Women's Theatre Writing in Victorian Britain is the first book to make a comprehensive study of women playwrights in the British theatre from 1820 to 1918. It looks at how women playwrights negotiated their personal and professional identities as writers, and examines the female tradition of playwriting which dramatises the central experience of women's lives around the themes of home, the nation, and the position of women in marriage and the family. The book also includes an extensive Appendix of authors and plays, which will be a useful reference tool for students and scholars in nineteenth-century studies and theatre historians.

Udemy - Playwrights Practice: Playwriting Made Easy

Write, edit and workshop original short plays. Examine and change your life. Train the playwright in you!
This is a comprehensive course designed to teach aspiring playwrights the methods and skills necessary to create their own short stage plays from idea inception through polished final draft execution. Seasoned writers will benefit from the online table reading component as well as the lectures, allowing a chance to review technique as well as hear and garner constructive criticism of short works. We will reference and study theatrical masterpieces as examples.

REUPLOAD NEEDED

Two tramps are waiting by a sickly looking tree for the arrival of M. Godot.
Notes:
Waiting for Godot was voted the most significant English language play of the 20th century in a British Royal National Theatre poll of 800 playwrights, actors, directors and journalists.

Reuploaded Thanks to gonewiththewind

Questioning whether the impulse to adapt Shakespeare has changed over time, Lynne Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares Nahum Tate's "History of King Lear" (1681), adaptations by David Garrick in the mid-eighteenth century, and nineteenth-century Shakespeare burlesques to twentieth-century theatrical rewritings of King Lear, and suggests latter-day adaptations should be viewed as a unique genre that allows playwrights to express modern subject positions with regard to their literary heritage while also participating in broader debates about art and society.

This rich and varied portrait of drama from 1660 to 1714 provides students with essential information about playwrights, staging and genres in their social and political context. The theater that followed the Restoration of Charles II is revealed in all of its tumult, energy and conflict. Contributors pay attention to major and minor playwrights, the first professional female dramatists, the performance aspects of the drama and the main dramatic genres and themes.