SAXON SHORE (Methuen Modern Plays Series)

Literature & Fiction

Rudkin, David

Dramas & Plays

Heinemann

Hippolytus: A Version

Drama Charcters: 2 male, 2 female w/doubling Bare stage with set piecesAnne and Colin are a thirty-ish British couple who desperately want a child. With stark realism, harrowing insight, and dark humor, their efforts to achieve this blessing are portrayed as the embers of their hope become the ashes of their dreams and with bitter experience they summon the strength and love to go on."Probably the most important play of the season...It is entertaining, it is funny, it is bitter, and it is handsomely poetic."-The New York Times "Astonishing!"-The Village Voice

Ashes

Concord Theatricals

Penda's fen

Davis-Poynter

 Red Sun and Merlin Unchained are the most recent original stage works by one of the most accomplished yet neglected dramatists of our time. Red Sun is a two-hander, tightly tethered within the classical unities of theme and space and the span of a single day. Merlin Unchained is an explosive, multitudinous epic, crossing continents and centuries and passing between worlds. Yet though technically so different, both works speak with the same distinctive voice, offering an exhilarating—and sometimes disturbing— challenge to the cultural and political perceptions of the contemporary audience, and exploring alien worlds that, alarmingly, begin to become recognizable as our own. 

Red Sun and Merlin Unchained (Playtext)

Humor & Entertainment

Intellect Ltd

Vampyr Der Traum des Allan Gray (1932) is one of the founding and defining works of psychological horror cinema, adapted from Gothic stories by Sheridan Le Fanu, a disturbing narrative of vampirism, obsession and posession of the soul. But it is also a film directed by Carl Theodor Dreyer, the revered and legendary Danish director of La Passion de Jeanne d'Arc (1927). Shot in France with private money and a largely nonprofessional cast and primitive sound equipment, Vampyr is to some extent a ruin. There is no definitive print and English versions are marred by poor image quality and subtitles. And yet it is unquestionably extraordinary, a vivid and haunting manifestation of Dreyer's power to make visible on screen the inner human state, and to convey a dreamlike imagery of textures of nature amidst which transient, solitary human figures pass, some illuminated by an inner light, others threatened by a malign or demonic presence. In relation to Dreyer's long but often frustrated career, Vampyr is often thought of as an uneven or disappointing film. But, according to David Rudkin, this is to misunderstand what it sets out to do, which is systematically to set the spectator adrift in a mysterious world. In a meticulous formal analysis of Vampyr, Rudkin expands on this contention, pinpointing the sources of the film's uniquely disquieting effect. And yet, however strange it is, Vampyr remains a profound and troubling artwork concerned at the last to communicate human meanings--and none more so than the essence of death - in remarkable filmic imagery.

Vampyr (BFI Film Classics)

Movies

British Film Institute

Described by its maker as a 'poem of horror', Vampyr (1932) is one of the founding works of psychological horror cinema, adapted from a collection of gothic stories by Sheridan Le Fanu and directed by the revered Danish director Carl Theodor Dreyer. Despite the fact that there is no definitive print and many English versions are marred by poor quality subtitles, the film remains a vivid, extraordinary artwork in which the inner human state is made hauntingly visible. In a reading as passionate as it is analytic, David Rudkin reveals how this film systematically binds the spectator – spatially and morally – into its mysterious world of the undead. This second edition features a new foreword, discussion of the Martin Koerber and Cineteca di Bologna restoration of the film in 2008, and original cover artwork by Midge Naylor.

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Books by Rudkin, David