Like Shakespeare's Juliet, Annabella, accompanied by her down-to-earth nurse, is introduced to a series of suitors to her hand. Like Juliet, she finds all of them unsatisfactory - and rightly so, for the audience know that the nastiest of them is having an affair with her domineering aunt. Like Juliet, Annabella is wooed by a sensitive and passionate young man whose love she returns - but this young man happens to be her own brother, Giovanni. When they consummate their love and she, to avoid the scandal of extramarital pregnancy, agrees to marry her aunt's lover, the tragic outcome is inevitable. John Ford, writing his psychologically powerful and intellectually challenging tragedies in the early years of King Charles I's reign, is a playwright of the first rank, as 20th-century directors have shown both in the theatre and on film.
Ford wrote darkly about sexual and political passion, despair, thwarted ambition, and incest. This selection also shows his ability to portray the poignancy of love as well as write entertaining comedy and create convincing roles for women. His Annabella, Hippolita, Penthea, Calantha, andKatherine Gordon rank among the most dramatically powerful female characters on the post-Shakespearean stage. Setting Ford's earliest surviving independently-written play, The Lover's Melancholy, alongside his three best known works, this edition includes an introduction with sections on each play addressing gender issues, modern relevance, and staging possibilities. Under the General Editorship ofMichael Cordner of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation, supplemented by detailed annotation.
'Tis Pity She's a Whore is one of the most controversial plays ever staged in the English theatre. In this illuminating Handbook, Martin White: • offers an in-depth, moment-by-moment analysis of the play, looking at how it might be performed on stage • provides vital contextual material on John Ford's social and literary influences • reconstructs the play's performances in Ford's own time and examines later stage, television and film productions • guides the reader through the often heated critical and theatrical responses to the dramatic work.
John Ford's tragedy 'Tis Pity She's A Whore was first performed between 1629 and 1633 and since then its themes of incest, love versus duty and forbidden passion have made it a widely studied and performed, if controversial, play. This guide offers students an introduction to its critical and performance history, including TV and film adaptations. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays. Finally, a guide to critical, web-based and production-related resources and an annotated bibliography provide a basis for further individual research.
Francis Bacon described revenge as a 'kind of wild justice'. Then as now, early modern playwrights and their theatre-going public were fascinated by the anarchic energies that a desire for retribution unleashes. Rather than rehearsing familiar conventions, each of these plays presents a unique social and cultural milieu where dark fantasies of revenge are variously played out. In Kyd's The Spanish Tragedy a grieving father seeks public justice for the murder of his son by envious princelings. When his attempts are thwarted he turns a court spectacle of murder into the 'real' thing. Blackly comic in its tone and style, The Revenger's Tragedy (anon.) presents vengeance as mimetic art, witty and cruel. Ford's 'Tis Pity She's a Whore represents an innovative re-working of the genre as a brother's love for his sister leads to his spectacular revenge on his rival, her husband, in a society in which brutal retaliation for perceived wrong is the norm. In Webster's The White Devil crimes of passion ignite revenge in the courts of the Italian city states. This student edition contains fully annotated, modernized texts of each play together with an introduction discussing the dramatic and poetic style of each play, focusing on its action and play of ideas.
Ford wrote darkly about sexual and political passion, thwarted ambition, and incest. This selection also shows his ability to portray the poignancy of love as well as to write entertaining comedy and creat concincing roles for women. His Annabella, Hippolita, Pentea, Calantha, and KatherinrGordon rank among the most dramatically powerful female characters on the post-Shakespearean stage. Setting Ford's earliest surviving independently-written play, The Lover's Melancholy, alongside his three best-known works, this edition includes an introduction with sections on each play addressing gender issues, modern relevance, and staging possibilities. Under the General editorship ofMichael Cordner, of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation, supplemented by detailed annotation.
This engaging book provides in-depth discussion of the various influences that an audience in 1606 would have brought to interpreting ‘King Lear’. How did people think about the world, about God, about sin, about kings, about civilized conduct? Learn about the social hierarchy, gender relationships, parenting and family dynamics, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world in free fall.
This engaging book provides in-depth discussion of the various influences that an audience in 1607 would have brought to interpreting ‘Antony and Cleopatra’. How did people think about the world, about God, about sin, about kings, about civilized conduct? Learn about the social hierarchy, gender relationships, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world lost through passion and machination.
"Eine unglaublich eindrucksvolle Lektüre. Gowars Gespür für anschauliche und sinnliche Details ist erstaunlich." The Bookseller Ein Wunder, raunen die einen. Betrug, rufen die anderen. Für den Kaufmann Jonah Hancock zählt nur eines: Die Meerjungfrau, die sein Kapitän aus Übersee mitgebracht hat, versetzt ganz London in Staunen. Wie ein Lauffeuer verbreitet sich die Kunde in den Kaffeehäusern, Salons und Bordellen der Stadt. Jonah steigt in die obersten Kreise der Gesellschaft auf und verkauft seine Meerjungfrau schließlich für eine schwindelerregende Summe. Nur die Gunst der Edelkurtisane Angelica Neal bleibt unerschwinglich für ihn, denn als Beweis seiner Liebe fordert Angelica eine eigene Meerjungfrau. Jonah setzt alles daran, ihr diesen Wunsch zu erfüllen. Doch Wunder haben einen hohen Preis. Ein preisgekröntes Romandebüt über Menschen, Meerjungfrauen und das ewige Streben nach mehr. Imogen Hermes Gowar erweckt das London des 18. Jahrhunderts zum Leben - schillernd, faszinierend und facettenreich.
This anthology contains scholarly and annotated editions of six major Elizabethan and Jacobean plays: The Spanish Tragedy Doctor Faustus Sejanus Women Beware Women The White Devil 'Tis Pity She's a Whore
This anthology contains scholarly and annotated editions of six major Elizabethan and Jacobean plays: The Spanish Tragedy Doctor Faustus Sejanus Women Beware Women The White Devil 'Tis Pity She's a Whore
Die Tragödie von Hamlet, Prinz von Dänemark, ist eine der bekanntesten und am häufigsten aufgeführten Tragödien von William Shakespeare. Der dänische Prinz Hamlet erhält vom Geist seines kurz zuvor vom eigenen Bruder Claudius ermordeten Vaters, des Königs von Dänemark, den Auftrag, das an ihm begangene Verbrechen zu rächen. Um den Mörder zu überführen und seine Rache vorzubereiten, gibt Hamlet vor, wahnsinnig zu sein. Hamlet lauert seinem Onkel auf und ersticht irrtümlich den Oberkämmerer Polonius. Dessen Sohn Laertes fordert, unterstützt von Claudius, Hamlet zum Duell. Hamlet siegt verwundet und ersticht Claudius, bevor er schließlich selbst stirbt.
This selection contains the three finest plays of the Stuart dramatist John Ford. The Broken Heart is a classical tragedy of suffering; 'Tis Pity She's a Whore, Ford's best-known play and one still frequently performed, is a tragic story of limitless ambition and social rivalry expressed in sexual terms; Perkin Warbeck is the last great successor to the history plays of Shakespeare. Together they exemplify the unique tone of Ford's drama, in which passion and gravity are united by a playwright with a poetic sense of theatre. This is the only one-volume selection of Ford's plays now available. The texts are modernised and equipped with notes explaining unfamiliar language and historical references. A general introduction gives a brief biography and bibliography; individual introductions deal with the sources and stage history of each play. Longer notes at the back of the book discuss points of staging and interpretation, and there is a full textual apparatus which makes this edition useful for the scholar as well as the student.

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