In 1953, Samuel Beckett’s Waiting for Godot premiered at a tiny avant-garde theatre in Paris; within five years, it had been translated into more than twenty languages and seen by more than a million spectators. Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and...(展开全部)

Known as the "bible" of theatre history, Brockett and Hildy’s History of the Theatre is the most comprehensive and widely used survey of theatre history in the market. This 40 th Anniversary Edition retains all of the traditional features that have made History of the Theatre the most successful text of its kind, including worldwide coverage, more than 530 pho...(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)

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)

弗•伊•涅米罗维奇－丹钦科（1858—1943），生于格鲁吉亚奥祖尔盖蒂，苏联戏剧导演、剧作家、戏剧教育家、评论家。早年从事剧本和小说创作，1898年与斯坦尼斯拉夫斯基共同创建莫斯科艺术剧院，此后联合执导了契诃夫的《海鸥》《万尼亚舅舅》《三姊妹》《樱桃园》和高尔基的《底层》等名剧。1928年以后成为剧院的主要负责人，先后将托尔斯泰的小说《复活》《安娜•卡列尼娜》搬上舞台，并重排了《三姊妹》。1936年获“苏联人民艺术家”称号。 译者简介： 焦菊隐（1905—1975），生于天津，原名焦承志，戏剧导演、戏剧理论家、翻译家，北京人民艺术剧院的创建人之一。1928年毕业于燕京大学，1938年获巴黎大学文学博士学位。1952年被任命为北京人民艺术剧院第一副院长兼总导演，开创了北京人艺演剧学派。导演代表作有《龙须沟》《虎符》《茶馆》《关汉卿》《蔡文姬》等，译著...(展开全部)

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