Cover image for The collected plays of Theodore Dreiser
The collected plays of Theodore Dreiser
Dreiser, Theodore, 1871-1945.
Uniform Title:
Publication Information:
Albany, N.Y. : Whitston Pub. Co., 2000.
Physical Description:
xxxvii, 353 pages : illustrations ; 24 cm
The plays: The girl in the coffin -- The blue sphere -- Laughing gas -- In the dark -- The spring recital -- The light in the window -- "Old Ragpicker" -- The dream -- Phantasmagoria -- The court of progress -- The voice -- The hand of the potter -- Textual commentary -- Emendations in the copy-texts -- Appendices: The anaesthetic revelation -- Textual changes in the revised second edition of The hand of the potter -- Production of Dreiser's plays.
Format :


Call Number
Material Type
Home Location
Item Holds
PS3507.R55 A19 2000 Adult Non-Fiction Central Closed Stacks

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Although Dreiser achieved prominence as a novelist and short story writer, he also experimented with dramatic form. From 1913 to 1920, Dreiser wrote some of America's first symbolist and expressionist plays. Such theater groups as the Washington Square Players and the Provincetown Players staged his probingly realistic dramas and met critical controversy. This edition is a newly-edited collection of Dreiser's twelve complete plays.

Reviews 1

Choice Review

This collection of Dreiser's complete plays--12 in all--is the first since Plays, Natural and Supernatural appeared in 1930. Newlin and Rusch assembled a first-rate scholarly edition: they studied the extant forms of each text, convincingly determined copy-text for each play, and provided an apparatus that allows readers to see the rationale for emendations. A knowledgeable introduction places Dreiser in the context of US theater history in the 1910s, the decade in which he composed his symbolist and expressionist one-act plays and a more realistic four-act drama, The Hand of the Potter. The Voice, a previously unpublished play, is an addition to the Dreiser canon, though it is clearly the weakest of the group. Appendixes provide data relevant to the plays, including an essay on their production history. It is unfortunate that the editors did not insist on an index, which is an essential tool in such a gathering of scholarly material. Apart from this significant omission, the edition is by far the most valuable presentation of Dreiser's dramatic writing to date and is recommended for upper-division undergraduates through professionals and for general readers. T. P. Riggio; University of Connecticut