PDF The Dimensions of Language, Character, Time and Space in Chekhov's Major Plays Download
- Author: John Douglas Hellweg
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- Languages : en
- Pages : 434
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It is not possible to provide a comprehensive selection of an estimated 350,000 reviews of Chekhov plays, 1994-2003, but an attempt has been made to provide a representative sampling of reviews in major newspapers and current periodicals. Citations throughout this Bibliography are full and unabbreviated, the intent being to provide access to each work in every appropriate category without complicating the search process with confusing cross-listings. Entries for collections are accompanied by listings of contents in the order given in tables of contents or alphabetically. Entries for collections provide a base for subsequent listings of individual major works for addition of subsequent editions, reprints, and re-publications. Translations of plays are categorized by their most commonly known English titles and cited within categories by the English title given for a particular translation.
This text attempts to map the unique structure and meaning that comprise Chekhov's immensely rich artistic universe. The prime components of his theatrical technique and fictional world are explored to uncover the basic principles governing the Chekhov's universe.
With a writing career spanning over half a century and encompassing media as diverse as conferences, radio, journalism, fiction, theatre, film, and television, Tom Stoppard is probably the most prolific and significant living British dramatist. The critical essays in this volume celebrating Stoppard’s 75th birthday address many facets of Stoppard’s work, both the well-known, such as Rosencrantz and Guildenstern are Dead and Shakespeare in Love, as well as the relatively critically neglected, including his novel Lord Malquist and Mr. Moon and his short stories, “The Story,” “Life, Times: Fragments,” and “Reunion.” The essays presented here analyze plays such as Arcadia, The Invention of Love, The Real Thing, and Jumpers, Stoppard’s film adaptation of J. G. Ballard’s Empire of the Sun, his television adaptation of Ford Madox Ford’s Parade’s End, and his stage adaptations of Chekhov’s plays Ivanov, The Seagull, and The Cherry Orchard, as well as his own theatrical trilogy on Russian history, The Coast of Utopia (Voyage, Shipwreck, and Salvage). Also included is an interview with Tom Stoppard on the 16 November 1982 debut of his play The Real Thing at Strand Theatre, London, and a detailed account of the Stoppard holdings in the Harry Ransom Center at the University of Texas at Austin. From his fascination with Shakespeare and other historical figures (and time periods) to his exploration of the connection between poetic creativity and scholarship to his predilection for word play, verbal ambiguity and use of anachronism, Stoppard’s work is at once insightful and wry, thought-provoking and entertaining, earnest and facetious. The critical essays in this volume hope to do justice to the brilliant complexity that is Tom Stoppard’s body of work.