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The scene is a room scrupulously neat and clean and plainly furnished. The walls are painted green, the woodwork, white. In the rear at the left an open doorway leads into a hall. Its bare, green wall and white baseboard are all that can be seen of it. It leads into the other rooms of the flat. In the centre of the rear wall of the room is a window. It is shut. The white sash curtains are pushed to right and left as far as they will go. The green shade is rolled up to the top. Through the window can be seen the red bricks of a house wall, and the tops of a couple of trees moving now and then in the wind. Within the window, and just below the sill, is a shelf upon which are a few potted plants. Between the window and the door is a bookcase full of books and above it, hanging on the wall, a simply framed, inexpensive copy of Millet's "The Reapers." There is a run extending from the right center to just below the right upper entrance. It is the vestibule of the flat. Its open doorway faces the left wall. In the right wall near the front is another window. Here the sash curtains are drawn together and the green shade is partly lowered. The window is up from the bottom. Through it street noises can be heard. In front of this window is an open, threaded sewing-machine. Some frail, white fabric is lying upon it. There is a chair in[2] front of the machine and at the machine's left a small table covered with a green cloth. In the rear of the left wall and directly opposite to the entrance to the flat is the doorway leading into the kitchenette, dishes on shelves can be seen behind glass doors....
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Rachel Felix (1821-58), the homely daughter of poor Jewish peddlers, was the first stage actress to achieve international stardom - and the last person one would have expected to resurrect the cultural patrimony of France. Yet her passionate, startling performances of the works of Racine and Corneille saved them from almost certain obsolescence after the fall of Napoleon (who had relished classical French tragedy) and the emergence of Romanticism. Audiences in Paris, London, Boston, and Moscow thrilled to her voice, and devoured the rumors of her offstage promiscuity and extravagance. Her fame - equal parts popularity and notoriety - was so great that she could nonchalantly dispose of her last name. La grande Rachel virtually invented the role of the superstar, while remaining a symbol of the highest art and most serious cultural pursuits. Indeed, her identity was fraught with such contradictions - which intrigued the public all the more. From the moment she was discovered playing the guitar on the streets of Lyons, to her debut on the Parisian stage at the age of fifteen, to her critical and commercial triumphs as Camille, Phedre, and other tormented women, Rachel's career was exhaustively "managed." A series of theater gurus, influential reviewers, and impresarios - including her brash and opportunistic father - claimed the credit for her astonishing success. What this abundance of male managers has always obscured is Rachel's own decisiveness and control over her time and money - not only did she play her various champions (and high-profile lovers) against one another, she openly defied them. Some called her stubborn, even perverse; in these pages, we come to recognize her as a woman ahead of her time, a charismatic individual very much in charge of her own destiny. As her fascination with all things Napoleonic suggests, Rachel liked power - both personal and professional - and had the talent to command it.
Author : New York Public Library. Research Libraries Publisher : Unknown Page : 614 pages File Size : 41,8 Mb Release : 1967 Category : Drama ISBN : UOM:39015079870179