A New York Times Notable Book In medieval England, a runaway scholar-priest named Nicholas Barber has joined a traveling theater troupe as they make their way toward their liege lord’s castle. In need of money, they decide to perform at a village en route. When their traditional morality plays fail to garner them an audience, they begin to stage the “the play of Thomas Wells”—their own depiction of the real-life drama unfolding within the village around the murder of a young boy. The villagers believe they have already identified the killer, and the troupe believes their play will be a straightforward depiction of justice served. But soon the players soon learn that the details of the crime are elusive, and the lines between performance and reality become blurred as they discover, scene by scene, line by line, what really happened. Thought-provoking and unforgettable, Morality Play is at once a masterful work of historical fiction, a gripping murder mystery, and a literary work of the first order.

Booker Prize Finalist The time is the fourteenth century. The place is a small town in rural England, and the setting a snow-laden winter. A small troupe of actors accompanied by Nicholas Barber, a young renegade priest, prepare to play the drama of their lives. Breaking the longstanding tradition of only performing religious plays, the groups leader, Martin, wants them to enact the murder that is foremost in the townspeoples minds. A young boy has been found dead, and a mute-and-deaf girl has been arrested and stands to be hanged for the murder. As members of the troupe delve deeper into the circumstances of the murder, they find themselves entering a political and class feud that may undo them. Intriguing and suspenseful, Morality Play is an exquisite work that captivates by its power, while opening up the distant past as new to the reader.

It is the late fourteenth century, a dangerous time beset by war and plague. Nicholas Barber, a young and wayward cleric, stumbles across a group of travelling players and compounds his sins by joining them. Yet the town where they perform reveals another drama: a young woman is to be hanged for the murder of a twelve-year-old boy. What better way to increase their takings than to make a new play, to enact the murder of Thomas Wells? But as the actors rehearse, they discover that the truth about the boy's death has yet to be revealed...

Morality Play is an ideal supplement for ethics courses, offering a case study approach that is both flexible and practical. It provides three alternative methods of organization for universal teaching approaches: contemporary moral problems, ethical theories, and moral principles. The introduction illustrates how to effectively use case studies in the classroom and provides a short review of the fundamentals of argumentation and critical thinking. Featuring ten new case studies, the latest edition continues to spotlight some of the most controversial, thought-provoking issues in ethics today. Themes such as crime and punishment, life and death, habitat and humanity, liberty and coercion, and value and culture are made relevant through insightful case studies drawn from newspaper accounts, legal opinions, and other factual sources. The cases present discrete problems designed to make readers examine their abstract notions about morality.

'New Mermaids' are modernized and fully annotated versions of classic English plays. Each volume includes the playtext in modern English spelling, textual notes and a full introduction.

"Is your mother good?" "Are you good?" "Do you want to come live with me?" Inuit adults often playfully present small children with difficult, even dangerous, choices and then dramatize the consequences of the child's answers. They are enacting in larger-than-life form the plots that drive Inuit social life--testing, acting out problems, entertaining themselves, and, most of all, bringing up their children. In a riveting narrative, psychological anthropologist Jean L. Briggs takes us through six months of dramatic interactions in the life of Chubby Maata, a three-year-old girl growing up in a Baffin Island hunting camp. The book examines the issues that engaged the child--belonging, possession, love--and shows the process of her growing. Briggs questions the nature of "sharedness" in culture and assumptions about how culture is transmitted. She suggests that both cultural meanings and strong personal commitment to one's world can be (and perhaps must be) acquired not by straightforwardly learning attitudes, rules, and habits in a dependent mode but by experiencing oneself as an agent engaged in productive conflict in emotionally problematic situations. Briggs finds that dramatic play is an essential force in Inuit social life. It creates and supports values; engenders and manages attachments and conflicts; and teaches and maintains an alert, experimental, constantly testing approach to social relationships.

The drama of the English Middle Ages is perennially popular with students and theatre audiences alike, and this is an updated edition of a book which has established itself as a standard guide to the field. The Cambridge Companion to Medieval English Theatre, second edition continues to provide an authoritative introduction and an up-to-date, illustrated guide to the mystery cycles, morality drama and saints' plays which flourished from the late fourteenth to the mid-sixteenth centuries. The book emphasises regional diversity in the period and engages with the literary and particularly the theatrical values of the plays. Existing chapters have been revised and updated where necessary, and there are three entirely new chapters, including one on the cultural significance of early drama. A thoroughly revised reference section includes a guide to scholarship and criticism, an enlarged classified bibliography and a chronological table.

On March 16, 1978, the former prime minister of Italy, Aldo Moro, was kidnapped by the Red Brigades, and what followed—the fifty-five days of captivity that resulted in Moro's murder—constitutes one of the most striking social dramas of the twentieth century. In this compelling study of terrorism, Robin Wagner-Pacifici employs methods from sociology, symbolic anthropology, and literary criticism to decode the many social "texts" that shaped the event: political speeches, newspaper reports, television and radio news, editorials, photographs, Moro's letters, Red Brigade communiques, and appeals by various international figures. The analysis of these "texts" calls into question the function of politics, social drama, spectacle, and theater. Wagner-Pacifici provides a dramaturgic analysis of the Moro affair as a method for discussing the culture of politics in Italy.

This modern riff on the fifteenth-century morality play Everyman follows Everybody (chosen from amongst the cast by lottery at each performance) as they journey through life’s greatest mystery—the meaning of living.