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    18/05/2024
    Will and No Will or a Bone for the Lawyers cover

    Will and No Will or a Bone for the Lawyers

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    Chapter: 3 | Listen: 4

    This “Afterpiece” – a short play to follow a main production – was first produced in 1746. It was based on Regnard’s five-act comedy le Legetaire Universel (1707), which is itself a composite of Italian comedy with echoes of Molière, moving from scene to scene with little effort at logical consistency or structure but treating each scene autonomously for its own comic value. The rather long Prologue to A WILL AND NO WILL (11 pages of manuscript) makes fun of the convention of the eighteenth century prologues by the familiar dodge of having actors chatting as though they were in the Pit waiting for the actors in the preceding main play to dress for the afterpiece.     [chương_files]  

    18/05/2024

    Tragedy of Mariam

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    Chapter: 5 | Listen: 2

    The Tragedy of Mariam (1613) is the first original drama written in English by a woman. Elizabeth Cary drew on Jewish histories by Josephus to create a closet drama (written to be read, rather than performed live) about Mariam, the second wife of Herod the Great. At the beginning of the play, Mariam believes that Herod has been killed by Octavius, and struggles with how to respond. On the one hand, she is relieved, as she is angry with Herod for killing her brother and grandfather. On the other, she knows that he loved her, and she feels caught by her sense of duty as his wife. When Herod unexpectedly returns, Mariam must decide what to do.     [chương_files]  

    18/05/2024

    Satan’s Diary

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    Chapter: 30 | Listen: 10

    “Satan’s Diary”, Andreyev’s last work, was completed by the great Russian a few days before he died in Finland, in September, 1919. But a few years ago the most popular and successful of Russian writers, Andreyev died almost penniless, a sad, tragic figure, disillusioned, broken-hearted over the tragedy of Russia. In “Satan’s Diary”, Andreyev summoned up his boundless disillusionment in an absorbing satire on human life. Fearlessly and mercilessly he hurled the falsehoods and hypocrisies in the face of life. He portrayed Satan coming to this earth to amuse himself and play. Having assumed the form of an American multi-millionaire, Satan set out on a tour through Europe in quest of amusement and adventure. Before him passed various forms of spurious virtues, hypocrisies, the ruthless cruelty of man and the often deceptive innocence of woman. Within a short time, Satan finds himself outwitted, deceived, relieved of his millions, mocked, humiliated, beaten by man in his own devilish devices.     [chương_files]  

    18/05/2024

    Simultan Krippenspiel (Concert bruitiste)

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    Chapter: 1 | Listen: 5

    Dies ist ein ungewöhnliches dadaistisches Krippenspiel, wobei die Weihnachtsgeschichte fast nur mit Hilfe von Lauten und Geräuschen erzählt wird. Hugo Ball, ein deutscher Autor, gilt as einer der Begründer der Dada-Bewegung und Pionier der Lautgedichte. (Zusammenfassung von Availle) This is a dadaistic Christmas play by Hugo Ball, where mainly sounds are used to convey the story. Die Rollen: Erzaehler: Karlsson Der Wind: CaprishaPage Ton der heiligen Nacht, Lichtapparat und Glöckchen der Elefanten/Glöckchen/Glocken: Elli Die Hirten, Schaf/Lamm und Flöte: Julia Niedermaier Esel und Geräusch der Litanei: Christa Öchslein: Jason Mills Josef und Nageln: David Lawrence Maria, Stilisiertes Lachen und Ankunft: Charlotte Duckett Der Stern: Ernst Pattynama Der Engel: Elizabeth Klett Die Karawane der drei Könige, die drei Könige, Schnauben und Wiehern der Pferde und Kacken der Kamele: Wupperhippo Trompete: mb Jesus und Zurufen der Knechte: bala Andere Nebengeräusche und Schnitt: Karlsson     [chương_files]  

    18/05/2024

    Lady of the Lake

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    Chapter: 3 | Listen:

    At the request of Mr. Siddons, Manager and Patentee of the Theatre Royal, Edinburgh, the following Performance was composed. I am very sensible that Mr. Scott’s Poem of “The Lady of the Lake” afforded material for a much superior Drama than the one here presented to the public; but as Mr. Siddons, in all his correspondence with me on the subject, urged expedition, I was more attentive to the interest of a Friend than to the fame of an Author; and the whole piece was arranged, written, and copied in the short space of ten days. I can claim little merit beyond that of a compiler. Some few flowrets, indeed (or rather weeds, as the critics may call them, at the foot of Parnassus), are of my own planting; but the praise of poetic ingenuity belongs solely to the Author from whence the scenes, characters, and sentiments have been borrowed. To quote the translated words of Montaigne, which have been appositely applied to similar compositions, I have here only made a nosegay of culled flowers, and have brought little more of my own than the band which ties them.     [chương_files]  

    18/05/2024

    Snow White and the Seven Dwarfs

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    Chapter: 8 | Listen: 8

    The classic story of Snow White and the seven dwarfs, now in play form! The play was adapted by Jessie Braham White (the pen name of Winthrop Ames), from the Grimm tale.     [chương_files]  

    18/05/2024

    Widowers’ Houses

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    Chapter: 3 | Listen: 8

    This is one of three plays Shaw published as Plays Unpleasant in 1898; they were termed “unpleasant” because they were intended, not to entertain their audiences—as traditional Victorian theatre was expected to—but to raise awareness of social problems and to censure exploitation of the laboring class by the unproductive rich. In this play, Dr. Harry Trench becomes disillusioned when he discovers how his fiancee’s father, Mr. Sartorius, makes his money. However, it is soon revealed that Trench’s own income is far from untainted.     [chương_files]  

    18/05/2024

    One-Act Play Collection 005

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    Chapter: 10 | Listen: 3

    This collection of ten one-act dramas features plays by James M. Barrie, Hereward Carrington, Marjorie Benton Cooke, Alice Gerstenberg, Susan Glaspell and George Cram Cook, St. John Hankin, George Middleton, David Pinski, Frederik Pohl, and an unknown Japanese author. The plays were coordinated by Arielle Lipshaw, Availle, Chuck Williamson, Todd, Peter Yearsley, Caprisha Page, Charlotte Duckett, and Amanda Friday.     [chương_files]