Publisher: Nick Hern Books
A wife, a muse, a coward, a heretic. Hedda Gabler is something to everyone, yet has no idea who she is to herself. Trapped by convention and by her own irreconcilable nature, will she have the courage to shape her own destiny? Mark O'Rowe's fluid yet faithful adaptation of Ibsen's masterpiece premiered at the Abbey Theatre, Dublin, in April.
LibriVox volunteers bring you seven different recordings of The Oxen, by Thomas Hardy. This was the weekly poetry project for the week of December 17th, 2006.Show book
“Smart, clear-eyed… Turner’s gift is for beautiful concision.” — Georgia Straight on The Ends of the Earth Jacqueline Turner’s Flourish moves between philosophy, literary criticism, biography, and poetry. Both personal and experimental, her writing becomes transformative as it explores memories of growing up in a small town, parenting a set of adventurous sons, traveling, and reading. At times her poems act like micro essays, at other times they are miniature memoirs or precise manifestos, and throughout the collection’s exploration of contemporary cities and culture, a tense beauty emerges. Turner takes readers to a park in Berlin set up like a messy living room, to a gallery in Granada where the view from a window beside a famous painting more perfectly frames an ancient stone wall, and to a karaoke room in Tokyo where comedic possibilities merge with spilled drinks. In the end, Flourish celebrates the abundance of words already read, while conveying gratitude for the ones still about to be read. A bold gesture, a green light, a way forward in challenging times.Show book
Thomas Middleton's masterful 17th century tragedy is packed with adultery, incest, intrigue, revenge, and inventive methods for murder. Leantio elopes with Bianca against her family's wishes and tries to hide her in the house he shares with his widowed mother. Yet the Duke sees Bianca at the window and is powerfully attracted to her, threatening Leantio's security. Livia, a wealthy widow, delights in intrigue, aiding the Duke to satisfy his desires with Bianca, and bringing together her brother Hippolito with her niece Isabella, despite their familial relationship. Yet even Livia is not immune to love. The final play-within-a-play in Act 5, one of the goriest and most sensational conclusions to a Jacobean tragedy, is also (like the play as a whole) laced with dark humor. (Summary by Elizabeth Klett)CastMother: KristingjLeantio: David NicolBianca: Arielle LipshawGuardiano: Noel BadrianFabritio: Martin GeesonLivia: Elizabeth KlettHippolito: Alan MapstoneIsabella: Amanda FridayThe Ward: Nathaniel W. C. HigginsSordido: mbFirst Boy/First Lady/Hebe: April GonzalesSecond Boy/Second Lady/Narrator: Elizabeth KlettThird Boy/Gentleman/Page/Lord: Robert HoffmanCitizen/Servant/Hymen: Chuck WilliamsonApprentice/Messenger/Ganymede: AvailleDuke: Algy PugLord Cardinal: Chuck WilliamsonAudio edited by Elizabeth KlettShow book
Why does Shakespeare write in the way he does? And how can actors and directors get the most out of his incomparable plays? In Speaking the Speech, Giles Block - 'Master of the Words' at Shakespeare's Globe - sets out to answer these two simple questions. The result is the most authoritative, most comprehensive book yet written on speaking Shakespeare's words. Throughout the book, the author subjects Shakespeare's language to rigorous examination, illuminating his extraordinary ability to bring his characters to life by a simple turn of phrase, a breath or even a pause. Block shows how we can only fully understand these characters, and the meaning of the plays, by speaking the words out loud. Drawing on characters from across all of Shakespeare's plays - and looking in detail at Macbeth, The Winter's Tale, Hamlet, The Merchant of Venice and Much Ado About Nothing - Block covers everything the actor needs to know, including: the essential distinctions between prose, rhymed verse and unrhymed verse, and the different strategies to be used when speaking them; the difference between 'you' and 'thou'; Shakespeare's use of silence; and the vital importance of paying attention to Shakespeare's 'original' punctuation. Speaking the Speech is a book for actors and directors who want to improve their understanding of Shakespeare's language in order to speak it better. It is also a fascinating read for anyone who wants to deepen their appreciation of Shakespeare's language and the way it comes to life when spoken aloud. 'We call Giles our 'Text Guru' at the Globe, partly in jest, and partly out of respect for the depth of his knowledge, the gentleness of his teaching, and the sudden illuminations he can throw across a play. If this book can afford even a small part of the pleasure and insight Giles can provide in person, then it will be a great asset.' Dominic Dromgoole, Artistic Director, Shakespeare's Globe 'Giles deepened my love for Shakespeare and for the way we all speak. I trust you will have a similar experience reading his book.' Mark Rylance, from his ForewordShow book
The Cathay poems appeared in a slim volume in 1915. They are, in effect, Ezra Pound’s English translations/interpretations from notebooks written by the Japanese scholar Ernest Fenollosa. Pound, not knowing any Chinese or Japanese at all, promptly created a new and somewhat complex style of translation, as he had done with words from several other languages. The Cathay poems are primarily written by the Chinese poet Li Po, refered to throughout these translations as Rihaku, the Japanese form of his name. These poems came to have a profound influence on 20th Century poetry, spawning, among other things, the Imagist movement, and helped in the generation of widespread interest in Asian literature and thought. Also included in this collection are two poems from Pound’s 1912 collection Ripostes. “The Seafarer” is another of Pound’s experiments in translation, this one from the Anglo-Saxon. (Summary by Alan Davis-Drake)Show book
Ayckbourn’s celebrated triology The Norman Conquests - three hilarious and poignant plays depicting the same six characters in one house over one weekend, namely Norman and his romantic follies.Table Manners:England’s famous seducer of other men’s wives lays siege to his sister-in-law in the first “battle”. A middle-class family trying to have a pleasant country weekend is no match for Norman, who horrifies everyone by doing exactly as he likes.Living Together:In the second “battle” Norman gets drunk on homemade wine – and all hell breaks loose. He unleashes his merry brand of manipulative charm on the hapless guests and even his most formidable opponents go down in defeat on the drawing room rug.Round and Round the Garden:In the third “battle” the setting is Mother’s overgrown English garden, where something more troublesome than brambles lurks among the roses. Havoc ensues as this satirical masterpiece makes its way to a hilarious conclusion.L.A. Theatre Works full-cast performances featuring:Rosalind Ayres as SarahKenneth Danziger as RegMartin Jarvis as NormanJane Leeves as AnnieChristopher Neame as TomCarolyn Seymour as RuthShow book
