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The Marionette Plays of Maurice Maeterlinck by Francis Booth Pdf
Maurice Maeterlinck (1862 - 1949) changed the course of European theatre by introducing Symbolism and won the Nobel Prize for Literature, but none of his works has been in print in English for many years; the last English translations were done in the 1890s. At the premiere of his first play, La Princess Maleine (1889), Verlaine, Gauguin and Octave Mirbeau were among the audience; MirbeauÕs championing of the ÔÕBelgian ShakespeareÕ brought him worldwide fame and the early plays were performed in England and the United States at the time but he is best remembered now for PZllZas et MZlisande (1892), set as an opera by Claude Debussy, and his fairy-play LÕOiseau Bleu (The Blue Bird). Among his early works are a series of short works Maeterlinck called ÔÕMarionette PlaysÕ. They are static tableaux, showing fragile figures at the mercy of fate, but heavily charged with atmosphere. They seem strikingly modern even in the 21st century, and are obvious precursors of Beckett and Pinter.
Life and Writings of Maurice Maeterlinck by Jethro Bithell Pdf
"Life and Writings of Maurice Maeterlinck" by Jethro Bithell. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
New Theatre Quarterly 67: Volume 17, Part 3 by Clive Barker,Simon Trussler Pdf
New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theater history has a contemporary relevance, that theater studies need a methodology, and that theater criticism needs a language. The journal publishes news, analysis and debate within the field of theater studies.
The Plays of Maurice Maeterlinck by Maurice Maeterlinck Pdf
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Paul McPharlin and the Puppet Theater by Ryan Howard Pdf
Paul McPharlin is one of the 20th century's most important contributors to the art of puppetry. Over a period of nine years he created some 20 productions with marionettes, rod puppets, hand puppets and shadow figures. He was also a prolific writer whose technical, theoretical and historical works contributed significantly to a puppetry revival. His book The Puppet Theatre in America is considered the definitive history of American puppetry. Though shy and aloof, McPharlin was also energetic. He had an ability to bring people together and used this knack to found a national puppetry organization, Puppeteers of America. Besides the author's extensive research on McPharlin and puppetry, the book draws on significant contributions from McPharlin's wife, puppeteer and author Marjorie Batchelder McPharlin, who allowed the use of her 18-year correspondence with Paul in the creation of the book. Chapters take the reader through McPharlin's childhood as a loner in Detroit, his maturation and education in New York, and his early, erratic and often unsuccessful attempts at making a living. His puppeteering years, 1929 to 1937, are detailed, as are the later years that saw him first working for the WPA and then being drafted into the army to serve in World War II at age 38. He continued making important contributions to the art of puppetry until a brain tumor took his life at age 45 in 1948. Appendices present two of McPharlin's plays, The Barn at Bethlehem: A Christmas Play and Punch's Circus. Another appendix details puppetry imprints, including yearbooks, plays, handbooks, worksheets and books. A fourth lists Paul McPharlin's Puppeteers, members of the Marionette Fellowship of Detroit.
Amidst the turmoil of political revolution, the stage directors of twentieth-century Russia rewrote the rules of theatre making. From realism to the avant-garde, politics to postmodernism, and revolution to repression, these practitioners shaped perceptions of theatre direction across the world. This edited volume introduces students and practitioners alike to the innovations of Russia's directors, from Konstantin Stanislavsky and Vsevolod Meyerhold to Anatoly Efros, Oleg Efremov and Genrietta Ianovskaia. Strongly practical in its approach, Russian Theatre in Practice: The Director's Guide equips readers with an understanding of the varying approaches of each director, as well as the opportunity to participate and explore their ideas in practice. The full range of the director's role is covered, including work on text, rehearsal technique, space and proxemics, audience theory and characterization. Each chapter focuses on one director, exploring their historical context, and combining an examination of their directing theory and technique with practical exercises for use in classroom or rehearsal settings. Through their ground-breaking ideas and techniques, Russia's directors still demand our attention, and in this volume they come to life as a powerful resource for today's theatre makers.
The Plays of Maurice Maeterlinck; Princess Maleine; the Intruder; the Blind; the Seven Princesses by Maurice Maeterlinck Pdf
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ... KING. I don't want to see it there! I don't want to see it there! Take it away! [The tapestry is pulled aside, and another appears, depicting "The Last Judgment."] KING. This has been done purposely! HJALMAR. Pray you, father? KING. Oh, avow it. You have done it purposely, and I know right well what you mean. A MAID OF HONOR. What says the King? ANNE. Do not mind him; he has been terrified by this awful night! HJALMAR. Father! my poor father! what is it ails you? A MAID OF HONOR. Sire, will you have a glass of water? KING. Yes, yes. --Oh! no! no ! -- Indeed, all I do, all I do . ., HJALMAR. My father! Sire . . . A MAID OF HONOR. The King is distracted. HJALMAR. My father! . . . ANNE. Sire, your son speaks to you. HJALMAR. Father, why do you keep turning your head? KING. Wait a little! Wait a little! HJALMAR. But why do you turn your head? KING. I felt something on my neck . . ANNE. Come, come, do not be afraid of everything. HJALMAR. There is no one behind you. ANNE. Say no more . . . say no more. Let us go into the chapel. Do you hear the nuns? [Muffled distant chanting. Queen Anne goes to the chapel door. The King follows her and then returns to his seat.] KING. No; no! Do not open the doors yet! ANNE. Are you afraid to enter? -- Why, there is no more danger there than here. Why should the lightning strike the chapel rather than elsewhere? Let us go in. KING. Let us wait a little longer. Let us stay here together. -- Do you think God forgives everything? I have always loved you so far. -- I have never done you harm -- so far -- so far, have I? ANNE. Come, come, no one questions that. -- It seems the storm has caused great damage. ANGUS. They say the swans have flown away. HJALMAR. There is one that is dead. KING. [Startled.] Well, ...
Aspects of music, arts and religion during the period of Czech Modernism by Aleš Březina,Eva Velická Pdf
Am Ende des 19. Jahrhunderts setzt sich die tschechische Gesellschaft intensiv mit neuen spirituellen Strömungen wie Theosophie, Anthroposophie und Okkultismus auseinander. Durch die Übersetzungen der Werke von Huysmans, Strauss, Nietzsche, Steiner und anderen einflußreichen europäischen Denkern gerät der Katholizismus immer stärker in den Konflikt mit der Moderne. Die Bewegung Katolická moderna versucht in Böhmen den Katholizismus zu erneuern. Zu den Mitarbeitern der Zeitschrift Nový zivot zählen wichtige tschechische Künstlerpersönlichkeiten. Auch die Autoren der Zeitschrift Moderní revue streben eine entsprechende Reform religiös ausgerichteter Kunst an. Die tschechische Musik dieser Zeit widerspiegelt die vielfältige Auseinandersetzung mit den neuen Denkrichtungen. Charakteristisch für die betreffenden Werke ist der Synkretismus in Form einer persönlichen Synthese aus verschiedenen Formen der Spiritualität. In diesem Kongressband werden neben den Beiträgen zu diesen Fragen bislang unbekannte Dokumente zur tschechischen Musik der Jahrhundertwende veröffentlicht und die Rezeptionswege von massgebenden Komponisten der Zeit (Dvořák, Janáček, Hába, Schulhoff, Novák, Martinů) untersucht. At the end of the 19th century, Czech society was preoccupied with new spiritual trends such as theosophy, anthroposophy, pantheism and occultism. The ideas of Schuré, Huysmans, Péladan, Renan, Strauss, Nietzsche, Steiner, Blavatsky and other influential European thinkers were compiled and made available thanks to numerous translations. At the same time, Catholicism was coming into increasing conflict with modernism. One of the attempts at its revival in Bohemia was represented by the movement Catholic Modernism. The contributors to the review Nový zivot (New Life) were distinct personalities of Czech cultural life. The authors of the magazine Moderní revue (Modern Review) strove for reform of religion-oriented arts too. Czech music of that period reflects the multifaceted encounters with the new intellectual trends. Works are characterised by syncretism, in the form of a personal synthesis of various types of spirituality. In addition, the congress proceedings comprise research into hitherto unknown documents dealing with Czech music at the turn of the 19th and 20th centuries, as well as the paths of reception of the foremost composers of the time (Dvořák, Janáček, Hába, Schulhoff, Novák, Martinů).
