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William Wycherley

WILLIAM WYCHERLEY   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

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Adaptation / Translations of Plays by William Wycherley

CHRIS BOND  

Country Wife, The

1st Produced:

Liverpool

1974

Organisations:

n/a

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#3826

To Buy This Play:

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Genre:

Adaptation

Parts:

Male

-

Female

0

Parts other:

-

Notes:

Original Playwright - William Wycherley

Synopsis:

Further Reference:

-


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TANIKA GUPTA  

Country Wife, The

1st Produced:

Watford Palace

2004

Organisations:

n/a

1st Published:

Oberon Books, London >>>,

ISBN/ASIN:

-

Music:

-

doollee no

#41382

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Play/Drama

Parts:

Male

7

Female

4

Parts other:

extras

Notes:

Original Playwright - William Wycherley

Synopsis:

This new version of William Wycherley 's most famous classic, The Country Wife has been adapted by Tanika Gupta.This contemporary farce tells the story of twenty-something friends and rivals on their journey through love and liberation. Following Hardeep 's return to London he begins broadcasting his newly invented celibate state in a bid to attract women keen to re- ignite his passion for them. With this deception more than successful his endeavours turn to the naive country wife, Preethi, Alok 's virgin bride to settle unfinished business between old friends. A fast paced comedy laced with deception, disguise and lustful behaviour brought about by double standards, adultery and promiscuous living.

Further Reference:

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.