The Old Drama and the New


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The Old Drama and the New


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Old Age, Masculinity, and Early Modern Drama


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As it considers early modern medical theories, sexual myths, and intergenerational conflicts, this book traces the development of the comic old man character in Renaissance comedy, from his many incarnations in Venice and Florence to his popularity on the English stage. As Anthony Ellis shows how English dramatists adapted an Italian model to portray concerns about growing old, he sheds new light on early modern society's complex attitudes toward aging.




Brecht and Tragedy


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Explores Brecht's complex relationship with Greek tragedy and the tragic tradition, including significant archival material not seen before.







A Guide to Ancient Greek Drama


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This Blackwell Guide introduces ancient Greek drama, which flourished principally in Athens from the sixth century BC to the third century BC. A broad-ranging and systematically organised introduction to ancient Greek drama. Discusses all three genres of Greek drama - tragedy, comedy, and satyr play. Provides overviews of the five surviving playwrights - Aeschylus, Sophokles, Euripides, Aristophanes, and Menander, and brief entries on lost playwrights. Covers contextual issues such as: the origins of dramatic art forms; the conventions of the festivals and the theatre; the relationship between drama and the worship of Dionysos; the political dimension; and how to read and watch Greek drama. Includes 46 one-page synopses of each of the surviving plays.




The Old Drama and the New


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Theatre of the Unimpressed


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How dull plays are killing theatre and what we can do about it. Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer gut he’d become. There were of course those rare moments of transcendencethat kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination. ‘[Tannahill is] the poster child of a new generation of (theatre? film? dance?) artists for whom "interdisciplinary" is not a buzzword, but a way of life.’ —J. Kelly Nestruck, Globe and Mail ‘Jordan is one of the most talented and exciting playwrights in the country, and he will be a force to be reckoned with for years to come.’ —Nicolas Billon, Governor General's Award–winning playwright (Fault Lines)




The Spoils


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Nobody likes Ben. Even Ben doesn't like Ben. He bullies everyone in his life, including his roommate Kalyan, an earnest Nepalese immigrant. When Ben discovers that his school crush is marrying a straight-laced banker, he sets out to destroy their relationship and win her back. Jesse Eisenberg's The Spoils was first produced by the New Group in New York. It was transferred by Lisa Matlin and Ambassador Theatre Group to Trafalgar Studios, London, where it received its UK premiere in May 2016.




The Old Drama and the New


Book Description