The far-flung fingers of Earth's civilisation touched many corners of the galaxy, and among them was the beautiful planet Yan. Here the colonists lived a peaceful, almost idyllic life, amid ancient and secret relics, co-existing with their strange and compatible neighbours. The arrival of Gregory Chart, the greatest dramatist ever, whose productions were played out in the skies, and whose actors were also the audience, could only disrupt and destroy once the Yanfolk were aroused from their dreaming indifference . . . (First published 1972)

Essays on major science fiction writers.

This comprehensive work is truly the first textbook in the field of dramaturgy. Most of the material-much of it by leaders in all areas of the theater-was commissioned for this collection, rather than being reprinted. Its currency and importance cannot be overestimated. A review of the history of dramaturgy as a profession, together with its European antecedents, gives students a sense of historical context. Selections from respected and recognized names in theater provoke student interest and communicate the benefits of those experts' experiences.

A new edition of the celebrated introduction to dramaturgy training and practice Since its release in 2010, Ghost Light: An Introductory Handbook for Dramaturgy has become the international standard for dramaturgy training and practice. The first textbook introduced students to the “ghost light” model of dramaturgy—a creatively engaged, artistically vibrant approach that draws on extensive knowledge of theatre history, practice, and theory—and this second edition brings the conversation up to the present. Over three parts, author and theory creator Michael Mark Chemers helps students explore the world of the dramaturg. Part 1 describes what dramaturgs do, presents a detailed history of dramaturgy, and summarizes many of the critical theories needed to analyze and understand dramatic texts. Part 2 teaches students to read, write, and analyze scripts through a twelve-step program with suggestions about how to approach various genres and play structures. The final part delves into the relationships dramaturgs forge and offers useful advice about collaborating with other artists. It also includes ideas for audience outreach initiatives such as marketing and publicity plans, educational programs, program notes and lobby displays, and more. Perfectly suited for the undergraduate theatre classroom, this holistic guide includes chapter exercises for students to practice the skills as they learn. The new edition also incorporates recent theory and new resources on multimedia performance and dramaturgy in the digital age. As the field of dramaturgy continues to shift and change, this new edition of Ghost Light: An Introductory Handbook for Dramaturgy prepares theatre students and practitioners to create powerful, relevant performances of all types.

Mark J.P. Wolf’s study of imaginary worlds theorizes world-building within and across media, including literature, comics, film, radio, television, board games, video games, the Internet, and more. Building Imaginary Worlds departs from prior approaches to imaginary worlds that focused mainly on narrative, medium, or genre, and instead considers imaginary worlds as dynamic entities in and of themselves. Wolf argues that imaginary worlds—which are often transnarrative, transmedial, and transauthorial in nature—are compelling objects of inquiry for Media Studies. Chapters touch on: a theoretical analysis of how world-building extends beyond storytelling, the engagement of the audience, and the way worlds are conceptualized and experienced a history of imaginary worlds that follows their development over three millennia from the fictional islands of Homer’s Odyssey to the present internarrative theory examining how narratives set in the same world can interact and relate to one another an examination of transmedial growth and adaptation, and what happens when worlds make the jump between media an analysis of the transauthorial nature of imaginary worlds, the resulting concentric circles of authorship, and related topics of canonicity, participatory worlds, and subcreation’s relationship with divine Creation Building Imaginary Worlds also provides the scholar of imaginary worlds with a glossary of terms and a detailed timeline that spans three millennia and more than 1,400 imaginary worlds, listing their names, creators, and the works in which they first appeared.

The Routledge Companion to Science Fiction is a comprehensive overview of the history and study of science fiction. It outlines major writers, movements, and texts in the genre, established critical approaches and areas for future study. Fifty-six entries by a team of renowned international contributors are divided into four parts which look, in turn, at: history – an integrated chronological narrative of the genre’s development theory – detailed accounts of major theoretical approaches including feminism, Marxism, psychoanalysis, cultural studies, postcolonialism, posthumanism and utopian studies issues and challenges – anticipates future directions for study in areas as diverse as science studies, music, design, environmentalism, ethics and alterity subgenres – a prismatic view of the genre, tracing themes and developments within specific subgenres. Bringing into dialogue the many perspectives on the genre The Routledge Companion to Science Fiction is essential reading for anyone interested in the history and the future of science fiction and the way it is taught and studied.

'One citizen of your planet shall go to the capital of the Federation of Worlds. He shall live there for thirty days. If your representative can survive and demonstrate his ability to exist in a civilized society with creatures whose outward appearance and manner of thinking differ from his own, you will pass the test. You will be permitted to send your starships to other planets of the galaxy. 'If he fails the test, if prejudice, fear, intolerance or stupidity trip him up, then you world will be sealed of from the stars for ever!' This was the ultimatum from space. The task before the world then was - who shall go? What man or woman could be found to take this frightening test for the whole of humanity and be certain not to fail? (First published 1961)

War hero, jet-setter, gourmet - Godwin Harpinshield was all of those and more; his life was a game played among the Beautiful People whose fame, wealth and power set them above the law, and beyond the laws of nature. Because of a simple bargain that all the Beautiful People made, Godwin's every desire was his for the asking. Seduced by luxury, Godwin never doubted his fortune, never wondered about his mysterious patrons. Then the game turned ugly. Suddenly, the ante was raised and the game was real. The stakes were his future, his sanity and, possibly, his very soul. All Godwin Harpinshield had to discover was: What were the rules of the game? And who - or what - were the other players?

When mankind colonized the stars, they travelled out from Earth in two directions - to Centaurus and its Southern Hemisphere neighbours and to Ursa Major and the constellations around Polaris. And strange to say the humans who settled on those various worlds began to develop into two differing antagonistic types. For Ray Mallin, born under the surface of Mars in the sparse colony of Earth's inhospitable old neighbour, neither the anarchic 'bears' nor the autocratic 'Centaurs' commanded his loyalty. So when secret agents of both galactic groupings suddenly focus their unwelcome attention on his most recent star-piloting mission, he knew only that something of vast significance was up - and that he unknowingly was the key to it.

The interstellar Bridge System was the greatest invention in the long history of cosmic humanity. Spread through dozens of planets, men and their societies had drifted apart in isolation until the Bridge came to link together humanity's multifold worlds . . . and had affirmed once more that all men were brothers and sisters under the skin. But the far away world of Azreal was the exception, the one dissident world that refused the Bridge. It became the task of two agents, a man and a woman, to bring Azreal back into manshape unity, to ferret out the hidden reasons for the stubborn refusal. The problem, with its perils and high risks, was to involve more than just secrets, for Manshape is John Brunner novel that deals with the very fabric of civilization . . .