Major figures treated include Gryphius, Lessing, Schiller, Goethe, Grillparzer, Hebbel, Schnitzler, and Brecht. There is no competing work in English."--BOOK JACKET.

This is the first bibliography in its field, based on first-hand collations of the actual articles. International in scope, it includes publications found in public theatre libraries and archives of Barcelona, Berlin, Brussels, Budapest, Florence, London, Milan, New York and Paris amongst others. Over 3500 detailed entries on separately published sources such as books, sales and exhibition catalogues and pamphlets provide an indispensible guide for theatre students, practitioners and historians. Indices cover designers, productions, actors and performers. The iconography provides an indexed record of over 6000 printed plates of performers in role, illustrating performance costume from the 18th to 20th century.

Thomas Ostermeier is the most internationally recognised German theatre director of the present. With this book, he presents his directorial method for the first time. The Theatre of Thomas Ostermeier provides a toolkit for understanding and enacting the strategies of his advanced contemporary approach to staging dramatic texts. In addition, the book includes: Ostermeier’s seminal essays, lectures and manifestos translated into English for the first time. Over 140 photos from the archive of Arno Declair, who has documented Ostermeier’s work at the Schaubühne Berlin for many years, and by others. In-depth ‘casebook’ studies of two of his productions: Ibsen’s An Enemy of the People (2012) and Shakespeare’s Richard III (2015) Contributions from Ostermeier’s actors and his closest collaborators to show how his principles are put into practice. An extraordinary, richly illustrated insight into Ostermeier’s working methods, this volume will be of interest to practitioners and scholars of contemporary European theatre alike.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914–19.

Early modern books were not stable or settled outputs of the press but dynamic shape-changers, subject to reworking, re-presentation, revision, and reinterpretation. Their history is often the history of multiple, sometimes competing, agencies as their texts were re-packaged, redirected, and transformed in ways that their original authors might hardly recognize. Processes of editing, revision, redaction, selection, abridgement, glossing, disputation, translation, and posthumous publication resulted in a textual elasticity and mobility that could dissolve distinctions between text and paratexts, textuality and intertextuality, manuscript and print, author and reader or editor, such that title and author's name are no longer sufficient pointers to a book's identity or contents. This collection brings together original essays by an international team of eminent scholars in the field of book history that explore these various kinds of textual inconstancy and variability. The essays are alive to the impact of commercial and technological aspects of book production and distribution (discussing, for example, the career of the pre-eminent bookseller John Nourse, the market appeal of abridgements, and the financial incentives to posthumous publication), but their interest is also in the many additional forms of agency that shaped texts and their meanings as books were repurposed to articulate, and respond to, a variety of cultural and individual needs. They engage with early modern religious, political, philosophical, and scholarly trends and debates as they discuss a wide range of genres and kinds of publication including fictional and non-fictional prose, verse miscellanies, abridgements, sermons, religious controversy, and of authors including Lucy Hutchinson, Richard Baxter, John Dryden, Thomas Burnet, John Tillotson, Henry Maundrell, Jonathan Swift, Samuel Richardson, John Wesley, and Samuel Taylor Coleridge. The result is a richly diverse collection that demonstrates the embeddedness of the book trade in the cultural dynamics of early modernity.