Bøger udgivet af Theatre Communications Group

The 174 theatres in this book collectively represent America's "national theatre," and are as wide-ranging and diverse as the country itself. They include companies specializing in new plays, classics, musicals, multimedia productions, children's theatre, ethnic material, and avant-garde experimentation.

Includes: Secret Honor by Donald Freed and Arnold M. Stone; Food from Trash by Gary Leon Hill; Mensch Meier by Franz Xaver Kroetz, translated by Roger Downey; Buck by Ronald Ribman and Mercenaries by James Yoshimura.

This fully illustrated volume contains national articles, written by noted theatre journalists or critics.

Cooking As Though You Might Cook Again invites us to cook with our senses and to work with the passage of time. Licht’s lyrical recipes turn our attention away from strict measurements, and remind us of the pleasures and the importance of working with what we have.

Nikolai Ivanov, approaching middle-age, has lost all passion for life. No longer in love with his wife, riddled with debt, and in danger of losing his estate, Ivanov finds himself trapped in a stasis he cannot shakedragging all of those in his orbit down with him. While his family and friends rally around him trying to help, Ivanov only seems to sink further into the darkness that threatens to consume him. A new translation of Chekhov's character study of a man undone by his own spiritual malaise.

A tense, haunting new play from a Pulitzer Prize finalist.

Two plays by “one of the brightest new talents in the theatre” (New York Times).

A follow-up volume to McLaughlin's The Greek Plays, this is a striking collection of modern adaptations inspired by classic Greek texts.

Arcadia, Indiana is a mutant tragedy, a five act-sonnet sequence, staged in the trash-choked landscape of pastoral fantasy. It plays with narrative, labor, sexuality, and form, starting with a murder in an Indiana steel factory and ending with the Sphinx refusing all of Oedipus' solutions to her riddles. This play is a Renaissance tragedy in contemporary drag, destabilizing literary boundaries to develop a poetics of trash, in which the repressed and discarded parts of (literary) history return to strangle their point of origin.

A masterpiece . . .Trouble in Mindstill contains astonishing power; it could have been written yesterday. VultureAhead of its time,Trouble in Mind, written in 1955, follows the rehearsal process of an anti-lynching play preparing for its Broadway debut. When Wiletta, a Black actress and veteran of the stage, challenges the plays stereotypical portrayal of the Black characters, unsettling biases come to the forefront and reveal the ways so-called progressive art can be used to uphold racist attitudes. Scheduled to open on Broadway in 1957, Childress objected to the requested changes in the script that would sanitize the play for mainstream audiences, and the production was canceled as a result. Childresss final script is published here with an essay by playwrightBranden Jacobs-Jenkins, editor of TCG Illuminations.

The author presents two satirical plays that explore the modern-day Native American experience.

Pog sprawls on a couch. Gomey stands by a large globe. Pog sits at the counter. Gomey sits at a table. Two broken lawn chairs, center stage. Pog and Gomey listless in these chairs. Pog and Gomey seated, next to each other, but at different tables. Pog dressed as Punch, or Judy. Gomey dressed as Judy, or Punch. Pog, you know. Gomey, too. In chairs, side by side: Pog and Gomey. Left of center, Pog at a lectern. Right of center, Gomey at a lectern. A post-apocalyptic place, no sign of anyone. Pog dressed in bird mask and long iron sheets. Gomey on stilts. Nothing. Nothing. Nothing. The audience almost gets up to leave. A smell of popcorn. Pog puts on a big floppy hat. Gomey is sniffling. Pog, a man, barely. Gomey, another man, also barely.In their collection of collaborative short plays, poets Jon Cone and Rauan Klassnik introduce us to Pog & Gomey—a Waiting for Godot-esque pair for the new millennium. Except our friends aren't waiting for anyone in particular—they might not even be friends. They're just stuck with each other. But the globe keeps spinning. And an audience has come to watch.

A new volume of powerful monologues and scenes by women and nonbinary writers.

An extended conversation with one of the giants of twentieth-century theater.

Move tie-in edition of te Pulitzer Prize winning play.