Plays

Collects for the first time major lesbian plays from controversial cultural perspectives spanning more than a generation of work in varied theatrical styles representing an amazing gamut of lesbian politics from all over America. Includes: The Quintessential Image (Jane Chambers) The Postcard (Gloria Joyce Dickler) A Lady and a Woman (Shirlene Holmes) Nasty Rumors and Final Remarks (Susan Miller) Desdemona (Paula Vogel) and more!

John Gielgud tells the story of his life in the theatre, from the time of the great actor/managers like Tree and du Maurier and star actresses like Sarah Bernhardt and his own great aunt Ellen Terry, to his famous partnerships with Laurence Olivier and Ralph Richardson.

John Gielgud tells the story of his life in the theatre, from the time of the great actor/managers like Tree and du Maurier and star actresses like Sarah Bernhardt and his own great aunt Ellen Terry, to his famous partnerships with Laurence Olivier and Ralph Richardson.

When CLERKS opened at cinemas across the country in 1994, it took everyone, especially the film industry, by surprise. Filmed on a shoestring budget after hours at a convenience store, it was crude (in technique and language), realistic and, above all, hilarious. The movie's nationwide success helped launch the indepedent film boom of the 1990s and catapulted its director, Kevin Smith, to full-fledged stardom. Smith's work is explored in AN ASKEW VIEW, the first ever study of his films. John Kenneth Muir examines all of Smith's movies. including MALLRATS, CHASING AMY, and the hugely controversial and variously interpreted DOGMA. Muir discusses Smith's themes and obsessions in depth: his New Jersey boosterism, the cast of characters that pop in and out of all of his films, and the references to STAR WARS and other icons of pop culture. AN ASKEW VIEW is a fascinating and detailed history of the art of this visionary filmmaker, New Jersey's favorite local-boy-makes-good since Bruce Springsteen.

Love? What does love mean in this fearsome drama? Not much that is affirmative. Not much to heat the heart of a sentimental spectator. It signifies a passion that amounts to illness, an alternately aching and frantic desire that cannot be slaked. The three characters who love strive to conquer love by straining their will power to its elastic limits. And what does loved mean here? Not the ecstasy of glowing with selflessness and basking in another's affection, but a tormenting burden that cannot be shaken off, can only be readjusted to serve as an instrument of convenience or harm. from the Afterword by Albert Bermel

Sophocles, Hlderlin, Brecht, Malina - four major figures in the world's theatre - have all left their imprint on this remarkable dramatic text. Friedrich Hlderlin translated Sophocles into German, Brecht adapted Hlderlin, and now Judith Malina has rendered Brecht's version into a stunning English incarnation. Available for the first time in English.

These popular editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process.

A clear and well-written portrait of a superb performer and a wonderful human being, with emphasis on the word 'human.' - The New York Times Book Review He was one of the most beloved stars of television's golden age. Together with his legendary partner Jackie Gleason, Art Carney helped create some of the most dazzling and unforgettable comedy ever presented on the small screen. Carney was an agile, rubber-limbed dancer and comedian whose sweetness and unassuming nature concealed the passion and power of a brilliant, often underappreciated, actor. The partnership formed by Carney and Gleason, as Brooklyn bus driver Ralph Kramden and his dim-witted pal, sewer worker Norton, remains to this day the most powerful and memoriable comedic union ever conceived for television. How this song-and-dance man and show business recluse began his career, as well as the detours, lucky breaks, triumphs and heartbreaks Carney encountered along the way, is the subject of this fascinating, in-depth biography by author and New York Post editor Michael Seth Starr. ART CARNEY tells the story of a complex man and an enduring television legend who gave the world the most extraordinary gift of all: the gift of laughter.

If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. Never has there been a Folio available in modern reading fonts. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan look, none of them is easily and practically utilized in general Shakespeare studies or performances.

Includes: Amy Hill: Tokyo Bound; David Henry Hwang: Bondage; Velina Hasu Houston: As Sometimes in a Dead Man's Face; Lane Nishikawa and Victor Talmadge: The Gate of Heaven; Dwight Okita: The Rainy Season.