Ebooks de literatura, página 22 de 10589

Interstellar Brides Program: The VirginsThe Elite Hunters of Everis have served the Coalition Fleet for hundreds of years. Bounty hunters. Assassins. The Hunters possess special gifts that allow them to find anyone, anywhere in the universe; anyone but their Marked Mate.Join five Hunters as they find the human women destined to be theirs, females they must both protect and claim or risk losing them forever.From the American Wild West of the 1800s to the far-off world of planet Everis, the Elite Hunters will stop at nothing to claim their Marked Mates.The entire Interstellar Brides Program: The Virgins now in one complete set! GET ALL 5 BOOKS NOW! THE ALIENS MATE, HIS VIRGIN MATE, CLAIMING HIS VIRGIN, HIS VIRGIN BRIDE, HIS VIRGIN PRINCESS

Come, you drunken spirits. Come, you battalions. You fields of ghosts who walk these green plains still. Come, you giants!When Jez Butterworths Jerusalempremiered at the Royal Court Theatre, London, in 2009, it served notice of an astonishing development in the career of a writer whose debut, Mojo, had premiered on the same stage nearly fifteen years before.Unearthing the mythic roots of contemporary English life, and featuring Mark Rylance in an indelible central performance as Johnny Rooster Byron, the play transferred to the West End and then to Broadway, before returning to the West End in 2011. Storming restores ones faith in the power of theatreIndependent. Unarguably one of the best dramas of the twenty-first centuryGuardian.Jerusalem was followed by the bewitching chamber play The River (Royal Court, 2012), a magnetically eerie, luminously beautiful psychodramaTime Out. A delicately unfolding puzzle all of it is wrapped in marvellous language extraordinaryThe Times.This volume concludes with the multi-award-winning The Ferryman (Royal Court and West End, 2017; Broadway, 2018), an excavation of lives shattered by violence, set in a farmhouse in Northern Ireland in 1981. A richly absorbing and emotionally abundant play an instant classicIndependent. A magnificent play that uses, brilliantly, the vitality of live theatre to express the deadly legacy of violenceFinancial Times.Also included here is the screenplay for the short film The Clear Road Ahead(2011), published here for the first time, and an edited transcript of a conversation between Butterworth and the playwright Simon Stephens.

Robert Holman wrote plays of startling beauty, combining close observation of the way people behave with a thrilling and often fiercely uncompromising mastery of dramatic form. He is the playwright most admired by other playwrights. To Simon Stephens, he was, until Holmans death in 2021, My favourite living writer.Here, in this selection from Holmans first decade of playwriting, a monkey is taken for a French spy by an eighteenth-century fishing community; the inhabitants of a Greek island reside under the shadow of the atom bomb; and a group of lonely people converge on the North Yorkshire moors.With an introduction written for this volume by Holman himself, Robert Holman Plays: One contains The Natural Cause (Cockpit Theatre, London, 1974), Mud (Royal Court Theatre, London, 1974), Other Worlds (Royal Court, 1983), Today (Royal Shakespeare Company, 1984) and The Overgrown Path (Royal Court, 1985).Holmans instinct for truth, and an unaffected ability to spot whats poignant in it, is what one remembers: that, and a paradoxical impression of spare richness, astringent abundance The Times

Very few playwrights can be identified from a single line of dialogue debbie tucker green is one of them. This collection of her first six plays, together with a short introduction by the author, shows a dramatic artist in full control of her craft.born bad (Hampstead Theatre, 2003; winner of the Olivier Award for Best Newcomer) dives headlong into the heart of a conflicted family, unleashing wit, ferocity and verbal dexterity on the way. One of the most assured and extraordinary new voices weve heard in a long while. ElectrifyingIndependent on Sundaydirty butterfly (Soho Theatre, 2003) is a mesmerising study of voyeurism, power and guilt. There is a sly, controlled power in this writing And now I cannot get it out of my headGuardiangenerations(National Theatre Platform performance, 2005; Young Vic, 2007) follows three generations of a Black South African family comparing cooking skills but food isnt the only topic and the family numbers are declining. Devastating will last you a lifetimeGuardianstoning mary(Royal Court Theatre, 2005) confronts the reality of global conflicts, transposing them to the West. The words fly around the theatre piercing the dark like gleaming shards of shrapnelThe Stagetrade(Royal Shakespeare Company, 2005) shines a light on the world of female sex tourism. Poetry laced with shards of broken glassGuardianrandom(Royal Court Theatre, 2008) is set over one day, following one family and the effects of one random act of violence. The writing seems to penetrate the very heart of griefTelegraphdebbie tucker green uses language as deftly as a composer might use notes.Financial Times

A selection of the best work of Stephen Jeffreys, whose career stretches from an award-winning play at the National Student Drama Festival in 1977 through to an adaptation of The Alchemist for the RSC in 2016.Included here are his first big success, Valued Friends, a comedy of manners about the property market which won both the Evening Standard and Critics Circle Awards; a riotous farce set in the time of Elizabeth I, The Clink, in which a stand-up comedian becomes involved in the political skulduggery surrounding the ailing queen; an autobiographical drama set in 1966, A Going Concern, about a washed-up family business; and Jeffreys smash-hit, The Libertine, a Restoration romp about the licentious Earl of Rochester, much revived and also filmed with Johnny Depp.Rounding off the volume are two previously unpublished plays: Interruptions, inspired by Jeffreys interest in the collective aspect of politics and his fascination with the Japanese aesthetic principle of Jo-ha-kyu; and a very likable, short autobiographical monologue, Finsbury Park.Together, all six plays represent the impressively wide range of topics and styles that Jeffreys embraced. Above all, each one of them is intensely and enjoyably theatrical to its very core.I had the great pleasure of working with Stephen Jeffreys on his play, The Libertine. Would that all playwrights had his openness, his talent, his hard-headedness, his experience, his enthusiasm, his complexity, and perhaps best of all his talent and interest in eliciting the best in others John MalkovichStephens plays always bear the kitemark of unique, handcrafted quality Ian Rickson

This anthology comprises five of the best plays from VAULT 2016, Londons biggest and most exciting arts festival.Eggs is a dark comedy about female friendship, fertility and freaking out, by Florence Keith-Roach, rising star of the London theatre scene (Evening Standard). Two women, living very different lives, are united by their quick wit, love of nineties dance music and a mounting alienation.In Mr Incredible, Adam is single. He doesnt like it. He misses Holly. He deserves Holly. Doesnt he? A monologue about love and entitlement by Camilla Whitehill, author of Where Do Little Birds Go?, who was described by The Times as a writer of huge promise.The world of the celebrity PA is laid bare in Primadonna. A young first-timer navigates impossible tasks, difficult conversations and fearsome passive aggression in this one-woman play from Rosie Kellett, winner of the VAULT Festival Spirit Award.Mickey and his team of Cornermen never have much luck in the boxing world. Until, that is, they sign a young fighter whose winning ways catapult them to a level theyve never known before. A striking new play by an exciting new writer, Oli Forsyth (Scotsman).Stephen Laughtons one-man play Runexplores what it means to love, to lose, and how to grow from a boy into a man, as a gay Jewish kid sneaks out over Shabbat to meet his boyfriend and his universe implodes.A vibrant, varied programme full of theatrical treats a brilliant place to spot new talentThe Stage on VAULT 2015

The second collection of plays from the multi-award winning author.Included in this volume is Conor McPhersons The Weir, one of the most successful plays of recent years. In a bar in a remote part of Ireland, the local lads are swapping spooky stories to impress a young woman from Dublin newly moved into the area... A spellbinder that transfixes you... No praise in fact is too highGuardianDublin Carolis set on Christmas Eve, when a Dublin undertaker is visited by his estranged daughter urging him to face up to the past. McPherson writes like a dream.... The play works an ingenious spellDaily MailPort Authority tells of three interwoven lives: a boy leaves home for the first time; a man starts a job for which he is unqualified; a pensioner is sent a mysterious package... Overwhelmingly poignant... desolate, searing eloquenceEvening StandardAnd in Come on Over, published here for the first time, a Jesuit priest, sent to investigate a miracle in his home town, re-encounters the woman who loved him thirty years before. Piercingly evocative, powerfully exploring the tension between human and divine love Daily TelegraphThe volume also contains an Afterword by the author.

The fourth volume of the collected plays of one of the best playwrights alive.Written over a period of ten years and evincing an extraordinary range of topics and techniques, this fourth volume of Caryl Churchills collected plays confirms her standing as a playwright who is amongst the best half-dozen now writing (The Times).This volume includes:Hotel (Schauspielhaus, Hannover, 1997), an innovative theatre piece combining music, voices and dance, with a text by Caryl Churchill and music by Orlando Gough.This is a Chair (Royal Court Theatre, 1997), a short play about the surreal nature of modern life.Blue Heart (Out of Joint & Royal Court Theatre, 1997), two linked one-act plays, both startlingly innovative, exploring the underpinnings of family relationships.Far Away (Royal Court, 2000), a brilliantly unsettling play about conflict and its unsettling effect on our lives and humanity.A Number (Royal Court, 2002), a fascinating meditation on human cloning, personal identity and the conflicting claims of nature and nurture.Drunk Enough to Say I Love You? (Royal Court, 2006),examining US foreign policy and international power politics through the lens of an intense personal relationship.A Dream Play (National Theatre, London, 2005), a spare and resonant version of August Strindbergs 1901 masterpiece.

The first eight astonishing plays by Enda Walsh, one of the most dazzling wordsmiths of contemporary theatre (Guardian).Bursting onto the theatre scene in 1996 with Disco Pigs, Enda Walsh has delivered a sustained fusillade of strikingly original plays ever since. This volume, with a Foreword by the author, contains:The Ginger Ale Boy (1995), Walshs very first, previously unpublished play, a Cork cabaret about a ventriloquist who loses control.Disco Pigs (1996), his breakthrough play, winner of the 1997 George Devine and Stewart Parker Awards, a play that does for Irish kids what Irvine Welshs Trainspotting did for young Scots (Daily Telegraph).Misterman(1999, revised in 2012), in which we meet Thomas Magill on his obsessive mission to bring God to the townsfolk of Inishfree.bedbound (2000), his Fringe First Award-winning play, in which a father and daughter are trapped in their own compulsive and claustrophobic story.The Small Things (2005), a harrowingly precise and poetic (Guardian) exploration of language and our need for words to survive.Chatroom(2005), a chilling tale of teenage manipulation that was written for the National Theatres 2005 Connections season.Also included are two previously unpublished short plays, How These Desperate Men Talk (2004) and Lynndies Gotta Gun (2005), written during Walshs time working with European theatremakers.

Ten years after 9/11, twenty international writers respond to the defining event of our times.Published here are their individual plays, which woven together formed the basis of Decade, an immersive theatrical production from Headlong theatre company, first staged at Commodity Quay, St. Katharines Dock, London, in 2011.The writers: Samuel Adamson, Mike Bartlett, Alecky Blythe, Adam Brace, Ben Ellis, Ella Hickson, Samuel D. Hunter, John Logan, Matthew Lopez, Mona Mansour, DC Moore, Abi Morgan, Rory Mullarkey, Janine Nabers, Lynn Nottage, Harrison David Rivers, Simon Schama, Christopher Shinn, Beth Steel, Alexandra Wood.

This volume of Conor McPhersons collected plays, covering a decade of writing, celebrates a fascination with the uncanny which has led him to be described as quite possibly the finest playwright of his generation (New York Times).In Shining City, a man seeks help from a counsellor, claiming to have seen the ghost of his dead wife. The play, premiered at the Royal Court, London, is up there with The Weir, moving, compassionate, ingenious and absolutely gripping (Daily Telegraph).The Seafarer, premiered at the National Theatre before going on to become a Tony Award-winning Broadway hit, tells the story of an extended Christmas Eve card game, but one played for the highest stakes possible. McPherson proves yet again he is both a born yarn-spinner and an acute analyst of the melancholy Irish manhood (Guardian)Set in the big house in 1820s rural Ireland, The Veil is McPhersons first period play. Seventeen-year-old Hannah is to be married off in order to settle the debts of the crumbling estate. But when Reverend Berkeley arrives, determined to orchestrate a seance, chaos is unleased. A cracking fireside tale of haunting and decay (The Times)The Birds, hauntingly adapted from the short story by Daphne du Maurier, is deliciously chilling, claustrophobic, questioning, frightening; and with a twist (Irish Independent). It is published here for the first time, as is TheDance of Death, a new version of Strindbergs classic, which premiered at the Trafalgar Studios in London. A spectacularly bleak yet curiously bracing drama that often makes you laugh out loud (Daily Telegraph).Completing the volume is a Foreword by the author.

Erotic Chronicles #1: A Selection of the Hottest Erotic Short Stories is a collection from LUST with over 140 stories exploring some of your hottest fantasies and secret desires. From roleplay, polyamory, and female masturbation to exhibitionism, DILFs, and fuck buddies, this curated selection from LUST will fulfil every readers needs.

Erotic Chronicles #2: A Selection of the Hottest Erotica curated by LUST is a collection from LUST with over 180 stories exploring a range of pleasures, desires, fantasies, and kinks. From foreplay, bondage, and sex in public places to taboo, forbidden relationships, and seasonal erotica, this curated selection will fulfil every readers needs no matter what time of year it is.

April de Angeliss second collection covers six plays written between 2011 and 2021, including the previously unpublished short play Rune and her first musical, Gin Craze! JumpyThe funniest new play the West End has seen in ages. Its not only funny, its painfully acute; and its wit is of a piece with its insight. - Daily TelegraphThe VillageA great piece of storytelling . . . flat-out wonderful. - The TimesA Laughing MatterDe Angeliss writing is even funnier than it is stimulating. . Comedy neednt be soft and comforting. It can be mischievous and subversive. You see the bind in which Garrick finds himself, trapped as he is by the economic, social and moral pressures. Its a bind his descendants know even today. I havent seen it dramatised before with such infectious brio. - The TimesRuneA gorgeous little nugget of a show in which a bored teenager on a school trip to see the hoard at the Potteries Museum suddenly discovers a power within her when she gets to hold a piece of it. - GuardianExtinctBuilds its drama with its own gripping truth ... Necessary and urgent. - GuardianGin Craze!Its terrifically vivid and exciting. . A Brechtian message delivered with the most glorious, full-throated ebullience: an intoxicating show that leaves your head spinning, your spirit soaring and a fire in your belly. - The Times

An unsentimental look at the lives of farmers and businessmen in the late 19th century, The Octopus details the expansion of the railroad, its tracks spreading out like tentacles across the US. We follow the farmers as they are slowly crushed by the pressures put on them by this new industry, due to the greed and corruption of cold, corporate businessmen, who are willing to go to unsavoury lengths to ensure they do not lose out on the possible financial rewards. Written without any romanticism, The Octopus gives a fascinating insight into the effects of industrialism, and the subsequent avarice that inevitably follows.

Joaquin Phoenix won an Oscar for playing the Joker, capturing the psychologically dark personality of a villain. Critics were stunned just as how the villainous character of Lydia Gwilt in "Armadale" stunned critics of the time. "Armadale" might give us the Victorian answer to the Joker, but its not only a psychological thriller. This novel is also a feat of classic Victorian themes of the supernatural, detectives, and romance.Inheriting his mothers family estate in Norfolk, Allan Armadale is brought into contact with the spine-chilling Lydia who is jealous of his love interest. Meanwhile, Allans friend, Ozias Midwinter, receives a letter written years before by a man on his deathbed also named Allan Armadale. The letter reveals a shocking secret that connects the past of Allan and Ozias.Discovering this secret, Lydia "the Joker" Gwilt uses it to plot against Allan in a dramatic tale of stolen identity and family inheritance.

Imagine as a woman losing all your property to your husband. Sadly, such was the law for much of the Victorian times. Wilkie Collinss novel "The Woman in White" (starring Charles Dance in a recent BBC adaptation) first explored this absurdity. Now expanding on marriage law, Collins writes a protest for womens rights in "Man and Wife". Two young women, Anne and Blanche, live together in Scotland after Annes father abandoned her due to a legal loophole. Both women are engaged but Annes fiance, Geoffrey, is getting cold feet. Yet Anne knows a trick from the Scottish law books: if a man is witnessed to verbally declare a woman his wife, they are legally married.Meanwhile, Blanches fiance, Arnold, is sent on Geoffreys behalf to meet Anne. Under guise, Arnold publicly asks for his "wife", and accidentally potentially marries Anne. A fascinating tale of a wifes rights, this thriller will make you question the true impact of a marriage proposal.

When her first play, Eight, transferred from student theatre in Edinburgh to the West End and then New York, Ella Hickson was still in her early twenties. She has since built on that promise with a series of engaged and engaging dramas that pit romanticism and optimism against the realities of life as a young person in Britain.Eight (Edinburgh Fringe, 2008), that astonishing first success, is included here: a state-of-the-nation group portrait in monologues, an interactive Talking Heads for 21st-century teens and twentysomethings (Independent).Also included is Hot Mess (Edinburgh Fringe, 2010), a dark and lyrical tale about twins born with just a single heart between them, and Precious Little Talent (Edinburgh Fringe, 2009; West End, 2011), about two young adults graduating into a world thats sold them down the river.In Boys (HighTide Festival, Nuffield Theatre Southampton and Soho Theatre, 2012), the Class of 2011 faces a tricky transition to adulthood in a play that powerfully captures the mood of a generation (Independent).The volume also contains an introduction by the author and two short plays: the previously unpublished PMQ, part of the Coalition season at Theatre503, London, in 2010; and Gift, first seen as part of Headlongs immersive theatre production Decade in 2011.On the cusp of greatnessIndependent

A collection of five extraordinary plays exploring and reflecting contemporary life across the Near East and North Africa.In Withdrawal by Mohammad Al Attar (Syria), Ahmad and Nour rent a flat so that they can spend time together away from their families, but is having a space to themselves going to solve all their problems? In 603by Imad Farajin (Palestine), four Palestinian men share a cramped prison cell listening to the buses come and go outside. Will the next bus be the one to take them home?In Damage by Kamal Khalladi (Morocco), three weeks after Youssef and Sanaas wedding, Youssef accepts a military peacekeeping expedition in the Congo. Will either of them be the same people when he returns?In The Houseby Arze Khodr (Lebanon), Nadia wants to remain in the house she grew up in. For her sister, Reem, it is filled with painful memories. Are their differences over the future of the house irreconcilable?In Egyptian Products by Laila Soliman (Egypt), Hadia is an independent woman in Cairo. Gasir is a painfully awkward lab assistant with attachment issues over his dead mother. Is he really her knight in shining armour?In 2007 the Royal Court Theatres International Department and the British Council embarked on an ambitious project working with twenty-one writers from across the Near East and North Africa. Seven of the resultant plays received rehearsed readings at the Royal Court Theatre, London, in 2008.This volume, introduced by Laila Hourani of the British Council, collects five of these unique new voices, each posing different but equally urgent questions.

Four early plays from the author of The Weir, with a foreword by the author.The plays in this volume three monologues and a three-hander were all written while Conor McPherson was in his twenties.In This Lime Tree Bower (Crypt Arts Centre, Dublin, 1995; Bush Theatre, London, 1996), three young men from a small seaside town near Dublin tell us in overlapping monologues of their inextricably linked lives and the eventful week which was to change things for good.St Nicholas (Bush Theatre, London, 1997) is an eccentric, teasing yarn in which a cynical and jaded drama critic falls for a beautiful young actress. In pursuing her, he meets a group of modern-day vampires who offer him eternal life his part of the bargain is to feed their bloodlust.Rum and Vodka (University College Dublin, 1992; City Arts Centre, Dublin, 1994) is a short monologue play in which a young Irishman with a drink problem tells of three momentous days in his life when his drab nine-to-five existence is obliterated in an escapist binge which threatens to engulf him.The Good Thief (City Arts Centre, Dublin, 1994) is a monologue play about a petty criminal who is punished by his conscience when he becomes involved in a bungled kidnap.