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He's just like you, except worse. He is trying to save his life, to save your life—in that order. In his quest for salvation, he'll stop at nothing, be distracted by nothing, except maybe a piece of lint, or the woman in the second row.

This new play by the prize-winning author of Sticks and Stones and Streamers electrified Broadway audiences in a historic production that has become landmark of contemporary American

In these three plays, Federico García Lorca’s acknowledged masterpieces, he searched for a contemporary mode of tragedy and reminded his audience that dramatic poetry—or poetic drama—depends less on formal convention that on an elemental, radical outlook on human life. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The results, both performable and readable, have been thoroughly revised for this edition, which has an introduction by Christopher Maurer, the general editor of the Complete Poetical Works of García Lorca.

These plays represent three phases in the career of the dramatist Girish Karnad, all three are classics of the Indian stage. The first play, Tughlaq, is a historical play in the manner of nineteenth-century Parsee theater. The second, Hayavadana was one of the first modern Indian plays to employ traditional theatrical techniques. In Naga-Mandala, the third play, Karnad turns to oral tales, usually narrated by women. This selected work of one of India's best known playwrights should attract the attention of students and scholars of comparative literature, or any reader interested in South Asian literature.

The purpose of theater, like magic like religion… is to inspire cleansing awe. With bracing directness and aphoristic authority, one of our greatest living playwrights addresses the questions: What makes good drama? And why does drama matter in an age that is awash in information and entertainment? David Mamet believes that the tendency to dramatize is essential to human nature, that we create drama out of everything from today’s weather to next year’s elections. But the highest expression of this drive remains the theater. With a cultural range that encompasses Shakespeare, Bretcht, and Ibsen, Death of a Salesman and Bad Day at Black Rock, Mamet shows us how to distinguish true drama from its false variants. He considers the impossibly difficult progression between one act and the next and the mysterious function of the soliloquy. The result, in Three Uses of the Knife, is an electrifying treatise on the playwright’s art that is also a strikingly original work of moral and aesthetic philosophy.

This revised edition offers the theories and practices Hooks has developed in his workshops, with expanded coverage of acting in video games, story structure, and the work on emotion in the human face being done by Paul Ekman.

Set in the early Thatcher years, Top Girls is a seminal play of the modern theatre, revealing a world of women's experience at a pivotal moment in British history. Told by an eclectic group of historical and modern characters in a continuous conversation across ages and generations, Top Girls was hailed as 'the best British play ever from a woman dramatist' by The Guardian.

The play chronicles the adult lives of two African American brothers, Lincoln and Booth, as they cope with women, work, poverty, gambling, racism, and their troubled upbringings.

Los Angeles. There are two seasons, day and night. Toyer. He is a natural response to Los Angeles. There has never been anything like Toyer, but of course, every time there never is. Each time, the newest cutting-edge lunatic has the same refreshing aspect: he is unimaginable. Maude Garance. She is a doctor, thirty-six years old. Her face is complicated by a scars of fatigue, she is on the brink of a breakdown caused by a disorder in her patients - Toyer's victims -that she can not cure. Doctor T. Chief of Service at Maude's Hospital. Married too long to the wrong wife. Maude without mentioning it. Sara Smith. Has reported. A story, any story, is feeling from God and God. Maude dislikes her on sight. Jim O'Land. Sara Smith's boss at the Herald, a man easily followed. He publishes Rent ' s thoughts. Unprecedented in journalism, he says, a first. The Uncastables. Three comfortably unemployed actors. Telen Gacey came to Hollywood and is ready to leave. Peter Matson has a star quality but can not act. Billy Waterland, would-be comic, ex-gymnast, dreams of stardom. Jimmy O. A pale ginger cat with a direct stare, humble. Maude called him in his clothing. She was right. These are the players in Gardner McKay's first novel, Toyer. Their lives intersect and intrude on one another with terrifying results to produce a novel that is as compelling as it is rewarding. Billy Waterland, would-be comic, ex-gymnast, dreams of stardom. Jimmy O. A pale ginger cat with a direct stare, humble. Maude called him in his clothing. She was right. These are the players in Gardner McKay's first novel, Toyer. Their lives intersect and intrude on one another with terrifying results to produce a novel that is as compelling as it is rewarding. Billy Waterland, would-be comic, ex-gymnast, dreams of stardom. Jimmy O. A pale ginger cat with a direct stare, humble. Maude called him in his clothing. She was right. These are the players in Gardner McKay's first novel, Toyer. Their lives intersect and intrude on one another with terrifying results to produce a novel that is as compelling as it is rewarding.