Rhinoceros and other Plays

In Rhinoceros, as in his earlier plays, Ionesco startles audiences with a world that invariably erupts in explosive laughter and nightmare anxiety. A rhinoceros suddenly appears in a small town, tramping through its peaceful streets. Soon there are two, then three, until the “movement” is universal: a transformation of average citizens into beasts, as they learn to move with the times. Finally, only one man remains. “I’m the last man left, and I’m staying that way until the end. I’m not capitulating!”

The book contains the following plays - (each one is in a separate scanned OCRed pdf+ a separate questions' pdf)
1. The Merchant od Venice
2. Macbeth
3. The Tempest
4. Hamlet
5. King Lear
     Questions

REUPLOAD NEEDED

Aristophanes - An Author for the Stage

Carlo Ferdinando Russo's classic work on Aristophanes examines his comedies as plays intended for the stage. The author considers the invention of printing as a cause of major changes in the nature of drama. The modern reader of Aristophanes is inclined to see him as an author of texts rather than of a fluid libretti which were intended to be performed, not simply read. Russo finds that deviations in the text can often be explained by their relevance to the specific theatrical competitions they were written for. In Aristophanes, the in-depth philological analysis of the plays is founded on an ever-present perception of the realities of Greek theatre.

Performing Chekhov

Performing Chekhov is a unique and remarkably comprehensive guide to Chekhov's plays in performance. Drawing on extensive interviews with actors, directors and designers, it offers in-depth case studies of a number of significant and often controversial productions of Chekhov's plays. It focuses on the work of key directors in Russia, America and England and reflects a number of significant and on-going debates, not only about Chekhov's work, but about the very nture of acting and performance.

Shakespeare and Cognition - Aristotle's Legacy and Shakespearean Drama: Webbing the Invisible

Shakespeare and Cognition examines the essential relationship between vision, knowledge, and memory in Renaissance models of cognition as seen in Shakespeare's plays. Drawing on both Aristotle's Metaphysics and contemporary cognitive literary theory, Arthur F. Kinney explores five key objects/images in Shakespeare's plays -- crowns, bells, rings, graves, and ghosts -- that are not actually seen (or, in the case of the latter, not meant to be seen), but are central to the imaginations of both the playwright and the playgoers.