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MICHAEL RIDER is a poet, musician, writer, and actor. He has a long list of professional stage, film and television credits, best known for his appearances in ROAD HOUSE and STAR TREK NEXT GENERATION. He studied acting at Juilliard with classmate Robin Williams, film-making at NYU, and poetry writing at UCLA. His autobiographically inspired stories are of riverboats, jailbreaks, backtracks, heartbreaks, motorcycles, barrooms, and backstage dramas - moving from the funky upper west side of New York City and Juilliard Drama of the 1970s, to the glamour and chaos of the Chicago theatre scene, to the rough and tumble of Hollywood. Whether it’s surviving the rivers and canals of the midwest as a deckhand on a working boat; driving a taxi cab in New York; negotiating his release from a rural Mexican jail, making a war movie in war-torn Africa; or fighting on set with Sam Elliot and Patrick Swayze filming ROAD HOUSE, Rider retells these adventures with all of the practiced panache of an accomplished raconteur. Much of Rider’s poetry is lyrical, and deeply, if darkly, spiritual. His imagery is startling, as he seems to be listening-in on the conversations of revenant bards. In addition to THE GHOST ACCORDION and Other Poems, (a survey of his work over the last decade), selections are also included from Rider’s spaghetti-western inspired allegorical poem, EMPIRE OF THE GUN.
This sequence of essays draws informally on phenomenology, archetypal psychology, and the philosophy of symbolic forms to interpret the reality that Shakespeare creates as his plays are realized in the imagination. The result is a compassionate and strongly felt reading of the major plays, analyzing their romance stylization and their ontology, illuminating in particular the mythic forms of comedy, history play, and (most extensively) tragedy. Close readings and humanistic commentaries show how the modern reader or theater-goer can relate to the plays authentically but with passion, insight, and an awakened sense of beauty.
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
Includes music.
Turner presents a collection of collages of statues, flowers, pictures, photographs, drawings, amulets, pieces of shell, and bits of earth in 100 illustrations, 80 of which are in color.