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European Drama

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  1. Doctor Faustus: With The English Faust Book

    Christopher Marlowe
    Edited, with Introduction and Notes, by David Wootton

    Doctor Faustus: With The English Faust Book

    "This is an excellent edition; I really appreciate the clear Introduction and the exceptionally useful notes.  I look forward to using this text with a freshman literature class who will really benefit from the helpful textual apparatus."
         —Charlotte England, Department of English, Salisbury University

  2. Faust: The First Part of the Tragedy

    Johann Wolfgang von Goethe
    Translated, with an introduction and notes, by Margaret Kirby

    Faust: The First Part of the Tragedy

    "Kirby reproduces in simple, clear English—and almost always line for line—the meaning of Goethe's German text, with metrical variations that evoke the shifting meters of the original."
          —Jane Brown, University of Washington

  3. Four Plays and Three Jokes

    Anton Chekhov
    Translated, with an Introduction and Notes, by Sharon Marie Carnicke

    Four Plays and Three Jokes

    This volume offers lively and accurate translations of Chekhov's major plays and one-acts (complete contents listed below) along with a superb Introduction focused on the plays' remarkably enduring power to elicit the most widely divergent of responses, the life of the playwright in its historical and aesthetic contexts, suggestions for reading the plays "under a microscope," and notes designed to bring Chekhov's world into immediate focus—everything needed to examine his drama with fresh eyes and on its own artistic terms. Three Jokes: The Bear, The Proposal, The Anniversary. The Major Plays: The Seagull, Uncle Vanya, Three Sisters, The Cherry Orchard.

  4. La casa de Bernarda Alba

    Federico García Lorca
    Edited by Paola Bianco and Antonio Sobejano-Morán

    La casa de Bernarda Alba

    Federico García Lorca's 1945 drama is set in a small Spanish village, where the five daughters of a tyrannical mother struggle against her strict control. The play explores themes of repression, passion, and conformity, and the effects of love upon men upon women. This edition is designed to help students approach the original Spanish text through an introductory essay, vocabulary and cultural notes, and study questions. All material is in Spanish, and complete in one volume, appropriate as an introductory text for Spanish language courses in literature and culture.

  5. Tartuffe

    Molière
    Translated by Prudence L. Steiner
    Introduced by Roger W. Herzel

    Tartuffe

    "The new Steiner Tartuffe offers welcome relief from all the rhymed translations that make Molière sound like a third-rate Restoration poet while creating the (false) impression that verbal dexterity and wit trump all other values in the great comic playwright's dramaturgy.  Steiner's crisp, lucid prose—her adroitly balanced sentences are especially effective at conveying the slippery rhetoric of Tartuffe's seductions—unfolds the plot and characters of Molière's play with an unaccustomed clarity, presenting the ideological clashes of the play with a bluntness many other translations attenuate. Roger Herzel's Introduction is well-focused for those encountering Molière for the first time and informed throughout by his own excellent scholarship."
         —Jim Carmody, University of California, San Diego

  6. Tartuffe and the Misanthrope

    Molière
    Translated by Prudence L. Steiner
    Introduced by Roger W. Herzel

    Tartuffe and the Misanthrope

    Prudence Steiner's lively prose translations remain close to the original French, giving us the speech of the characters in a slightly compressed and formalized language that echoes the effect created by Molière's verse. Roger Herzel's thoughtful Introduction discusses Molière's life; Tartuffe, The Misanthrope, and the comic tradition; and the setting, casting, and style of the plays.

  7. The Cherry Orchard

    Anton Chekhov
    Translated, with an Introduction and Notes, by Sharon Marie Carnicke

    The Cherry Orchard

    "Finding a decent Cherry Orchard which is not part of an anthology is valuable. Prof. Carnicke's introduction materials are highly helpful for teaching this in a theatre history or play analysis course."
         —Erith Jaffe-Berg, Department of Theatre, University of California, Riverside

  8. The Figaro Plays

    Beaumarchais
    Translated by John Wells, Edited by John Leigh

    The Figaro Plays

    “[Beaumarchais’] fame rests on Le Barbier de Seville (1775) and Le Mariage de Figaro (1784), the only French plays which his stage-struck century bequeathed to the international repertoire. But his achievement has been adulterated, for ‘Beaumarchais’ has long been the brand name of a product variously reprocessed by Mozart, Rossini, and the score or so librettists and musicians who have perpetuated his plots, his characters, and his name. The most intriguing question of all has centered on his role as catalyst of the Revolution. Was his impertinent barber the Sweeney Todd of the Ancien Régime, the true begetter of the guillotine? . . . Beaumarchais’ plays have often seemed to need the same kind of shoring up as his reputation, as though they couldn’t stand on their own without a scaffolding of good tunes. Yet, as John Wells’ lively and splendidly speakable translations of the Barber, the Marriage, and A Mother’s Guilt demonstrate, they need assistance from no one. [Beaumarchais] thought of the three plays as a trilogy. Taken together, they reflect, as John Leigh’s commentaries make clear, the Ancien Régime’s unstoppable slide into revolution.”
         —David Coward in The London Review of Books

  9. Three Sisters

    Anton Chekhov
    Translated, with an Introduction and Notes, by Sharon Marie Carnicke

    Three Sisters

    "This compact book combines a lively, colloquial transition of Chekhov's late play Three Sisters with an informative and insightful introduction. Actor-focuses but broad in coverage, this edition should be required reading for any ensemble producing the play in English. It is also highly recommended for a general reader and for classroom use. Although this is not a scholarly work, it has a lot to offer scholars and Chekhov veterans."
         —Carol Apollonio, Duke University, in The Russian Review

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