218 products were found matching your search for Comedy Comedy Comedy Drama in 1 shops:

This book concludes Gerald Bordman's acclaimed survey of American non-musical theatre. It deals with the years 1930 to 1970, a period when the number of yearly new plays was shrinking, but a period during which American drama as a whole entered the world stage and became a dominant force. With works like Eugene O'Neill's Long Day's Journey Into Night, Tennessee William's A Streetcar Named Desire, and Arthur Miller's Death of a Salesman, American theater finally reached adulthood both dramatically and psychologically. Bordman's lively, authoritative study covers every Broadway production, as well as every major off-Broadway show. His discussion moves season by season and show by show in chronological order; he offers plot synopses and details the physical production, directors, players, theaters, and newspaper reviews. This book and the preceding volumes of American Theatre stand as the premier history of American drama.

Volume Four of the distinguished American Theatre: A Chronicle of Comedy and Drama series offers a thorough, candid, and fascinating look at the theater in New York during the last decades of the twentieth century.

The American Theatre series discusses every Broadway production chronologically--show by show and season by season. It offers plot summaries, production details, names of leading actors and actresses--the roles they played, as well as any special or unusual aspects of individual shows. This second volume in the series, covers what is probably the richest period in American theater, the years 1914 through 1930. Bordman includes most of Eugene O'Neill's work, along with playwrights as diverse as Elmer Rice and George Kaufman. Among the era's stars one finds John and Ethel Barrymore, Helen Hayes, Katherine Cornell, and Lynn Fontaine and Alfred Lunt. Considering the sheer number of productions, American theater climbed to its all-time high in the 1920s; by mid-decade, nearly 300 new plays appeared on Broadway each year. America saw more theatrical activity--in every sense of the word-- than any time before or since.

SHRINKWRAPPED and in NEW condition. The book will be carefully bubblewrapped, securely packaged in a box and shipped from New York

SHRINKWRAPPED and in NEW condition. The book will be carefully bubblewrapped, securely packaged in a box and shipped from New York

"The works of Plautus," writes Palmer Bovie, "mark the real beginning of Roman literature." In these lively new translations, which effectively communicate the vitality and verve of the originals, the plays of Plautus are accessible to a new generation.Plays and translators: Volume 1: Amphitryon, Constance Carrier. Miles Gloriosus, Erich Segal. Captivi, Richard Moore. Casina, Richard Beacham. Curculio, Henry Taylor Volume 2: Rudens, Constance Carrier. Aulularia, Palmer Bovie. Bacchides, James Tatum. Mercator, George Garrett. Truculentus, James Tatum

Satyric Play is the first book to offer an integrated analysis of Greek comedy and satyr drama. Using a literary-historical approach, Carl A. Shaw argues that comedy and satyr plays influenced each other in nearly all stages of their development. Although satyr drama was written by tragedians and employed a number of formal tragic elements, the humorous chorus of half-man, half-horse satyrs encouraged sustained interaction between poets of comedy and satyr play. From sixth-century proto-drama, through classical productions staged at the Athenian City Dionysia, to bookish Alexandrian plays of the third-century, the remains of comic and satyric performances reveal a range of literary, aesthetic, historical, religious, and geographical connections. Shaw analyzes the details of this interplay diachronically, looking at a wide range of literary and material evidence. He shows that ancient critics and poets allude to comic-satyric associations in surprising ways, vases depict fascinating performative connections, and the plays themselves share titles, plots, modes of humor, and occasionally even a chorus of satyrs. Satyric Play uncovers and examines the complex, shifting relationship between comedy and satyr drama, offering insight into the development of these genres and the Greek theatrical experience as a whole.

Satyric Play is the first book to offer an integrated analysis of Greek comedy and satyr drama. Using a literary-historical approach, Carl A. Shaw argues that comedy and satyr plays influenced each other in nearly all stages of their development. Although satyr drama was written by tragedians and employed a number of formal tragic elements, the humorous chorus of half-man, half-horse satyrs encouraged sustained interaction between poets of comedy and satyr play. From sixth-century proto-drama, through classical productions staged at the Athenian City Dionysia, to bookish Alexandrian plays of the third-century, the remains of comic and satyric performances reveal a range of literary, aesthetic, historical, religious, and geographical connections. Shaw analyzes the details of this interplay diachronically, looking at a wide range of literary and material evidence. He shows that ancient critics and poets allude to comic-satyric associations in surprising ways, vases depict fascinating performative connections, and the plays themselves share titles, plots, modes of humor, and occasionally even a chorus of satyrs. Satyric Play uncovers and examines the complex, shifting relationship between comedy and satyr drama, offering insight into the development of these genres and the Greek theatrical experience as a whole.

From the early days of the movies, "cavemen" have been a popular subject for filmmakers--not surprisingly, since the birth of cinema occurred only a few decades after the earliest scientific studies of prehistoric man. Filmmakers, however, were not constrained by the emerging science; instead they most often took a comedic look at prehistory, a trend that continued throughout the 20th century. Prehistoric humans also populated adventure-fantasy films, with the original One Million B.C. (1940) leading the charge. Documentaries were also made, but it was not until the 1970s that accurate film accounts of prehistoric humans finally emerged. This exhaustive work provides detailed accounts of 581 film and television productions that feature depictions of human prehistory. Included are dramas and comedies set in human prehistory; documentaries; and films and television shows in which prehistoric people somehow exist in historical periods--from the advent of civilization up to the present--or in extraterrestrial settings. Each entry includes full filmographic data, including year of release, running time, production personnel, cast information, and format. A description of each film provides background on the prehistoric elements. Contemporary critical commentary is included for many of the works.

These thirteen essays combine classical scholars' interest in theatrical production with a growing interdisciplinary inquiry into the urban contexts of literary production. Taking as their departure point the annual comic competitions at the Athenian dramatic festivals, the contributors examine how the polis--as a place, a political entity, a specific social organization, and a set of ideological representations--was enacted on stage from the middle of the fifth century B.C. through the fourth. Applying a variety of critical approaches to Athenian comedy, these essays are grouped around three broad categories: utopianism, fissures in the social fabric, and the new polis of fourth-century comedy. The contributors explore the sociopolitical and material contexts of the works discussed and trace the genre into the fourth century, when it underwent profound changes. Simultaneously a study of classical Greek literature and an analysis of cultural production, this collection reveals how for two centuries Athens itself was transformed, staged as comedy, and, ultimately, shaped by contemporary material, social, and ideological forces. The contributors are Elizabeth Bobrick, Gregory Crane, Gregory Dobrov, Malcolm Heath, Jeffrey Henderson, Timothy P. Hofmeister, Thomas K. Hubbard, David Konstan, Heinz-GAnther Nesselrath, Frank Romer, Ralph M. Rosen, Niall W. Slater, and John Wilkins.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Two Volumes. First Edition, First Printing. Hardcover. Very good condition set. Housed in original slipcase.

"The works of Plautus," writes Palmer Bovie, "mark the real beginning of Roman literature." Now Bovie and David Slavitt have brought together a distinguished group of translators for the final two volumes of a four-volume set containing all twenty-one surviving comedies of one of Western literature's greatest dramatists.Born in Sarsina, Umbria, in 254 B.C., Plautus is said to have worked in Rome as a stage carpenter and later as a miller's helper. Whether authentic or not, these few details about the playwright's life are consistent with the image of him one might infer from his plays. Plautus was not "literary" but rather an energetic and resourceful man of the world who spoke the language of the people. His dramatic works were his way of describing and portraying that world in a language the people understood.Since Plautus's career unfolded against the background of the Second Punic War, it is not surprising that his prologues often end with a wish for the audience's "good luck against your enemies" or that the plays have their share of arrogant generals, boastful military captains, and mercenary adventurers. But other unforgettable characters are here as well -- among them Euclio, in the Aulularia, the model for Molière's miser. In these lively new translations, which effectively communicate the vitality and verve of the originals, the plays of Plautus are accessible to a new generation.Plays and translators:Volume 3: Poenulus, Janet Burroway. Asinaria, Fred Chappell. Trinummus, Daniel Mark Epstein. Epidicus, Constance Carrier. Mostellaria, Palmer Bovie.

These thirteen essays combine classical scholars' interest in theatrical production with a growing interdisciplinary inquiry into the urban contexts of literary production. Taking as their departure point the annual comic competitions at the Athenian dramatic festivals, the contributors examine how the polis--as a place, a political entity, a specific social organization, and a set of ideological representations--was enacted on stage from the middle of the fifth century B.C. through the fourth. Applying a variety of critical approaches to Athenian comedy, these essays are grouped around three broad categories: utopianism, fissures in the social fabric, and the new polis of fourth-century comedy. The contributors explore the sociopolitical and material contexts of the works discussed and trace the genre into the fourth century, when it underwent profound changes. Simultaneously a study of classical Greek literature and an analysis of cultural production, this collection reveals how for two centuries Athens itself was transformed, staged as comedy, and, ultimately, shaped by contemporary material, social, and ideological forces. The contributors are Elizabeth Bobrick, Gregory Crane, Gregory Dobrov, Malcolm Heath, Jeffrey Henderson, Timothy P. Hofmeister, Thomas K. Hubbard, David Konstan, Heinz-GAnther Nesselrath, Frank Romer, Ralph M. Rosen, Niall W. Slater, and John Wilkins.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Two Volumes. First Edition, First Printing. Hardcover. Very good condition set. Housed in original slipcase.

Any drama ministry will benefit from these crowd-pleasing sketches. Isaac Air Freight pioneered the use of sketch comedy from a Christian perspective in the late '70s/early '80s. Their eclectic blend of satirically humorous sketches are still relevant, still hilarious, still imbued with deep spiritual truths. This book contains material from their fourteen years of concert tours and five of their best-selling comedy albums, as well as numerous radio and TV appearances. It features a collection of zany characters, including a hapless private eye, a hippie leftover, an excitable sportscaster and many spoofed TV characters recognizable to every Baby Boomer. Each sketch is preceded by helpful information about the cast, setting, props and costumes. Cast sizes vary from one to twelve characters. Playing times run from five to thirty minutes. Performance rights and permission to reproduce sketches are included with the book's purchase. Use as sermon illustrations or put several together for a fundraising variety show or dinner theatre. Watch comedy work its magic on your audience by breaking down barriers so the message gets through. Thirty-four sketches including: Jerusalem Dragnet, Prodigal Joe, Leave It to Squirrellie, Specs O'Keefe in the Case of the Missing First Love, P. & R. Lucre Tithe Service, Heretic Jeopardy and twenty-eight others.

Taking particular plays and poems from Roman comic theatre and the genre of Latin satire, this book finds Rome sending up Roman culture - making a mess of drama, jesting at rustic gaucherie, caricaturing the cult of masculine aggression. Writing Down Rome explores the robust poetic of self-denigration. Henderson's essays celebrate the energetic self-mockery that powers much of Roman poetry. They range widely over comedy, lyric, bucolic, and, in particular, the Roman speciality of satire.

Much of twentieth-century drama defies the traditional pigeon-holes of tragedy and comedy: the heroes are not straightforwardly heroic; the subject-matter seems at some times grimly realistic and at others nearer to pure fantasy. Professor Styan explains and illuminates the nature of this dark, paradoxical comedy. He reminds us, first, that this is not a purely modern phenomenon: many great plays of the past have similarly defied classification and have called for an equally vacillating response from their audience. But nonetheless this dramatic genre has had its clearest expression in the last sixty years: we are shown in detail how its techniques have developed from Ibsen and Chekhov to Pirandello, Brecht and contemporary playwrights such as Ionesco, Beckett, Tennessee Williams and Pinter. The author brings us to realize that the playwright, by creating complex tensions in the action of the play between the actor and the audience and within the individual spectator, is able to explore new areas of human feeling and response. In this second edition of The Dark Comedy Professor Styan has brought the book up to date in relation to recent plays and theatrical developments. He has modified some earlier judgements and added detailed analyses of scenes from Brecht's Mother Courage and from Beckett's Waiting for Godot. Anyone who takes an intelligent interest in theatre-going will find profit and stimulus in this book. It covers a wide range of subject-matter; but its underlying theme is clear, forceful and unified.

Dante Alighieri's poetic masterpiece, The Divine Comedy, is a moving human drama, an unforgettable visionary journey through the infinite torment of Hell, up the arduous slopes of Purgatory, and on to the glorious realm of Paradise-the sphere of universal harmony and eternal salvation.

In writing this book on the plays of New Comedy the author's aim is to fill a gap in the existing literature by concentrating on what one might look for in watching and reading these plays and why such an exercise might be pleasurable. The social comedy of Menander, Plautus and Terence provided a style of comic drama which was to prove the root of all subsequent western comedy. Dr Hunter gives a literary account of this drama, placing it in its ancient context and then ranging over a number of specific topics and themes: the dramatic craft of the poets, their exploration of how to give variety to stereotyped plots and characters, the presentation of women, the use of language and themes from tragedy, the place of moralising and philosophy. All Greek and Latin is translated.

Shakespeare’s later comedies were written at the astonishing pace of about two plays a year. In them, he moves beyond the farce of his earlier comedies to richer and more varied dramas. These range from the famous “problem plays,” which blend humor with tragedy, to the idyllic romances set in such timeless locales as the Forest of Arden. They contain some of his wittiest and most memorable characters, from cross-dressing heroines, bantering lovers, and wisecracking fools to the villainous but sympathetic Shylock and the boisterous and bawdy Falstaff. This volume contains The Merchant of Venice, The Merry Wives of Windsor, Much Ado About Nothing, As You Like It, Twelfth Night, All’s Well That Ends Well, and Measure for Measure. The authoritatively edited text of the plays is supplemented with footnotes, bibliographies, a detailed chronology of Shakespeare’s life and times, and a substantial introduction in which Tony Tanner discusses each play individually and in the context of Shakespeare’s work.