Now I am Alone 2: SA Monologues - A collection of thirty monologues from South African plays, fifteen for male performers and fifteen for female performers, suitable for use by young adults sixteen years and older. Includes details of the source play and notes on the character and context of the monologue. Playwrights include Brett Bailey, Malika Ndlovu, Reza de Wet, Sue Pam-Grant, Lauren Bates, Mike van Graan, Ashraf Johaardien, Robin Malan, Sibusiso Mamba, Paul Slabolepszy, and Omphile Molusi
Plays One: 'Missing', 'Crossing', 'Miracle' - The three plays in this volume are hauntingly beautiful pieces with simple fable-like characters who are touched by magical events. A circus has a mysterious significance in Missing (Mis) as a mother and daughter are visited by a blind policeman on the nights it comes to town. In Crossing (Drif) a stormy night brings a hypnotist to the home of two sisters who live by a ford, two women who bury the bodies of fortune-seekers who fail to heed their warnings about the river when it is in flood. Miracle (Mirakel) centres on a theatrical troupe and again exemplifies the author's earthiness, humour and child-like wonder.
Via Afrika Dramatic Arts Grade11 - Via Afrika Dramatic Arts is a comprehensive series, which covers all the suggested content for Dramatic Arts and provides relevant activities through which real learning will take place.The broad and specific Topics, as well as the knowledge and skills areas, as defined by the CAPS documents is comprehensively covered. Teachers are still able to make choices, which will be of the most relevance to their learners, thus ensuring engagement with the learning process. The series has a strong South African focus, but also exposes learners to a wide range of pan-African, Western and Eastern drama forms which have shaped the world of Dramatic Arts. Film has also been explored where relevant.
Doll's House (Penguin Classics) - Four of Ibsen's most important plays in superb modern translations, part of the new Penguin Ibsen series. With her assertion that she is 'first and foremost a human being', Nora Helmer sent shockwaves throughout Europe when she appeared in Ibsen's greatest and most famous play, A Doll's House. Depicting one woman's struggle to be treated as a rational human being, and not merely a wife, mother or fragile doll, the play changed the course of theatrical history and sparked debates worldwide about the roles of men and women in society. Ibsen's follow-up Ghosts was no less radical, with its unrelenting investigation into religious hypocrisy, family secrets and sexual double-healing. These two masterpieces are accompanied here by The Pillars of the Community and An Enemy of the People, both set in Norwegian coastal towns and exploring the tensions and dark compromises at the heart of society. The new Penguin series of Ibsen's major plays offer the best available editions in English, under the general editorship of Tore Rem. The plays have been freshly translated by the best modern translators and are based on the recently published, definitive Norwegian edition of Ibsen's works. They all include new introductions and editorial apparatus by leading scholars
Violence and Son - 'People know, you're my boy. And they know better than to lay a fucking finger on you. See? You are safer here with me, than you have ever been.' Liam's 17 years old, loves Dr Who and has lost his mum. He has had to move from London to Wales, to the valleys, to the middle of nowhere, to live with a dad he doesn't know. Whose nickname isn't Violence for nothing. Gary Owen's intimate new play is about what parents pass on and trying to do the right thing.
Plays Two: African Gothic etc - A farm lies in ruins. And with mother and father now gone, a brother and sister face eviction by an officious lawyer. Abandoned, they endlessly enact the rituals of punishment once visited upon them by their parents. Widely regarded as a milestone in South African theatre, the multi-award winning play "African Gothic" tells the story of their final danse macabre. Despite overwhelming critical acclaim, it was also fiercely condemned by Afrikaans conservatives as being a subversive portrayal of repression. "Good Heavens" is a comedy thriller with the dark poetic heart of a folk-tale. Two spinster sisters, with their ailing mother and simple-minded brother, await the annual visit of their youngest sister. Deeply envious of her beauty and youth, they hatch a diabolical plot to rid themselves of her forever. In "Breathing In", on a stormy night in the last bitter months of the Second Anglo-Boer War, a seriously wounded General and his faithful Adjutant encounter a mysterious woman and her seductive other-worldly daughter, and are confronted with the subtle methods of survival these women have been forced to adopt. Accustomed to the rigours of war, the Adjutant now faces a terrible choice.
A Streetcar Named Desire - Miller's rich perspective on Williams's singular style of poetic dialogue, sensitive characters, and dramatic violence makes this a unique and valuable new edition of "A Streetcar Named Desire. Fading southern belle Blanche Dubois depends on the kindness of strangers and is adrift in the modern world. When she arrives to stay with her sister Stella in a crowded, boisterous corner of New Orleans, her delusions of grandeur bring her into conflict with Stella's crude, brutish husband Stanley. Eventually their violent collision course causes Blanche's fragile sense of identity to crumble, threatening to destroy her sanity and her one chance of happiness.
Waiting for Godot - Subtitled A tragicomedy in two Acts , and famously described by the Irish critic Vivien Mercier as a play in which 'nothing happens, twice', En attendant Godot was first performed at the Theatre de Babylone in Paris in 1953. It was translated into English by Samuel Beckett, and Waiting for Godot opened at the Arts Theatre in London in 1955. 'Go and see Waiting for Godot . At the worst you will discover a curiosity, a four-leaved clover, a black tulip; at the best something that will securely lodge in a corner of your mind for as long as you live' - Harold Hobson, 7 August 1955. 'I told him that if by Godot I had meant God I would have said God, and not Godot. This seemed to disappoint him greatly' Samuel Beckett, 1955.