Bøger udgivet af Oberon Books

When Jon Fosse had his playwright début with And We Shall Never Part at the National Theatre in Bergen in 1994, he was already an established author of several novels, collections of poetry and children's books. Since his breakthrough in 1996 with the world premiere of Someone Will Arrive at the Norwegian Theatre he has written over twenty more plays and has become the world's most performed contemporary European playwright. Oberon Books publishes Nightsongs, The Girl on the Sofa and I Am the Wind, together with his other plays in five collections. Fosse was made a Chevalier of the Ordre national du Mérite of France in 2007 and received The International Ibsen Award in 2010. 'Since the early 1990s, Jon Fosse's plays have been produced in countless venues internationally, and have been translated into dozens of languages - winning awards, inspiring critical adulation, and intriguing and inspiring theatregoers throughout the world. Strangely, however, his work remains largely unknown to English-speaking audiences - an oversight that Leif Zern's The Luminous Darkness will do much to redress. In twelve short chapters, the book explores Fosse's career, offering a lucid and insightful argument that is enriched by Zern's intimate knowledge of the plays in production. The result is an important and timely study of a playwright who demands and deserves our attention.' - Patrick Lonergan, National University of Ireland Galway

"A thoughtful and considered kick up the arse to conspiracy theorists and to patriarchy" - Michael Boyd, Artistic Director RSCCleopatra, La Pucelle, Ophelia, Shaw's St. Joan and Ibsen's Hedda - a handful of seminal roles for women in the classical canon. Janet Suzman has played them all and directed some. Here she examines their complexity and explores why only Cleopatra has an independence that allows her to speak to modern women. None of these, regrettably, matches up to a Hamlet, but as she is grateful for the parts he did write, Suzman feels a lightly-barbed attack on those who doubt Shakespeare's authorship is way overdue. She also takes issue with received ideas on boy-actors playing mature women in Shakespeare's company, and reflects on how female characters in classical drama have not been on a level with their male counterparts. Today, on TV, film and the stage, this remains the case. Not Hamlet but Hamlette, please.