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Plays about Shivaji, Raja, 1627-1680 and Muhammad Bahadur Shah II, King of Delhi, 1775-1862; translations from Hindi by Kumar Shant Rakshit and Javed Rahman respectively, with critical introduction.
THREE WOMEN WHO SHARE ONE FATE: THE BOLEYN INHERITANCE ANNE OF CLEVES She runs from her tiny country, her hateful mother, and her abusive brother to a throne whose last three occupants are dead. King Henry VIII, her new husband, instantly dislikes her. Without friends, family, or even an understanding of the language being spoken around her, she must literally save her neck in a court ruled by a deadly game of politics and the terror of an unpredictable and vengeful king. Her Boleyn Inheritance: accusations and false witnesses. KATHERINE HOWARD She catches the king's eye within moments of arriving at court, setting in motion the dreadful machine of politics, intrigue, and treason that she does not understand. She only knows that she is beautiful, that men desire her, that she is young and in love -- but not with the diseased old man who made her queen, beds her night after night, and killed her cousin Anne. Her Boleyn Inheritance: the threat of the axe. JANE ROCHFORD She is the Boleyn girl whose testimony sent her husband and sister-in-law to their deaths. She is the trusted friend of two threatened queens, the perfectly loyal spy for her uncle, the Duke of Norfolk, and a canny survivor in the murderous court of a most dangerous king. Throughout Europe, her name is a byword for malice, jealousy, and twisted lust. Her Boleyn Inheritance: a fortune and a title, in exchange for her soul. The Boleyn Inheritance is a novel drawn tight as a lute string about a court ruled by the gallows and three women whose positions brought them wealth, admiration, and power as well as deceit, betrayal, and terror. Once again, Philippa Gregory has brought a vanished world to life -- the whisper of a silk skirt on a stone stair, the yellow glow of candlelight illuminating a hastily written note, the murmurs of the crowd gathering on Tower Green below the newly built scaffold. In The Boleyn Inheritance Gregory is at her intelligent and page-turning best.
Based on Evan Wright's National Magazine Award-winning story in Rolling Stone, this is the raw, firsthand account of the 2003 Iraq invasion that inspired the HBO® original mini-series. Within hours of 9/11, America’s war on terrorism fell to those like the twenty-three Marines of the First Recon Battalion, the first generation dispatched into open-ended combat since Vietnam. They were a new pop-culture breed of American warrior unrecognizable to their forebears—soldiers raised on hip hop, video games and The Real World. Cocky, brave, headstrong, wary and mostly unprepared for the physical, emotional and moral horrors ahead, the “First Suicide Battalion” would spearhead the blitzkrieg on Iraq, and fight against the hardest resistance Saddam had to offer. Hailed as “one of the best books to come out of the Iraq war”(Financial Times), Generation Kill is the funny, frightening, and profane firsthand account of these remarkable men, of the personal toll of victory, and of the randomness, brutality and camaraderie of a new American War.
"Filled with fabulously British banter, wit, and heart, this delightful book is one of my must-read rom coms of the year." - Evie Dunmore, USA Today bestselling author of Portrait of a Scotsman “Virginia Heath’s fun characters and situations will have you laughing out loud! Don’t miss this wonderful read!” - Sabrina Jeffries, New York Times bestselling author The first in a new historical rom-com series, a handsome earl hires a fake fiancée to keep his matchmaking mother at bay, but hilarity ensues when love threatens to complicate everything. The last thing Hugh Standish, Earl of Fareham, ever wants is a wife. Unfortunately for him, his mother is determined to find him one, even from across the other side of the ocean. So Hugh invents a fake fiancée to keep his mother’s matchmaking ways at bay. But when Hugh learns his interfering mother is on a ship bound for England, he realizes his complicated, convoluted but convenient ruse is about to implode. Until he collides with a beautiful woman, who might just be the miracle he needs. Minerva Merriwell has had to struggle to support herself and her two younger sisters ever since their feckless father abandoned them. Work as a woodcut engraver is few and far between, and the Merriwell sisters are nearly penniless. So when Hugh asks Minerva to pose as his fiancée while his mother is visiting, she knows that while the scheme sounds ludicrous, the offer is too good to pass up. Once Minerva and her sisters arrive at Hugh's estate, of course nothing goes according to his meticulous plan. As hilarity and miscommunication ensue while everyone tries to keep their tangled stories straight, Hugh and Minerva’s fake engagement starts to turn into a real romance. But can they trust each other when their relationship started with a lie? The first book in the Merriwell Sisters series, Never Fall for Your Fiancée is a hilarious, sparkling historical romantic comedy from Virginia Heath.
This book defines and exemplifies a major genre of modern dramatic writing, termed historiographic metatheatre, in which self-reflexive engagements with the traditions and forms of dramatic art illuminate historical themes and aid in the representation of historical events and, in doing so, formulates a genre. Historiographic metatheatre has been, and remains, a seminal mode of political engagement and ideological critique in the contemporary dramatic canon. Locating its key texts within the traditions of historical drama, self-reflexivity in European theatre, debates in the politics and aesthetics of postmodernism, and currents in contemporary historiography, this book provides a new critical idiom for discussing the major works of the genre and others that utilize its techniques. Feldman studies landmarks in the theatre history of postwar Britain by Weiss, Stoppard, Brenton, Wertenbaker and others, focusing on European revolutionary politics, the historiography of the World Wars and the effects of British colonialism. The playwrights under consideration all use the device of the play-within-the-play to explore constructions of nationhood and of Britishness, in particular. Those plays performed within the framing works are produced in places of exile where, Feldman argues, the marginalized negotiate the terms of national identity through performance.
Roman Historical Drama is the first comprehensive interpretation of ancient historical drama in relation to the Octavia, revealing how the play mirrors the genre's traditions by mixing formats and stock characters from traditional tragedy with elements drawn from new developments of the Hellenistic and Roman stage.
"An entirely original, illuminating work of critical scholarship. Wagner brings to bear a formidable familiarity with the Chinese practice of allusion, together with a good understanding of the issues confronting Mao, the Chinese Communist Party and the Chinese nation since 1949. An important contribution to the study of contemporary Chinese political history."--Cyril Birch, University of California, Berkeley "An entirely original, illuminating work of critical scholarship. Wagner brings to bear a formidable familiarity with the Chinese practice of allusion, together with a good understanding of the issues confronting Mao, the Chinese Communist Party and the Chinese nation since 1949. An important contribution to the study of contemporary Chinese political history."--Cyril Birch, University of California, Berkeley