"This play combines elements from Greek mythology and the history and drama of classical Greece. The king of Athens gives his daughter Procne in marriage to the king of Thrace. Her sister Philomele sets out to find her but is seduced by Tereus who silences her by cutting out her tongue." --Amazon.
New Anatomies, Grace of Mary Traverse, Our Country's Good, Love of a Nightingale & Three Birds Alighting on a Field
... The Love of the Nightingale , in The Love of the Nightingale and The Grace of Mary Traverse ( 1988 ; Faber and Faber , London , 1989 ) , p . 36 . 2 See Deborah Cameron , Feminism and Linguistic Theory ( Macmillan , Lon- don , 1985 ) ...
“ Language and Identity in Timberlake Wertenbaker's Plays . ... Drama on Drama : Dimensions of Theatricality on the Contemporary British Stage . ... 1 July 2004 < http://www.the-tls.co.uk/archive/ > Marranca , Bonnie .
An analysis of Timberlake Wertenbaker's as a radical feminist dramatist.
Wertenbaker, draft/copy of letter to Rob Ritchie, 3 April 1980, TWA, BLMC, Add 79216. Charles Plumley, Review of 'Second Sentence' at the Sea House, Brighton, The Stage, 4 May 1980. Kay Weston, letter to Wertenbaker, 29 April 1980, TWA, ...
The author Laura ESQUIVEL applies the same form of matriarchal history in Like Water for Chocolate (1989), which records the damage to women by a family tradition requiring the daughter, Tita de la Garza, to abjure marriage and personal ...
See Roger Cornish and Violet Ketels, Landmarks of Modern British Drama: the Plays of the Seventies (London/New York: Methuen, 1985) p. v11. See Susan E. Bassnett-McGuire, 'Towards a Theory of Women's Theatre', in Semiotics of Drama and ...
... The Love of the Nightingale and The Grace of Mary Traverse (London, 1989). An earlier version of The Grace of Mary Traverse was published in 1985. All page references, taken from the 1989 edition, are printed in parenthesis in the text ...
I set out to demonstrate with my play that Edna's awakening is spiritual, her realization significant for all of us, ... To achieve these goals, I used three theatrical conventions—the creation of Kate Chopin as a character; ...
The Love of the Nightingale