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por Giles Whittell

The dramatic events behind the Oscar-winning film, Bridge of Spies, tracing the paths leading to the first and most legendary prisoner exchange between East and West at Berlin's Glienicke Bridge and Checkpoint Charlie on February 10, 1962.

Bridge of Spies is the true story of three extraordinary characters whose fate helped to define the conflicts and lethal undercurrents of the most dangerous years of the Cold War: William Fisher, alias Rudolf Abel, a British born KGB agent see more arrested by the FBI in New York City and jailed as a Soviet superspy for trying to steal America’s most precious nuclear secrets; Gary Powers, the American U-2 pilot who was captured when his plane was shot down while flying a reconnaissance mission over the closed cities of central Russia; and Frederic Pryor, a young American graduate student in Berlin mistakenly identified as a spy, arrested and held without charge by the Stasi, East Germany’s secret police. The three men were rescued against daunting odds, and then all but forgotten. Yet they laid bare the pathological mistrust that fueled the arms race for the next 30 years.

Weaving the three strands of this story together for the first time, Giles Whittell masterfully portrays the intense political tensions and nuclear brinkmanship that brought the United States and Soviet Union so close to a hot war in the early 1960s. He reveals the dramatic lives of men drawn into the nadir of the Cold War by duty and curiosity, and the tragicomedy of errors that eventually induced Nikita Khrushchev to send missiles to Fidel Castro.

Drawing on new interviews conducted in the United States, Europe and Russia with key players in the exchange and the events leading to it, among them Frederic Pryor himself and the man who shot down Gary Powers, Bridge of Spies captures a time when the fate of the world really did depend on coded messages on microdots and brave young men in pressure suits. The exchange that frigid day at two of the most sensitive points along the Iron Curtain represented the first step back from where the superpowers had stood since the building of the Berlin Wall the previous summer--on the brink of World War III.

por Stephen Karam

Winner of the 2016 Tony Award for Best Play

Finalist for the 2016 Pulitzer Prize for Drama

Winner of the Outer Critics Circle Award for Outstanding New Broadway Play

Winner of the New York Drama Critics’ Circle Award for Best Play

“THE BEST PLAY OF THE YEAR” --The New York Times, The Washington Post, New York Magazine, Chicago Tribune, The Hollywood Reporter, Time Out New York, NPR

"Drawn in subtle but indelible strokes, Mr. Karam's play might see more almost qualify as deep-delving reportage, so clearly does it illuminate the current, tremor-ridden landscape of contemporary America. The finest new play of the Broadway season so far — by a long shot."—Charles Isherwood, The New York Times
Breaking with tradition, Erik Blake has brought his Pennsylvania family to celebrate Thanksgiving at his daughter's apartment in lower Manhattan. Unfolding over a single scene, this "delirious tragicomedy" (Chicago Sun-Times) by acclaimed young playwright Stephen Karam "infuses the traditional kitchen-sink family drama with qualities of horror in his portentous and penetrating work of psychological unease" (Variety), creating an indelible family portrait.
Stephen Karam's plays include Speech & Debate and Sons of the Prophet, a finalist for the 2012 Pulitzer Prize and the winner of the 2012 Drama Critics Circle, Outer Critics Circle, Lucille Lortel and Hull-Warriner awards for Best Play. Born and raised in Scranton, Pennsylvania, he now lives in New York City, New York.

por Samuel Beckett

From an inauspicious beginning at the tiny Left Bank Theatre de Babylone in 1953, followed by bewilderment among American and British audiences, Waiting for Godot has become of the most important and enigmatic plays of the past fifty years and a cornerstone of twentieth-century drama. As Clive Barnes wrote, “Time catches up with genius … Waiting for Godot is one of the masterpieces of the century.”

The story revolves around two seemingly homeless men waiting for someone—or see more 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.

por T.C. Boyle

T.C. Boyle’s tragicomic, award-winning novel about assimilation, immigration, and the price of the American dream
 
“A masterpiece of contemporary social satire.” —The Wall Street Journal

Topanga Canyon is home to two couples on a collision course. Los Angeles liberals Delaney and Kyra Mossbacher lead an ordered sushi-and-recycling existence in a newly gated hilltop community: he a sensitive nature writer, she an obsessive realtor. Mexican immigrants Candido and America see more Rincon desperately cling to their vision of the American Dream as they fight off starvation in a makeshift camp deep in the ravine. And from the moment a freak accident brings Candido and Delaney into intimate contact, these four and their opposing worlds gradually intersect in what becomes a tragicomedy of error and misunderstanding.

por John Orr

This study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique becuae of the existential playfulness and confusion of see more its protagonists, and because of its muted vision of apocalypse in the nuclear age.

por Mark Dvoretsky

The Key Concepts of Chess Endings In 2003 when it was released, Dvoretsky's Endgame Manual became an instant classic. Now the chess instructor extraordinaire offers an introduction to the fascinating world of chess endings. This book is designed to highlight the key concepts of the most common chess endgames and will prove quite instructive to chessplayers of all levels. Topics include: - The King in the Endgame - Pawn play - Zugzwang - Saving Methods - Tactics in the Endgame - Piece see more Maneuvering - Piece Exchanges - "Technique” ...and much more! The author has countless practical suggestions for improving your endgame play in this era of rapid-time controls so that you don't end up "drowning” in the ocean of endgame theory. Let Mark Dvoretsky help you win more games as he examines some elementary endgame errors from master play and shows you how to avoid making the same mistakes.

por Verna A. Foster

Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged see more only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.

por Gordon McMullan

The Politics of Tragicomedy: Shakespeare and After offers a series of sophisticated and powerful readings of tragicomedy from Shakespeare’s late plays to the drama of the Interregnum. Rejecting both the customary chronological span bounded by the years 1603-42 (which presumes dramatic activity stopped with the closing of the theatres) and the negative critical attitudes that have dogged the study of tragicomedy, the essays in this collection examine a series of issues central to the see more possibility of a politics for the genre. Individual essays offer important contributions to continuing debates over the role of the drama in the years preceding the Civil War, the colonial contexts of The Tempest, the political character of Jonson’s late plays, and the agency of women as public and theatre actors. The introduction presents a strong challenge to previous definitions of tragicomedy in the English context, and the collection as a whole is characterized by its rejection of absolutist strategies for reading tragicomedy.
This collection will prove essential reading for all with an interest in the politics of Renaissance drama; for specialists in the work of Shakespeare, Fletcher, and Jonson; for those interested in genre and dramatic forms; and for historians of early Stuart England.

por Daniel Knapper

Gale Researcher Guide for: Tragicomedies: William Shakespeare, Samuel Beckett, Harold Pinter is selected from Gale's academic platform Gale Researcher. These study guides provide peer-reviewed articles that allow students early success in finding scholarly materials and to gain the confidence and vocabulary needed to pursue deeper research.