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One-act plays Books
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Fifty Contemporary One-Act Plays
"Fifty Contemporary One-Act Plays" by Frank Shay and Pierre Loving is a collection of theatrical works selected and edited in the early 20th century. This anthology features a variety of one-act plays from both American and foreign authors, showcasing a range of themes, styles, and characters drawn from contemporary theater. The purpose of the collection is to highlight the evolving landscape of the dramatic arts during this period and to provide a platform for emerging writers. The opening of the anthology consists of an introduction by Pierre Loving, who discusses the challenges faced during the selection process for the collection. Loving notes the abundance of good one-act plays being produced, emphasizing the difficulty in narrowing down the choices while trying to avoid any sense of subjective bias. He points out that American plays dominate the selection, reflecting a growing renaissance in the American theater, and expresses a hope that these works will reach a wider audience, while also alluding to several international plays that have been included to introduce English-speaking readers to noteworthy foreign authors. The opening sets the stage for an appreciation of the diversity and richness of contemporary theater encapsulated in the subsequent plays.
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Contemporary One-Act Plays
"Contemporary One-Act Plays" by B. Roland Lewis et al. is a collection of one-act plays written in the early 20th century. This compilation serves both educational and entertainment purposes, aiming to highlight the one-act play as a specific, significant dramatic form. The collection includes a variety of plays that range across genres like comedy and tragedy while intentionally focusing on uplifting themes. The opening of the collection introduces the concept of the one-act play and its importance within contemporary theatre. In the introduction, Lewis emphasizes the artistic and technical distinctions of the one-act play, asserting that it should convey a singular dramatic effect within a shorter timeframe. He notes that well-crafted one-act plays condense significant human experiences, allowing for an intense emotional impact. The introduction sets the stage for the plays that follow, promising a powerful exploration of life's complexities through concise storytelling and character development.
Kenneth Sawyer Goodman
The Game of Chess: A Play in One Act
"The Game of Chess: A Play in One Act" by Kenneth Sawyer Goodman is a theatrical drama written in the early 20th century, specifically in the years leading up to World War I. This play explores themes of power, identity, and the nature of life and death through the metaphor of a chess game. The dialogue-driven piece encompasses the nuances of the human condition and the political tensions of class struggles. The story unfolds in a richly decorated room where two characters, Alexis Alexandrovitch and Boris Ivanovitch Shamrayeff, partake in a tense game of chess. While playing, Alexis engages Boris in a philosophical conversation that reveals the complex dynamics of their relationship and the larger societal issues at play, rooted in class conflict and revolutionary fervor. As the dialogue deepens, the stakes escalate beyond the chessboard when Boris, an agent of the revolutionary party, confronts Alexis, a nobleman, about killing him. The play delves into themes of duality and self-awareness, culminating in a dramatic twist where the lines between predator and prey, as well as the notions of justice and vengeance, are disturbingly blurred. Ultimately, it highlights the absurdity and gravity of their situation, leaving both characters in a deadly game where survival and truth hang in the balance.
Roderich Benedix
Palvelusväkeä : $b Yksinäytöksinen huvinäytelmä
"Palvelusväkeä : Yksinäytöksinen huvinäytelmä by Roderich Benedix" is a one-act comedic play, most akin to a light social farce, likely written in the late 19th century. Set entirely in a manor house kitchen, it explores the lives of servants—flirtations, jealousy, gossip, and superstition—leading to a sudden stroke of luck that reshapes their futures. In the kitchen bustle, maid Hanna and stablehand Pekka are engaged, but the bookkeeper Aukusti flirts with Hanna, provoking the spiteful jealousy of the lady’s maid Anna. Slander travels upstairs: Pekka is summarily dismissed (under the pretext of a lame horse), and Hanna is fired for supposed impropriety. Ristiina the cook, guided by a vivid dream, splits a raffle ticket with Hanna; soon Reetta brings news that their ticket has won a major prize. Fortune reverses the injustice: Pekka and Hanna can now marry and start a life of their own, while the steady coachman Juronen—long prudent and patient—proposes to Ristiina, and they plan to open a well-run eatery. Amid banter and quick turns, camaraderie and chance triumph over malice and class-bound pettiness.
Lewis Beach
Washington Square Plays
"WASHINGTON SQUARE PLAYS" by Beach, Gerstenberg, Goodman, and Moeller is a collection of one-act plays published in the early 20th century, specifically designed for the Washington Square Players, an amateur theater group. The book includes four distinct plays, each showcasing the talented and innovative spirit of the contributors, with themes that range from the personal struggles of individuals to satirical examinations of societal norms. The opening of this collection begins with a detailed introduction that discusses the evolution and significance of the one-act play in American theater, emphasizing the Washington Square Players' mission to innovate and provide diverse theatrical experiences. Following the introduction, the first play, "The Clod," presents the story of a fraught encounter between a Northern soldier and a Southern woman, set against the backdrop of the Civil War. Themes of fear, survival, and moral complexity emerge as the soldier seeks refuge from pursuing forces, while the woman grapples with her loyalty and the burden of maintaining her farmers’ home. The dramatic tension builds as external pressures escalate, revealing profound emotional depths and social critiques in this captivating opening scenario.
Rabindranath Tagore
Red oleanders : $b A drama in one act
Translation of রক্তকরবী (Raktakarabī).
Margaret Scott Oliver
Six One-Act Plays
"Six One-Act Plays" by Margaret Scott Oliver is a collection of theatrical works written in the early 20th century. The plays present a variety of narratives, including themes of love, conflict, and social issues, depicting the complex lives of characters navigating their circumstances. The first play, "The Hand of the Prophet," introduces Kodama, a merchant, and his bride Halima during a wedding celebration, where jealousy and desire unfold in their relationships. At the start of the collection, the opening play sets the scene at a wedding festivity filled with music and dance. Kodama, despite his affection for Halima, becomes increasingly irked by the presence of his cousin, Sindibad, who is enamored with Halima. Tension arises as Sindibad expresses his desire for Halima, leading to a tragic confrontation. As the story progresses, the themes of marital discord and the consequences of unchecked passion are explored, culminating in a dramatic climax that deeply affects all characters involved, hinting at broader social critiques within the ensuing plays.
Christopher Morley
Thursday Evening: A Comedy in One Act
"Thursday Evening: A Comedy in One Act" by Christopher Morley is a play written in the early 20th century. This comedy unfolds in the small suburban kitchen of a young couple, exploring themes of marriage, domesticity, and the generational conflicts often tied to family life. The story captures the seemingly mundane yet emotionally charged interactions of Gordon and Laura Johns as they navigate the challenges of their roles and the influence of their respective mothers. The play centers around a dinner that leads to an escalating argument between Gordon and Laura as they grapple with their differing views on household management and their familial expectations. As they clean up after a dinner, tensions rise, revealing their frustrations about marriage, the roles of mothers-in-law, and the weight of societal expectations. The tension peaks when both mothers enter the scene, attempting to help but inadvertently intensifying the conflict. Ultimately, the couple's love is reaffirmed as they reconcile, realizing the importance of mutual support despite the pressures they face from their families. The work cleverly blends humor with poignant insights into the struggles of young marriage and the complexities of family dynamics.
Floyd Dell
Sweet and Twenty: A Comedy in One Act
"Sweet and Twenty: A Comedy in One Act" by Floyd Dell is a one-act play written during the early 20th century. The play captures a lighthearted exploration of love and relationships, set against the backdrop of a cherry orchard on a country estate that is being shown to potential buyers. Through witty dialogue and humorous misunderstandings, the narrative delves into the complexities of romantic attraction and societal expectations regarding marriage. The storyline revolves around two characters, a young woman and a young man, who meet serendipitously while both are exploring the property. Initially, they both believe they are in relationships with other people, which leads to a series of comedic confusions and declarations of love. As they engage in a playful battle over their feelings and societal conventions, they uncover their mutual attraction and challenge each other’s assumptions about commitment. However, the arrival of an agent reveals familial arrangements aimed at ensuring their marriage, adding an unexpected twist to their budding relationship as they weigh the nature of love against the pressures of expectation. The play ultimately emphasizes the conflict between the freedom of love and the constraints of social institutions.
Laurence Housman
Bird in hand : $b a play in one act
"Bird in Hand: A Play in One Act" by Laurence Housman is a theatrical work written in the early 20th century. This play features a mixture of fantasy and reality, centering around the character of Professor Braintree, a scientist grappling with his perceptions and the boundaries between what is real and what is imagined. The narrative explores themes of belief, imagination, and the intersection of science and the supernatural. The story unfolds in Professor Braintree's study, where he encounters a peculiar creature named Bird-in-Hand, which embodies his inner turmoil and challenges his scientific rationality. As the professor attempts to dismiss this hallucination that seems to disrupt his orderly world, he grapples with the existential implications of his experience, particularly as it blurs the line between reason and fantasy. The play culminates in a conversation with his granddaughter Elfrida, who believes in fairies, leading the professor to reconsider the realities of imagination and belief, even as he tries to maintain his scientific standing. Ultimately, Housman navigates the tension between the rational and the irrational through the professor's journey, leaving readers with a profound reflection on the nature of reality and faith.
Tracy D. (Tracy Dickinson) Mygatt
Bird's nest, a fantasy in one act
"Bird's Nest, a fantasy in one act by Tracy D. Mygatt" is a one-act play written in the early 20th century, specifically around the early 1920s. The play centers on themes of love, relationships, and the haunting echoes of the past as it explores the juxtaposition of romantic idealism against the reality of life's barriers. Set in a garden outside a cottage, the setting evokes a whimsical yet eerie atmosphere fitting for the fantasy genre. In "Bird's Nest," the narrative unfolds on the night before the wedding of George Sanford, a bridegroom excitedly anticipating his marriage to Mrs. McCormorant. Accompanied by his man Martin, the moonlit night draws out an interplay of sentiments as they reminisce about the cottage known as Bird's Nest, built for lovers. However, as the newly married couple, Lydia and Richard, enter the scene, they find themselves entangled in their own romantic journey while confronting the implications of Sanford's impending nuptials. Amid ghostly references and whimsical dialogues, the play deftly navigates the tensions between old love and new beginnings, culminating in a bittersweet realization about love's enduring power over life and death. As the clock strikes, themes of fate and destiny culminate in a poignant conclusion that leaves the audience contemplating the nature of love and the mysteries of the past.
Laurence Housman
The snow man : $b A metrical play in one act
"The Snow Man: A Metrical Play in One Act" by Laurence Housman is a poetic play written during the early 20th century. It unfolds in a modest peasant dwelling and centers around themes of love, sacrifice, and the intertwining of life and death, particularly through the symbolic figure of a snowman. This play, characterized by its metrical dialogue, is set against a winter backdrop, enhancing its emotional and thematic depth. The narrative revolves around Joan, a peasant woman, and her children, Matthew Mark and Mary Ann, who create a snowman on a bitterly cold night. As the story progresses, the snowman mysteriously comes to life and interacts with Joan, prompting her to reflect on her troubled marriage to Jaspar, who has been absent for a long time. The play explores Joan's sacrifices for her children and husband and culminates in a poignant moment when Jaspar returns home, leading to themes of reunion, warmth, and longing. The snowman's presence serves as a catalyst for Joan's emotional journey, representing both the coldness of her current life and the hope for warmth and reconnection.
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