With a writer who had never written a play, an actress who had never taken the stage alone, and a director who had never headed a live performance, The Belle of Amherst managed to become an American theater classic. Despite being savaged by critics attending its opening night in April 1976, the play, which details the life of Emily Dickinson, survived its baptism by fire and went on to appear in theaters across the world. This is the remarkable untold story of "the little play that could." Covering the play's humble beginnings as well as its pioneers--like writer William Luce, director Charles Nelson Reilly and actress Julie Harris--this work also documents the modern efforts to keep the play alive. Exploring the show's enduring dramatic power, this book ultimately pays respect to the one-woman show that has triumphed for decades.

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984-1994) and middle (1995-2008) stages of his career, arguing that globalisation had a defining effect on shaping his aesthetic and his professional trajectory. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. Productions discussed include The Dragon’s Trilogy, Needles and Opium, and The Far Side of the Moon. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the early 21st century.

Dickinson knew the Bible well. She was profoundly aware of Christian theology and she was writing at a time when comparative religion was extremely popular. This book is the first to consider Dickinson's religious imagery outside the dynamic of her personal faith and doubt. It argues that religious myths and symbols, from the sun-god to the open tomb, are essential to understanding the similetic movement of Dickinson's poetry - the reach for a comparable, though not identical, experience in the struggles and wrongs of Abraham, Jacob and Moses, and the life, death and resurrection of Christ. Linda Freedman situates the poet within the context of American typology, interprets her alongside contemporary and modern theology and makes important connections to Shakespeare and the British Romantics. Dickinson emerges as a deeply troubled thinker who needs to be understood within both religious and Romantic traditions.

Between his 1962 debut A Knife in the Water and the 1968 blockbuster Rosemary’s Baby, Roman Polanski directed three movies—Repulsion, Cul-de-Sac, and Dance of the Vampires (a.k.a. The Fearless Vampire Killers)—that remain a crucial but too often overlooked piece of his filmography. In this remarkable behind-the-scenes look at the director's early output, Jordan Young gives us a revealing look at Polanski at work in the years before his rise to global renown. Drawing on new research and interviews with principals on both sides of the camera—including direct access to the director—Young shares eye-opening, freshly unearthed details. We witness Polanski making movies under some of the worst possible conditions, contending with financing nightmares (both Repulsion and Cul-de-Sac were underwritten by exploitation-film peddlers), poisonous enmities amongst cast and crew, and collaborators who, in the director's words, "did their best to make me feel like a monster." Polanski the provocateur is in full view here, placing actors in physical peril and deploying such unusual methods as slaughtering chickens to provide real blood for a death scene. While never shying away from unflattering or shocking details, Young still provides a nuanced and measured portrait of his subject—a rare look at a controversial artist in the act of creation.

In this poignant and personal history of one of America’s oldest theaters, Leslie Stainton captures the story not just of an extraordinary building but of a nation’s tumultuous struggle to invent itself. Built in 1852 and in use ever since, the Fulton Theatre in Lancaster, Pennsylvania, is uniquely ghosted. Its foundations were once the walls of a colonial jail that in 1763 witnessed the massacre of the last surviving Conestoga Indians. Those same walls later served to incarcerate fugitive slaves. Staging Ground explores these tragic events and their enduring resonance in a building that later became a town hall, theater, and movie house—the site of minstrel shows, productions of Uncle Tom’s Cabin, oratory by the likes of Thaddeus Stevens and Mark Twain, performances by Buffalo Bill and his troupe of “Wild Indians,” Hollywood Westerns, and twenty-first-century musicals. Interweaving past and present, private anecdote and public record, Stainton unfolds the story of this emblematic space, where for more than 250 years Americans scripted and rescripted their history. Staging Ground sheds light on issues that continue to form us as a people: the evolution of American culture and faith, the immigrant experience, the growth of cities, the emergence of women in art and society, the spread of advertising, the flowering of transportation and technology, and the abiding paradox of a nation founded on the principle of equality for “all men,” yet engaged in the slave trade and in the systematic oppression of the American Indian.

In Staging Harmony, Katherine Steele Brokaw reveals how the relationship between drama, music, and religious change across England’s long sixteenth century moved religious discourse to more moderate positions. It did so by reproducing the complex personal attachments, nostalgic overtones, and bodily effects that allow performed music to evoke the feeling, if not always the reality, of social harmony. Brokaw demonstrates how theatrical music from the late fifteenth to the early seventeenth centuries contributed to contemporary discourses on the power and morality of music and its proper role in religious life, shaping the changes made to church music as well as people’s reception of those changes. In representing social, affective, and religious life in all its intricacy, and in unifying auditors in shared acoustic experiences, staged musical moments suggested the value of complexity, resolution, and compromise rather than oversimplified, absolutist binaries worth killing or dying for. The theater represented the music of the church’s present and past. By bringing medieval and early Tudor drama into conversation with Elizabethan and Jacobean drama, Brokaw uncovers connections and continuities across diverse dramatic forms and demonstrates the staying power of musical performance traditions. In analyzing musical practices and discourses, theological debates, devotional practices, and early staging conditions, Brokaw offers new readings of well-known plays (Marlowe’s Doctor Faustus, Shakespeare’s The Tempest and The Winter’s Tale) as well as Tudor dramas by playwrights including John Bale, Nicholas Udall, and William Wager.

Emily Dickinson's poetry is known and read worldwide but to date there have been no studies of her reception and influence outside America. This collection of essays brings together international research on her reception abroad including translations, circulation and the responses of private and professional readers to her poetry in different countries. The contributors address key translations of individual poems and lyric sequences; Dickinson's influence on other writers, poets and culture more broadly; biographical constructions of Dickinson as a poet; the political cultural and linguistic contexts of translations; and adaptations into other media. It will appeal to all those interested in the international reception of Dickinson and nineteenth-century American literature more widely.

A comprehensive history of the Provincetown Players and their influence on modern American theatre The Provincetown Players created a revolution in American theatre, making room for truly modern approaches to playwriting, stage production, and performance unlike anything that characterized the commercial theatre of the early twentieth century. In Staging America: The Artistic Legacy of the Provincetown Players, Jeffery Kennedy gives readers the unabridged story in a meticulously researched and comprehensive narrative that sheds new light on the history of the Provincetown Players. This study draws on many new sources that have only become available in the last three decades; this new material modifies, refutes, and enhances many aspects of previous studies. At the center of the study is an extensive account of the career of George Cram Cook, the Players’ leader and artistic conscience, as well as one of the most significant facilitators of modernist writing in early twentieth-century American literature and theatre. It traces Cook’s mission of “cultural patriotism,” which drove him toward creating a uniquely American identity in theatre. Kennedy also focuses on the group of friends he calls the “Regulars,” perhaps the most radical collection of minds in America at the time; they encouraged Cook to launch the Players in Provincetown in the summer of 1915 and instigated the move to New York City in fall 1916. Kennedy has paid particular attention to the many legends connected to the group (such as the “discovery” of Eugene O’Neill), and also adds to the biographical record of the Players’ forty-seven playwrights, including Susan Glaspell, Neith Boyce, Edna St. Vincent Millay, Floyd Dell, Rita Wellman, Mike Gold, Djuna Barnes, and John Reed. Kennedy also examines other fascinating artistic, literary, and historical personalities who crossed the Players’ paths, including Emma Goldman, Charles Demuth, Berenice Abbott, Sophie Treadwell, Theodore Dreiser, Claudette Colbert, and Charlie Chaplin. Kennedy highlights the revolutionary nature of those living in bohemian Greenwich Village who were at the heart of the Players and the America they were responding to in their plays.

"Starts off as a manifesto but becomes richer and more suggestive as it develops."—The New York Sun For Wallace Stevens, "Poetry is the scholar's art." Susan Howe—taking the poet-scholar-critics Charles Olson, H.D., and William Carlos Williams (among others) as her guides—embodies that art in her 1985 My Emily Dickinson (winner of the Before Columbus Foundation Book Award). Howe shows ways in which earlier scholarship had shortened Dickinson's intellectual reach by ignoring the use to which she put her wide reading. Giving close attention to the well-known poem, "My Life had stood—a Loaded Gun," Howe tracks Dickens, Browning, Emily Brontë, Shakespeare, and Spenser, as well as local Connecticut River Valley histories, Puritan sermons, captivity narratives, and the popular culture of the day. "Dickinson's life was language and a lexicon her landscape. Forcing, abbreviating, pushing, padding, subtracting, riddling, interrogating, re-writing, she pulled text from text...."

Writing Pain in the Nineteenth-Century United States examines how pain is represented in a range of literary texts and genres from the nineteenth-century US. It considers the aesthetic, philosophical, and ethical implications of pain across the works of Ralph Waldo Emerson, Harriet Jacobs, Emily Dickinson, Henry James, Elizabeth Stuart Phelps, and Alice James, as the national culture of pain progressively transformed in the wake of the invention of anesthesia. Through examining the work of nineteenth-century writers, Constantinesco argues that pain, while undeniably destructive, also generates language and identities, and demonstrates how literature participates in theorizing the problems of mind and body that undergird the deep chasms of selfhood, sociality, gender, and race of a formative period in American history. Writing Pain in the Nineteenth-Century United States considers first Emerson's philosophy of compensation, which promises to convert pain into gain. It also explores the limitations of this model, showing how Jacobs contests the division of body and mind that underwrites it and how Dickinson challenges its alleged universalism by foregrounding the unshareability of pain as a paradoxical measure of togetherness. It then investigates the concurrent economies of affects in which pain was implicated during and after the Civil War and argues, through the example of James and Phelps, for queer sociality as a response to the heteronormative violence of sentimentalism. The last chapter on Alice James extends the critique of sentimental sympathy while returning to the book's premise that pain is generative and the site of thought. By linking literary formalism with individual and social formation, Writing Pain in the Nineteenth-Century United States eventually claims close reading as a method to recover the theoretical work of literature.