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"From Shakespeare's religion to his wife to his competitors in the world of early modern theatre, biographers have approached the question of the Bard's life from numerous angles. Shakespeare & Biography offers a fresh look at the biographical questions connected with the famous playwright's life, through essays and reflections written by prominent international scholars and biographers"--

Dramatists, English --- History and criticism. --- Shakespeare, William, --- actor. --- anne hathaway. --- authorship. --- bard of avon. --- biography. --- drama. --- early modern theatre. --- english literature. --- english playwright. --- family. --- greatest dramatist. --- greatest writer in the english language. --- hamlet. --- king lear. --- likeness. --- london. --- macbeth. --- marriage. --- national poet. --- othello. --- performing arts. --- playing company. --- plays. --- playwright. --- poems. --- poetry. --- religion. --- romeo and juliet. --- shakespeare biography. --- shakespeare. --- the bard. --- theatrical career. --- wife. --- william shakespeare.

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The Viennese playwright, novelist, and short-story writer Veza Canetti was born in 1897 into a mixed Sephardic-Ashkenazi Jewish family and died in 1963 in London. Part of the avant garde in 1920s Vienna (where she met her future husband and Nobel Prize winner, Elias Canetti), from 1932 she wrote radical short stories drawn from everyday life for the Vienna 'Arbeiter-Zeitung.' After censorship under the so-called Corporate State reduced her opportunities for publication, she disguised her critique in irony and humor, but from then on published little. Until 1990, when her first novel, 'Yellow Street,' was finally published, Veza was known only as her husband's muse and literary assistant. As more of her writings appeared, critics became convinced that it was he who was responsible for her decline into obscurity, notwithstanding his protestations of support and admiration. This biography tells a more nuanced story, presenting Veza's literary career against the background of her troubled times, drawing on Elias's unpublished papers to assess their literary partnership, showing how their early writings constituted a private dialogue on topics as diverse as feminism and Jewish identity and how several key themes in his work are anticipated in hers. Julian Preece is Professor of German at the University of Wales, Swansea.

Authors, Austrian --- Canetti, Veza, --- Taubner-Calderon, Veza, --- Avant garde. --- Censorship. --- Everyday life. --- Humor. --- Irony. --- Jewish identity. --- Literary career. --- Mixed Sephardic-Ashkenazi Jewish family. --- Novelist. --- Short-story writer. --- Veza Canetti. --- Vienna Arbeiter-Zeitung. --- Viennese playwright.

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"Our Laundry, Our Town is a memoir that decodes and processes the fractured urban oracle bones of Alvin Eng's growing up in the Flushing, Queens, a neighborhood of that singular universe that was New York City in the 1970s. Back then, his family was one of the few immigrant Chinese families there. His parents had an arranged marriage and ran a Chinese Hand Laundry. From behind the counter of his parent's laundry and within the confines of our household that was rooted in a different century and culture, he sought to reconcile this insular home life with the turbulent yet inspiring street life that was all around them--from faux tv martial arts stars to punk rock. In the 1970s, NYC, like most of the world, was in the throes of regenerating itself in the wake of major social and cultural changes resulting from the Counterculture and Civil Rights movements. These same systemic conflicts form the core of our current global reckoning on representation and identity. By the 1980s, Flushing had become NYC's second Chinatown. But Alvin remained one of Flushing's few Chinese citizens who could not speak fluent Chinese. As a theatre practitioner and professor in the 21st century, discovering the under-chronicled Chinese influence on Thornton Wilder's seminal Americana drama, Our Town, became the unlikely catalyst for a psyche-healing pilgrimage. At City University of Hong Kong, Alvin and his wife, director/dramaturg Wendy Wasdahl, led a Fulbright Specialist devised theatre residency on the Chinese influence on Our Town. From this residency, the US Consulate Guangzhou invited Alvin to perform my Our Town-inspired solo, The Last Emperor of Flushing, in his family's ancestral Guangdong Province of southern China. Learning to proudly tell his own story on stage and now on the page has made him whole. As cities, classrooms, cultures, and communities the world over continue to re-examine the parameters of diversity, equity, and inclusion, Our Laundry, Our Town will reverberate with a broad readership"--

Chinese Americans. --- Chinese Americans --- Chinese --- Ethnology --- Eng, Alvin, --- 1970s New York City. --- Asian American memoir. --- Asian American playwright. --- Chinese American memoir. --- Chinese Hand Laundry. --- Downtown NYC Theatre. --- Gorgeous Mosaic. --- New York City memoir. --- Thornton Wilder Our Town. --- Toisan Chinese Immigration.

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For women, according to the contemporary Austrian dramatist Elfriede Jelinek, writing for the theater is an act of transgression. The idea that drama as a grand public genre resists women writers has become established in recent scholarship. But Jelinek herself has won the Büchner Prize, the most prestigious award in German letters, and there is a wealth of dramatic work by women from the 20th century and before: both facts seem to contradict the notion of women's exclusion from drama. So why has drama by women appear to have been written against the odds, and why has it, until very recently, been missing from literary histories? This book looks in detail at women's playwriting in German between 1860 and 1945, and at its reception by critics. Many of the works considered have never before been analyzed by modern scholarship; others, notably the plays of Marieluise Fleisser and Else Lasker-Schüler, are well known, but are read here for the first time in the context of earlier dramatic work by women. Sarah Colvin seeks modes of reading that do justice both to the dramatic texts as 'performance' texts, and to the sense of 'otherness' experienced by the woman writer in a male-dominated literary and theatrical environment. She concludes that an understanding of the techniques developed by women playwrights of the nineteenth and early twentieth centuries can enrich our reading not only of Fleisser and Lasker, but of contemporary dramatists such as Jelinek. If all the world's a stage, playwrights can theoretically be seen as in control of the world they create; this book asks to what extent women dramatists manage to use the space of the drama to reflect the world that 'they' experience. Sarah Colvin is Reader in German at the University of Edinburgh.

German drama --- Women and literature --- German literature --- Women authors --- History and criticism. --- History --- Drama. --- Else Lasker-Schuler. --- Female dramatists. --- Feminism. --- Gender. --- German drama. --- German female author. --- German literature. --- Marieluise Fleisser. --- Play. --- Playwright. --- Sexism. --- Women dramatist. --- Women in literature. --- Women writers. --- Women's playwriting.

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The Greek playwright Aristophanes (active 427-386 BCE) is often portrayed as the poet who brought stability, discipline, and sophistication to the rowdy theatrical genre of Old Comedy. In this groundbreaking book, situated within the affective turn in the humanities, Mario Telò explores a vital yet understudied question: how did this view of Aristophanes arise, and why did his popularity eventually eclipse that of his rivals? Telò boldly traces Aristophanes's rise, ironically, to the defeat of his play Clouds at the Great Dionysia of 423 BCE. Close readings of his revised Clouds and other works, such as Wasps, uncover references to the earlier Clouds, presented by Aristophanes as his failed attempt to heal the audience, who are reflected in the plays as a kind of dysfunctional father. In this proto-canonical narrative of failure, grounded in the distinctive feelings of different comic modes, Aristophanic comedy becomes cast as a prestigious object, a soft, protective cloak meant to shield viewers from the debilitating effects of competitors' comedies and restore a sense of paternal responsibility and authority. Associations between afflicted fathers and healing sons, between audience and poet, are shown to be at the center of the discourse that has shaped Aristophanes's canonical dominance ever since.

Greek drama (Comedy) --- History and criticism. --- Aristophanes --- Criticism and interpretation. --- Greek & Latin Languages & Literatures --- Languages & Literatures --- History and criticism --- E-books --- Aristofan --- Arystofanes --- Aristophane --- Aristofane --- Arisutopanesu --- Arisutofanesu --- Aristófanes --- Aristophanes Comicus --- אריסטופאנוס --- אריסטופאנס --- אריסטופאנס. כספי זיוה --- אריסטופניס --- אריסטופנס --- Ἀριστοφάνης --- Aristophanes [Comicus] --- aristophanes, affect, aesthetics, classical literature, classics, literary, playwright, plays, drama, popularity, humanities, clouds, wasps, audience, narrative of failure, authority, responsibility, criticism, interpretation, comic, comedy writer, ancient athens, representation, life, history, historical, peace, hierarchy, knights, identity, fashion, clothing, alienation, oresteia, dancing.