本书为公版书，为不受著作权法限制的作家、艺术家及其它人士发布的作品，供广大读者阅读交流。汇聚授权电子版权。

Each edition includes: • Freshly edited text based on the best early printed version of the play • Full explanatory notes conveniently placed on pages facing the text of the play • Scene-by-scene plot summaries • A key to famous lines and phrases • An introduction to reading Shakespeare's language • An essay by an outstanding scholar providing a modern perspective on the ...(展开全部)

本书为公版书，为不受著作权法限制的作家、艺术家及其它人士发布的作品，供广大读者阅读交流。汇聚授权电子版权。

In Theatre , W. Somerset Maugham–the author of the classic novels Of Human Bondage and Up at the Villa –introduces us to Julia Lambert, a woman of breathtaking poise and talent whose looks have stood by her forty-six years. She is one of the greatest actresses England–so good, in fact, that perhaps she never stops acting. It seems that noting can ruffle her satin feathers...(展开全部)

In Theatre , W. Somerset Maugham–the author of the classic novels Of Human Bondage and Up at the Villa –introduces us to Julia Lambert, a woman of breathtaking poise and talent whose looks have stood by her forty-six years. She is one of the greatest actresses England–so good, in fact, that perhaps she never stops acting. It seems that noting can ruffle her satin feathers...(展开全部)

著有《圖書館戰爭》系列、《植物圖鑑》等作品的人氣作家有川浩， 在此為各位獻上青春熱血的溫馨舞台劇世界！ 「兩年間要賺回三百萬，不然就收團！」 旗子劇團面臨創團以來的最大危機！ 超級新星羽田千歲一入團，卻引發演員們的離團潮，同時，劇團還負債高達三百萬！ 愛哭鬼團長為了還債只好伸手向哥哥借錢，然而，討厭劇團的哥哥開出的條件竟是？ 擅長以溫暖細膩的筆法描繪人物的有川浩，此次將進軍舞台劇世界。 本作以舞台劇的世界為基礎，描述一群熱愛演戲但卻不善經營的劇團成員， 如何在背負三百萬債務下奮力成長的故事。明快詼諧的對話與高潮迭起的劇情， 讓人有如親臨現場欣賞舞台劇一般，現在，就請入座，欣賞有川浩與旗子劇團的精采之作吧！ ──有多少人在生命走到盡頭之前，曾經體驗過眾人一起驚喜、狂歡、哭泣？ 「守財奴有什麼不好！錢才是正義！」 「我也想前往她所在的世界──靠自己的才藝...(展开全部)

Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann's groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic t...(展开全部)

Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann's groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic t...(展开全部)