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Why, the rather staid young cellist Sarah wonders, should her aunt rent their spare room to the perhaps unstable Kari Zilke? Like the nephew in Hermann Hesse's Steppenwolf, Sarah finds herself taking an unexpected interest in the lodger, but she is unable to stop at providing a mere introduction to Kari's narrative of mid-life crisis and self-discovery, and develops her own more troubled tale of personal angst and growth, entwined with the account Kari herself purportedly left behind. Generational tensions, artistic collaborations, and even a romance steeped in Greek myth follow as Kari and Sarah pursue their very different creative paths in theater and music. And while Kari seems to blossom post-divorce, Sarah must grapple with the question of what the role of mothers, fathers, aunts, mentors, and male collaborators should be in her life as a young musician.
For Christmas, Clara is given new ballet shoes and a nutcracker doll. The nutcracker comes alive, turns into a handsome prince, and the marvellous adventures begin. Clara and her prince defeat the king of the rats and travel to the land of sweets.
In a riveting novel of love and adventure, young Julius Meyer comes to the New World to find himself acting as translator for the famed Indian chief Standing Bear. Young Jewish immigrant Julius comes of age surrounded by the wild world of 1867 Nebraska. He befriends the mysterious Prophet John, who saves his life when the two are captured by the Ponca Indian tribe. Living as a slave, Julius meets the noble chief Standing Bear and his young daughter, Prairie Flower, with whom he falls in love. Becoming the tribe’s interpreter—its “speaker”—his life seems safe and settled. But Julius has reckoned without the arrival of his older cousin, Alexander—who, as the Great Herrmann, is the most famous young magician in America. Nor does he suspect the ultimate consequences of Alex’s affair with Lady-Jane Little Feather, a glamorous—and murderous—prostitute destined to become the most scandalous woman on two continents. Filled with adventure, humor, and colorful characters, Magic Words is a riveting adventure about the nature of prejudice, the horror of genocide, and a courageous young man who straddles two worlds to fight for love and freedom.
This book was written between 1946 and 1952, and first published in 1953. It is now widely regarded as the standard portrait of the European and American theater in the turbulent and seminal years following World War II; but it is far more than that. It ranges back as far as Ibsen and even Shakespeare, and has contributed very substantially to a number of reputations that would long outlast 1950, such as those of Bertolt Brecht, Charles Chaplin and Martha Graham. For Bentley fans, it is an essential link in a chain that runs from The Playwright as Thinker to The Life of the Drama to The Brecht Memoir and Thinking About the Playwright.
Analyzing Shakespeare's views on theatre and magic and John Dee's concerns with philosophy and magic in the light of the Italian version of philosophia perennis (mainly Marsilio Ficino, Pico della Mirandola and Giordano Bruno), this book offers a new perspective on the Italian-English cultural dialogue at the Renaissance and its contribution to intellectual history. In an interdisciplinary and intercultural approach, it investigates the structural commonalities of theatre and magic as contiguous to the foundational concepts of perennial philosophy, and explores the idea that the Italian thinkers informed not only natural philosophy and experimentation in England, but also Shakespeare's theatre. The first full length project to consider Shakespeare and John Dee in juxtaposition, this study brings textual and contextual evidence that Gonzalo, an honest old Counsellor in The Tempest, is a plausible theatrical representation of John Dee. At the same time, it places John Dee in the tradition of the philosophia perennis-accounting for what appears to the modern scholar the conflicting nature of his faith and his scientific mind, his powerful fantasy and his need for order and rigor-and clarifies Edward Kelly's role and creative participation in the scrying sessions, regarding him as co-author of the dramatic episodes reported in Dee's spiritual diaries. Finally, it connects the Enochian/Angelic language to the myth of the Adamic language at the core of Italian philosophy and brings evidence that the Enochian is an artificial language originated by applying creatively the analytical instruments of text hermeneutics used in the Cabala.
(Applause Books). The creator of Story Theater , the original director of Second City , and one of the greatest popularizers of improvisational theater, Paul Sills has assembled some of his favorite adaptations from world literature. Includes: The Blue Light and Other Stories, A Christmas Carol (Dickens), Stories of God, Rumi .
Early in the twentieth-century, B. S. Moss was one of many ambitious Jewish immigrants to leap from New York's textile business to the more promising and exciting world of motion pictures. Unlike most, Moss resisted the siren call of Hollywood and instead built one of the largest and most prestigious theater chains in the New York area. Inspired by his vision, successive generations of Moss management have kept his chain thriving, even as audiences migrated from vaudeville emporiums to sumptuous Art Deco palaces to suburban multiplexes. It was never easy: every movie was a gamble, and the business was constantly challenged by world wars, depressions, urban blight, union battles, real estate values, and the threats of radio, television, and streaming services. Yet the Mosses emerge as a rare multigenerational family success story. Granted unprecedented access to archives at their iconic Times Square headquarters, author Jonathan Kay charts the family's ups, downs, and fascinating adventures in the tumultuous cinema industry.