Plays

This book, written in collaboration with Dennis Longwell, follows an acting class of eight men and eight women for fifteen months, beginning with the most rudimentary exercises and ending with affecting and polished scenes from contemporary American plays. Throughout these pages Meisner is delight--always empathizing with his students and urging them onward, provoking emotion, laughter, and growing technical mastery from his charges. With an introduction by Sydney Pollack, director of "Out of Africa" and "Tootsie," who worked with Meisner for five years."This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner's way of teaching, it is the straight goods."--Arthur Miller"If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book."--Gregory Peck

Translation of: La formation du symbole chez l'enfant.

Stella Adler was one of the 20th Century's greatest figures. She is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly caught and encapsulated by Howard Kissel in the twenty-two lessons in this book.

Ennek a könyvnek nincsen fülszövege.

Measure for Measure is among the most passionately discussed of Shakespeare’s plays. In it, a duke temporarily removes himself from governing his city-state, deputizing a member of his administration, Angelo, to enforce the laws more rigorously. Angelo chooses as his first victim Claudio, condemning him to death because he impregnated Juliet before their marriage.Claudio’s sister Isabella, who is entering a convent, pleads for her brother’s life. Angelo attempts to extort sex from her, but Isabella preserves her chastity. The duke, in disguise, eavesdrops as she tells her brother about Angelo’s behavior, then offers to ally himself with her against Angelo.

Shakespeare's tragic and comic dramatization of the Trojan War endures in one of his most intriguing plays. Shakespeare's portrayal of the snares of young love set against a backdrop of a senseless and endless war can be fully appreciated for the beauty of its verse and the profundity of its themes.

Mae West was, without question, one of the most famous and controversial figures of her era. She was a tough-talking, wise-cracking vaudeville performer who made her way onto the Broadway stage and then into the hearts of the American public with a highly visible Hollywood film career. Rarely, however, do people think of Mae West as a writer even though she wrote eight scripts for the stage and her own dialogue for many of her films.In "Three Plays By Mae West, " Lillian Schlissel brings this underexplored part of West's career to the fore by offering for the first time in book form, three of the plays West wrote in the 1920s--"Sex" (1926), "The Drag" (1927) and "Pleasure Man" (1928). Schlissel's introduction offers insight to the life and early career of this legendary stage and screen actress.In her first starring role on Broadway, West played Margy LaMont in "Sex, " which had 375 continuous performances but was closed by the police after more than a year, when she was tried and convicted of corrupting the morals of youth. Set in a Montreal brothel, the play confronts the issue of women separated by class and attitudes of sexuality. West's character learns the painful lesson that women are not bound in sisterhood simply because they have both shared the betrayal of men.In "The Drag, " which opened in Bridgeport, Connecticut, but not in New York, West argued that, like sexuality in a woman, homosexuality had no class identification. In this play West used the theatricality of the drag "queens" who had become her friends and "sisters.""Pleasure Man" is once again set in the world of theatre, and is both a forerunner to "La Cage aux Folles" and a revenge fantasy in which a man is castrated after seducing and impregnating an innocent girl. "Pleasure Man" had two and a half performances in the city before it was closed by the police. While West won the legal right to have her play performed, its controversial nature marked the end of her box office success.

Depicts the joyous search for life of eighty-year-old Maude and twenty-year-old Harold

Oscar Wilde's madcap farce about mistaken identities, secret engagements, and lovers entanglements still delights readers more than a century after its 1895 publication and premiere performance. The rapid-fire wit and eccentric characters of The Importance of Being Earnest have made it a mainstay of the high school curriculum for decades.Cecily Cardew and Gwendolen Fairfax are both in love with the same mythical suitor. Jack Worthing has wooed Gwendolen as Ernest while Algernon has also posed as Ernest to win the heart of Jack's ward, Cecily. When all four arrive at Jack's country home on the same weekend the "rivals" to fight for Ernest's undivided attention and the "Ernests" to claim their beloveds pandemonium breaks loose. Only a senile nursemaid and an old, discarded hand-bag can save the day!This Prestwick House Literary Touchstone Edition includes a glossary and reader's notes to help the modern reader appreciate Wilde's wry wit and elaborate plot twists.

Universally condemned in 1890 when it was written, Hedda Gabler has since become one of Ibsen's most frequently performed plays. Its title role is elusive and complex: Hedda is an intelligent and ambitious woman, who has no means of finding personal fulfilment in the stifling world of late nineteenth-century bourgeois society. Too frightened of scandal to become involved with a brilliant, wayward writer, she opts for a conventional but loveless marriage in the hope of finding surrogate satisfaction through her husband's career.

In Othello, Shakespeare creates a powerful drama of a marriage that begins with fascination (between the exotic Moor Othello and the Venetian lady Desdemona), with elopement, and with intense mutual devotion and that ends precipitately with jealous rage and violent deaths. He sets this story in the romantic world of the Mediterranean, moving the action from Venice to the island of Cyprus and giving it an even more exotic coloring with stories of Othello's African past. Shakespeare builds so many differences into his hero and heroine—differences of race, of age, of cultural background—that one should not, perhaps, be surprised that the marriage ends disastrously. But most people who see or read the play feel that the love that the play presents between Othello and Desdemona is so strong that it would have overcome all these differences were it not for the words and actions of Othello's standard-bearer, Iago, who hates Othello and sets out to destroy him by destroying his love for Desdemona. As Othello succumbs to Iago's insinuations that Desdemona is unfaithful, fascination—which dominates the early acts of the play—turns to horror, especially for the audience. We are confronted by spectacles of a generous and trusting Othello in the grip of Iago's schemes; of an innocent Desdemona, who has given herself up entirely to her love for Othello only to be subjected to his horrifying verbal and physical assaults, the outcome of Othello's mistaken convictions about her faithlessness.

The curse placed on Oedipus lingers and haunts a younger generation in this new and brilliant translation of Sophocles' classic drama. The daughter of Oedipus and Jocasta, Antigone is an unconventional heroine who pits her beliefs against the King of Thebes in a bloody test of wills that leaves few unharmed. Emotions fly as she challenges the king for the right to bury her own brother. Determined but doomed, Antigone shows her inner strength throughout the play.Antigone raises issues of law and morality that are just as relevant today as they were more than two thousand years ago. Whether this is your first reading or your twentieth, Antigone will move you as few pieces of literature can.To make this quintessential Greek drama more accessible to the modern reader, this Prestwick House Literary Touchstone Edition includes a glossary of difficult terms, a list of vocabulary words, and convenient sidebar notes. By providing these, it is our intention that readers will more fully enjoy the beauty, wisdom, and intent of the play.

Commissioned by the Circle Repertory Company, Burn This first appeared at the Mark Taper Forum in Los angeles in 1987 to near-universal praise. Set in the bohemian art world of downtown New York, this vivid and challenging drama explores the spiritual and emotional isolation of Anna and Pale, two outcasts who meet in the wake of the accidental death by drowning of a mutual friend. Their determined struggle toward emotional honesty and liberation--by no means guaranteed at the play's ambiguous end--exemplifies the strength, humor, and complexity of all of Lanford Wilson's work and confirms his standing as one of America's greatest living playwrights.Lanford Wilson was born in Lebanon, Missouri, in 1938 and attended the University of Chicago. A founding member of the Circle Repertory Company in New York, he has seen many of his plays produced in theaters all over the United States and abroad. He is the recipient of many awards, including a Drama Desk Vernon Rice Award, the Pulitzer Prize, and two Obies.

Stanislavski's simple exercises fire the imagination, and help readers not only discover their own conception of reality but how to reproduce it as well.

In Homo Ludens, the classic evaluation of play that has become a "must-read" for those in game design, Dutch philosopher Johan Huizinga defines play as the central activity in flourishing societies. Like civilization, play requires structure and participants willing to create within limits. Starting with Plato, Huizinga traces the contribution of Homo Ludens, or "Man the player" through Medieval Times, the Renaissance, and into our modern civilization. Huizinga defines play against a rich theoretical background, using cross-cultural examples from the humanities, business, and politics. Homo Ludens defines play for generations to come."A happier age than ours once made bold to call our species by the name of Homo Sapiens. In the course of time we have come to realize that we are not so reasonable after all as the Eighteenth Century with its worship of reason and naive optimism, though us; "hence moder fashion inclines to designate our species asHomo Faber Man the Maker. But though faber may not be quite so dubious as sapiens it is, as a name specific of the human being, even less appropriate, seeing that many animals too are makers. There is a third function, howver, applicable to both human and animal life, and just as important as reasoning and making--namely, playing. it seems to me that next to Homo Faber, and perhaps on the same level as Homo Sapiens, Homo Ludens, Man the Player, deserves a place in our nomenclature. "--from the Foreward, by Johan Huizinga

Arcadia takes us back and forth between the nineteenth and twentieth centuries, ranging over the nature of truth and time, the difference between the Classical and the Romantic temperament, and the disruptive influence of sex on our orbits in life. Focusing on the mysteries--romantic, scientific, literary--that engage the minds and hearts of characters whose passions and lives intersect across scientific planes and centuries, it is "Stoppard's richest, most ravishing comedy to date, a play of wit, intellect, language, brio and... emotion. It's like a dream of levitation: you're instantaneously aloft, soaring, banking, doing loop-the-loops and then, when you think you're about to plummet to earth, swooping to a gentle touchdown of not easily described sweetness and sorrow... Exhilarating" (Vincent Canby, The New York Times).

Molière's classic tale of the Seducer of Seville, an uproariously funny story flawlessly translated by the Pulitzer Prize winning poet.Don Juan, the "Seducer of Seville," originated as a hero-villain of Spanish folk legend, is a famous lover and scoundrel who has made more than a thousand sexual conquests. One of Molière's best-known plays, Don Juan was written while Tartuffe was still banned on the stages of Paris, and shared much with the outlawed play. Modern directors transformed Don Juan in every new era, as each director finds something new to highlight in this timeless classic. Richard Wilbur's flawless translation will be the standard for generations to come, as have his translations of Molière's other plays. Witty, urbane, and poetic in its prose, Don Juan is, most importantly, as funny now as it was for audiences when it was first presented.About the translator:Richard Wilbur, National Book Award winner, is one of America's great living poets. He has won every major literary award (including two Pulitzer Prizes) and has a devoted poetry following, and is anthologized in every important volume on the subject. He is a member of the American Institute of Arts and Letters, the American Academy of Arts and Sciences, and the Academy of American Poets. He has written, translated, and/or edited twenty-five books.

This book is about the inner sources of spontaneous creation. It is about where art in the widest sense comes from. It is about why we create and what we learn when we do. It is about the flow of unhindered creative energy: the joy of making art in all its varied forms. Free Play is directed toward people in any field who want to contact, honor, and strengthen their own creative powers. It integrates material from a wide variety of sources among the arts, sciences, and spiritual traditions of humanity. Filled with unusual quotes, amusing and illuminating anecdotes, and original metaphors, it reveals how inspiration arises within us, how that inspiration may be blocked, derailed or obscured by certain unavoidable facts of life, and how finally it can be liberated - how we can be liberated - to speak or sing, write or paint, dance or play, with our own authentic voice. The whole enterprise of improvisation in life and art, of recovering free play and awakening creativity, is about being true to ourselves and our visions. It brings us into direct, active contact with boundless creative energies that we may not even know we had.

This is Edmond Rostand's immortal play in which chivalry and wit, bravery and love are forever captured in the timeless spirit of romance. Set in Louis XIII's reign, it is the moving and exciting drama of one of the finest swordsmen in France, gallant soldier, brilliant wit, tragic poet-lover with the face of a clown. Rostand's extraordinary lyric powers gave birth to a universal hero--Cyrano De Bergerac--and ensured his own reputation as author of one of the best-loved plays in the literature of the stage.This translation, by the American poet Brian Hooker, is nearly as famous as the original play itself, and is generally considered to be one of the finest English verse translations ever written.

The story revolves around two seemingly homeless men simply waiting for someone—or something—named Godot. Vladimir and Estragon wait near a tree, inhabiting a drama spun of their own consciousness. The result is a comical wordplay of poetry, dreamscapes, and nonsense, which has been interpreted as mankind’s inexhaustible search for meaning. Beckett’s language pioneered an expressionistic minimalism that captured the existential post-World War II Europe. His play remains one of the most magical and beautiful allegories of our time.

'For a salesman, there is no rock bottom to life. He don't put a bolt to a nut, he don't tell you the law or give you medicine. He's a man way out there in the blue, riding on a smile and a shoeshine.'Willy Loman has been a salesman for 34 years. At 60, he is cast aside, his usefulness now exhausted. With no future to dream about he must face the crushing disappointments of his past. He takes one final brave action, but is he heroic at last?, or a self-deluding fool?

This is Richard III with a new, modern-spelling text, collated and edited from all existing printings; it uses the First Quarto, the text closest to the play as it would have been staged. It includes passages from Sir Thomas More's 'History of Richard III'; on-page commentary and notes explain meaning, staging, allusions, and much else; and a detailed introduction that considers composition, sources, performances, and changing critical attitudes to the play. This edition also comes illustrated with production photographs and related art, a full index to the introduction and commentary, and has a durable sewn binding for lasting use.

Helena, a ward of the Countess of Rousillion, falls in love with the Countess's son, Bertram. Daughter of a famous doctor, and a skilled physician in her own right, Helena cures the King of France-who feared he was dying-and he grants her Bertram's hand as a reward. Bertram, however, offended by the inequality of the marriage, sets off for war, swearing he will not live with his wife until she can present him with a son, and with his own ring-two tasks which he believes impossible. However with the aid of a bed trick, Helena fulfils his tasks, Bertram realises the error of his ways, and they are reconciled. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

Named for the twelfth night after Christmas, the end of the Christmas season, Twelfth Night plays with love and power. The Countess Olivia, a woman with her own household, attracts Duke (or Count) Orsino. Two other would-be suitors are her pretentious steward, Malvolio, and Sir Andrew Aguecheek.Onto this scene arrive the twins Viola and Sebastian; caught in a shipwreck, each thinks the other has drowned. Viola disguises herself as a male page and enters Orsino’s service. Orsino sends her as his envoy to Olivia—only to have Olivia fall in love with the messenger. The play complicates, then wonderfully untangles, these relationships.Background information about Shakespeare, Elizabethan theater, and the text accompany his play about unrequited love and mistaken identity.

The second volume of Sondheim's collected lyrics is b oth a remarkable glimpse into the brilliant mind of a legend, and a continuation of the acclaimed and best-selling Finishing the Hat. Picking up where he left off in Finishing the Hat, Sondheim gives us all the lyrics, along with excluded songs and early drafts, of the Pulitzer Prize–winning Sunday in the Park with George, Into the Woods, Assassins and Passion. Here, too, is an in-depth look at the evolution of Wise Guys, which subsequently was transformed into Bounce and eventually became Road Show. Sondheim takes us through his contributions to both television and film, some of which may surprise you, and covers plenty of never-before-seen material from unproduced projects as well. There are abundant anecdotes about his many collaborations, and readers are treated to rare personal material in this volume, as Sondheim includes songs culled from commissions, parodies and personal special occasions—such as a hilarious song for Leonard Bernstein’s seventieth birthday. As he did in the previous volume, Sondheim richly annotates his lyrics with invaluable advice on songwriting, discussions of theater history and the state of the industry today, and exacting dissections of his work, both the successes and the failures. Filled with even more behind-the-scenes photographs and illustrations from Sondheim’s original manuscripts, Look, I Made a Hat is fascinating, devourable and essential reading for any fan of the theater or this great man’s work.

From the bestselling author of The Vagina Monologues and one of Newsweek’s 150 Women Who Changed the World, a visionary memoir of separation and connection—to the body, the self, and the worldPlaywright, author, and activist Eve Ensler has devoted her life to the female body—how to talk about it, how to protect and value it. Yet she spent much of her life disassociated from her own body—a disconnection brought on by her father’s sexual abuse and her mother’s remoteness. “Because I did not, could not inhabit my body or the Earth,” she writes, “I could not feel or know their pain.”But Ensler is shocked out of her distance. While working in the Congo, she is shattered to encounter the horrific rape and violence inflicted on the women there. Soon after, she is diagnosed with uterine cancer, and through months of harrowing treatment, she is forced to become first and foremost a body—pricked, punctured, cut, scanned. It is then that all distance is erased. As she connects her own illness to the devastation of the earth, her life force to the resilience of humanity, she is finally, fully—and gratefully—joined to the body of the world.Unflinching, generous, and inspiring, Ensler calls on us all to embody our connection to and responsibility for the world.http://us.macmillan.com/inthebodyofth...

His version of the widely known work, which, as a novel, was the recipient of the Pulitzer Prize, had a highly successful Off-Broadway run during the 1959 season. s told by Atkinson: "Eliminate the story of Huey Long, which Mr. Warren says is not what he is trying to interpret. He is anatomizing the career with nothing but purity in his heart. Discovering that he is being used by a cynical machine, [Willie] adopts their methods, and presently, he is in control of the state. By resorting to corrupt methods he accomplishes things for the people that were only abstract ideals when he was campaigning honestly. As a portrait of politics, this is effective and provocative."

Comedy of ErrorsTaming of the ShrewTwo Gentlemen of VeronaLove's Labour's LostMidsummer Night's DreamMerchant of VeniceMerry Wives of WindsorMuch Ado About NothingAs You Like ItTwelfth NightTroilus and CressidaAll's Well That Ends WellMeasure for MeasureKing Henry VI. Part 1King Henry VI. Part 2King Henry VI. Part 3King Richard IIIKing JohnKing Henry IV. Part 1King Henry IV. Part 2King Henry VKing Henry VIIITitus AndronicusRomeo and JulietJulius CaesarHamletOthelloKing LearMacbethAntony and CleopatraCoriolanusTimon of AthensPericlesCymbelineWinter's TaleTempestTwo Noble KinsmenSir Thomas MoreVenus and AdonisRape of LucreceSonnetsLover's ComplaintPassionate PilgrimPhoenix and the Turtle

“Annie Baker’s John is so good on so many levels that it casts a unique and brilliant light… By not rushing things—by letting the characters develop as gradually and inevitably as rain or snowfall—Baker returns us to the naturalistic but soulful theatre that many of her contemporaries and near-contemporaries have disavowed in their rush to be 'postmodern.'”– New Yorker“ John , like any great play, raises a lot of questions–not just about the human experience, but also about the state of contemporary theater, it doesn’t provide many answers; it is not the playwright’s responsibility to do so.… In John she co-opts the viewer for her own aesthetic use, heightening the tension onstage and deepening the quiet relationships between her characters. Through John, she displays an understanding that the audience is part of the theatrical experience, an inevitability as certain as a Chekhovian gun.” – SlateThe week after Thanksgiving. A bed & breakfast in Gettysburg, Pennsylvania. A cheerful innkeeper. A young couple struggling to stay together. Thousands of inanimate objects, watching.The description by the playwright of the setting is simple, but Annie Baker’s compelling new work is revolutionary in theme and structure and challenges the boundaries of what theatre can be. A kind of magical super-realism permeates throughout this quietly evolving tale, with both the actors and the audience fully vested together in a mesmerizing exploration of the frailty and loneliness of human experience.

How filling life with play-whether soccer or lawn mowing, counting sheep or tossing Angry Birds-forges a new path for creativity and joy in our impatient ageLife is boring: filled with meetings and traffic, errands and emails. Nothing we'd ever call fun. But what if we've gotten fun wrong? In Play Anything, visionary game designer and philosopher Ian Bogost shows how we can overcome our daily anxiety; transforming the boring, ordinary world around us into one of endless, playful possibilities.The key to this playful mindset lies in discovering the secret truth of fun and games. Play Anything, reveals that games appeal to us not because they are fun, but because they set limitations. Soccer wouldn't be soccer if it wasn't composed of two teams of eleven players using only their feet, heads, and torsos to get a ball into a goal; Tetris wouldn't be Tetris without falling pieces in characteristic shapes. Such rules seem needless, arbitrary, and difficult. Yet it is the limitations that make games enjoyable, just like it's the hard things in life that give it meaning.Play is what happens when we accept these limitations, narrow our focus, and, consequently, have fun. Which is also how to live a good life. Manipulating a soccer ball into a goal is no different than treating ordinary circumstances- like grocery shopping, lawn mowing, and making PowerPoints-as sources for meaning and joy. We can "play anything" by filling our days with attention and discipline, devotion and love for the world as it really is, beyond our desires and fears.Ranging from Internet culture to moral philosophy, ancient poetry to modern consumerism, Bogost shows us how today's chaotic world can only be tamed-and enjoyed-when we first impose boundaries on ourselves.

John Lahr has produced a theater biography like no other. Tennessee Williams: Mad Pilgrimage of the Flesh gives intimate access to the mind of one of the most brilliant dramatists of his century, whose plays reshaped the American theater and the nation's sense of itself. This astute, deeply researched biography sheds a light on Tennessee Williams's warring family, his guilt, his creative triumphs and failures, his sexuality and numerous affairs, his misreported death, even the shenanigans surrounding his estate.With vivid cameos of the formative influences in Williams's life--his fierce, belittling father Cornelius; his puritanical, domineering mother Edwina; his demented sister Rose, who was lobotomized at the age of thirty-three; his beloved grandfather, the Reverend Walter Dakin--Tennessee Williams: Mad Pilgrimage of the Flesh is as much a biography of the man who created A Streetcar Named Desire, The Glass Menagerie, and Cat on a Hot Tin Roof as it is a trenchant exploration of Williams's plays and the tortured process of bringing them to stage and screen.The portrait of Williams himself is unforgettable: a virgin until he was twenty-six, he had serial homosexual affairs thereafter as well as long-time, bruising relationships with Pancho Gonzalez and Frank Merlo. With compassion and verve, Lahr explores how Williams's relationships informed his work and how the resulting success brought turmoil to his personal life.Lahr captures not just Williams's tempestuous public persona but also his backstage life, where his agent Audrey Wood and the director Elia Kazan play major roles, and Marlon Brando, Anna Magnani, Bette Davis, Maureen Stapleton, Diana Barrymore, and Tallulah Bankhead have scintillating walk-on parts. This is a biography of the highest order: a book about the major American playwright of his time written by the major American drama critic of his time.Winner of the 2015 Sheridan Morley Prize for Theatre Biography American Academy of Arts and Letters' Harold D. Vursell Memorial AwardChicago Tribune Best Books of 2014USA Today 10 Books We Loved ReadingWashington Post 10 Best Books of 2014

Translated, with an Introduction and Notes by John R. Williams.Goethe's Faust is a classic of European literature. Based on the fable of the man who traded his soul for superhuman powers and knowledge, it became the life's work of Germany's greatest poet. Beginning with an intriguing wager between God and Satan, it charts the life of a deeply flawed individual, his struggle against the nihilism of his diabolical companion Mephistopheles.Part One presents Faust's pact with the Devil and the harrowing tragedy of his love affair with the young Gretchen. Part Two shows Faust's experience in the world of public affairs, including his encounter with Helen of Troy, the emblem of classical beauty and culture. The whole is a symbolic and panoramic commentary on the human condition and on modern European history and civilisation.This new translation of both parts of Faust preserves the poetic character of the original, its tragic pathos and hilarious comedy. In addition, John Williams has translated the Urfaust, a fascinating glimpse into the young Goethe's imagination, and a selection from the draft scenarios for the Walpurgis Night witches' sabbath - material so ribald and blasphemous that Goethe did not dare publish it.

Volume I - Aeschylus• The Oresteia (Agamemnon/The Libation Bearers/The Eumenides)• The Suppliant Maidens• The Persians• Seven Against Thebes• Prometheus BoundVolume II - Sophocles• 'The Theban Plays' (Oedipus The King/Oedipus At Colonus/Antigone)• Ajax• The Women Of Trachis• Electra• PhiloctetesVolume III - Euripides 1 • Alcestis• The Medea• The Heracleidae• Hippolytus• Cyclops• Heracles• Iphigenia In Tauris• Helen• Hecuba• Andromache• The Trojan WomenVolume IV - Euripides 2• Ion• Rhesus• The Suppliant Women• Orestes• Iphigenia In Aulis• Electra• The Phoenicians• The Bacchae"These authoritative translations consign all other complete collections to the wastebasket."—Robert Brustein, The New Republic"This is it. No qualifications. Go out and buy it everybody."—Kenneth Rexroth, The Nation"The translations deliberately avoid the highly wrought and affectedly poetic; their idiom is contemporary....They have life and speed and suppleness of phrase."—Times Education Supplement"These translations belong to our time. A keen poetic sensibility repeatedly quickens them; and without this inner fire the most academically flawless rendering is dead."—Warren D. Anderson, American Oxonian"The critical commentaries and the versions themselves...are fresh, unpretentious, above all, functional."—Commonweal"Grene is one of the great translators."—Conor Cruise O'Brien, London Sunday Times"Richmond Lattimore is that rara avis in our age, the classical scholar who is at the same time an accomplished poet."—Dudley Fitts, New York Times Book Review