![A new Variorum Edition of Shakespeare. Edited by Horace Howard Furness [and Others]](https://cdn.kingstone.com.tw/english/images/product/6410/9781024116410m.webp?Q=66691 "A new Variorum Edition of Shakespeare. Edited by Horace Howard Furness [and Others]")
Phaedra
First performed in 1677, Jean Racine's Phaedra (Ph癡dre) is one of the most important and influential tragedies of the French stage. It has remained continually popular for hundreds of years, and the title role has been a showpiece for many legendary actresses, from Sarah Bernhardt in the 19th century, to the great performers of today. Based on the legends of Greek mythology, and following in the tradition of Ancient Greek and Roman theater, the play tells the tragic story of Phaedra's forbidden, unrequited love for her stepson, Hippolytus. It is also an exploration of the effects of fate and destiny, and how even virtue and honorable intentions are helpless to escape their destructive powers. Racine's take on the story brings it closer to modern sensibilities, but doesn't lessen any of its cathartic intensity; something that continues to move audiences to this day.
Shakespeare's Forgotten Allegory
Shakespeare's Forgotten Allegory posits that we have today forgotten a cultural icon that helped to bring about the Renaissance.
The Score
...one moment there's nothing. Then there's something. Your mind's blank - then there's an idea. From second to second. There it is, the germ of your cantata, your chorale, your partita. Out of the void. Out of nothing - to something. In a millionth of a second. A divine spark!Spring 1747. Potsdam, Prussia. Johann Sebastian Bach reluctantly visits the court of Frederick II, Europe's most ambitious and dangerous leader.The two men could hardly be more different. As the Age of Enlightenment dawns, they stand in opposite camps. Bach is deeply religious, Frederick is an athiest. Bach loathes war, Frederick revels in it. Bach studies scripture, Frederick reads military history. However, Frederick remains in awe of Bach's genius and has mischievously prepared a musical conundrum that he hopes will baffle the composer and amuse his court. The explosive events of the following days could not have been predicted by either man.This edition was published to coincide with the West End production in February 2025.
This Is the Story of the Child Ruled by Fear
David has written a play for himself and a gathering of friends and strangers to read together out loud. It tells the story of the rise and fall of an imaginary civilization in an imaginary land. Some of it is fact, some fiction. But at any point you may be part of a Greek chorus, playing a main character, or collectively confronting your fears about a world on the verge of collapse. Are you ready to take a leap of faith? It's okay if you feel nervous. David is nervous too. With so much to be fearful of these days, it's best to brave this thing together.An ingenious exercise in interactive storytelling, This Is The Story of the Child Ruled by Fear is a poetic and participatory fable about how to live with the slowly unfolding emergencies of our time. Playwright David Gagnon Walker guides us through an enchanting performance ritual that provides a communal, cathartic release for those prone to anxiety, fear, and depression. It's an invitation to share the joys of creating a story together so that maybe we can all feel less alone.
The Granite
Book 3 in the Greg Bowker murder/mystery seriesDetective Inspector Greg Bowker must travel to the town of his childhood to investigate the murder of an elderly man, one who happens to be Greg's old schoolteacher. His visit reignites boyhood memories of he and his younger brother discovering a blood-covered body on the slopes of a stony, scrubby hill known to those in the area as the Granite. As the investigation evolves, Bowker and his partner become convinced that the old teacher's demise is somehow linked to the death of the man on the Granite almost four decades prior. But are their instincts correct?
Man and Superman
Meno by Plato is a philosophical dialogue that explores the nature of virtue and knowledge. The dialogue begins with Meno asking Socrates whether virtue can be taught, to which Socrates responds by questioning what virtue is. Through a series of questions and answers, Socrates leads Meno to the conclusion that virtue is knowledge. However, this raises the question of how one can acquire this knowledge. Socrates suggests that it must be through recollection, as the soul already possesses all knowledge but needs to be reminded of it. The dialogue then turns to a discussion of geometry, in which Socrates demonstrates his method of inquiry and shows how one can arrive at true knowledge through questioning and reasoning. Ultimately, Meno leaves with a deeper understanding of the nature of knowledge and virtue while also recognising the limitations of his own understanding.
Brandy
The story of a young woman who decides to forge her own path. Despite numerous setbacks and the stereotypes of her time, Brandy perseveres and finds success on her own terms.This novel depicts the courage and determination of modern women. Love and independence are both central to Brandy's resilient spirit. Her unwavering desire to succeed in life remains unstoppable, even when challenged by the complexities of a bizarre love triangle.
Jacqueline's Journey
Through a veil of tears Jacqueline begins to realise that her life would never be the same again... The fear of the unknown soon subsides and Jacqueline begins the journey of her life...She overcomes the turbulent past that is secreted in her heart as she embraces her childhood dream to attend university. Her courage and conviction supported by her family to carry on with her new way of life becomes her aspiration...The emotional attachment of the past will not let go and it terrifies Jacqueline!Her dreams become nightmares, as she struggled to let her dear Declan go. She begins to question her capabilities but never loses her courage to see it through. Her childhood dream becomes a reality, and she finally accepts her new way of life with someone else... She will never let go of her faith, always questioned it, but never denied it.
House of Truth & Bloke and His American Bantu
Siphiwo Mahala delves into the lives of iconic figures from South Africa's tumultuous past in this remarkable collection of plays. The collection opens with The House of Truth, which explores the complexity of Can Themba, a fearless journalist, playwright and poet living under an oppressive apartheid regime. The one-man play weaves together elements of Themba's life and career, recreating the excitement and pathos of the DRUM era South Africa's first magazine for a black audience, and his resident neighborhood, Sophiatown in Johannesburg, before it was destroyed by apartheid legislation. Themba is brought back to life as an ordinary person with human flaws and attributes both tragic and inspirational. In the second play, Bloke and His American Bantu. Mahala brings to life the extraordinary lives of Bloke Modisane, a South African writer exiled in London, and Langston Hughes, the renowned American poet. This two-hander play celebrates their remarkable camaraderie and intellectual exchange. Through a reimagined correspondence, the play deftly explores how a simple friendship blossomed into a catalyst for international solidarity and cultural exchange across continents, from Africa to the UK to America. As a whole, the plays explore the intersections of identity, creativity and resistance. With wit, poise, and unflinching honesty, they bring to life the triumphs and struggles of these remarkable men who left an indelible mark on their worlds, and celebrate the human spirit's capacity to persevere, inspire and uplift.
MacDonald
Includes the plays Summit Conference, Chinchilla and Webster Three plays first performed by the Citizens Theatre Company, Glasgow, later with further acclaimed productions including the West End and Broadway. Rober David MacDonald has created imaginary worlds, stylish, witty and frightening: a fictitious meeting between the mistresses of Hitler and Mussolini; the backstage world of the playwright John Webster; and the rarified atmosphere of the Diaghilev ballet.
Performing the Queer Past
'Tender and rigorous, this book invites readers to linger with difficult pasts and consider how best to grasp their hauntings, demands and manifestations in the present. This is a book about mourning as well as holding, a simultaneous act of exhumation and a laying to rest.' anna six, author of Madness, Art, and Society: Beyond Illness 'This is an extraordinary book, in which queer theatre and performance become sites of celebration and resistance, as well as holding the potential for performers and audiences to work through painfully felt yet difficult to articulate experiences towards feelings of hope. Replete with rigorous, generous and creative readings, it is also a meditation on Walsh's own emotional engagement with queer theatre and performance, and how our cultural attachments can sustain, enliven and contain us.' Noreen Giffney, psychoanalytic psychotherapist and author of The Culture-Breast in Psychoanalysis Why do contemporary queer theatre and performance appear to be possessed by the past? What aesthetic practices and dramaturgical devices reveal the occupation of the present by painful history? How might the experience of theatre and performance relieve the present of its most arduous burdens?Following recent legislation and cultural initiatives across many Western countries hailed as confirming the darkest days for LGBTQ+ people were over, this book turns our attention to artists fixed on history's enduring harm. Guiding us through an eclectic range of examples including theatre, performance, installation and digital practices, Fintan Walsh explores how this work reckons with complex cultural and personal histories. Among the issues confronted are the incarceration of Oscar Wilde, the Holocaust, racial and sexual objectification, the AIDS crisis and Covid-19, alongside more local and individual experiences of violence, trauma and grief.Walsh traces how the queer past is summoned and interrogated via what he elaborates as the aesthetics and dramaturgies of possession, which lend form to the still-stinging aches and generative potential of injury, injustice and loss. These strategies expose how the past continues to haunt and disturb the present, while calling on those of us who feel its force to respond to history's unresolved hurt.
Tyranny and Theater in the Ancient World
Exploring persistent connections between absolute rulers and dramatic performance in Greek and Roman drama and history, Anne Duncan offers the reader a comprehensive insight into the juxtaposition between tyranny and theater in the Greco-Roman world. From the mad kings of Greek and Roman tragedy to the relationships that Greek tyrants and Roman emperors cultivated with actors and playwrights, absolute power has had an inescapably theatricalising effect on ruler and regime. Traversing various Greco-Roman playwrights, such as Euripides, Sophocles and Seneca, this book analyses the dangerous, unstable tyrants of ancient tragedy alongside the dangerous, unstable tyrants of ancient historiography in order to map out the ancient world's discourses about the allure and peril of absolute power. Duncan argues that, while any kind of political display has theatrical qualities, it is tyranny that has an especially theatrical mode. Her conclusion is that tyrants and playwrights began to influence each other over the course of Greco-Roman antiquity, so that tragedy tyrants began to resemble real rulers, and real rulers began to style themselves after tragedy tyrants, each trying to tap into the other's power to command audiences.
Kabale und Liebe
Ferdinand, Major und Sohn des Pr瓣sidenten von Walter, eines einflussreichen Adligen am Hof eines deutschen F羹rsten, st羹rzt mit seiner auf Gegenseitigkeit beruhenden Liebe Luise, die Tochter des Musikus Miller, in einen t繹dlich endenden Konflikt. Sowohl der Vater Ferdinands als auch der alte Miller lehnen eine Verbindung ihrer Kinder ab. Der Pr瓣sident von Walter verfolgt stattdessen das Ziel, Ferdinand mit der M瓣tresse des Herzogs, Lady Milford, zu verheiraten, um so seinen Einfluss bei Hofe zu vergr繹?ern. Ferdinand rebelliert jedoch gegen den Plan seines Vaters, k羹ndigt ihm seinen Gehorsam auf und versucht Luise zur gemeinsamen Flucht zu 羹berreden. Er begibt sich zu Lady Milford, um sie zum Verzicht auf das B羹ndnis zu bewegen und ihr seine Liebe zu Luise zu gestehen. Friedrich von Schiller (1759-1805), 1802 geadelt, war ein Arzt, Dichter, Philosoph und Historiker. Er gilt als einer der bedeutendsten deutschsprachigen Dramatiker, Lyriker und Essayisten.
Der Tartuffe oder Der Betr羹ger
Der Tartuffe oder Der Betr羹ger ist eine f羹nfaktige Kom繹die in Versen des franz繹sischen Dichters Moli癡re, die am 12. Mai 1664 in einer ersten Version uraufgef羹hrt wurde. Zur Handlung: Frau Pernelle, Orgons Mutter, bewundert wie ihr Sohn den Betr羹ger Tartuffe, der sich als besonders frommer Mann ausgibt, und versucht Orgons Familie von ihren Ansichten zu 羹berzeugen. Seit Tartuffe in Orgons Haus lebt, befolgt dieser alle Ratschl瓣ge des Betr羹gers und beschlie?t sogar, seine Tochter Mariane mit Tartuffe zu verheiraten, obwohl sie mit Val癡re verlobt ist. Mariane ist ungl羹cklich 羹ber die Entscheidung ihres Vaters, wehrt sich aber nicht direkt. Sie 羹berl瓣sst die Initiative der Dienerin Dorine, die mit Hilfe von Mariannes Bruder Damis und ihrer Stiefmutter Elmire die Heiratspl瓣ne mit Tartuffe vereiteln will. Tartuffe trifft zun瓣chst auf Dorine und wird von ihr r羹de zurechtgewiesen. Als Elmire erscheint, macht ihr Tartuffe Avancen. Er wird dabei von Damis beobachtet, der gegen Elmires Willen seinem Vater, der gerade nach Hause kommt, diese Szene berichtet. Orgon glaubt seinem Sohn nicht, da Tartuffe geschickt Reue heuchelt. Stattdessen enterbt Orgon Damis und beschlie?t, Tartuffe seinen gesamten Besitz zu 羹berschreiben. Nach einem erfolglosen Versuch von Orgons Schwager Cl矇ante, Tartuffe zur Rede zu stellen, will Elmire ihrem Mann beweisen, dass Damis recht hat und Tartuffe tats瓣chlich in sie verliebt ist... Moli癡re (eigentlich Jean-Baptiste Poquelin; 1622-1673) war ein franz繹sischer Schauspieler, Theaterdirektor und Dramatiker.
Der b繹se Geist Lumpazivagabundus
Der b繹se Geist Lumpazivagabundus oder "Das liederliche Kleeblatt" ist eine von Johann Nestroy verfasste Zauberposse des Alt-Wiener Volkstheaters. Die Handlung basiert vor allem auf der Novelle Das gro?e Los von Carl Weisflog. Weiter werden hier auch mehrere Anspielungen auf Shakespeares Sommernachtstraum geboten. Das Werk ist eine Zauberposse mit Gesang in drei Akten, die das Leben von drei Handwerksgesellen beschreibt, denen durch eine Machtprobe zwischen Fortuna und der Liebesfee Amorosa das gro?e Los beschert wird. Zwei der drei Burschen treten zuerst das Gl羹ck mit den F羹?en und werfen es hinterher beim Fenster raus, doch da letztlich die wahre Liebe siegt, kann der b繹se, verf羹hrerische "Ungl羹cksgeist", der die Knaben befallen hat, gebannt werden und Amorosa triumphiert. Die Geschichte zeigt das zum Teil unmoralische und anst繹?ige Leben dreier Handwerksgesellen, f羹r die - zumindest f羹r zwei davon - Geld bzw. Gl羹ck eine gr繹?ere Rolle spielt als Liebe. Johann Nepomuk Eduard Ambrosius Nestroy (1801-1862) war ein 繹sterreichischer Dramatiker, Schauspieler und Operns瓣nger. Sein Werk ist der literarische H繹hepunkt des Alt-Wiener Volkstheaters.
![The Nursery Guide, etc. [In verse.]](https://cdn.kingstone.com.tw/english/images/product/5237/9781241015237m.webp "The Nursery Guide, etc. [In verse.]")
![Juvenile Poems by the late John Courtenay, Jun. With an elegy on his death [by J. Courtenay, M.P.]. [With a portrait.]](https://cdn.kingstone.com.tw/english/images/product/7261/9781241027261m.webp "Juvenile Poems by the late John Courtenay, Jun. With an elegy on his death [by J. Courtenay, M.P.]. [With a portrait.]")
Juvenile Poems by the late John Courtenay, Jun. With an elegy on his death [by J. Courtenay, M.P.]. [With a portrait.]
