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What makes a play exciting or mysterious? How can you write plays full of tension? How can you turn a page-turning script into an edge-of-your-seat production?
What makes people laugh? How can you write a funny play? How can you turn a hilarious script into a side-splitting production?
Winner of the Susan Smith Blackburn Prize, 1997. 'Carr's harrowing play has the scale and anguish of myth, and the immediacy of a contemporary anecdote.' Independent on Sunday There's a wolf tooth growin in me heart and it's turnin me from everywan and everthin I am. Portia Coughlan lives life in monstrous limbo, haunted by a yearning for her spectral twin brother lying at the bottom of the Belmont river, unable to find any love for her wealthy husband and children, seeking solace in soulless affairs, deeply afraid of what she might do. Portia Coughlan premiered on the Abbey Theatre's Peacock Stage, Dublin, in April 1996 and transferred to the Royal Court Theatre, London, in May that year. It was revived at the Almeida Theatre, London, in October 2023. 'Taut and haunting, funny and sad . . . Carr plays with time and place to resonant, ultimately devastating effect.' The Stage 'One of the most important Irish plays of the twentieth century.' Arts Review 'Marina Carr goes to a deep place that has not just to do with society now but that touches an inner tragedy of existence. The female quality of her writing comes through not only in the way she writes about women, it's in the physicality in her writing. She is right in there with the cycles of life, with the blood and the dirt.' Joyce McMillan, New York Times
'Once upon a time, there was a little girl who lived in a library...' Deep in the bowels of a New York Public Library lies a dragon: the monstrous coal furnace that Sharon's father, the live-in custodian, must feed every night. A moving examination of family secrets, forgiveness, and the power of language, Feeding the Dragon explores Sharon's life growing up in the library and the fire she never allowed to fade.
The many adventures of the "epic" in modern times are fascinating topics in themselves. The Romantics claimed that every self-respecting nation should, at some time, have had one and they set out to reconstruct these epics for political as well as cultural reasons. Such epics represented earlier stages in the development of nation-states and in this modern world they were, for a long time, hard to appreciate. The introduction of tape recorders, however, brought the epic back in the limelight. It became fashionable for scholars to record long oral narratives, and to present them as long written poems that reflected deeply ingrained ideas. Because of this technology, the idea of the epic was revitalized. This volume presents critical analyses of epics in Sub-Saharan Africa, the former Soviet Union, South-East Asia, Medieval Europe, and America and discusses the process of revitalization, sometimes even invention, of epics in particular historical, political, and academic contexts. Jan Jansen is a member of the Department of Anthropology of the University of Leiden, Netherlands. Henk M.J. Maier is professor in the Department of Languages and Cultures of Southeast Asia and Oceania of the University of Leiden, Netherlands.
Home of the most popular one-act plays for student actors, Playscripts, Inc. presents 15 of their very best short comedies. From a blind dating debacle to a silly Shakespeare spoof, from a fairy tale farce to a self-hating satire, this anthology contains hilarious large-cast plays that have delighted thousands of audiences around the world. Includes the plays The Audition by Don Zolidis, Law & Order: Fairy Tale Unit by Jonathan Rand, 13 Ways to Screw Up Your College Interview by Ian McWethy, Darcy's Cinematic Life by Christa Crewdson, The Whole Shebang by Rich Orloff, A Funny Thing Happened on the Way to Fifth Period by Jason Pizzarello, Small World by Tracey Scott Wilson, The Absolute Most Cliched Elevator Play in the History of the Entire Universe by Werner Trieschmann, The Seussification of Romeo and Juliet by Peter Bloedel, Show and Spell by Julia Brownell, Cut by Ed Monk, Check Please by Jonathan Rand, Aliens vs. Cheerleaders by Qui Nguyen, The Brothers Grimm Spectaculathon by Don Zolidis, 15 Reasons Not To Be in a Play by Alan Haehnel
Reproduction of the original: The Upper Berth by F. Marion Crawford