Banner Message
Please note: Due to the renovations happening to the Pritzker building, the bookstore is in a temporary location without full access to the inventory. There might be items that appear online that are not currently accesible to us to ship to you. If you order these items, you will be refunded and the rest of your order will ship. Feel free to contact us with any questions.
Drama
The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With definitive texts and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators."
This edition of The Taming of the Shrew is edited with an introduction and notes by series editor Stephen Orgel and was recently repackaged with cover art by Manuja Waldia. Waldia received a Gold Medal from the Society of Illustrators for the Pelican Shakespeare series. Cover artist Manuja Waldia received a Gold Medal from the Society of Illustrators for the Pelican Shakespeare series. The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare's time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With stunning new covers, definitive texts, and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
"Sources and Contexts" provides three possible analogues to Shakespeare's controversial, high-spirited play from Ovid's Metamorphoses, George Gascoigne's "Supposes," and "A Merry Jest of a Shrewd and Curst Wife Lapped in Morel's Skin."
"Criticism" offers a wide range of scholarly commentary on The Taming of the Shrew's in fifteen essays by Laurie Maguire, Sir Arthur Quiller-Couch, Bernard Shaw, Natasha Korda, Frances Dolan, Lynda E. Boose, Harold Bloom, Patricia Parker, Shirley Nelson Garner, Juliet Dusinberre, Marea Mitchell, Karen Newman, E. M. W. Tillyard, and Jan Harold Brunvand.
"Rewritings and Appropriations" collects seven adaptations of The Taming of the Shrew from the last four centuries, by John Fletcher, David Garrick, Cole Porter, and Charles Marawitz.
A Selected Bibliography is also included.
HarperCollins is proud to present our range of timeless literary classics.
'We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.'
Magical and dreamlike in its tone, Shakespeare's The Tempest begins with a storm of epic proportions and a shipwreck. Banished from Italy, Prospero lives on a remote island with his daughter. Using his magic, he vows to seek revenge on the injustice dealt to him by his brother, but in doing so, Shakespeare questions the difficulty of distinguishing 'men' from 'monsters', and the realities of justice.
The Tempest is one of Shakespeare's most popular plays, both in the classroom and in the theatre, and this revision brings the Arden 3 edition right up-to-date. A completely new section of the introduction discusses new thinking about Shakespeare's sources for the play and examines his treatment of colonial themes, as well as covering key productions since this edition was first published in 1999. Most importantly it looks at Julie Taymor's ground-breaking 2010 film starring Helen Mirren as "Prospera."
Alden and Virginia Vaughan's edition of The Tempest is much valued for its authority and originality and their revision brings it up-to-date, making it even more relevant and useful to students and theatre practitioners.
-Full explanatory notes conveniently placed on pages facing the text of the play
-Scene-by-scene plot summaries
-A key to the play's famous lines and phrases
-An introduction to reading Shakespeare's language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Library's vast holdings of rare books
-An annotated guide to further reading Essay by Barbara A. Mowat The Folger Shakespeare Library in Washington, DC, is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
-James Shapiro, professor, Columbia University, bestselling author of A Year in the Life of Shakespeare: 1599 "Two eminent Shakespeareans . . . have applied modern editing techniques and recent scholarship to correct and update the First Folio. . . . Superb."
-The New York Times "A feast of literary and historical information."
-The Wall Street Journal "I look forward to using it over many years, enjoying Bate's perceptive comments, trusting Rasmussen's textual scholarship."
-Peter Holland, president of the Shakespeare Association of America and editor of Shakespeare Survey
Pierre Corneille, in his original dedication for The Theatre of Illusion, described the play as a "strange monster." He first called these five acts a comedy; later, a "caprice" and an "extravagant trifle." Written in 1635 and staged in 1636, the play vanished from the stage for the next three hundred years--to be revived in 1937 by Louis Jouvet and the Comédie Française. Since then it has been widely considered, in Virginia Scott's words, "Corneille's baroque masterpiece."
Today this brilliant piece of wit and drama is available in a new translation from one of America's finest poets and translators of French, Richard Wilbur. Widely praised for his translations of plays by Molière and Racine, Wilbur now turns his poetic grace to this work, which remains as much a celebration of the comedy of humanity and the magic of life as it was when Corneille wrote it.
- A special introduction to the play by the editor, Daniel Seltzer
- Sources from which Shakespeare derived Troilus and Cressida
- Dramatic criticism from S. L. Bethell, D. A. Traversi, Reuben A. Brower, and others
- A comprehensive stage and screen history of notable actors, directors, and productions
- Text, notes, and commentaries printed in the clearest, most readable text
- And more...
Sophocles' Oedipus Tyrannus is the most famous of ancient tragedies and a literary masterpiece. It is not, however, the only classical dramatization of Oedipus' quest to discover his identity. Between four and five hundred years after Sophocles' play was first performed, Seneca composed a fine, but neglected and often disparaged Latin tragedy on the same subject, which, in some ways, comes closer to our common understanding of the Oedipus myth. Now, modern readers can compare the two versions, in new translations by Frederick Ahl.Balancing poetry and clarity, yet staying scrupulously close to the original texts, Ahl's English versions are designed to be both read and performed, and are alert to the literary and historical complexities of each. In approaching Sophocles anew, Ahl is careful to preserve the richly allusive nature and rhetorical power of the Greek, including the intricate use of language that gives the original its brilliant force. For Ahl, Seneca's tragedy is vastly and intriguingly different from that of Sophocles, and a poetic masterpiece in its own right. Seneca takes us inside the mind of Oedipus in ways that Sophocles does not, making his inner conflicts a major part of the drama itself in his soliloquies and asides. Two Faces of Oedipus opens with a wide-ranging introduction that examines the conflicting traditions of Oedipus in Greek literature, the different theatrical worlds of Sophocles and Seneca, and how cultural and political differences between Athenian democracy and Roman imperial rule affect the nature and conditions under which the two tragedies were composed. This book brings two dramatic traditions into conversation while providing elegant, accurate, and exciting new versions of Sophocles' and Seneca's tragedies.
"Spectacular...This new Vanya has a conversational smoothness that removes the cobwebs sticking to those other translations that never let you forget that the play was written in 1897...One of the most exquisite renderings of Uncle Vanya I've encountered." --Charles McNulty, Los Angeles Times
"Quietly arresting...A canny and colloquial world-premiere translation...A beautifully rewarding exploration of stunted lives still bending toward the meager sunlight, like wildflowers sprouting from a cracked sidewalk." --James Hebert, San Diego Union-Tribune
As the sixth play in the TCG Classic Russian Drama Series, Richard Nelson and preeminent translators of Russian literature, Richard Pevear and Larissa Volokhonsky, continue their collaboration with Chekhov's most intimate play.
The sharpest, funniest comedy about money and morals in the 17th century is still the sharpest and funniest about those things in the 21st. The full play text is accompanied by incisive commentary notes which communicate the devastating comic energy of Volpone's satire. The introduction provides a firm grounding in the play's social and literary contexts, demonstrates how careful close-reading can expand your enjoyment of the comedy, shows the relevance of Jonson's critique to our modern economic systems, and provides a clear picture of how the main relationships in the play function on the page and stage.
Supplemented by a plot summary and annotated bibliography, it is ideal for students of Jonson, city comedy and early modern drama.
From an inauspicious beginning at the tiny Left Bank Théâtre de Babylone in 1953, followed by bewilderment among American and British audiences, Waiting for Godot has become one of the most important and enigmatic plays of the past fifty years and a cornerstone of twentieth-century drama. As Clive Barnes wrote, "Time catches up with genius. . . . Waiting for Godot is one of the masterpieces of the century."
Beckett wrote the play in French and then translated it into English himself. In doing so he chose to revise and eliminate various passages. With side-by-side text, the reader can experience the mastery of Beckett's language and explore its nuances. Upon being asked who Godot is, Samuel Beckett told director Alan Schneider, "If I knew, I would have said so in the play." Although we may never know who we are waiting for, in this special edition we can rediscover one of the most poignant and humorous allegories of our time.
Antonin Artaud's last large-scale work, published in its complete form in English for the first time.
Drawings on texts and letters dating from 1946, some of them written while he was still confined at the Rodez psychiatric hospital, Artaud devoted the months of November 1946 to February 1947 to completing his book through a long series of vocal improvisations titled Interjections, dictated at his pavilion on the edge of Paris. He cursed the assassins he believed were on their way there to steal his semen, to make his brain go "up in smoke as under the action of one of those machines created to suck up filth from the floor," and finally to erase him. The publisher who had commissioned the book, Louis Broder, was horrified at reading its incandescent, fiercely obscene, and anti-religious manuscript and refused to publish it. Ambitious and experimental in scale, fragmentary and ferocious in intent, it was not published until 1978, in an edition prepared by Artaud's close friend Paule Thévenin. Artaud commented that it was an "impossible" book, and that "nobody has ever read it from end to end, not even its own author." Clayton Eshleman, together with his translation collaborators such as David Rattray, began to work soon after 1978 on an English-language edition, with extracts appearing especially in Eshleman's poetry magazine, Sulfur. This volume presents his translations with additional ones by Paul Buck, and Catherine Petit it in its complete form in English for the first time.
The perfect gift for Shakespeare fans, Y Is for Yorick is full of witty references to the Bard's unforgettable plots and characters. Readers will love perusing the cheeky illustrations and reading such entries as "J is for Juliet. Juliet teaches all young girls that if you truly love someone, wholly and completely, it will be the death of you."
Jennifer Adams works as a writer and editor in Salt Lake City, Utah. She is the author of Remarkably Jane: Notable Quotations on Jane Austen. Y Is for Yorick is her ninth book.
A witty A to Z for Shakespeare lovers.