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SWORD FIGHTING: A MANUAL FOR ACTORS & DIRECTORS

CLIFFORD ODETS AMERICAN PLAY WRIGHT 1906-1940

PLAYS BY AMERICAN WOMEN: 1930-1960

THE BRUTE AND OTHER FARCES

If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

In one of Shakespeare's most famous tragedies, the three daughters of the king of Britain are put to the test of declaring their love for their father, King Lear. The test leads to the expulsion of the favorite daughter, Cordelia; the undermining of the king; and ultimately the unraveling of Lear's sanity. In true Shakespeare fashion, greed, war, lust, and misplaced good intensions intersect to form an inevitable climax of poison and swordplay, making King Lear arguably the greatest tragedy of all time. George Bernard Shaw wrote, "No man will ever write a better tragedy than Lear" (Shaw on Shakespeare, Applause Books). If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts.The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos.The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. Never has there been a Folio available in modern reading fonts. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts.The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos.The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. Never has there been a Folio available in modern reading fonts. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

These popular editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process.

These popular editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process.

THEATRE FOR YOUNG AUDIENCES AROUND THE WORLD IN 21 PLAYS

If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts.The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos.The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. Never has there been a Folio available in modern reading fonts. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

If there ever has been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be the Applause Folio Texts. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. The heavy mascara of four centuries of Shakespearean glossing has by now glossed over the original countenance of Shakespeare's work. While other complete Folio editions continue to trade simply on the facsimile appearance of the Elizabethan "look " none of them is easily and practically utilized in general Shakespeare studies or performances.

CHAOS AS USUAL

THE LIFE AND DEATH OF PETER SELLERS

THE SERVANT OF TWO MASTERS & OTHER ITALIAN CLASSICS

BATTLE OF BRAZIL

If there has ever been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be THE APPLAUSE FOLIO TEXTS. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. Prepared and annotated by Neil Freeman, Head, Graduate Directing Program, University of British Columbia.

A CHEKHOV CONCERT

BEST AMERICAN SHORT PLAYS 94-95

GREAT MOVIE MUSICAL TRIVIA BOOK

THE END OF ACTING

This Applause edtiion allows the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Readers and students are faced with real theatrical choices in each speech as the editors point out the challenges and opportunities to the actor and director at each juncture. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process.

MASTERGATE AND POWER FAILURE

THE FIRST LULU

THE NEW RADICAL THEATRE NOTEBOOK

TELLING MOMENTS

A FLEA IN HER REAR (OR ANTS IN HER PANTS)

SHAW ON MUSIC

WOMEN ON THE VERGE: SEVEN AVANT-GARDE AMERICAN PLAYS