The collection of the finest of Shakespeare's plays presents Shakespeare's comedies with introductions by Judith Buchanan and tragedies with introductions by Emma Smith

The One-Hour Shakespeare series is a collection of abridged versions of Shakespeare’s plays, designed specifically to accommodate both small and large casts. This volume, More Comedies and Tragedies, includes the following plays: The Comedy of Errors The Taming of the Shrew Antony and Cleopatra King Lear These accessible and versatile scripts are supported by: an introduction with emphasis on the evolution of the series and the creative process of editing; the One-Hour projects in performance, a chapter on implementing money-saving ideas and suggestions for production whether in or outside of a classroom setting; specific lesson plans to incorporate these projects successfully into an academic course; suggested casting assignments for small to large casts; the how-tos of producing a radio play; and cross-gender casting suggestions. These supplementary materials make the plays valuable not only for actors, but for any environment, cast or purpose. Ideal for both academics and professionals, One-Hour Shakespeare is the perfect companion to teaching and staging the most universally read and performed playwright in history.

Twenty-one essays provide lively and authoritative approaches to the literary, historical, cultural and performative aspects of Shakespeare works.

"A collection of comedies written by William Shakespeare"--Provided by cataloger

In Brixton, Nora and Dora Chance – twin chorus girls born and bred south of the river – are celebrating their 75th birthday. Over the river in Chelsea, their father and greatest actor of his generation Melchior Hazard turns 100 on the same day. As does his twin brother Peregrine. If, in fact, he's still alive. And if, in truth, Melchior is their real father after all... Wise Children is adapted for the stage from Angela Carter's last novel about a theatrical family living in South London. It centres around twin chorus girls, Nora and Dora Chance, whose lives are brimming with mystery, illegitimacy and scandal. Dora narrates the story as her older self, looking back on a tumultuous life, throughout which she and her sister have loved to sing and dance. A big, bawdy tangle of theatrical joy and heartbreak, Wise Children is a celebration of show business, family, forgiveness and hope. Expect show girls and Shakespeare, sex and scandal, music, mischief and mistaken identity – and butterflies by the thousand.

In this updated and extended edition of The Greek Sense of Theatre, scholar and practitioner J.Michael Walton revises and expands his visual approach to the theatre of classical Athens. From the tragedies of Aeschylus, Sophocles and Euripides to the old and new comedies of Aristophanes and Menander, he argues that while Greek drama is seen now as a performance-based rather than a strictly literary medium, more attention should still be paid to the nature of stage image and masked acting as part of this conception.

Paracomedy: Appropriations of Comedy in Greek Drama is the first book that examines how ancient Greek tragedy engages with the genre of comedy. While scholars frequently study paratragedy (how Greek comedians satirize tragedy), this book investigates the previously overlooked practice of paracomedy: how Greek tragedians regularly appropriate elements from comedy such as costumes, scenes, language, characters, or plots. Drawing upon a wide variety of complete and fragmentary tragedies and comedies (Aeschylus, Sophocles, Euripides, Aristophanes, Rhinthon), this monograph demonstrates that paracomedy was a prominent feature of Greek tragedy. Blending a variety of interdisciplinary approaches including traditional philology, literary criticism, genre theory, and performance studies, this book offers innovative close readings and incisive interpretations of individual plays. Jendza presents paracomedy as a multivalent authorial strategy: some instances impart a sense of ugliness or discomfort; others provide a sense of light-heartedness or humor. While this work traces the development of paracomedy over several hundred years, it focuses on a handful of Euripidean tragedies at the end of the fifth century BCE. Jendza argues that Euripides was participating in a rivalry with the comedian Aristophanes and often used paracomedy to demonstrate the poetic supremacy of tragedy; indeed, some of Euripides' most complex uses of paracomedy attempt to re-appropriate Aristophanes' mockery of his theatrical techniques. Paracomedy: Appropriations of Comedy in Greek Tragedy theorizes a new, ground-breaking relationship between Greek tragedy and comedy that not only redefines our understanding of the genre of tragedy, but also reveals a dynamic theatrical world filled with mutual cross-generic influence.

Short biographies of twenty writers from various countries and historical periods.

Aristophanes' engagement with tragedy is one of the most striking features of his comedies. Tragedy on the Comic Stage contextualizes this engagement with tragedy within Greek comedy as a genre by examining paratragedy in the fragments of Aristophanes' contemporaries and successors in the fifth and fourth centuries.