BN.com Gift Guide

The Wadsworth Anthology of Drama / Edition 4

Paperback (Print)
Used and New from Other Sellers
Used and New from Other Sellers
from $14.95
Usually ships in 1-2 business days
(Save 85%)
Other sellers (Paperback)
  • All (10) from $14.95   
  • New (1) from $145.45   
  • Used (9) from $14.95   
Close
Sort by
Page 1 of 1
Showing All
Note: Marketplace items are not eligible for any BN.com coupons and promotions
$145.45
Seller since 2005

Feedback rating:

(373)

Condition:

New — never opened or used in original packaging.

Like New — packaging may have been opened. A "Like New" item is suitable to give as a gift.

Very Good — may have minor signs of wear on packaging but item works perfectly and has no damage.

Good — item is in good condition but packaging may have signs of shelf wear/aging or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Acceptable — item is in working order but may show signs of wear such as scratches or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Used — An item that has been opened and may show signs of wear. All specific defects should be noted in the Comments section associated with each item.

Refurbished — A used item that has been renewed or updated and verified to be in proper working condition. Not necessarily completed by the original manufacturer.

New
Boston, MA 2004 Softcover Fourth Edition New Condition. No Dust Jacket Never opened, never used. In excellent condition. Size: 26 cm. 1716 pp. Multiple copies available this ... title. Quantity Available: 3. Shipped Weight: Under 1 kilo. Category: Theatre & Plays; ISBN: 0838407501. ISBN/EAN: 9780838407509. Dewey Code: 808.82 22. Inventory No: 1561005197. Read more Show Less

Ships from: Burgin, KY

Usually ships in 1-2 business days

  • Canadian
  • International
  • Standard, 48 States
  • Standard (AK, HI)
  • Express, 48 States
  • Express (AK, HI)
Page 1 of 1
Showing All
Close
Sort by

Overview

Known through three editions as the boldest and most distinguished introduction to drama, William Worthen's pace-setting text continues to provide exciting plays usefully situated within their historical and cultural contexts.

Read More Show Less

Editorial Reviews

From the Publisher
"I love this book; it's simply one of the best anthologies on the market. It has breadth, giving due recognition to the traditional canon, but at the same time going well beyond it by including non-western plays and a considerable number of works by under-recognized women playwrights."

"The [Wadsworth] is a better text than either of the anthologies I use now; it offers a better selection of plays and some really useful supporting material."

"I was favorably impressed—the book is about as comprehensive as possible without weighing too much or costing too much."

"I wished I had this anthology when I was a student!"

"Overall, I have found the book to have a valuable selection of plays, to be well organized and formatted, and through its introductory and critical materials to strike a nice balance between drama as literature and theatre in performance."

Read More Show Less

Product Details

  • ISBN-13: 9780838407509
  • Publisher: Cengage Learning
  • Publication date: 6/20/2003
  • Series: Wadsworth Anthology of Drama Ser.
  • Edition description: Older Edition
  • Edition number: 4
  • Pages: 1728
  • Product dimensions: 7.50 (w) x 10.52 (h) x 1.50 (d)

Meet the Author

W. B. Worthen, Alice Brady Pels Professor in the Arts, is Professor and Chair of the Department of Theater at Barnard College, Columbia University. He is the author of Shakespeare and the Force of Modern Performance (Cambridge University Press, 2003) Shakespeare and the Authority of Performance (Cambridge University Press, 1997), Modern Drama and the Rhetoric of Theater (University of California Press, 1992), The Idea of the Actor: Drama and the Ethics of Performance (Princeton University Press, 1984), Modern Drama: Plays, Criticism, Theory (Wadsworth, 1995), and of many articles on modern drama, Shakespeare, and theories of performance. Professor Worthen received his B. A. in English from the University of Massachusetts at Amherst and his Ph.D. in English from Princeton University, and has held research fellowships form the Guggenheim Foundation and the National Endowment of the Humanities. He is past editor of Theatre Journal and current coeditor of Modern Drama.

Read More Show Less

Table of Contents

Introduction: Drama, Theater, and Culture. Reading Drama and Seeing Theater. Drama and Theater in History. Dramatic Genres. Dramatic Form. The Stage in Critical Practice. *Reading the Material Theatre. 1. CLASSICAL ATHENS. Aside: Roman Drama and Theater. *Reading the Material Theater: Pronomos Painter. Aeschylus, Agamemnon. Sophocles, Oedipus the King. Euripides, Medea. Aristophanes, Lysistrata. Critical Contexts: Aristotle, from The Poetics. Performance in History. Sue-Ellen Case, from Classic Drag: the Greek Creation of Female Parts. Niall W. Slater, from The Idea of the Actor. *An Actor's Perspective: Interview with Fiona Shaw on Medea. A Performance Review: Michael Billington, review of The Oresteia. Royal National Theatre, 1981. 2. CLASSICAL JAPAN. Aside: Sanskrit Drama and Theater. *Reading the Material Theater: A Portrait of Seki Sanjuro II. Kan'ami Kiyotsugu, Matsukaze. Nakamura Matagoro II and James R. Brandon, adaptors, Chushingura: The Forty-Seven Samurai. Critical Contexts: Zeami Motokiyo, from A Mirror Held to the Flower. *Performance in History: Graham Ley, Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse. A Playwright's Perspective: Zeami Motokiyo, from Teachings on Style and the Flower. A Performance Review: Sandra Schlanger, review of Chushingura: The Forty-Seven Samurai University of Hawaii (1979). 3. MEDIEVAL AND RENAISSANCE ENGLAND. Aside: The Jacobean Court Masque. *Reading the Material Theater: Titus Andronicus title page. Anonymous, The Wakefield Second Shepherds' Pageant. Anonymous, Everyman. Christopher Marlowe, Doctor Faustus. William Shakespeare, Hamlet. William Shakespeare, The Tempest. Critical Contexts: Sir Philip Sidney, from Apology for Poetry. *Performance in History: Phyllis Rackin, Misogyny is Everywhere. An Actor's Perspective: Michael Pennington, Hamlet, from Players of Shakespeare. A Performance Review: Mel Gussow, review of Hamlet, Royal Shakespeare Company (1980). 4. EARLY MODERN EUROPE. Aside: Commedia Dell' Arte. Reading the Material Theater: Betterton's acting style. Pedro Calderon de la Barca, Life Is a Dream. Moliere, Tartuffe. Jean Racine, Phaedra. Aphra Behn, The Rover. Sor Juana Ines de la Cruz, Loa to The Divine Narcissus. Critical Contexts: John Dryden, Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy. Performance in History: Katharine Eisaman Maus, from 'Playhouse Flesh and Blood': Sexual Ideology and the Restoration Actress. *An Actress's Perspective: Hippolyte Clairon, from Memoirs. A Performance Review: Frank Rich, review of The Rover Williamstown Theatre (1987). 5. MODERN EUROPE. Aside: Melodrama. *Reading the Material Theater: Ibsen's Notes for the Modern Tragedy. Henrik Ibsen, A Doll's House. August Strindberg, The Father. Anton Chekhov, The Cherry Orchard. *Elizabeth Robins, Votes for Women! Bernard Shaw, Major Barbara. Luigi Pirandello, Six Characters In Search of an Author. Bertolt Brecht, Mother Courage and Her Children. Samuel Beckett, Endgame. Harold Pinter, The Homecoming. *Marguerite Duras, India Song. Heiner Müller, Hamletmachine. Caryl Churchill, Cloud Nine. *David Edgar, Pentecost. Critical Contexts: Friedrich Nietzsche, from The Birth of Tragedy. Émile Zola, from Naturalism in the Theatre. Martin Esslin, from The Theatre of the Absurd. Fredric Jameson, from "Postmodernism and Consumer Society". Performance in History: Constantin. Stanislavski, from "Direction and Acting". Bertolt Brecht, "Theatre for Pleasure or Theatre for Instruction". Antonin Artaud, from The Theater and Its Double. *Una Chaudhuri, from Staging Place: The Geography of Modern Drama. *A Director's Perspective: A Director's approach—Interview with Peter Hall on The Homecoming. Performance Reviews: Bernard Shaw, review of A Doll's House Globe Theatre (1897). Ben Brantley, review of A Doll's House Belasco Theater (1997). 6. THE UNITED STATES. Aside: The Federal Theater Project. Aside: Performance Art. *Reading the Material Theater: Grimke's Rachel—The Play of the Month, The Reason and Synopsis by the Author. *Dion Boucicault, The Octoroon. Susan Glaspell, Trifles. *Angelina Weld Grimke, Rachel. Eugene O'Neill, The Hairy Ape. Tennessee Williams, The Glass Menagerie. *Arthur Miller, Death of a Salesman. Amiri Baraka/LeRoi Jones, Dutchman. *Maria Irene Fornes, Fefu and Her Friends. Sam Shepard, True West. August Wilson, Fences. David Henry Hwang, M. Butterfly. Tony Kushner, Angels in America, Part 1: Milennium Approaches. Anna Deavere Smith, Fires In the Mirror: Crown Heights, Brooklyn, and Other Identities. *Naomi Iizuka, 36 Views. *Suzan-Lori Parks, Topdog/Underdog. Critical Contexts: Arthur Miller, Tragedy and the Common Man. Amiri Baraka/LeRoi Jones, "The Revolutionary Theatre". Performance in History: *August Wilson, The Ground on Which I Stand. *Robert Brustein, Subsidized Separatism. A Designer's Perspective: Arnold Aronson, Design for Angels in America: Envisioning the Millennium. A Performance Review: Ben Brantley, review of Topdog / Underdog Joseph Papp Public Theater (2001). 7. WORLD STAGES. Aside: Intercultural Performance. *Reading the Material Theater: Program Notes for Translations. Satoh Makoto, My Beatles. Aime Cesaire, A Tempest. Griselda Gambaro, Information for Foreigners. *Athol Fugard, John Kani, Winston Ntshona, The Island. Wole Soyinka, Death and the King's Horseman. Brian Friel, Translations. Maishe Maponya, Gangsters. Jack Davis, No Sugar. *Gao Xingjian, The Other Shore. Tomson Highway, Dry Lips Oughta Move to Kapuskasing. *Judith Thompson, Lion in the Streets. *Manjula Padmanabhan, Harvest. Critical Contexts: Frantz Fanon, from "The Fact of Blackness". Homi K. Bhabha, "Of Mimicry and Man: The Ambivalence of Colonial Discourse". Performance in History: Helen Gilbert and Joanne Tompkins, from Post-Colonial Drama. *A Playwright's Perspective: Athol Fugard, selections from Notebooks. *A Performance Review: John Bemrose, Dry Lips Oughta Move to Kapuskasing. Royal Alexandria Theatre (1991). Appendix: Writing About Drama and Theater. Glossary. Bibliography. Video, Film, And Sound Recordings of Plays. List of Illustrations and Photographs. Index.

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)