Provides a cultural and historical context for medieval popular drama. In Drama and Resistance, Claire Sponsler explores the intertwined histories of bodily subjectivity, commodity culture, and theatricality in late medieval England. In a fascinating consideration of popular drama in the period from 1350 to 1520, she argues that many types of performances during this time represented cultural evasions of the imposition of disciplinary power. The medieval theater was a social site where resistance, masked from the full scrutiny of authority by theatricality, was practiced, articulated, and enacted. Sponsler examines three key discourses of authoritarian bodily and commodity control -- clothing laws, conduct literature, and Books of Hours -- and pairs them with three kinds of theatrical performances that enact resistance to disciplining codes -- Robin Hood performances, morality plays, and Corpus Christi pageants. She considers the contradictions and inconsistencies in the repressive official discourses and analyzes the ways in which the staging of forbidden acts like cross-dressing, social and sexual misbehavior, and violence against the body challenged these discourses. Drawing on recent social theory, Drama and Resistance is an important contribution to medieval studies and the history of theater.

American dramas consciously rewrite the past as a means of determined criticism and intentional resistance. While modern criticism often sees the act of revision as derivative, Malburne-Wade uses Victor Turner's concept of the social drama and the concept of the liminal to argue for a more complicated view of revision.

"... a solid addition to international drama." --Library Journal Going beyond the parameters of conventional literary drama, these seven new plays express life issues in post-apartheid South Africa--Islamic fundamentalism, women's rights, ecology, Afrikaans culture and the new multi-racial life of the inner city. While theater rooted in the anti-apartheid movement was rich and vibrant, it was also singleminded in focus, obscuring the diversity of South African culture now brought to life in these works.

We all experience drama in one form or another. Whether its relational conflicts, financial stress, addiction, anger, overeating, or any number of problems; drama is not something that happens to us, but something that happens within us. In whatever form we experience it, drama is ultimately the internal dialogue of wrestling against what is. Drop the Drama! From Drama Addiction to Simply Inspired Living asserts that we become drama addicts, emotionally reacting to life, recreating life stories based on a limited understanding of who we really are. In an approach that transcends all spiritual paths, Drop the Drama! takes an alternative view of the ancient story of Adam and Eve challenging our traditional ways of viewing God, self, the nature of reality, and ultimately revealing a new way of Simply Inspired Living for all humanity. Explore the root cause of suffering; The Drama Mind. Expose the symptoms of the Drama Mind and how it cloaks itself from our awareness. Drop the cycles of Shame, Blame, and The Drama Game. Discover The Quest, questions found in the story of Adam and Eve leading us out of drama and back to Simply Inspired Living. Drop the Drama! is not about providing more factual knowledge for the mind, or getting motivated to achieve certain results in life. It is about uncovering the stories we create, the discovery of who we really are, and unleashing a life that is simply inspiring. Are you ready to Drop the Drama?

Grounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater. A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama—a theatrical piece intended to be read rather than staged—whose long-overlooked significance Puchner traces from the theatrical texts of Mallarmé and Stein to the dramatic "Circe" chapter of Joyce's Ulysses. At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Nôh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scène. While offering an alternative history of modernist theater and literature, Puchner also provides a new account of the contradictory forces within modernism.

A literary reading informed by the recent temporal turn in Queer Theory, this book analyzes medieval Biblical drama for themes representing modes of power such as the body, politics, and law. Revitalizing the discussions on medieval drama, Sturges asserts that these dramas were often intended not to teach morality but to resist Christian authority.

This book sets out on an intellectual journey, with each chapter acting as a unique compass to lead the reader through the critical perspectives on resistance waiting to be discovered in 21st-century British literature. As such, the book appeals to general readers, including undergraduates, researchers, professionals, and anyone who is interested in cultural studies, literary studies, the humanities, and sociology, particularly resistance and discourse studies.

In Print and the Poetics of Modern Drama, W. B. Worthen asks how the print form of drama bears on how we understand its dual identity.

In this engaging cross-disciplinary study, Timothy Murray examines the artistic struggle over traumatic fantasies of race, gender, sexuality, and power. Establishing a retrospective dialogue between past and present, stage and video, Drama Trauma links the impact of trauma on recent political projects in performance and video with the specters of difference haunting Shakespeare's plays. The book provides close readings of cultural formations as diverse as Shakespearean drama, the Statue of Liberty, contemporary plays by women, African-American performance, and feminist interventions in video, performance and installation. The texts discussed include: * installations by Mary Kelly and Dawn Dedeaux, * plays by Ntozake Shange, Rochelle Owens, Adrienne Kennedy, Marsha Norman and Amiri Baraka * performances by Robbie McCauley, Jordan, Orlan, and Carmelita Tropicana * stage, film and video productions of King Lear, Othello, Romeo and Juliet and All's Well that Ends Well.

Overcome the interpersonal challenges holding your business back Is your workplace riddled with gossip, power struggles, and confusion? Do you seek clarity in your management and cohesiveness in your team? Do you have a personal obstacle affecting your professional success? If so, there is good news-help is on the way. Stop Workplace Drama offers down-to-earth, practical methods to help business owners, entrepreneurs, and private practice professionals maximize success, increase productivity, and improve teamwork and personal performance. Identify "drama" barriers and help your employees break free to experience higher personal effectiveness and increased productivity Each of the eight points is full of universal and practical principles any business leader, sales director or entrepreneur can put to use immediately Author Marlene Chism has shared her signature process with organizations such as McDonalds and NASA When you're in the thick of business competition, you and your team need to function freely without internal conflicts, confusions, or rivalries. Stop Workplace Drama ensures that your employees will be able to give their best to create a healthy, profitable workplace.