“A subversive, seriously funny new theater piece by the adventurous playwright Young Jean Lee. . . . Ms. Lee does not shy away from prodding the audience’s racial sensitivities—or insensitivities—in a style that is sometimes sly and subtle, sometimes as blunt as a poke in the eye.”—Charles Isherwood, The New York Times “Lee is a facetious provocateur; she does whatever she can to get under our skins—with laughs and with raw, brutal talk . . . [and with] so ingenious a twist, such a radical bit of theatrical smoke and mirrors, that we are forced to confront our own preconceived notions of race.”—Hilton Als, The New Yorker With The Shipment, her latest work taking on identity politics, Young Jean Lee “confirms herself as one of the best experimental playwrights in America” (Time Out New York). The Korean American theater artist has taken on cultural images of black America, in a play that begins with sketches of African American clichés—an angry, foul-mouthed comedian; an aspiring young rapper who ends up in prison—and ends with a seemingly naturalistic parlor comedy, which slyly reveals the larger game Lee is playing, leaving us to consider the many ways that we see the world through a racial lens. Young Jean Lee is a playwright, director, and artistic director of her own OBIE Award-winning theater company, which as been producing her plays since 2003. Her other works include Songs of Dragons Flying to Heaven, Church, The Appeal, and Pullman, WA, and they have been produced across the country and internationally.

Dynasties battle for the crown in Tessa Gratton's debut adult epic fantasy, The Queens of Innis Lear. Three Queens. One crown. All out war. Gaela. Ruthless Commander. I am the rightful heir of Innis Lear. No more will I wait in the shadows and watch my mother’s murderer bleed my island dry. The King’s hold on the crown must end—willingly or at the edge of my sword. Regan. Master Manipulator. To secure my place on the throne, I must produce an heir. Countless times I have fed the island’s forests my blood. Yet, my ambition is cursed. No matter what or whom I must destroy, I will wield the magic of Innis Lear. Elia. Star-blessed Priest. My sisters hide in the shadows like serpents, waiting to strike our ailing king. I must protect my father, even if it means marrying a stranger. We all have to make sacrifices. Love and freedom will be mine. "Amazing. Just Amazing."--Robin McKinley At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

A life-affirming, humorous show of songs and monologues drawing on real-life experiences, about the one thing we all have in common: we're gonna die. You may be miserable, but you won't be alone. Witty, wise and honest, We're Gonna Die narrates Lee's experiences of loneliness and the comfort she found in simple and unexpected things following the death of her father. This book includes a CD of all six songs (performed by Young Jean Lee with her band Future Wife) and eight monologues (performed by Laurie Anderson, David Byrne, Kathleen Hanna, Adam Horovitz, Matmos's Drew Daniel, and Martin Schmidt, Sarah Neufeld, and Colin Stetson).

"An intimate portrait of one of Shakespeare's most inspired moments: the year of King Lear, Macbeth and Antony and Cleopatra. 1606, while a very good year for Shakespeare, is a fraught one for England. Plague returns. There is surprising resistance to the new king's desire to turn England and Scotland into a united Britain. And fear and uncertainty sweep the land and expose deep divisions in the aftermath of the failed terrorist attack that came to be known as the Gunpowder Plot. James Shapiro deftly demonstrates how these extraordinary plays responded to the tumultuous events of this year, events that in unexpected ways touched upon Shakespeare's own life ... [and] profoundly changes and enriches our experience of his plays--Publisher's description.

"LEAR: Does Lear walk thus? Speak thus? / Who is it that can tell me who I am?" "Centuries of critics and actors have tried to tell, but Lear's identity, and the meaning of his action in the play, are still touched with enigma." "This book seeks Shakespeare's intentions in King Lear in new ways. It explores major interpretations of distinguished actors and directors as well as of critics from England, the United States, France, Belgium, Japan, Sweden, Norway, Germany, Italy, the Soviet Union, Czechoslovakia, Romania, Hungary, Bulgaria, and Poland. Is the play unsuited for the stage, as Charles Lamb - and others - have declared? How, in fact, has it been staged, and how visualized by critics? Is Lear designed to be a frail and aging old man? A powerful image of authority? Mad, or senile, to begin with? A kindly old father? Everyman? All of these? None? Does the play end with redemption? Unmitigated despair? Is it Christian? Pagan? Mr. Rosenberg confronts these and other questions from the base of his study and personal experience of the play." "To deepen the theatrical side of that experience, he began, as he did in his The Masks of Othello, with an involvement in the staged play: he directed and acted in Othello, and he followed a production of King Lear through two months of rehearsal and performance. One by-product of this intense participation was a discovery of some special qualities in the language of the play." "To achieve a better understanding of these qualities, Mr. Rosenberg put Lear's vocabulary through a computer, and established a concordance of every word both for the play as a whole and for each character. Interesting structural elements in Shakespeare's language become apparent." "Recognizing the difficulty, for a critic, of responding afresh to Shakespeare's craftsmanship in characterization and in arousing expectation, Mr. Rosenberg also arranged to expose the play to spectators who had never seen or read it. The response of this naive audience, after attending performances, was curious and illuminating. The author believes that any critical approach must be used that will increase our understanding of Shakespeare's work."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

King Lear exists in two different texts: the Quarto (1608) and the Folio (1623). Because each supplies passages missing in the other, for over 200 years editors combined the two to form a single text, the basis for all modern productions. Then in the 1980s a group of influential scholars argued that the two texts represent different versions of King Lear, that Shakespeare revised his play in light of theatrical performance. The two-text theory has since hardened into orthodoxy. Now for the first time in a book-length argument, one of the world’s most eminent Shakespeare scholars challenges the two-text theory. At stake is the way Shakespeare’s greatest play is read and performed. Sir Brian Vickers demonstrates that the cuts in the Quarto were in fact carried out by the printer because he had underestimated the amount of paper he would need. Paper was an expensive commodity in the early modern period, and printers counted the number of lines or words in a manuscript before ordering their supply. As for the Folio, whereas the revisionists claim that Shakespeare cut the text in order to alter the balance between characters, Vickers sees no evidence of his agency. These cuts were likely made by the theater company to speed up the action. Vickers includes responses to the revisionist theory made by leading literary scholars, who show that the Folio cuts damage the play’s moral and emotional structure and are impracticable on the stage.

A reimagining of one of Shakespeare's most well-read tragedies, by the contemporary, critically acclaimed master of domestic drama Henry Dunbar, the once all-powerful head of a global media corporation, is not having a good day. In his dotage he hands over care of the corporation to his two eldest daughters, Abby and Megan, but as relations sour he starts to doubt the wisdom of past decisions. Now imprisoned in Meadowmeade, an upscale sanatorium in rural England, with only a demented alcoholic comedian as company, Dunbar starts planning his escape. As he flees into the hills, his family is hot on his heels. But who will find him first, his beloved youngest daughter, Florence, or the tigresses Abby and Megan, so keen to divest him of his estate? Edward St Aubyn is renowned for his masterwork, the five Melrose novels, which dissect with savage and beautiful precision the agonies of family life. His take on King Lear, Shakespeare’s most devastating family story, is an excoriating novel for and of our times – an examination of power, money and the value of forgiveness.