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In the Greek legend, a sculptor, Pygmalion, created a statue of a woman so beautiful that he fell in love with it. Later the goddess Aphrodite responded to his earnest prayers and brought the statue, named Galatea, to life. Shaw's Pygmalion is a fussy unmarried professor of phonetics, Henry Higgins, who claims that he could train an uneducated person off the street to speak so that he or she could pass as a member of the aristocracy. His Galatea is Eliza Doolittle, who sells flowers at Covent Garden and whose father is a dissipated but cunning vagrant.

Hi ha una manera de definir El misantrop: el món contra mi, i, si convé, jo contra el món. Si algú em porta un sonet que és més dolent que el pebre, en nom de què podria afalagar-lo? Si em jutgen perquè he dit allò que havia de dir, per què hauria de buscar algú que recomanés la meva innocència al tribunal? Que tinc raó és clar: que em jutgin, doncs, i demostrin si són al costat de la veritat o amb l'interès que sembla moure-ho tot en el món dels homes. O amb mi o contra mi, amb la raó o contra la raó.

Molts crítics consideren Èdip rei l'obra mestra de Sòfocles. Èdip és l'heroi tràgic per antonomàsia: l'home just, intel·ligent, pietós envers els déus, que vol conèixer la veritat pel bé del seu poble, costi el que costi; i que no defalleix en l'intent de descobrir-la,malgrat que, a mesura que s'hi apropa, ja intueix que serà la causa de la seva ruïna. La solució diversa amb què Iocasta i Èdip afrontaran el coneixement de la veritat és també el reflex de dues maneres d'encarar les dificultats vitals.

Oedipus Rex, by Sophocles, is a tragedy that has been enjoyed for centuries. This drama is an absolute must for any scholar, student, drama lover, or classical literature fan. Here, you will find the unabridged and complete version of the work.

The Peloponnesian War drags on and on with no end in sight, and the tough-minded Lysistrata has had enough. Men! - always making stupid decisions that affect everyone. Women's opinions are never listened to. Taking matters into her own hands, Lysistrata convenes a meeting of women from warring city-states across Greece and calls for a sex strike. It's a hard sell, but in the end, it is agreed: They will withhold sex until the war is brought to hasty a close.

This play forms part of a tetralogy which focuses on one of Wedekind's obsessive themes: the destructive interplay between primal sexual urges and social convention. Each play revolves around a powerful young female character, who has the power to control and captivate men, but who in turn is destroyed by the exercise of that power. In this play, the dominant female is Fräulein Elfriede von Malchus, an idealistic crusader who visits a brothel operated by the cynical impresario Casti-Piani in order to rescue a young woman who has fallen into his clutches.

Inferno follows Dante through hell, with only an roman poet named Virgil to guide him. Dante loses his way in a forest and stumbles across Hell; but Virgil tells him that if he ventures through hell he can reach Heaven where his beloved awaits....

America a Prophecy (1793) is the first book in Blake’s Continental Prophecies - the other two being Europe a Prophecy (1794) and The Song of Los (1795). The poem was engraved on 18 plates with illustrations by Blake, and survives in 14 known copies. Written during a time of great political and social upheaval, Blake uses his own complex invented mythology to explore the human need to resist tyranny. His verse is rich in metaphor, powerful, and apocalyptic in scope.

The Wild Duck (Vilanden) is a tragedy with comic episodes. Ibsen himself characterized the play as a tragicomedy. It depicts ordinary life realistically instead of romantically and sentimentally, a revolutionary concept in Ibsen's time. The play is now generally acknowledged as one of Ibsen's supreme accomplishments.

The Importance of Being Earnest: A Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on February 14, 1895, at the St James' Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious persona to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage and the resulting satire of Victorian ways.

David Weir explores the conflicting attitudes towards modernity present in decadent culture by examining the difference between aesthetic decadence - the excess of artifice - and social decadence, which involves excess in a variety of forms, whether perversely pleasurable or gratuitously cruel. Such contrariness between aesthetic and social decadence led some of its practitioners to substitute art for life and to stress the importance of taste over morality, a maneuver with far-reaching consequences. 

Based on a series of lectures by Leonard Peikoff and edited by Marlene Trollope, Discovering Great Plays provides the ability to understand, judge, and savor the values offered by great drama. Listeners will discover plot-theme as the key to a play; see Antigone as a great heroine and Iago as the darkest villain in literature; learn about the Cornelian hero; see how Schiller's "Grand Inquisitor" scene is the most dramatic and philosophic in all of theater; and discover Shaw's brilliance in presenting the genius against society. 

Gil Bailie examines William Shakespeare's Julius Caesar through the lens of René Girard's mimetic theory to reveal the dynamics of the volatile transition from Republican Rome to Imperial Rome.

The Jew of Malta, by Christopher Marlowe, starring David Serero as Barrabas. Cast album recording of 2017 off-Broadway production. Directed and adapted by David Serero.

This multicast dramatisation of Arabian Nights: Volume 1 is an Audible Original reenvisioning of three iconic tales - with a twist. Adapted by the great Marty Ross, whose previous audio dramas include Romeo and Jude, Dark Shadows, Doctor Who and Blood and Stone, listeners can expect to hear Sheherezade, Ali Baba & 40 Thieves and Julnar the Sea Born as they've never done before.

Frank Wedekind (1864-1918) was the most controversial dramatist of his age. Most of his work focuses on the ubiquity and inevitably corrupting influence of sexual attraction. His most famous plays are the two that depict the rise, fall, and eventual gruesome death of the vampish Lulu, who, in Wedekind’s presentation, became a ghastly parody of Goethe’s “Eternal Feminine”. The first of the plays is Earth Spirit, in which Lulu marries and survives three husbands, only to face prosecution for the shooting of the third.

Oscar Wilde created his final and most lasting play, one of the comic masterpieces of all time, The Importance of Being Earnest, in 1895. It is a farce playing with love, religion, and truth as it tells the tale of two men, Jack Worthing and Algernon Moncrieff, who bend the truth in order to add excitement to their lives. Jack invents an imaginary brother, Ernest, whom he uses as an excuse to escape from his dull country home and gallivant in town.

A collection of four of Chekhov's most popular dramas together with his unusual one-act comedy, The Boor, presented by members of The Online Stage.

Oedipus Rex is an Athenian tragedy by Sophocles that was first performed about 429 BC (noted classicist Gilbert Murray, translator of this version of the play, rendered the title as Oedipus, King of Thebes). It tells the story of Oedipus, a man who becomes the king of Thebes, whilst in the process unwittingly fulfilling a prophecy that he would kill his father Laius and marry his mother Jocasta. The play is an example of classic tragedy, notably containing an emphasis upon how Oedipus's own faults contribute to his downfall.

Enregistrée par Pierre Bellemare dans la Cathédrale de Périgueux. "La Passion", de Charles Péguy, est extraite du "Mystère de la charité de Jeanne d'Arc". La Passion est l'acte physique le plus métaphysique de la Bible, sur lequel repose toute la culture des sociétés de l'Occident chrétien, fondée en partie sur l'idée de culpabilité héritée de ce martyre.
Le texte de Charles Péguy met en scène une réflexion lyrique tout à fait opposée à la pensée Saint-Sulpicienne, qui ne s'empare pas de la dimension humaine des événements bibliques.