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'Their icy blasts are refreshing and restorative. They tell you the worst. And having heard the worst, you feel less bad' Blake MorrisonWritten in Greek by the only Roman emperor who was also a philosopher, without any intention of publication, the Meditations of Marcus Aurelius offer a remarkable series of challenging spiritual reflections and exercises developed as the emperor struggled to understand himself and make sense of the universe. While the Meditations were composed to provide personal consolation and encouragement, Marcus Aurelius also created one of the greatest of all works of philosophy: a timeless collection that has been consulted and admired by statesmen, thinkers and readers throughout the centuries.Translated with notes by MARTIN HAMMOND with an Introduction by DISKIN CLAY

'The magic in The Tempest is real ... It contains a great many unanswered questions' Margaret AtwoodA storm rages. Prospero and his daughter watch from their desert island as a ship carrying the royal family is wrecked. Miraculously, all on board survive. Plotting, mistaken identities, bewitching love and enchantment follow as the travellers explore this mysterious place of spirits and monsters, and discover that all is not as it seems. Shakespeare's late, great play is a work filled with marvels, music and strangeness, fully exploiting the power of language and the magic of theatre.Used and Recommended by the National TheatreGeneral Editor Stanley WellsEdited with an Introduction by Martin Butler

If you think you know what it's like to be me you are seriously deluded.Is it appropriation to invent a voice - or is it an act of empathy? If a playwright's job is to make dialogue, is there a limit to how many characters she / he / they are entitled to invent? Who can these people be? And what if an invented voice says things that even the author would prefer not to hear? With characteristically provocative humour, Martin Crimp's latest work brings 299 unique characters to the stage. Not One of These People, a co-production between the Royal Court Theatre, Carte blanche, and the Carrefour international de théâtre, premiered at Théâtre La Bordée, Québec City, in June 2022, and at the Royal Court Theatre, London, in November 2022.

The only current anthology to survey the rich variety of contemporary African drama The plays included in this volume are: Death and the King's Horseman by Wole Soyinka; Anowa by Ama Ata Aidoo; The Chattering and the Song by Femi Osofisan; The Rise and Shine of Comrade Fiasco by Andrew Whaley; Woza Albert! by Percy Mtwa, Mbongeni Ngema and Barney Simon; and The Other War by Alemseged Tesfai.Contemporary African Drama brings together some of the best writers writing from an African viewpoint today.

'The first duty of a storyteller is to tell a story.' Or was it 'The only duty of a storyteller is to tell a story'?A writer in a totalitarian state is interrogated about the gruesome content of his short stories and their similarities to a number of child-murders that are happening in his town.'Sometimes you don't even know what you've been craving until the real thing comes along.' New York Times'McDonagh is more than just a very clever theatrical stylist. His tricks and turns have a purpose. They are bridges over a deep pit of sympathy and sorrow, illuminated by a tragic vision of stunted and frustrated lives.' Fintan O'Toole, Irish TimesMartin McDonagh's searingly brilliant play premiered at the National Theatre, London in November 2003. It was revived at the Duke of York's Theatre, London, in June 2023.

Iphigenia in Tauris tells the story of the princess Iphigenia who was sacrificed by her father Agamemnon to expedite his campaign against Troy but was rescued by the goddess Artemis and transported to the land of the Taurians. There she herself must perform human sacrifices as a priestess of Artemis in the local cult. Troy has now been sacked, and Agamemnon murdered by his wife and avenged by his son Orestes. With his mother's blood on his hands, Orestes is guided by Apollo to seek purification through bringing the image of the Tauric Artemis to Greece, and so is reunited with his sister. The drama centers on Orestes' near-sacrifice at Iphigenia’s hands, their recognition in the nick of time, and their ingenious and thrilling escape to bring the cult of Artemis to Halae and Brauron near Athens. Martin Cropp’s first edition was originally published in 2000 and provided the first commentary on the play since those of Maurice Platnauer (Oxford, 1938) and Hans Strohm (Munich, 1949). It contributed significantly to a revival of interest in what had been a rather neglected and underrated play. This new second edition will incorporate substantial revisions to the introduction and commentary and some corrections to the Greek text and translation in light of reviews of the first edition and other recent work.

This collection of early plays confirms Martin Crimp's reputation as one of the most original and exciting talents writing for the theatre today. It includes the plays Dealing with Clair, Play with Repeats, Getting Attention and The Treatment, and is introduced by the author.

This second collection of Martin Crimp's work includes the plays Attempts on Her Life, The Misanthrope, No One Sees the Video and The Country.'Crimp writes with extraordinary precision . . . The outside world is described with almost hallucinatory clarity . . . He has discovered a dramatic form that perfectly reflects the violent, disorienting times in which we live.' Daily Telegraph

Cruel and Tender'A mordantly knowing modernisation of Sophocles's Trachiniae... The approach here manages to be at once lethally level and capable of surges of anguished feeling... Highly recommended.' IndependentFewer Emergencies'A triptych of vicious modern fairy tales that brings the nightmare right back and stabs you through the soul.' GuardianThe City'Although this is the most disquieting play in London, there is a curious exhilaration about both the performance and Crimp's confrontation with our perpetual unease.' GuardianDefinitely the Bahamas'A summation of a life lived vicariously, at the margins of other lives, between suffocating suburban walls; and the play is as unflinching as it is unnerving.' The TimesPlay House'Play House concerns the volatility and vulnerability of love, as a young couple, Simon and Katrina set up home... Unusually for Crimp, the play both begins and ends with moving declarations of love. Suddenly this usually chilly dramatist seems unexpectedly blessed with a warm heart.' Daily TelegraphIn the Republic of Happiness'Crimp goes so far as to call it "an entertainment in three parts," and it rocks along like a dystopian vaudeville... The actors are imprisoned and liberated at once, their strange between-worlds condition a source of joy, intemperateness and above all a care for our diversion... My favourite play of the year.' What's on Stage

Sex, work, pregnancy, parents, weird neighbours, cleaning the fridge and dancing: Play House tells - in thirteen fleeting scenes - the story of a young couple's attempts to set up home.In Definitely the Bahamas, Frank and Milly relish the visits of Michael, their charming and successful only child. But what exactly is his relationship to the young student living in their house?Martin Crimp's Definitely the Bahamas was first staged at the Orange Tree Theatre, Richmond, in 1987. It was revived there with Play House, a new play, in March 2012.

In a townhouse in Copenhagen works Hans Christian Andersen, a teller of exquisite and fantastic children's tales beloved by millions. But the true source of his stories dwells in his attic upstairs, her existence a dark secret kept from the outside world.Dangerous, twisted and funny, Martin McDonagh's new play travels deep into the abysses of the imagination. A Very Very Dark Matter premiered at the Bridge Theatre, London, in October 2018.

First major theatrical adaptation of EM Forster's classic novel for a contemporary audience Before deciding whether to marry Chandrapore's local magistrate, Adela Quested wants to discover the "real India" for herself. Newly arrived from England, she agrees to see the Marabar Caves with the charming Dr Aziz.Through this one harmless event Forster exposes the absurdity, hysteria and depth of cultural ignorance that existed in British India in the twenties. E.M. Forster's classic novel is here adapted in this highly theatrical, humorous and faithful version for the stage by the author of BENT, Martin Sherman.Published to tie in with a major new production of A PASSAGE TO INDIA produced by Shared Experience Theatre company.

Arden of Faversham * A Woman Killed with Kindness * The Witch of Edmonton * The English TravellerIn about 1590, an unknown dramatist had the idea of writing a tragedy about the lives of ordinary people, instead of the genre's usual complement of kings and queens and politicians. His play, Arden of Faversham, inaugurated a new genre of 'domestic' drama, set in near-contemporary England and concerned with issues of marriage, crime, and property rather than war and power. Arden dramatizes a notorious murder case of forty years earlier, in which a wealthy husband was killed by his wife and her lover.In Thomas Heywood's A Woman Killed with Kindness, a wife is caught by her husband in bed with his best friend, only to find that he takes unusual reprisals. The Witch of Edmonton combines a true-life story of witchcraft with a fictitious tale of bigamy and wife-murder, and The English Traveller deals with the unexpected and unwelcome changes people find when they return home after a lengthy absence.Part of the Oxford English Drama series, this edition has modern-spelling texts; a critical introduction that outlines the way all four plays raise powerful and complex questions about the English society in which their tragic events unfold; wide-ranging notes; a chronology of the plays from their sources to recent performance; and appendices relating to two of the plays: who wrote Arden of Faversham and when did Heywood write The English Traveller. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The new Early English Text Society edition of The Towneley Plays will serve as a definitive edition for many years to come. It replaces the edition by George England and Alfred W. Pollard, published nearly one hundred years ago by the Early English Text Society. Apart from the corrections of errors in the transcription of the text, the new edition offers a comprehensive introduction, body of notes, and glossary. It also presents the text in a new format, based on an examination of the manuscript, by expanding stanzas attributed to the so-called `Wakefield Master' from nine lines (with some internal rhyme) to thirteen lines. The Townley Plays manuscript dates approximately to the year 1500. The plays is contains are often considered the most interesting and stylistically intricate among all those surviving in extant cycles. By both internal and external evidence they are traceable to the city of Wakefield, where they were apparently performed over much of the sixteenth century. Most notable among the contents of the manuscript is `The Second Shepherds Play', which is widely known apart from the cycle and is included in many literary and dramatic anthologies.The cycle itself contains 32 plays on the subject of salvation history from the Creation to the Last Judgement.

The new Early English Text Society edition of The Towneley Plays will serve as a definitive edition for many years to come. It replaces the edition by George England and Alfred W. Pollard, published nearly one hundred years ago by the Early English Text Society. Apart from the corrections of errors in the transcription of the text, the new edition offers a comprehensive introduction, body of notes, and glossary. It also presents the text in a new format, based on an examination of the manuscript, by expanding stanzas attributed to the so-called `Wakefield Master' from nine lines (with some internal rhyme) to thirteen lines. The Townley Plays manuscript dates approximately to the year 1500. The plays is contains are often considered the most interesting and stylistically intricate among all those surviving in extant cycles. By both internal and external evidence they are traceable to the city of Wakefield, where they were apparently performed over much of the sixteenth century. Most notable among the contents of the manuscript is `The Second Shepherds Play', which is widely known apart from the cycle and is included in many literary and dramatic anthologies.The cycle itself contains 32 plays on the subject of salvation history from the Creation to the Last Judgement.

Oxford Shakespeare Topics provides students, teachers, and interested readers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. Notes and a critical guide to further reading equip the interested reader with the means to broaden research. William Shakespeare lived and worked during an extraordinary quarter-century in the history of English drama, which saw the development of new kinds of tragedy and comedy, and the birth of the entirely new genre of tragicomedy. Beginning with the institutional foundations that were laid with the emergence of the commercial theatre business in 1570s London, Shakespeare and the Drama of His Time describes the principal audience fashions, artistic conventions, and professional circumstances which defined, and enabled, his plays and those of his colleagues: plays of a range and sophistication undreamed of by earlier generations, and rarely equalled since. Throughout, Shakespeare's plays are shown to be intimately associated with those of his contemporaries, notably Christopher Marlowe, Thomas Kyd, George Chapman, Ben Jonson, John Marston, and John Fletcher.

As a speechwriter, orator, and politician, Demosthenes captured, embodied, and shaped his time. He was a key player in Athens in the twilight of the city's independence, and is today a primary source for its history and society during that period. The Oxford Handbook of Demosthenes sets out to explore the many facets of his life, work, and time, giving particular weight to elucidating the settings and contexts of his activities, as well as some of the key themes dealt with in his speeches, and thereby illustrating the interplay and mutual influence between his rhetoric and the environment from which it emerged. The volume's thirty-five chapters are authored by experts in the field and offer both comprehensive coverage and an up-to-date reference point for the issues and problems encountered when approaching the speeches in particular: they not only showcase how Demosthenes' rhetoric was profoundly influenced by Athenian reality, but also explore its reception from Demosthenes' own day right up until the present and how his presentation of his world has subsequently shaped our view of it. The wide range of expertise and the different scholarly traditions represented are a vivid demonstration of the richness and diversity of current Demosthenic studies and the contribution the volume makes to enriching our knowledge of the life and work of one of the most prominent figures of ancient Greece will be of significance to a wide readership interested in Athenian history, society, rhetoric, politics, and law.

This is the fifth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. The years covered in this volume saw the consolidation of the Burbage and Shakespeare company as the King's Men, and the emergence of the Jacobean court masque.

This is the sixth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history.

This is the seventh volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history.

This is the eighth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history.The years covered in this volume saw the end of the careers of most of the great Jacobean dramatists, such as John Fletcher ,Thomas Dekker, and Thomas Middleton, and the emergence of a new generation of playwrights, including James Shirley, Richard Brome, and John Ford. The period also saw the heyday of theatre at the English Jesuit College in St Omers and the ascendancy of French masquing at the English court.

This is the ninth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. The years covered in this volume saw the 'High Caroline' period of English drama and the popularity of pastoral.

This is the third volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution. The catalogue covers every known play, extant and lost, including some which have never before been identified. It is based on a new, complete, and systematic survey of the whole of this body of work, and is presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, a list of roles, and details of the human and geographical world in which the fictional action takes place; a list of sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. Volume III covers the years 1590-1597 and sees the start of Shakespeare's career as a dramatist.

This is the fourth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. Volume IV covers the period during which dramatic satire emerged, as well as the opening of the original Globe theatre in London.