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Author: Amnon Kabatchnik Publisher: BearManor Media ISBN: Category : Performing Arts Languages : en Pages : 635
Book Description
While many books have been published about courtroom fiction in film and on television, the topic of stage courtrooms has been largely ignored. This endeavor aims to fill the void. More than fifty plays are scrutinized and analyzed. The first stage trial on record appears in The Danaid Tetralogy (463 B.C.) by Aeschylus, in which 49 young women are accused of murdering their grooms, their cousins, on their wedding night to avoid incestuous marriage. In Aeschylus's The Oresteia (458 B.C.), the accused, Orestes, had slashed his mother's throat for killing her husband -- his father. The god Apollo serves as the defense attorney while the Furies, ancient Greek's divinities of retribution, perform as the prosecutors. In the Middle Ages, between 1450 and 1500, anonymous playwrights wrote trial dramas about Joseph and Mary, Pilate and Herod, and women accused of adultery. In the Elizabethan era, England's royal courts inflicted justice in the plays of Christopher Marlowe, William Shakespeare, and Ben Jonson. Spanish theater presented trial scenes in dramas by Lope de Vega, Tirso de Molina, and Pedro Calderón. The French were not far behind with Le Cid (1637 by Pierre Corneille, The Litigants (1668) by Jean Racine, and Socrates (1760) by Voltaire. America joined the fray with plays by William Dunlap, Germany with Johann Wolfgang von Goethe, England with Lord Byron, and Russia with Nikolai Gogol. In the first decade of the twentieth century, Europe was flooded with trial plays. Notable were Leo Tolstoy's The Living Corpse (Russia, 1900), Alexander Bisson's Madame X (France, 1908), and John Galsworthy's Justice (England, 1910). The strand continued with playwrights of the main stream penning dramas populated with judges, prosecutors, defense attorneys, jurors, witnesses, and the accused, often charged with murder in the first degree. Veteran mystery writers Gaston Leroux, Edgar Wallace, and Agatha Christie mixed their ink with blood when concocting courtroom melodramas. Some creatures of the night, supernatural (Dracula, the Werewolf) and real-life (Lizzie Borden, Jack the Ripper), found themselves entangled with the law. The best-known musicals that incorporated trial scenes include Can Can (1953), Chicago (1975), Sweeney Todd (1979), Les Miserables (1985), and Ragtime (1997). The entries are presented chronologically. Each includes a plot synopsis, production data, opinions by critics and scholars, as well as biographical sketches of playwrights and key actors-directors. Volume 1 of 2. Amnon Kabatchnik, now retired, was a professor of theater at SUNY Binghamton, Stanford University, Ohio State University, Florida State University, and Elmira College. He directed numerous dramas, comedies, thrillers, and musicals in New York and across the United States. He is the author of Sherlock Holmes on the Stage as well as the seven-volume series Blood on the Stage.
Author: Amnon Kabatchnik Publisher: BearManor Media ISBN: Category : Performing Arts Languages : en Pages : 635
Book Description
While many books have been published about courtroom fiction in film and on television, the topic of stage courtrooms has been largely ignored. This endeavor aims to fill the void. More than fifty plays are scrutinized and analyzed. The first stage trial on record appears in The Danaid Tetralogy (463 B.C.) by Aeschylus, in which 49 young women are accused of murdering their grooms, their cousins, on their wedding night to avoid incestuous marriage. In Aeschylus's The Oresteia (458 B.C.), the accused, Orestes, had slashed his mother's throat for killing her husband -- his father. The god Apollo serves as the defense attorney while the Furies, ancient Greek's divinities of retribution, perform as the prosecutors. In the Middle Ages, between 1450 and 1500, anonymous playwrights wrote trial dramas about Joseph and Mary, Pilate and Herod, and women accused of adultery. In the Elizabethan era, England's royal courts inflicted justice in the plays of Christopher Marlowe, William Shakespeare, and Ben Jonson. Spanish theater presented trial scenes in dramas by Lope de Vega, Tirso de Molina, and Pedro Calderón. The French were not far behind with Le Cid (1637 by Pierre Corneille, The Litigants (1668) by Jean Racine, and Socrates (1760) by Voltaire. America joined the fray with plays by William Dunlap, Germany with Johann Wolfgang von Goethe, England with Lord Byron, and Russia with Nikolai Gogol. In the first decade of the twentieth century, Europe was flooded with trial plays. Notable were Leo Tolstoy's The Living Corpse (Russia, 1900), Alexander Bisson's Madame X (France, 1908), and John Galsworthy's Justice (England, 1910). The strand continued with playwrights of the main stream penning dramas populated with judges, prosecutors, defense attorneys, jurors, witnesses, and the accused, often charged with murder in the first degree. Veteran mystery writers Gaston Leroux, Edgar Wallace, and Agatha Christie mixed their ink with blood when concocting courtroom melodramas. Some creatures of the night, supernatural (Dracula, the Werewolf) and real-life (Lizzie Borden, Jack the Ripper), found themselves entangled with the law. The best-known musicals that incorporated trial scenes include Can Can (1953), Chicago (1975), Sweeney Todd (1979), Les Miserables (1985), and Ragtime (1997). The entries are presented chronologically. Each includes a plot synopsis, production data, opinions by critics and scholars, as well as biographical sketches of playwrights and key actors-directors. Volume 1 of 2. Amnon Kabatchnik, now retired, was a professor of theater at SUNY Binghamton, Stanford University, Ohio State University, Florida State University, and Elmira College. He directed numerous dramas, comedies, thrillers, and musicals in New York and across the United States. He is the author of Sherlock Holmes on the Stage as well as the seven-volume series Blood on the Stage.
Author: Amnon Kabatchnik Publisher: BearManor Media ISBN: Category : Drama Languages : en Pages : 577
Book Description
Volume 2 concentrates on trial plays mounted in the twentieth century. The first decade featured notable dramas by Leo Tolstoy (The Living Corpse, Russia, 1900), Alexander Bisson (Madame X, France, 1908), and John Galsworthy (Justice, England, 1910). The trend continued with authors of the main stream penning plays populated with judges, prosecutors, defense attorneys, jurors, witnesses, and the accused, often charged with murder in the first degree -- Elmer Rice, Ayn Rand, Ernst Toller, W. Somerset Maugham, Richard Wright, Maxwell Anderson, and Arthur Miller. Herman Wouk, Jean Genet, Aldous Huxley, William Faulkner, William Saroyan, James Baldwin, Terence Rattigan, Jeffrey Archer, Ariel Dorfman, David Henry Hwang, Aaron Sorkin, others. Veteran mystery writers joined the fray, concocting courtroom melodramas. Among them were Gaston Leroux (The Mystery of the Yellow Room, 1912), A.E.W Mason (No Other Tiger, 1928), Agatha Christie Witness for the Prosecution, 1953), and Henry Cecil (Settled Out of Court, 1960). Quite a few plays were inspired by real-life events. Caponsacchi (1926) is based on a poem by Robert Browning, depicting a double murder among the clergy in Rome of 1698. Sophie Treadwell's expressionist drama Machinal (1928) focuses on a sensational 1927 murder case in Queens, New York, in which an ordinary stenographer kills her much older husband when she feels stifled at home. A Pin to See the Peepshow (1951), by F. Tennyson Jesse and H.M. Harwood, introduces a twenty-eight-year-old London millinery who, with the aid of her younger lover, plans to eliminate a bossy husband. On the evening of October 3, 1922, he is found stabbed to death on a side road. The entries, presented chronologically, include a plot synopsis, production data, opinions by critics, and biographical sketches of playwrights and key actors-directors.
Author: George Watson Publisher: Cambridge University Press ISBN: 9780521200042 Category : Language Arts & Disciplines Languages : en Pages : 1322
Book Description
More than fifty specialists have contributed to this new edition of volume 1 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.
Author: Lily B. Campbell Publisher: Cambridge University Press ISBN: 1107620848 Category : Literary Criticism Languages : en Pages : 333
Book Description
This 1923 book studies the development of English staging during the Renaissance, and its relationship with the classical revival of stage decoration in Italy. The text attempts to show how from the beginning of the classical revival of drama in Italy, staging was regarded as an accepted part of dramatic production.
Author: Amnon Kabatchnik
Author: Amnon Kabatchnik
Author: Amnon Kabatchnik
Author: Enid Welsford
Author: Enid Welsford
Author: James Redmond
Author: Philip Roberts
Author: John George Robertson
Author: George Watson
Author: Lily B. Campbell
Author: Lily Bess Campbell