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As Dominique strolled across the enormous lobby of the Hotel, stopping a moment to remove her shoes, as the tiny pumps had left sweltering blisters upon her dainty feet; she took no notice of the man who sat, silently in a high back leather chair, observing her. She had no way of knowing, as she stepped on to that elevator with shoes in hand, that she was the focal point of something sinister. As the doors closed and she disappeared from his sight the man pulled a commlink from inside his jacket and quickly pressed the button that would contact his associate. "She just got into the elevator," he said. "Is she alone?" "Yes. He dropped her off at the front entrance and left." "Good. We don't have much time. Get her."
Tales from Salome, Volume I, Broken Angel, begins the saga of Salome, the birthplace of creation and a world where in ancient times magic reined supreme. In the distant future Leonard Sinclair succumbs to a dark temptation and unleashes an antediluvian evil to prey upon humanity. Haunted by his sin he must now track the beast and find the key to its destruction. Meanwhile, on the far off world of Penayra, deep in the heart of the Adrayal Union, Dominique Drachela, a young woman of only sixteen, becomes the pawn of a malicious photographer who seeks to further his career at the expense of her soul. Worlds away from her, Antony DiNiccio, son of the Terran Syndicate and a man searching for salvation, learns of her plight and embarks on a perilous journey to seek her out and deliver her from her oppressor.
With its first public live performance in Paris on 11 February 1896, Oscar Wilde's Salomé took on female embodied form that signalled the start of 'her' phenomenal journey through the history of the arts in the twentieth century. This volume explores Salome's appropriation and reincarnation across the arts - not just Wilde's heroine, nor Richard Strauss's - but Salome as a cultural icon in fin-de-siècle society, whose appeal for ever new interpretations of the biblical story still endures today. Using Salome as a common starting point, each chapter suggests new ways in which performing bodies reveal alternative stories, narratives and perspectives and offer a range and breadth of source material and theoretical approaches. The first chapter draws on the field of comparative literature to investigate the inter-artistic interpretations of Salome in a period that straddles the end of the nineteenth century and the beginning of the Modernist era. This chapter sets the tone for the rest of the volume, which develops specific case studies dealing with censorship, reception, authorial reputation, appropriation, embodiment and performance. As well as the Viennese premiere of Wilde's play, embodied performances of Salome from the period before the First World War are considered, offering insight into the role and agency of performers in the production and complex negotiation of meaning inherent in the role of Salome. By examining important productions of Strauss's Salome since 1945, and more recent film interpretations of Wilde's play, the last chapters explore performance as a cultural practice that reinscribes and continuously reinvents the ideas, icons, symbols and gestures that shape both the performance itself, its reception and its cultural meaning.
Comprehensive volume of international research on the European reception of Oscar Wilde.