or schools with limited budgets.
Focusing on dramatic criticism, this book explores the self authorizing strategies of writers such as Jonson, Dryden, Aphra Behn, Thomas Rymer, Jeremy Collier and Joseph Addison. Cannan focuses on how they established themselves as critics, and paved the way for the birth of dramatic criticism in seventeenth and early eighteenth-century England.
This book provides new insights into how theatre responded to changing economic practices and structures. It reviews discourses on household management and commerce to create a rich context for the discussion of socio-economic actions and transactions in Macbeth, Othello, and Timon of Athens, as well as in city comedies by Ben Jonson and Thomas Middleton. By approaching discourses on economy and commerce as complementary, the book opens up a diverse field of socio-economic practices, including the gendered division of duties in the household, new modes of valuation, and evolving credit instruments. Theatre provides unique access to this field. In contrast to practical and policy-oriented discourses, it addresses socio-economic change and its vicissitudes in a spirit of experimentation, testing the ethical limits of socio-economic action and accustoming audiences to the demands of a changing socio-economic reality. Theatre thus offers a vital contribution to the prehistory of political economy. On the London stages, self-interest emerges as a key motive of socio-economic action, and theatre playfully explores its ambiguous status as a partly rational and partly excessive force that has a new ordering function but also creates social conflict. At the same time, by staging the contradictory demands of ethics and efficiency in economic decision-making, early modern plays offer access to a changing understanding of prudence that has a Machiavellian touch: by aligning with the pursuit of private interest, prudence sheds some of its ethical content and becomes foremost an instrumental faculty.
Modern Intellectual Property Law combines coverage of each intellectual property right granted for creations of the mind into a thoughtful, unified textbook. Deconstructing the fundamental topics into short, clear sections separated by subheadings throughout, Colston and Galloway's text is the ideal student companion to this intriguing area of the law. This new edition has been completely revised to bring it up to date with the latest debate and changes to the law. All significant recent developments are covered including the continuing controversy over patents for computer-implemented inventions and biotechnological inventions, the House of Lords' developments of patent law, the ECJ jurisprudence relating to trade mark dilution and comparative advertising, as well as the database right, and international efforts to reconcile copyright with peer-to-peer file sharing. This text also discusses the ongoing effort to achieve an appropriate balance between intellectual property and competition law in order to protect market competition while retaining key incentives to drive the process of innovation. Written for students, this accessible and comprehensive textbook provides the perfect starting point for anyone studying intellectual property law in the UK.
This is the first history of Oxford and Cambridge drama during the Tudor and Stuart period. It guides the reader through the theatrical worlds of Englands universities in the sixteenth and seventeenth centuries. Early Modern Drama at the Universities opens up an exciting and challenging body of evidence and offers the reader a choice of three inroads into the corpus: institutions, intertexts, and individuals. How to get noticed at university? How to get into university in the first place, or a job afterwards? Sandis pinpoints the skills that were required for success and the role of playwriting and performance in the development of those skills. We follow Oxford and Cambridge students along their educational journeyfrom schoolboys to scholars to graduates in the workplace. For the first time, we see the extent to which institutional culture made the drama what it was: pedagogically-inspired, homosocial, and self-reflexive. It was primarily on a college level that students lived, worked, and proved themselves to the community. Therefore, this study argues, to understand university drama as a whole we must recreate it from the building blocks of individual college histories. The hundreds of plays that we have inherited from Oxford and Cambridge are steeped in Classical culture; many are written in Latin. Manuscript, not print, was the accepted medium for keeping records of student plays, and these handwritten copies were unique and personal. It is time to recognize these plays in the context of early modern English drama, to uncover the culture of drama at the universities where many leading playwrights of the age were trained.