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Many dogmas regarding Greek theatre were established by researchers who lacked experience in the mounting of theatrical productions. In his wide-ranging and provocative study, Clifford Ashby, a theatre historian trained in the practical processes of play production as well as the methods of historical research, takes advantage of his understanding of technical elements to approach his ancient subject from a new perspective. In doing so he challenges many long-held views. Archaeological and written sources relating to Greek classical theatre are diverse, scattered, and disconnected. Ashby's own (and memorable) fieldwork led him to more than one hundred theatre sites in Greece, southern Italy, Sicily, and Albania and as far into modern Turkey as Hellenic civilization had penetrated. From this extensive research, he draws a number of novel revisionist conclusions on the nature of classical theatre architecture and production. The original orchestra shape, for example, was a rectangle or trapezoid rather than a circle. The altar sat along the edge of the orchestra, not at its middle. The scene house was originally designed for a performance event that did not use an up center door. The crane and ekkyklema were simple devices, while the periaktoi probably did not exist before the Renaissance. Greek theatres were not built with attention to Vitruvius' injunction against a southern orientation and were probably sun-sited on the basis of seasonal touring. The Greeks arrived at the theatre around mid-morning, not in the cold light of dawn. Only the three-actor rule emerges from this eclectic examination somewhat intact, but with the division of roles reconsidered upon the basis of the actors' performance needs. Ashby also proposes methods that can be employed in future studies of Greek theatre. Final chapters examine the three-actor production of Ion, how one should not approach theatre history, and a shining example of how one should. Ashby's lengthy hands-on training and his knowledge of theatre history provide a broad understanding of the ways that theatre has operated through the ages as well as an ability to extrapolate from production techniques of other times and places.
On the Greek island of Crete, traditions run deep and there are often secrets that are best left buried. Weaving myth and magic, history and adventure, The Threshing Circle is a powerful exploration of honour, betrayal and revenge. Visitors Eleni and Patrick seek to uncover the story of a beautiful English woman who was executed on the island during the 1940s Nazi occupation. Their questions begin to unpick a web of forbidden love, betrayal and greed, murder and vendettas. Then they vanish. A feisty Scottish woman and an irascible, Zorba-like Greek form a reluctant and unlikely alliance in a race to find them. The journey leads them to remote villages abandoned after decades of vendetta, hidden rituals and characters good and evil. Very soon though, the hunters become the hunted, as the murderous family behind the original crime seek to remove all threats to their honour and position of power. Revised edition: This edition of The Threshing Circle includes editorial revisions.
Dr. Salatiel Sidhu is an accomplished speaker and writer. He has served as professor of physics for thirty-two years in a government college in India and other colleges in the state of Punjab, India. He has also served as a deacon and a presbyter in India for several years in Church of North India, Chandigarh Diocese. In the United States, he has been a very active member of Glenmont United Methodist Church in Silver Spring, Maryland, for the last fifteen years. His popular published work in Punjabi features "Christ and Christianity." He has written and published several stories for Christian readers. He has been a member of the Bible Society of India and greatly contributed in translating the Bible into today's Punjabi version. While in the United States, he has earned two doctoral degrees in theology, Doctor of Divinity from a theological university in India, and Doctor of Theology from Freedom Bible School College and Seminary, Rogers, Arkansas. He is a committed husband, a loving father, and an exceptionally wonderful grandfather. His work, A Man from the Dusty Streets takes readers to the streets of an extremely underdeveloped village in India. He has shown how God chose him and led him in the hardships of life, when he did not have many opportunities and privileges, and used him for His service as a warrior for Him. -Archana Arora
The Spirits and Creatures series takes an in-depth look at spirits and creatures across Eastern Europe. Author Ronesa Aveela grew up in Bulgaria where many of these entities were part of the tales and beliefs her grandmother told to her. This series will look at the origins of these beings, and popular ways people believed you could appease or defeat them. Illustrations, stories, music, and videos add to the details of these fascinating beings. This collection contains the first three books of the series, plus a book of additional dragon tales: *A Study of Household Spirits of Eastern Europe *A Study of Rusalki – Slavic Mermaids of Eastern Europe *A Study of Dragons of Eastern Europe *Dragon Tales from Eastern Europe Although the books have extensive research, they are meant for a non-academic audience.
"Jesus! A roomful of weeping women and me the wrong side of the door." "Maud watched her sister twitch, three, four times, then peace and stillness." "A little Sambuca spurted from my mouth and landed on her fringe but she was too far gone to notice." "He loved to sniff her all over. She was clean and full with high end product." "With horror, Mrs Dalgleish realised he was wearing a thong!"
This is the year "It's Greek to me" becomes the happy answer to what's for dinner. My Big Fat Greek Wedding, the upcoming epic Troy, the 2004 Summer Olympics returning to Athens--and now, yet another reason to embrace all things Greek: The Olive and the Caper, Susanna Hoffman's 700-plus-page serendipity of recipes and adventure. In Corfu, Ms. Hoffman and a taverna owner cook shrimp fresh from the trap--and for us she offers the boldly-flavored Shrimp with Fennel, Green Olives, Red Onion, and White Wine. She gathers wild greens and herbs with neighbors, inspiring Big Beans with Thyme and Parsley, and Field Greens and Ouzo Pie. She learns the secret to chewy country bread from the baker on Santorini and translates it for American kitchens. Including 325 recipes developed in collaboration with Victoria Wise (her co-author on The Well-Filled Tortilla Cookbook, with over 258,000 copies in print), The Olive and the Caper celebrates all things Greek: Chicken Neo-Avgolemeno. Fall-off-the-bone Lamb Shanks seasoned with garlic, thyme, cinnamon and coriander. Siren-like sweets, from world-renowned Baklava to uniquely Greek preserves: Rose Petal, Cherry and Grappa, Apricot and Metaxa. In addition, it opens with a sixteen-page full-color section and has dozens of lively essays throughout the book--about the origins of Greek food, about village life, history, language, customs--making this a lively adventure in reading as well as cooking.
This eccentric title recalls a collection of tales first told to grandchildren at bedtime. Each chapter begins with a fun-to-read farmer-boy story from the 1940s, an era before industrial farming when horses, cows, and chickens were still members of the family. These anecdotes each launch a theme that splashes down with further development in later decades of life. Diverse topics include imaginative play, construction crew humor, animal intelligence, contemplative prayer and journal writing, rural and urban farming, communal wisdom, and affordable housing, along with a few serious pranks and the prophetic mischief that follows. This memoir is also a confession in the pattern of Augustine, reflecting on God's in-breaking initiatives and the writer's emerging sense of calling in lifelong conversation with Jesus. Its stories offer a series of curiosity-driven on-ramps into eight decades of transformative experiences for curious souls to ponder an open-eyed faith and a communal way of life for the long haul.
This inquiry into the relationship between the “step” in dance and the “foot” in verse invites the reader into a tapestry woven by its crossed paths. A duel career as a dancer and as a poet allows the author to follow his interest in the dance origins of scansion and link it to how the foot connects lyric writing to an “exiled sense” through the felt tread of its rhythm. This is to rediscover the physical feeling of poetry; the fulcrum of a relationship that goes back to the Greek chorus, when every phrase was danced. The author shows how verse and the dance emerged together, as we initially developed bipedalism and speech. Written is a discursive style which allows the author to wander whenever digression seems appropriate, the book offers the reader an entertaining compendium of anecdotes, notions and quotes concerning the relation between our words and our movements. Walking in itself may have ushered in predication —syntax—putting one word in front of another as one put one foot in front of another. Did song emerge separately from language and stimulate ritual dance among women who linked their steps to sounds? The link of speech with movement is explored in ancient art, in theatre and in military drill and psychoanalysis. From the ballet to performance art, the author traces the evolution of recent creativity—free verse finding a parallel in Mick Jagger dancing freely on his own in the ‘60s while performance artists used the freedom of conceptual art to explore “action phrases” linking task-orientated movement with verbal articulation.