... Davies , The Autobiography of moves to Gaiety Theatre ; Craig a Super - Tramp ; Grahame , starts The Mask in Florence The Wind in the Willows 1909 Scottish Repertory Theatre Florence M. Barclay , The established by Arthur Wareing ...
Outlines the plot and characters of this groundbreaking play; explains the production, historical context, and themes; and includes critiques and reactions of scholars.
Cyrus Hoy, Thomas Dekker Fredson Bowers. but this identification is by no means regarded as certain , ' Hand C is that of a theatrical scribe , Hand D has been attributed to Shakespeare , 3 Hand E has been identified as Dekker's.4 ...
Edward Hudlin maintains that the book follows very closely the structure of the heroic myth as outlined by Joseph Campbell ... Carol Pearson and Katherine Pope look at Dorothy's adventures from a mythological and feminist perspective.19 ...
The Oxford Challenge to the Bard of Avon Richard F. Whalen, S. Schuster ... 168 n.6 Saintsbury , George , 4 Schoenbaum , S. , 5 , 12-13 , 43 , 96 , Spurgeon , Caroline F. E. , 156 n.11 Stanley , William ( sixth earl of 102 , 119 Sears ...
From January 1 to December 31 of 1927, the entries in this book cover every major news event—national and international—of this pivotal year in history.
Although the satirical and comic drive of McDonagh's revivalist modernist play seems – as might his A Skull in Connemara – to exist on the basis of racist stereotypes like the 'ugly pugnacious ape-like cartoon figures of individual ...
128 See John Walton Tyrer , Historical Survey of Holy Week : Its Services and Ceremonial , Alcuin Club Collections 29 ( London : Oxford University Press , 1932 ) , esp . 58 ; and see also this occasion was important for other reasons ...
A beautiful and haunting tale of love, betrayal, knowledge, and power, Life's a Dream (La vida es sueño, 1636) is the best known and most widely admired play of Catholic Europe's greatest dramatist, Pedro Calderón de la Barca.
This work focuses on Marlowe's works as an index of the major transformation of Elizabethan theatrical practices. In the opening chapter, Cole reviews the unusually intriguing historical record of Marlowe's life outside the theatre.