The week after Thanksgiving. A bed and breakfast in Gettysburg, Pennsylvania. A cheerful innkeeper. A young couple struggling to stay together. Thousands of inanimate objects, watching. John, an uncanny play by Annie Baker, was first seen Off-Broadway in 2015. The play had its UK premiere at the National Theatre, London, in 2018, in a production directed by James Macdonald. Annie Baker's other plays include Pulitzer Prize-winning The Flick, The Antipodes, Circle Mirror Transformation, The Aliens, and an adaptation of Chekhov's Uncle Vanya. She has won many other awards, including a Guggenheim Fellowship and a MacArthur Grant.

An Obie Award-winning playwright's passionate ode to film and the theater that happens in between.

THE STORY: Two angry young men sit behind a Vermont coffee shop and discuss music and Bukowski. When a lonely high-school student arrives on the scene, they decide to teach him everything they know. A play with music about friendship, art, love and

A group of people sit around a table theorising, categorising and telling stories. Their real purpose is never quite clear, but they continue on, searching for the monstrous. Part satire, part sacred rite, Annie Baker's play The Antipodes asks what value stories have for a world in crisis. First seen at Signature Theatre, New York, in 2017, the play had its UK premiere at the National Theatre, London, in 2019. 'The most original and significant American dramatist since August Wilson' Mark Lawson, The Guardian

It's "Body Awareness Week" on a Vermont college campus and Phyllis, the organizer, and her partner, Joyce, are hosting one of the guest artists in their home, Frank, a photographer famous for his female nude portraits. Both his presence in the home and his chosen subject instigate tension from the start. Phyllis is furious at his depictions, but Joyce is rather intrigued by the whole thing, even going so far as to contemplate posing for him. As Joyce and Phyllis bicker, Joyce's adult son, who may or may not have Asperger's Syndrome, struggles to express himself physically with heartbreaking results.

The debut collection of a celebrated new American playwright.

In the first book-length study of Annie Baker, one of the most critically acclaimed playwrights in the United States today and winner of the 2014 Pulitzer Prize, a Guggenheim Fellowship, and a MacArthur “genius” grant, Amy Muse analyzes Baker's plays and other work. These include The Flick, John, The Antipodes, the Shirley Vermont plays, and her adaptation of Uncle Vanya. Muse illuminates their intellectual and ethical themes and issues by contextualizing them with the other works of theatre, art, theology, and psychology that Baker read while writing them. Through close discussions of Baker's work, this book immerses readers in her use of everyday language, her themes of loneliness, desire, empathy, and storytelling, and her innovations with stage time. Enriched by a foreword from Baker's former professor, playwright Mac Wellman, as well as essays by four scholars, Thomas Butler, Jeanmarie Higgins, Katherine Weiss, and Harrison Schmidt, this is a companionable guide for students of American literature and theatre studies, which deepens their knowledge and appreciation of Baker's dramatic invention. Muse argues that Baker is finely attuned to the language of the everyday: imperfect, halting, marked with unexpressed desires, banalities, and silence. Called “antitheatrical,” these plays draw us back to the essence of theatre: space, time, and story, sitting with others in real time, witnessing the dramatic in the ordinary lives of ordinary people. Baker's revolution for the stage has been to slow it down and bring us all into the mystery and pleasure of attention.

THE STORY: When four lost New Englanders who enroll in Marty's six-week-long community-center drama class begin to experiment with harmless games, hearts are quietly torn apart, and tiny wars of epic proportions are waged and won. A beautifully cra

Modern Asian Theatre and Performance 1900 – 2000 is a ground-breaking survey, tracking the advent of modern drama in Japan, India, China, Korea and Southeast Asia. It considers the shaping power of realism and naturalism, the influence of Western culture, the relationship between theatrical modernisation and social modernisation, and how theatre operates in contemporary Asian society. Organised by period, nation and region, each chapter provides: ·a historical overview of the culture; ·an outline of theatre history; ·a survey of significant playwrights, actors, directors, companies, plays and productions. With contributions from an international team of scholars, this authoritative introduction will uniquely equip students and scholars with a broad understanding of the modern theatre histories of Asia.

The Methuen Drama Book of New American Plays is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi's Stunning, is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley's lyrical epic The Road Weeps, The Well Runs Dry deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee's Pullman, WA deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall's Hurt Village uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn's Dying City melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc's The Big Meal, an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.