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Should we draw an analogy between Shakespeare’s tyrants—Richard III, Julius Caesar, Macbeth, and King Lear—and Donald Trump? In Shakespeare and Trump, Jeffrey Wilson applies literary criticism to real life, examining plot, character, villainy, soliloquy, tragedy, myth, and metaphor to identify the formal features of the Trump phenomenon, and its hidden causes, structure, and meanings.

In England in the Age of Shakespeare, Jeremy Black takes readers on a tour of life in the streets, homes, farms, churches, and palaces of the Bard’s era. Panning from play to audience and back again, Black shows how Shakespeare's plays would have been experienced and interpreted by those who paid to see them. From the dangers of travel to the indignities of everyday life in teeming London, Black explores the jokes, political and economic references, and small asides that Shakespeare’s audiences would have recognized.

In this fascinating study, Anthony J. Lewis argues that it is the hero himself, rejecting a woman he apprehends as a threat, who is love's own worst enemy. Drawing upon classical and Renaissance drama, iconography, and a wide range of traditional and feminist criticism, Lewis demonstrates that in Shakespeare the actions and reactions of hero and heroine are contingent upon social setting - father-son relations, patriarchal restrictions on women, and cultural assumptions about gender-appropriate behavior.

Among the dramatists who wrote for the professional playhouses of early modern London was a small group of writers who were neither members of the commercial theater industry writing to make a living nor aristocratic amateurs dipping their toes in theatrical waters for social or political prestige. Instead, they were largely working- and middle-class amateurs who had learned most of what they knew about drama from being members of the audience.

Script Culture and the American Screenplay treats the screenplay as a literary work in its own right, presenting analyses of screenplays from a variety of frameworks, including feminism, Marxism, structuralism, philosophy, and psychology. Boon demonstrates that whether we are concerned with aesthetics and identifying rules for distinguishing the literary from the non-literary, or whether we align ourselves with more contemporary theories, which recognize texts as distinguishable in their inter-relationships.

Steven Adler examines the dynamic life and workings of the theatre company responsible for some of the world's most compelling performances and influential productions of the last 40 years, including Marat/Sade, A Midsummer Night's Dream, Les Misérables, Les Liaisons Dangereuses, and Nicholas Nickleby.

In 1876, Poland's leading actress, Helena Modrzejewska, accompanied by family and friends, emigrated to Southern California to establish a utopian commune that soon failed. Within a year Modrzejewska made her debut in the title role of Adrienne Lecouvreur at San Francisco's California Theatre. She changed her name to Modjeska and quickly became a leading star on the American stage, where she reigned for the next 30 years.

In this survey of eighteenth and nineteenth century American drama, Tice L. Miller examines American plays written before a canon was established in American dramatic literature and provides analyses central to the culture that produced them. Entertaining the Nation evaluates plays in the early years of the republic, reveals shifts in taste from the classical to the contemporary in the 1840s and 1850s, and considers the increasing influence of realism at the end of the nineteenth century.

In this lively study of both modern film and stage productions of Shakespeare, Samuel Crowl provides fascinating insights into the ways in which these productions have been influenced by one another as well as by contemporary developments in critical approaches to Shakespeare's plays. Written in a style which places a premium on capturing the vivid and often dazzling moments of stage and film performances of Shakespeare, Crowl's study will be of interest to the avid film and theatergoer as well as to the scholar and student.

The Theatrical Event discusses the objectives of theater studies by focusing on the communicative encounter between performer and spectator - the theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performance - on stage or in the street, historical or contemporary - that is watched by an audience is a theatrical event. The concept underlines the "eventness" of all encounters between performers and spectators.

Is theater really dead? Does the theater, as its champions insist, really provide a more intimate experience than film? If so, how have changes in cinematic techniques and technologies altered the relationship between stage and film? What are the inherent limitations of representing three-dimensional spaces in a two-dimensional one, and vice versa? American Drama in the Age of Film examines the strengths and weaknesses of both the dramatic and cinematic arts to confront the standard arguments in the film-versus-theater debate.