What does it mean to be an American man? Holmberg demonstrates how David Mamet's plays explore complex issues of masculinity.

The Decades of Modern American Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material. The major playwrights and their plays to receive in-depth coverage in this volume include: David Mamet: Edmond (1982), Glengarry Glen Ross (1984), Speed-the-Plow (1988) and Oleanna (1992); David Henry Hwang: Family Devotions (1981), The Sound of a Voice (1983) and M. Butterfly (1988); Maria Irene Fornès: The Danube (1982), Mud (1983) and The Conduct of Life (1985); August Wilson: Ma Rainey's Black Bottom (1984), Joe Turner's Come and Gone (1984) and Fences (1987).

Using insights from psychology, sociology, anthropology, and the history of sexuality, Holmberg explores the ambiguity that drives male bonding. Personal interviews with Mamet and with the actors who have interpreted his major roles shed light on how and why men bond with each other and complement close analysis of Mamet's texts.

This multi-volume work began as a biography of Martha Wadsworth Coigney, who was a pioneering thought leader and advocate of internationalism in the American theatre during the cold war. It was expanded to include the contributions of her mentors and friends Rosamond Gilder, Maurice McClelland, Roger L. Stevens, and Ellen Stewart. Coigney served as director of the International Theatre Institute (ITI) of the United States for thirty-two years and President of ITI International from 1987-1995. The International Theatre Institute is an independent NGO devoted to the UNESCO mission of peace through mutual understanding. After World War II the organization sustained cultural exchange between artists on either side of the Iron Curtain, across religious divides and war zones.

The Business of American Theatre is a research guide to the history of producing theatre in the United States. Covering a wide range of subjects, the book explores how traditions of investment, marketing, labor union contracts, advertising, leasing arrangements, ticket scalping, zoning ordinances, royalties, and numerous other financial transactions have influenced the art of theatre for the past three centuries. Yet the book is not a dry reiteration of hits and flops, bankruptcies and bamboozles. Nor does it cover "everything about it that's appealing, everything the traffic will allow" (as Irving Berlin did in the song "There's No Business Like Show Business"). It is instead a highly readable resource for anyone interested in how money, and how much money, is critical to the art and artists of theatre. Many of those artists make appearances in the book: Richard Rodgers and his keen eye for investment, Jacob Shubert and his construction of "the bridge of thighs" for his showgirls at the Winter Garden, the significance of the Disney Souvenir Shop near the Lyceum Theatre on Broadway, and the difference between a Broadway show losing millions of dollars or making billions in one night. Consider this book a go-to resource for readers, students, and scholars of the theatre business.

Winner of the Pulitzer Prize in drama as well as Tony Awards for best play and best actor, Tracy Letts has emerged as one of the greatest playwrights of the twenty-first century. Understanding Tracy Letts, the first book dedicated to his writing, is an introduction to his plays and an invitation to engage more deeply with his work—both for its emotional power and cultural commentary. Experiencing a Tracy Letts play often feels akin to reading a Cormac McCarthy novel, watching a Cohen Brothers film, and seeing an episode of Breaking Bad at the same time. His characters can be ruthlessly cruel and funny, selfish and generous, delusional and incisive, and deceptive and painfully honest. They keep secrets. They harbor biases and misconceptions. And in their quest to find love and understanding, they often end up being the greatest impediments to their own happiness. As a writer, Letts can move seamlessly from the milieu of a Texas trailer park to the pulsating nightlife of London's countercultural scene, the stifling quiet of small-town Ohio to the racial tensions of urban Chicago. He thrives in the one-act format, in plays like Mary Page Marlow and The Minutes, as well as the epic scope of August: Osage County and Linda Vista. With a musician's sense of timing, Letts shifts between humor and heartache, silence and sound, and the mundane and the poetic. And he fearlessly tackles issues such as gender bias, racism, homophobia, and disability rights. Contemporary American life thus becomes a way to comment on the country's troubled history from Native American genocide to the civil rights movement. The personal narratives of his characters become gateways to the political. Understanding Tracy Letts celebrates the range of Letts's writing, in part, by applying different critical approaches to his works. Whether through the lens of disability studies, the conspiracy genre, food studies, the feminist politics of quilting, or masculinity studies, these readings help bring out the thematic richness and sociopolitical dimensions of Letts's work.

The Midwest has produced a robust literary heritage. Its authors have won half of the nation's Nobel Prizes for Literature plus a significant number of Pulitzer Prizes. This volume explores the rich racial, ethnic, and cultural diversity of the region. It also contains entries on 35 pivotal Midwestern literary works, literary genres, literary, cultural, historical, and social movements, state and city literatures, literary journals and magazines, as well as entries on science fiction, film, comic strips, graphic novels, and environmental writing. Prepared by a team of scholars, this second volume of the Dictionary of Midwestern Literature is a comprehensive resource that demonstrates the Midwest's continuing cultural vitality and the stature and distinctiveness of its literature.

One way or another, all playwrights use their work to explore the issues that interest them. The characters in a play may trumpet their creator's political views from the stage, or an unusual structure or set design may result from the playwright's interest in theatrical form. It is also common, particularly in the plays of the 20th and 21st century, to see a playwright delving into psychological issues raised by his own mental struggles or those of people he loves. Luigi Pirandello, tormented by the schizophrenia of his wife and other family members, repeatedly explored the problems caused by different visions of reality. Noel Coward's self-obsessed characters reflect his own narcissism. Alcoholism is a recurrent theme in the works of many playwrights, including Eugene O'Neill, Edward Albee, and Brian Friel. Through their exploration of these issues and more, the great writers of the theater have turned suffering into art. This book looks at the work of 20 playwrights to see how their examination of the disturbed mind has influenced the modern theater.

Friendship. Grief. Jazz hands. In 2004, in a small, windowless theater in then-desolate Williamsburg, Brooklyn, an eccentric family of broke art-school survivors staged an experimental, four-hour adaptation of William Faulkner’s novel As I Lay Dying inside an enormous wooden coffin that could barely fit the cast, much less an audience. The production’s cast and crew—including its sweetly monomaniacal director—poured their hearts and paychecks into a messy spectacle doomed to fail by any conventional measure. It ran for only eight performances. The reviews were tepid. Fewer than one hundred people saw it. But to emotionally messy hack magazine editor John DeVore, cast at the last minute in a bit part, it was a safe space to hide out and attempt sobering up following a devastating loss. An unforgettable ode to the ephemeral, chaotic magic of the theatre and the weirdos who bring it to life, Theatre Kids is DeVore’s buoyant, irreverent, and ultimately moving account of outsize ambition and dashed hopes in post-9/11, pre-iPhone New York City. Sharply observed and bursting with hilarious razzle-dazzle, it will resonate with anyone who has ever, perhaps against their better judgment, tried to bring something beautiful into the world without regard for riches or fame.

In a series of scenes we see two actors - a seasoned pofessional and a novice - backstage and onstage going through a cycle of roles and an entire wardrobe of costumes.