Joe Egg

The play centres on a British couple, Bri and Sheila, who are struggling to save their marriage whilst trying to raise their only child, a small girl named Josephine, who has cerebral palsy. She uses a wheelchair and is nonverbal, which her parents see as unable to communicate. Caring for her has occupied nearly every moment of her parents' lives since her birth, taking a heavy toll on their marriage. Sheila gives Josephine as much of a life as she can, while Bri wants the child institutionalised and has begun to entertain chilling fantasies of killing himself and Josephine.

The Modern Monologue in two volumes, one for men and one for women, is an exciting selection of speeches drawn from the landmark plays of the 20th century. The great playwrights of the British, American and European theatre-- and the plays most constantly performed on stage throughout the world--are represented in this unique collection. Monologues of all types--both serious and comic, realistic and absurdist--provide a dynamic challenge for all actors: the student, the amateur and the professional. A fuller appreciation of each speech is enhanced by the editors' introduction and commentaries that set the plays and individual speeches in their dramatic and performance contexts.

A deeply moving play about the problems of a young couple struggling to cope with and raise their only child--a severely handicapped young girl. Although they try to maintain a sense of humor the difficulty and seeming futility of their efforts takes an emotional toll that eventually threatens to destroy their marriage.

Presenting a fresh look at postwar theater, this study of the late Sir Nigel Hawthorne's 50-year career in the theater focuses on the personal journey of one of Britain's finest actors. Providing detailed analysis of Hawthorne's stage work, this authorized biography is illuminated and enriched by personal insights derived from Hawthorne's own memories and those of his colleagues. Broad discussions about Hawthorne's personal development as well as the direction stage acting took in the 20th century are integrated with details about the actor's extensive career.

The year 1956 marked a point when British drama and theater fell into the hands of a group of young playwrights who revolutionized the stage. During that time, playwrights such as Samuel Beckett and Harold Pinter made the British theater as rich, varied, and vital as any national theater in history. This reference chronicles the history of British theater from 1956 to 1995 by providing detailed information about the playwrights of that period. Included are entries for some three dozen British playwrights active between 1956 and 1995. Entries are arranged alphabetically to facilitate use. Each entry supplies biographical information, the production history for particular plays, a survey of the playwright's critical reception, an assessment of the dramatist's work, and primary and secondary bibliographies. A selected, general bibliography at the end of the volume directs the reader to important sources of additional information about this period in theater history.

This book examines the relationship between contemporary cultural representations of disabled children on the one hand, and disability as a personal experience of internalised oppression on the other. In focalising this debate through an exploration of the politically and emotionally charged figure of the disabled child, Harriet Cooper raises questions both about what it means to ‘speak for’ the other and about what resistance means when one is unknowingly invested in one’s own abjection. Drawing on both the author’s personal experience of growing up with a physical impairment and on a range of critical theories and cultural objects – from Frances Hodgson Burnett’s novel The Secret Garden to Judith Butler’s work on injurious speech – the book theorises the making of disabled and ‘rehabilitated’ subjectivities. With a conceptual framework informed by both psychoanalysis and critical disability studies, it investigates the ways in which cultural anxieties about disability come to be embodied and lived by the disabled child. Posing new questions for disability studies and for identity politics about the relationships between lived experiences, cultural representations and dominant discourses – and demonstrating a new approach to the concept of ‘internalised oppression’ – this book will be of interest to scholars and students of disability studies, medical humanities, sociology and psychosocial studies, as well as to those with an interest in identity politics more generally.

Bend, astride the Deschutes River at the eastern foot of the Cascade Range, got its name from a place on the river that runs through it. Pioneer travelers called the place Farewell Bend because it was where they had their last view of the double bend in the river that afforded a good place to camp and to ford the waterway, otherwise flowing through deep canyons. When the U.S. Post Office Department approved a name for a post office established there in 1886, it settled on a shorter version-Bend-because there already was a Farewell Bend on the Snake River in eastern Oregon. Arrival of a railroad in 1911 connected Bend with a market for Central Oregon's vast timber resources. Large sawmills began operations in 1916 and Bend grew tenfold in 10 years. And it kept on growing into a favored place to live. By its centennial in 2005, some 75,000 people called Bend home.