Category: Drama

  • New Criticism – its usefulness & drawbacks

    However there is also significant room to argue as does Willingham, that New Criticism is intellectually naïve in the sense that for although we can never know for certain how the greater context in which it was written influences the text, we can be certain that it has indeed influenced it and if we ignore that influence then we have lost a great deal from our aesthetic experience.

  • Freedom and Power in English Renaissance Revenge Tragedy

    However in The Duchess of Malfi there is room to argue that Duke Ferdinand, as head of the household qua government is corrupt. Most certainly at times he borders on depravity and his elder brother, the Cardinal of Aragon, says as much: ‘(w)hy do you make yourself (s)o wild a tempest?’ (II v 17-18).

  • The Fatness of Falstaff & the politics of redemption

    At the end of the day it is not Wonga’s owners (nor their equity investors) who will pay for its redemption but those two million customers who have already paid interest rates in excess of 5,000% (APR). Likewise, at the end of the day it is not Hal (nor his family) who will pay for his redemption but Falstaff.

  • Tatterhood – a Norwegian Fairy-tale/original drama

    Tatterhood (A Norwegian Fairy-tale) / original drama by Debra Moolenaar   Players: Daisy (D)– the beautiful daughter Bella Dona (BD)– the ugly daughter with her goat and wooden spoon Queen Jessamine (QJ)– the Queen Pansy (P) – the maid Christmas Eve witch (CEW) ___________________________ (continued – previously, encouraged by her maid, Pansy,  Queen Jessamine ate […]

  • Tatterhood (A Norwegian Fairytale)/ Original Drama

    Tatterhood (A Norwegian Fairytale) / Original Drama by Debra Moolenaar Players: Daisy (D)– the beautiful daughter Bella Dona (BD)– the ugly daughter with her goat and wooden spoon Queen Jessamine (QJ)– the Queen Pansy (P) – the maid Christmas Eve witch (CEW) ACT ONE / SCENE ONE QJ:       Where is my maid? Why is it so […]

  • The Prodigal Son (act one of a new play)

    THE PRODIGAL SON By Debra Moolenaar ( a short play inspired by Camus’ “The Outsider”) Act One NARRATOR: (to us.)  Listen up.  Your life may depend on it.   Think you can play around and not get burned?  Think again. MRS NOVAK:    Let me get this straight, Mr Kermak.  You want me to believe you once […]

  • Psychological Integration in Shakespeare’s Antony and Cleopatra

    The night before last, my husband and I attended the Royal Shakespeare Company’s new production of Antony and Cleopatra at Stratford-upon-Avon. Because we’ve enjoyed everything we’ve seen there before, we were sorely disappointed when the play failed to live up to our expectations.  From the lack of enthusiastic clapping as the last act culminated into […]