If you like reading, you will LOVE reading without limits!
Add this book to bookshelf
Grey
Write a new comment Default profile 50px
Grey
Read online the first chapters of this book!
All characters reduced
Everything but the Brain - From Stage to Print - cover

Everything but the Brain - From Stage to Print

Jean Tay

Publisher: Epigram Books

  • 0
  • 0
  • 0

Summary

What do Physics, three bears and a stroke have in common? Take a journey with Elaine, a middle-aged Physics teacher, as she explains the theory of relativity using the metaphor of three bears and a train, and devises a plan to turn back time and save her ailing father from physical determination. 
 
Written by gifted playwright Jean Tay, Everything but the Brain was first developed at the Playwrights' Cove at The Necessary Stage in 2001 and staged by Action Theatre in 2005. It won Best Original Script in The Straits Times' Life! Theatre Awards in 2006 and has since been selected as an 'O'- and 'N'-Level literature text in Singapore.

Other books that might interest you

  • Day of the Dead Folk Art - cover

    Day of the Dead Folk Art

    Kitty Williams, Stevie Mack

    • 0
    • 1
    • 0
    The folk art inspired by Day of the Dead, celebrated in Mexico and around the world, including the American Southwest, powerfully communicates the cultural traditions of this joyous holiday.
    Show book
  • Glam!: An Eyewitness Account - cover

    Glam!: An Eyewitness Account

    Mick Rock

    • 1
    • 1
    • 0
    “Glam was about make-up, mirrors and androgyny. It was narcissistic, obsessive, decadent and subversive. It was bohemian, but also strangely futuristic. It was Oscar Wilde meets A Clockwork Orange. It was a mutant bastard offspring of glitter. But while glitter was sparkling distraction, glam was anarchy in drag. It was sexy, glamorous, on the edge. 
     
    It was the moment hippie finally died. It was absolutely rock’n’roll. But it was also fashion, art, theatre, lifestsyle. It was gay, straight, multisexual. It was totally titillating and absolutely naughty. Everybody held hands with everybody, kissed everybody, went home with everybody. It was an age of accelerated discovery, when all the kinks of sexual yearning were flushed out. It was absolutely self-indulgent and it was ridiculously camp. 
     
    It was a time we thought would never end. A time so long ago now it seems like a dream. But it wasn’t and I have the pictures to prove it.” 
     
    Mick Rock
    Show book
  • Botticelli - cover

    Botticelli

    Victoria Charles, Emile Gebhart

    • 0
    • 3
    • 0
    He was the son of a citizen in comfortable circumstances, and had been, in Vasari’s words, “instructed in all such things as children are usually taught before they choose a calling.” However, he refused to give his attention to reading, writing and accounts, continues Vasari, so that his father, despairing of his ever becoming a scholar, apprenticed him to the goldsmith Botticello: whence came the name by which the world remembers him. However, Sandro, a stubborn-featured youth with large, quietly searching eyes and a shock of yellow hair – he has left a portrait of himself on the right-hand side of his picture of the Adoration of the Magi – would also become a painter, and to that end was placed with the Carmelite monk Fra Filippo Lippi. But he was a realist, as the artists of his day had become, satisfied with the joy and skill of painting, and with the study of the beauty and character of the human subject instead of religious themes. Botticelli made rapid progress, loved his master, and later on extended his love to his master’s son, Filippino Lippi, and taught him to paint, but the master’s realism scarcely touched Lippi, for Botticelli was a dreamer and a poet. 
        Botticelli is a painter not of facts, but of ideas, and his pictures are not so much a representation of certain objects as a pattern of forms. Nor is his colouring rich and lifelike; it is subordinated to form, and often rather a tinting than actual colour. In fact, he was interested in the abstract possibilities of his art rather than in the concrete. For example, his compositions, as has just been said, are a pattern of forms; his figures do not actually occupy well-defined places in a well-defined area of space; they do not attract us by their suggestion of bulk, but as shapes of form, suggesting rather a flat pattern of decoration. Accordingly, the lines which enclose the figures are chosen with the primary intention of being decorative. 
        It has been said that Botticelli, “though one of the worst anatomists, was one of the greatest draughtsmen of the Renaissance.” As an example of false anatomy we may notice the impossible way in which the Madonna’s head is attached to the neck, and other instances of faulty articulation and incorrect form of limbs may be found in Botticelli’s pictures. Yet he is recognised as one of the greatest draughtsmen: he gave to ‘line’ not only intrinsic beauty, but also significance. In mathematical language, he resolved the movement of the figure into its factors, its simplest forms of expression, and then combined these various forms into a pattern which, by its rhythmical and harmonious lines, produces an effect upon our imagination, corresponding to the sentiments of grave and tender poetry that filled the artist himself.
        This power of making every line count in both significance and beauty distinguishes the great master- draughtsmen from the vast majority of artists who used line mainly as a necessary means of representing concrete objects.
    Show book
  • Find Your Artistic Voice - The Essential Guide to Working Your Creative Magic - cover

    Find Your Artistic Voice - The...

    Lisa Congdon

    • 0
    • 1
    • 0
    An artist's unique voice is their calling card. It's what makes each of their works vital and particular. But developing such singular artistry requires effort and persistence. Bestselling author, artist, and illustrator Lisa Congdon brings her expertise to this guide to the process of artistic self-discovery. Featuring advice from Congdon herself and interviews with a roster of established artists, illustrators, and creatives, this one-of-a-kind book will show readers how to identify and nurture their own visual identity, navigate the influence of artists they admire, push through fear and insecurity, and appreciate the value of their personal journey.
    Show book
  • The Story Solution - 23 Actions All Great Heroes Must Take - cover

    The Story Solution - 23 Actions...

    Eric Edson

    • 1
    • 4
    • 0
    Eric Edson has developed a new tool for bringing depth and passion to any screenplay - the "23 Steps All Great Heroes Must Take." It's an easy to understand paradigm that provides writers and filmmakers the interconnecting, powerful storytelling elements they need. With true insight, a master teacher of screenwriting pinpoints the story structure reasons most new spec scripts don't sell; then uses scores of examples from popular hit movies to present, step by step, his revolutionary Hero Goal Sequences blueprint for writing blockbuster movies.
    Show book
  • Inside Out: A Personal History of Pink Floyd (Reading Edition) - cover

    Inside Out: A Personal History...

    Nick Mason

    • 0
    • 1
    • 0
    The definitive history of Pink Floyd by founding member Nick Mason, this reading edition brings up-to-date the band's incredible story as told uniquely from the inside out. Including the complete text of the original in an easy-toread format, a new chapter covering the passing of Rick Wright and the release of the group's final album, and 80 pages of images from Mason's archives plus new photos, Inside Out is a masterly rock memoir and an eye opener for both veteran fans and those just discovering the group.
    Show book