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Showing: 81-90 results of 92

ACT I HILLCRIST'S study. A pleasant room, with books in calfbindings, and signs that the HILLCRIST'S have travelled, suchas a large photograph of the Taj Mahal, of Table Mountain, andthe Pyramids of Egypt. A large bureau [stage Right], devotedto the business of a country estate. Two foxes' masks.Flowers in bowls. Deep armchairs. A large French window open[at Back], with a lovely view of a slight rise of fields andtrees in August sunlight. A fine... more...

ACT I. — THE SECRET. Scene:—The exterior of a decayed, weatherbeaten, Elizabethan 'mansion, overgrown with ivy and autumn-tinted creeper. On the R., the lower part of a tower, square or circular. Facing the audience, about five feet from the ground, a door opening into the tower, the entrance proper to the house. This door leads out on to a stone terrace, which is run off the stage R., and which terminates R. C., in a few broken and... more...

THE TURN OF THE ROAD. SCENE I. A farm kitchen of the present day. Door at back, opening to yard, and window with deal table on which are lying dishes and drying cloths with basin of water. A large crock under table. A dresser with crockery, etc., stands near to another door which opens into living rooms. Opposite there is a fireplace with projecting breasts, in which a turf fire is glowing. Time, about eight of a summer evening in July. Mrs.... more...

PREFACE About seven years ago I began to dictate the first of these Plays to Lady Gregory. My eyesight had become so bad that I feared I could henceforth write nothing with my own hands but verses, which, as Theophile Gautier has said, can be written with a burnt match. Our Irish Dramatic movement was just passing out of the hands of English Actors, hired because we knew of no Irish ones, and our little troop of Irish amateurs—as they were... more...

ACT I [Roadside with big stones, etc., on the right; low loose wall at back with gap near centre; at left, ruined doorway of church with bushes beside it. Martin Doul and Mary Doul grope in on left and pass over to stones on right, where they sit.] MARY DOUL. What place are we now, Martin Doul? MARTIN DOUL. Passing the gap. MARY DOUL — [raising her head.] — The length of that! Well, the sun's getting warm this day if it's late... more...


INTRODUCTION TO SARDANAPALUS Byron's passion or infatuation for the regular drama lasted a little over a year. Marino Faliero, Sardanapalus, and the Two Foscari, were the fruits of his "self-denying ordinance to dramatize, like the Greeks ... striking passages of history" (letter to Murray, July 14, 1821, Letters, 1901, v. 323). The mood was destined to pass, but for a while the neophyte was spell-bound. Sardanapalus, a Tragedy, the second and,... more...

PREFACE. The main rules which we proposed to ourselves in undertaking this Edition are as follows: 1. To base the text on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, and of subsequent editions and commentaries. 2. To give all the results of this collation in notes at the foot of the page, and to add to these conjectural emendations collected and suggested by ourselves, or furnished to us by our... more...

PREFACE A nice phrase: "A People's Theatre." But what about it? There's no such thing in existence as a People's Theatre: or even on the way to existence, as far as we can tell. The name is chosen, the baby isn't even begotten: nay, the would-be parents aren't married, nor yet courting. A People's Theatre. Note the indefinite article. It isn't The People's Theatre, but A People's Theatre. Not the theatre of Plebs, the proletariat, but the... more...

PROLOGUE. Scene.—A Russian Inn. Large door opening on snowy landscape at back of stage. Peter Sabouroff and Michael. Peter (warming his hands at a stove). Has Vera not come back yet, Michael? Mich. No, Father Peter, not yet; 'tis a good three miles to the post office, and she has to milk the cows besides, and that dun one is a rare plaguey creature for a wench to handle. Peter. Why didn't you go with her, you young fool? she'll... more...

INTRODUCTION The greatest of English dramatists except Shakespeare, the first literary dictator and poet-laureate, a writer of verse, prose, satire, and criticism who most potently of all the men of his time affected the subsequent course of English letters: such was Ben Jonson, and as such his strong personality assumes an interest to us almost unparalleled, at least in his age. Ben Jonson came of the stock that was centuries after to give to... more...