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Author: Anton Pavlovich Chekhov
Publisher:
ISBN:
Category : Russia
Languages : en
Pages : 286
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Book Description
Contents include biographical notes about the author and the illustrator.
Author: Anton Pavlovich Chekhov
Publisher:
ISBN:
Category : Russia
Languages : en
Pages : 286
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Book Description
Contents include biographical notes about the author and the illustrator.
Author: John Gay
Publisher:
ISBN:
Category : Ballad operas
Languages : en
Pages : 86
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Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 122
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Book Description
Author: Emmanuel Le Roy Ladurie
Publisher: University of Chicago Press
ISBN: 9780226473239
Category : Biography & Autobiography
Languages : en
Pages : 456
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Book Description
From a wealth of vividly autobiographical writings--diaries, travel journals, memoirs--Emmanuel Le Roy Ladurie reconstructs the extraordinary life of Thomas Platter, born in France in 1499, and his sons, whose rich careers spanned the entire 16th century, from medieval times through the Renaissance and into the Reformation. 26 halftones. 5 maps.
Author: Winthrop Parkhurst
Publisher: CreateSpace
ISBN: 9781494810139
Category : Performing Arts
Languages : en
Pages : 30
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Book Description
This one act play is made available to all. It may be used freely to perform in any environment. No Royalties owed. You do not have to buy multiple copies to perform, copy this book. You may change lines and scenes. Please give credit to the original author as inspiration of the work.The elder Dumas, who wrote many successful plays, as well as the famous romances, said that all he needed for constructing a drama was "four boards, two actors, and a passion." What he meant by passion has been defined by a later French writer, Ferdinand Brunetière, as a conflict of wills. When two strong desires conflict and we wonder which is coming out ahead, we say that the situation is dramatic. This clash is clearly defined in any effective play, from the crude melodrama in which the forces are hero and villain with pistols, to such subtle conflicts, based on a man's misunderstanding of even his own motives and purposes.In comedy, and even in farce, struggle is clearly present. Here our sympathy is with people who engage in a not impossible combat—against rather obvious villains who can be unmasked, or against such public opinion or popular conventions as can be overset. The hold of an absurd bit of gossip upon stupid people is firm enough in "Spreading the News"; but fortunately it must yield to facts at last. The Queen and the Knave of Hearts are sufficiently clever, with the aid of the superb cookery of the Knave's wife, to do away with an ancient and solemnly reverenced law of Pompdebile's court.Again, in comedies as in mathematics, the problem is often solved by substitution. The soldier in Mr. Galsworthy's "The Sun" is able to find a satisfactory and apparently happy ending without achieving what he originally set out to gain. Or the play which does not end as the chief character wishes may still prove not too serious because, as in "Fame and the Poet," the situation is merely inconvenient and absurd rather than tragic. Now and then it is next to impossible to tell whether the ending is tragic or not. It is natural for us to desire a happy ending in stories, as we desire satisfying solutions of the problems in our own lives. And whenever the forces at work are such as make it true and possible, naturally this is the best ending for a story or a play. Where powerful and terrible influences have to be combated, only a poor dramatist will make use of mere chance, or compel his characters to do what such people really would not do, to bring about a factitious "happy ending." One of the best ways to understand these as real stage plays is through some sort of dramatization. This does not mean, however, that they need be produced with elaborate scenery and costumes, memorizing, and rehearsal; often the best understanding may be secured by quite informal reading in the class, with perhaps a hat and cloak and a lath sword or two for properties. With simply a clear space in the classroom for a stage, you and your imaginations can give all the performance necessary for realizing these plays very well indeed. Of course, you must clearly understand the lines and the play as a whole before you try to take a part, so that you can read simply and naturally, as you think the people in the story probably spoke. Some questions for discussion in the appendix may help you in talking the plays over in class or in reading them for yourself before you try to take a part. You will find it sometimes helps, also, to make a diagram or a colored sketch of the scene as the author describes it, or even a small model of the stage for a "dramatic museum" for your school. If you have not tried this, you do not know how much it helps in seeing plays of other times, like Shakespeare's or Molière's; and it is useful also for modern dramas. Such small stages can be used for puppet theatres as well. "The Knave of Hearts" is intended as a marionette play, and other dramas—Maeterlinck's and even Shakespeare's—have been given in this way with very interesting effects.
Author: Renée Sarojini Saklikar
Publisher: Harbour Publishing
ISBN: 0889714037
Category : Poetry
Languages : en
Pages : 365
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Book Description
One afternoon, in an old house in an abandoned village on the outskirts of Perimeter, in the place they call Pacifica, Bramah and the beggar boy find fragments of an ancient text in an oak box. Hunched over scraps of parchment and broken computer disks, they blow the dust off a cover, and so our story begins. Steeped in the tradition of fairy tales, The Heart of This Journey Bears All Patterns (THOT J BAP) features a world in which a small band of resisters and survivors meet heartbreak and destruction with rhymes and resourceful skills such as soap and glass making, and a belief in the supernatural. Many things happen—some good, but most bad—including five eco-catastrophes and a viral bio-contagion. Shapeshifting in and out of it all is the nimble Bramah, a female locksmith, part human, part goddess—brown, brave and beautiful. Ten years in the making and described as “truly ambitious” by Stephen Collis, this work by award-winning poet Renée Sarojini Saklikar spans continents and centuries. Bramah and the Beggar Boy is the first instalment of the multi-part series.
Author: John Christopher Pepusch
Publisher:
ISBN:
Category :
Languages : en
Pages : 98
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Book Description
Author: Susan Palwick
Publisher: Macmillan
ISBN: 9780765349514
Category : Fiction
Languages : en
Pages : 328
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Book Description
A compelling new contemporary fantasy novel from the award-winning author of Flying in Place
Author: John Gay
Publisher:
ISBN:
Category :
Languages : en
Pages : 238
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Book Description
Author: Madeline Smith Atkins
Publisher: Cambridge Scholars Publishing
ISBN: 1443802786
Category : Music
Languages : en
Pages : 149
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Book Description
A harsh satire of Eighteenth Century London life, John Gay’s The Beggar’s Opera is a piece well known by students of literature and music. Gay's composition spawned a new genre of musical works called "ballad opera" whose popularity rapidly caused the decline of Italian opera in London. These well-received ballad operas dominated London's musical theatre from 1728 until the middle of the Eighteenth Century. No other author has looked beyond The Beggar's Opera to analyze the plots of any of these imitative works and their music. The book concentrates on these ‘children’, or descendants. The author describes a number of ballad operas which proliferated on the heels of the success of The Beggar's Opera. Ballad opera gradually matured into a pastoral, bucolic form (comic opera) and eventually into a highly sophisticated type of musical work (burletta). Several samples of each type of work chosen from the performances most frequently given in London are discussed in depth. These analyses include musical examples from the original scores and evaluations of the dramatic and musical aspects of each work. With the exception of The Beggar's Opera, none of these works or similar ones has previously been the subject of detailed analysis and evaluation. “How John Gay Changed the Course of England’s Musical Theatre” sheds fresh light on the less familiar ballad operas of the Eighteenth Century. Gay’s The Beggar’s Opera created such a demand for musical satire that original music began to be composed for English comic works. …Edmund Miller, Chairman of the English Department, C. W. Post Campus of Long Island University This is an engaging and unique look at a piece of operatic history out of the mainstream. It invites the reader to explore works that he may not know, along with the milieu in which these musical gems became popular. …Kathryn Smith, General Director, Tacoma Opera Dr. Atkins provides an insightful study of Eighteenth Century ballad opera ranging from John Gay’s The Beggar’s Opera with its political satire and burlesque of Italian opera to the comic operas and burlettas which rounded out the century. This highly readable exposition includes examples of the tuneful airs, and explains the plots of the most popular works of the period. It will delight both musical and literary scholars. …Patricia Azar, Associate Editor, Collected Works of G. K. Chesterton Madeline Atkins has given us a thorough and intelligent study of Eighteenth Century popular English musical theater, and the seminal role of The Beggar’s Opera in its development. With the inclusion of numerous musical examples, abundant historical details, and deft, clear analyses, this book is an excellent introduction to a delightful musical genre and period. Atkins successfully accomplishes both of her aims: she informs us about an overlooked yet important era of musical history and she convinces us to want to hear it again for ourselves, and she does it artfully and skillfully. …Barry Sherman, Associate Professor of Communications, St. John’s University
