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After King Elyon’s son, Prince Logon Xychirion, constructed a bridge over the Flaming Sword River, countless Carnalians have successfully escaped the doomed empire and found safety in the kingdom of Ecclessa. But the bridge is also rumored to be the entrance that King Elyon’s troops need to free Carnalia and regain his rightful ownership of the kingdom and its surrounding lands. Not to be overthrown, the evil emperor of Carnalia has set his sights on the narrow bridge and has plans to destroy those loyal to King Elyon once and for all. As the Carnalian military make their plans for war, Artka and his brigade are ready to continue with Prince Logon’s plan, with Jeda and Bonu setting their sights on Logon’s Bridge and beyond. But things are not going as the brave troop hopes. As they near the ultimate battle between Ecclessa and Carnalia, they will be asked to risk their lives for a greater cause.
DISOWNED by her family. EJECTED from a life of privilege to one of abject servitude. FORCED to participate in a duel with only two results: death for the loser, power for the victor. After watching her brother, Artka, march off to war against Ecclessa, Jeda is unexpectedly forced from her family home. Sentenced to a life of service, she is sent to the courts of the Emperor. Jeda fears she will be forced to a life of drudgery-or worse. But when Jeda is scrutinized by the sinister Hod-ya she soon learns that she has been selected for the deadly "Scarth and Avangar" duels in Pitland. Jeda must either submit to Hod-ya's depraved training and learn to draw on dark powers to fight, or resist the pressure to conform and allow herself to be victimized. Will Logon Xychirion intervene and send a brigade to attempt Jeda's rescue? Jeda's journey INTO THE GLOOM takes her from the emperor's dungeons through the menacing Ra-Amawl forest where an ancient evil roams, and ultimately toward the foul, depraved land of Pitland. Jeda soon discovers that evil is even more prevalent and powerful than she could have imagined. How can those who hope in goodness survive, much less overcome, wickedness?
The highly anticipated Scrarth and Avangar duels are fast-approaching. While the ancient evils of the Ra-amawl forest are behind them, there is much more wickedness that lies ahead. Contestants Jeda, Spoena, and Artil are under the careful watch of the sinister Hod-ya as the duels draw ever so near. Will Jeda rise to the competition or fall short? How will the other contestants fare? Will Jeda be tempted to fall prey to evil or will she hold out for the good? As Bonu and Scrung set out to uncover the Swords of Vedic, they are met with numerous trials and even rescue missions. With temptations, unexpected treasures, dangerous treks, and a deadly competition in the mix, the stakes are higher than ever before. Will the trumpets of doom sound?
The inception of a spiritual odyssey begins . . . Artka, once a nobleman’s son, is now a Carnalian soldier fighting a war against Ecclessa, which is said to be ruled by a ruthless Magician. Lost in the forest while escaping tophets, Artka is pierced by an Ecclessite’s kingsman sword—but the sword does not immediately harm nor kill. To survive the piercing and heal his heart’s wound, Artka seeks Logon who waits at the rock where he was slain, only to learn a new brigade is soon to be created and Artka is to be a kingsman of it. Invisible enemies lurk around him. Hate battles against him. Sacrifice is required of him. Knowledge awaits him. Only the runes on his Ecclessite sword can lead him to safety . . . if he can survive the journey.
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The Elements of Theatrical Expression puts forward 14 essential elements that make up the basic building blocks of theatre. Is theatre a language? Does it have its own unique grammar? And if so, just what would the elements of such a grammar be? Brian Kulick asks readers to think of these elements as the rungs of a ladder, scaling one after the other to arrive at an aerial view of the theatrical landscape. From such a vantage point, one can begin to discern a line of development from the ancient Greeks, through Shakespeare and Chekhov, to a host of our own contemporary authors. He demonstrates how these elements may be transhistorical but are far from static, marking out a rich and dynamic theatrical language for a new generation of theatre makers to draw upon. Suitable for directors, actors, writers, dramaturges, and all audiences who yearn for a deeper understanding of theatre, The Elements of Theatrical Expression equips its readers with the knowledge that they need to see and hear theatre in new and more daring ways.
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