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Vintage Classics Shakespeare Series

Chevalier T: New Boy / B

New Boy

Othello, Retold

They Can't Burn Us All

Routledge Explorations in Economic History

This book explores late colonial Zimbabwe's troubled transition from colony to independent state from a financial and economic history perspective.

This book explores late colonial Zimbabwe’s troubled transition from colony to independent state from a financial and economic history perspective.

Money, Sanctions and War Economy

Finance in Colonial Zimbabwe

The Bloody Branch

Louis Warlock returns in this rollicking adventure that is John Le Carré meets Arthur Conan Doyle.

Warlock's Apocalypse

Meet the epic fantasy debut of the year

The Poet Empress

Every Lifetime After

The Heir Apparent

Havisham

A Fortune Most Fatal

Laura Hope and Philippa Kelly make use of first-hand interviews with directors, actors, designers, and critics, as well as their own experiences in the theatre, to open up feminist dramaturgy as a field of enquiry and performance possibility. Resisting dogma, the authors cast a critical eye on past and present practices as they argue for the feminist dramaturg's role in shaping a theatre company's sense of its production potential.

In their lively invocation of a feminist dramaturgy that can lead to innovative and challenging directions in modern theatre-making, Laura Hope and Philippa Kelly make use of first-hand interviews with directors, actors, designers, and critics, as well as their own experiences in the theatre, to open up feminist dramaturgy as a field of enquiry and performance possibility.   The authors begin by discussing what happens when a dramaturg's performance strategies are vastly different from what a director envisions. This discussion moves naturally to Hope and Kelly's analysis of canonical plays they hope to re-think in terms of gender at the same time that they resist the implication that a feminist perspective is a prescription for a political and social agenda. Casting a critical eye on "mainstream" approaches to classical plays, the authors revisit casting practices, editing philosophies, and directorial concepts that provide thin, stereotypical depictions of male and female characters, arguing for closer textual and cultural analyses of misguided ventures such as the Lysistrata Project. Their commentary on appeals to audience involvement highlights the difficulty of challenging audience preconceptions and the possibilities for expanding audience reception, while the counterproductive rigidity with which organizations like the Beckett estate resist new  approaches to theatrical production are exposed in a discussion of feminist dramaturgy's potential to reinvigorate a play like Waiting for Godot. Adventures in Dramaturgy concludes with the authors' personal journey to forge new directions within a specific theatre company and in the professional world at large.

New Boy

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