Danton's Death, Georg Buchner, Howard Brenton, A&C Black, 2010, 1408132834, 9781408132838, 64 pages. This is your rhetoric translated. These wretches, these executioners, the guillotine are your speeches come to life. You have built your doctrines out of human heads… Why should an event that transforms the whole of humanity not advance through blood? 1794: the French Revolution reaches its climax. After a series of bloody purges the life-loving, volatile Danton is tormented by his part in the killing. His political rival, the driven, ascetic Robespierre, decides Danton's fate. A titanic struggle begins. Once friends who wanted to change the world, now one stands for compromise the other for ideological purity as the guillotine awaits. A revolutionary himself, George BГјchner was 21 when he wrote the play in 1835, while hiding from the police. With its hair-raising on-rush of scenes and vivid dramatisation of complex, visionary characters, Danton's Death has a claim to be the greatest political tragedy ever written. In his newly-revised translation, Howard Brenton captures BГјchner's exhilarating energy as Danton struggles to avoid his inexorable fall.. DOWNLOAD HERE Miss Julie , August Strindberg, 1995, Drama, 52 pages. Drama Classics: The World's Great Plays at a Great Little Price Bored with her sheltered existence, Miss Julie attempts to seduce the footman, but gets far more than she .... A Private Function Alan Bennett, Alan Bennett, 2004, , 308 pages. The Old Crowd A Private Function Prick Up Your Ears 102 Boulevard Haussmann The Madness of King George Starring characters as diverse as George III, Marcel Proust, Joe Orton .... BOFFO! How I Learned to Love the Blockbuster and Fear the Bomb, Peter Bart, Jun 14, 2006, , 352 pages. 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A revolutionary himself, George Buchner was 21 when he wrote the play in 1835, while hiding from the police. With its hair-raising on-rush of scenes and vivid dramatisation of complex, visionary characters, Danton's Death has a claim to be the greatest political tragedy ever written. In his newly-revised translation, Howard Brenton captures Buchner's exhilarating energy as Danton struggles to avoid his inexorable fall. 'Mr Brenton's script is demanding, compressed, even poetic.' Quentin Letts, Daily Mail, 23.07.10 'A classic political thriller set against the fervour of the French Revolution un which a battle of wills and philosophies is dramatically played out between two opposing real-life protagonists' Mark Shenton, Sunday Express, 01.08.10 Georg Buchner is widely acknowledged as the forefather of modern theatre. On his death at the age of 23, he left behind some outstanding dramatic works: his historical drama, Danton's Death, 'the most remarkable first play in European culture' (Guardian), the innovatory tragedy, Woyzeck, and the absurdist comedy, Leonce and Lena. Howard Brenton had written for the Royal Court, RSC, and the National before Romans in Britain (1980) was famously prosecuted by moral crusader, Mary Whitehouse. In addition to many plays, he has been a lead writer on TV's Spooks. His recent work for the stage includes Paul (National), In Extremis (Globe) and Never So Good (National). Georg Büchner wrote his works in the period between Romanticism and Realism in the so-called Vormärz era in German history and literature. The goal of the politically liberal poets of this period was that literature of a sham existence would again become an effective organ for renewing political and social life. They were opposed to the Romantics and against the restoration of the old order from prior to the Napoleonic Wars. They fought against convention, feudalism and absolutism, campaigned for freedom of speech, the emancipation of the individual, including women and Jews, and for a democratic constitution. They created a trend-poetry and time-poetry - in other words, poetry that dealt with problems of the time and with a commitment to liberal political ideas. Other writers of this trend and period were Heinrich Heine (author of Deutschland. Ein Wintermärchen and Atta Troll. Ein Sommernachtstraum), Johann Wolfgang von Goethe (author of Faust and Erlkönig) and Franz Grillparzer (author of Weh dem, der lügt). Whilst working on it Buchner always feared arrest. It only reached print in 1835 after being heavily cut and having the politics softened by sexual innuendo. Research for the play started in late 1834 and he completed a first version of the complete script in five weeks from mid January to mid February 1835. The same year saw a version published by Karl Gutzkow in the Literatur-Blatt of Eduard Duller's Phönix. Frühlings-Zeitung für Deutschland and a book-version in Johann David Sauerländer's Phönix-Verlag, including both the original and Duller's version and giving them the subtitle Dramatic Scenes from France's reign of terror to appease the censor. This makes it the only one of Büchner's plays to be published in his lifetime, albeit in a heavily censored version. Its use of numerous historical sources and extensive quotations from original political speeches meant that the play was seen in the 20th century as the precursor to documentary theatre. Until 1979 no one had explored the themes and inner connections within Buchner's work between Eros and Violence systematically - that year saw Reinhold Grimm treat it in text und kritik, Georg Büchner, and it was continued in the present Georg Büchner Jahrbuch 11 (2005–2008). The play follows the story of Georges Danton, a leader of the French Revolution, during the lull between the first and second terrors. Georges Danton created the office of the Revolutionary Tribunal as a strong arm for the Revolutionary Government. With this, to be accused of anything real or imagined was to be condemned to death without trial, proofs, evidence or witnesses. Within months he knew this power was a terrible mistake and fought to have it ended. Robespierre stopped him and used the Tribunal to have Danton and all opposition killed, consolidate his power and slaughter uncounted thousands of French men, women, and children. Ultimately he followed Danton to the guillotine. Witnesses describe Danton as dying bravely comforting other innocents executed with him. Three revolutionary groups are presented at the start of the play - Danton's supporters, Robespierre's supporters, and those who do not agree with how the Revolution has evolved. Danton and Robespierre have different views on how to pursue the revolution - Danton's supporters back the end of Robespierre's repressive measures, which have already caused great suffering among the people, and they did not find in the Revolution the answer to the material and moral questions facing mankind. One citizen deplores the fact that his daughter has been forced into prostitution to support her family. Danton accepts his friends' proposal to meet Robespierre but this meeting proves to be fruitless and Robespierre resolves that Danton must be killed, though he still doubts that this decision is just. Danton's friends press him to fight or flee Robespierre's supporters, but Danton does not see any need to do so and does not believe that the French National Convention will dare to act against him. Danton confides the guilt he feels for the September Massacres in his wife Julie. Danton is imprisoned and led before the National Assembly, which is divided - it feels it has no choice but to acquit him. However, Robespierre and Saint-Just reverse its opinion. The prisoners discuss the existence of God and life, and an attempt to prove that God does not exist fails. Danton's supporters are transferred to the Conciergerie. During this time the revolutionary tribunal arranges for its jury to be made up of honest and faithful men.