Scripts for the Stage: Textual Analysis from Shakespeare to Shepard. . . and Beyond (Hardbound)
Original price was: $39.95.$31.95Current price is: $31.95.
Scripts for the Stage: Textual Analysis from Shakespeare to Shepard . . . and Beyond is a play-analysis textbook that contains 12 long essays and 4 short ones on a number of geographically diverse, historically significant dramas and dramatists—among them, Phaedra, Buried Child, Antigone, A Streetcar Named Desire, The Hairy Ape, Our Town, The Birthday Party, David Hare, The Glass Menagerie, Death of a Salesman, Old Times, Miss Julie,The Little Foxes, Henry V, Love’s Labour’s Lost, Bernard Shaw, Hamlet, Titus Andronicus, The Merchant of Venice, Of Mice and Men, A Midsummer Night’s Dream, Edmund, and Bertolt Brecht.
15 in stock
| Author | Bert Cardullo |
|---|---|
| Publisher | Universal Academic Books Publishers & Distributors |
| ISBN | 9788193282045 |
| Year Published | 2019 |
| Pages | 251 |
Scripts for the Stage: Textual Analysis from Shakespeare to Shepard . . . and Beyond is a play-analysis textbook that contains 12 long essays and 4 short ones on a number of geographically diverse, historically significant dramas and dramatists—among them, Phaedra, Buried Child, Antigone, A Streetcar Named Desire, The Hairy Ape, Our Town, The Birthday Party, David Hare, The Glass Menagerie, Death of a Salesman, Old Times, Miss Julie,The Little Foxes, Henry V, Love’s Labour’s Lost, Bernard Shaw, Hamlet, Titus Andronicus, The Merchant of Venice, Of Mice and Men, A Midsummer Night’s Dream, Edmund, and Bertolt Brecht.
Written with university students (and possibly also advanced high school students) in mind, these critical essays thus cover some of the central plays treated—and central issues raised—in today’s dramatic literature courses and will provide students with practical models to help them improve their own writing and analytical skills. The author is a “close reader” committed to a detailed yet relatively objective examination of the structure, style, imagery, and language of a play. Moreover, he is concerned chiefly with dramatic analysis that can be of benefit to directors, designers, and even actors—that is, with analysis of character, action, dialogue, and setting that can be translated into concepts for theatrical production, or that can at least provide the kind of understanding of a play with which a theater practitioner could fruitfully quarrel.
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