1 comments about Le Tartuffe (Petits Classiques).

1. I often taught Moliere's "Tartuffe" as an example of the neoclassical form of comedy in contrast to the romantic comedy represented by Shakespeare. We would read "Twelfth Night," a play set in a faraway exotic land where the point was simply romance, and then turn to "Tartuffe," where the contemporary society becomes one of the primary concerns of the comic dramatist. During the neoclassical period society was concerned with norms of behavior, and in a Moliere play you usually find a eccentric individual, out of step with the rest of society, who is laughed back to the right position. Moliere was concerned with social problems, which was while this particular play, dealing with the issue of hypocrisy, was banned for years. Keep in mind that originally hypocrisy was specific to religion, although today it can be used with regards to politics, sex, or even uncontroversial subjects. Consequently, the idea of characterizing Tartuffe as an imposter, would miss the point; he might be misrepresenting himself, but he is, indeed, Tartuffe.
   
   The central character in "Tartuffe" is not the title character, but Orgon, a reasonably well to do man of Paris who is married to his second wife, Elmire, and has a song, Damis, and a daughter, Mariane, from his first marriage. He also has the misfortune of living with his mother, Madame Pernelle. Tartuffe is a religious hypocrite who worms his way into Orgon's confidence in order to take him for everything he is worth. Orgon is completely duped, and disinherits his son when Damis tries to prove Tartuffe is fraud. The other key character in the play is Dorine, who is Mariane's maid and the smartest person in the house, which allows her to both manipulate the action and comment on the play.
   
   There are three crucial scenes in the play that readers should appreciate, even if it will not be covered on a future exam. The first is the opening scene (in Moliere's comedies the scene changes every time a character enters or exits) where we are introduced to Madame Pernelle, who promptly proceeds to criticize everybody in Orgon's household while praising Tartuffe. The result is that because she is so obnoxious, we have a low opinion of Tartuffe before he ever appears on stage. So, in addition to being a funny scene, it serves an important function in terms of the play. The second key scene comes when Orgon realizes he has been duped, and instead of continuing to ridicule his central character, Moliere turns him into a sympathetic figure. We laugh at Orgon while he does not have a clue as to his culpability in his coming demise, but once he starts to lose everything we stop laughing.
   
   The final scene of interest, for mostly reasons external to the story, is the conclusion, where Moliere pulls what could only be called a "roi ex machina." This is because instead of dropping a god out of the sky in the manner of Euripides, Moliere has a representatative of the King arrive to set everything to rights. Tartuffe might pull the wool over the eyes of ordinary folk, but the King--in this case, King Louis XIV--is not fooled. The play "Tartuffe" was banned by the clergy after its first performance because it was seen as a thinly veiled attack against the Jansenists (a rather puritanical Catholic sect), and Moliere literally spent years rewriting it before the King gave his approval. It is not surprising that the playwright makes his patron the hero at the end of the play.
   
   If you are only going to read (or teach) one Moliere play, then my choice would be "Tartuffe," even over "The Misanthrope," "The Imaginary Invalid," or "The Bourgeois Gentleman." I would argue that "Tartuffe" is the paradigmatic Moliere play, which best represents his comic techniques while also having a historical context that speaks to the tenor of the times in which he wrote. I also think it is the funniest of his plays.

1 comments about Martha Graham: The Evolution of Her Dance Theory and Training, revised edition.

1. Martha Graham did not want to call her dances representative of a particular technique. There should be "no school of movements" she said. But her dances have a signature, a collection of characteristics that distinguishes them from those of other choreographers. And her signature is the finest of the cursive writing of movement. Graham never scribbled: the swirls that her dances executed are Heraclitean kinetic proof of her exemplary penmanship. And for Graham, gravity is not to be defied but to be exploited: falls to the floor are not prohibited, but encouraged.
   
   The ensemble of opinion, the "witnesses to the technique" by those who knew her, danced under her direction, or worked with her is expressed superbly in this book. There is a wide variation in these opinions, but universal agreement on the unique and superb quality of the dances of Martha Graham. Whether one calls it contraction and release, starkness of movement, twists in the torso, movement packed into the instant of action, great body swings, or spiraling around the spine, it is clear that the Graham technique requires discipline as well as the creation of things new. The dancer must depart from the patterns of the past as well as master them. The dancer must indulge herself in what is old and be refreshed in the excitement of originality.
   
   It is remarkable but not at all surprising that Martha Graham lived as long as she did. Dancing extends life. All human cultures have some sort of dance. There are no exceptions. The philosopher Friedrich Nietzsche could not believe in a god who did not dance. If he had seen the dances of Martha Graham, he no doubt would have imputed deity status to her and her dancers.

5 comments about What Happens in Hamlet.

1. This is of course a very well known book, which set a new standard for textual criticism of Shakespeare's plays. It performs the remarkable feat of casting a completely new light on the most familiar and apparently best known of the plays, and although one does not necessarily agree with all his interpretations one is immensely stimulated by the author's brilliance in extracting new meanings from familiar lines. Strongly recommended to any one with the least interest in Shakespeare the dramatist.



2. As has been said in other reviews, if you buy one book on Hamlet make it this one. I too was dismayed to see Mel Gibson on the cover - fortunately I have an earlier version.
   
   This is an absolutely essential book for any student of Shakespeare. This had a profound influence on my understanding of the play.
   
   I can't recommend this highly enough!



3. While Wilson's book is an interesting and worthwhile read, a far better book is The Heart of Hamlet by Bernard Grebanier (now sadly out of print). By a close reading of the play, particularly in terms of plot structure, coupled with a knowledge of the Elizabethan mind, Grebanier convincingly dismantles many of Wilson's interpretations. Some of Grebanier's major points, which are opposed to Wilson (and many commentators): Hamlet is not mad and never pretends to be; Hamlet does not procrastinate or hesitate, except for good reason; his tragic flaw is that not that he hesitates (or can't make up his mind) but that he is too rash; Hamlet is a man of action, capable of brutality, caught in extraordinary circumstances, not an etherial, delicate romantic philosopher; "To be or not to be" is not about suicide.

   Having studied the play, reading many commentaries on it prior to directing it, I found Grabanier's book to be generally (not always) on target, where Wilson's left me very unsatisfied. Read both, and make up your own mind.




4. For many years I questioned myself about Shakespeare's greatness and I did not find any answer in italian translations , perhaps because of the treachery nature of the translation itself: the Wilson's precise and meticulous analysis of Hamlet's tragedy enabled me to fully appreciate plot,carachters, and witty shakespearean art.
   I strongly recommend this book to beginners, expecially of non-english-native language



5. A magnificent book! I'm so glad they came out with a new edition of this book so I had the chance to purchase it (even if I was a bit dismayed to see Mel Gibson on the cover instead of Kenneth Branagh)! My friend had the older edition, which I borrowed frequently while taking a Shakespeare course. Each scene is covered in depth, almost like a summary. It might actually be better titled "What Happens TO Hamlet" because once you finish the book, you feel like you know the man! Great for any student of Shakespeare, or for that matter, anyone interested in Shakespeare or the Prince of Denmark at all!

2 comments about Stage Makeup.

1. While derivitive of Richard Corson's highly respected work of the same name, Herman Buchman's Stage Makeup is worth owning. Buchman's techniques--ham-handed as they are--make clear a number of procedures. Sadly, the materials Buchman demonstrates are outdated: does anyone still use greasepaint anymore? Still, modern materials (and a far lighter touch!) will produce excellent results. A good choice for a high school makeup class, given its excellent step-by-step photos and reasonable price



2. This book covers all the basics: facial structure, blending techniques, aging makeup, special effects, beards, prosthetics, and what you should have in your makeup kit to do it right. Each technique is laid out with step-by-step illustrations and photos; while Mr. Buchman is obviously used to big-stage work, with a lighter hand his methods also work in small theaters. The intro section on basic makeup techniques alone is worth its weight in gold (how many of us really know the right way to powder down?). Highly recommended

No comments about Hoofing on Broadway: A History of Show Dancing.

4 comments about Listening to Movies: The Film Lover's Guide to Film Music.

1. This is the most thorough layman's book on the art and business of film music that I have read. LISTENING TO MOVIES has a wealth of information on the great and innovative composers for film from the 1930s on, notable films they have done and the styles they have worked within. It also devotes plenty of space to lesser known figures who are usually left out of the discussion.
   
   Fred Karlin, a very successful film composer himself (UP THE DOWN STAIRCASE, WESTWORLD), covers all aspects of the scoring process - how the music is written, recorded and finally "spotted". Film music being a collaborative effort, he gives everyone involved his/her due - not just the composers, but also the arrangers, orchestrators, copyists et al.
   
   Also, music during the Silent Era and many references to major composers of film music outside of the United States. At the back of the book are useful composer/films and film/composer lists.
   
   I have and enjoy other books on this topic. None of them do what LISTENING TO MOVIES does. It's a great reference book.



2. This is not a book teaching how to write a film score. Instead, it shows how film scores are conceived, created, and recorded, and is written for any enthusiast to enjoy. There are chapters covering who does what, how they do it, the machines involved, and case studies of several films with notable scores. In addition to explaining current practice, the book includes historical material about the legendary film music of the old-time studios and their staff composers and orchestras. The appendix section has guides to various composers listing their works, and a list of movies listing their composers. You can even look up Academy Award winners from each year! This is a fun book to sit and browse through.



3. I wrote the above review over 3 years ago, and I think I've re-read this book as many times since then. I *still* can't get enough of it.



4. This is an absolutely fantastic chronology of film music through the ages... from the silent era to the "John Williams" era to today. This book makes for entertaining and informative reading with quotes from so many in-the-industry sources that your head will spin! It's the most up-to-date reference I've found so far on film-scoring techniques and the problems historically associated with this genre. I'd even recommend it to film-goers with a just a passing interest in music as well

No comments about Peter Pan and Other Plays: The Admirable Crichton; Peter Pan; When Wendy Grew Up; What Every Woman Knows; Mary Rose (Oxford World's Classics).

2 comments about Theatre Alive!: An Introductory Anthology of World Drama.

1. I am using this book as a textbook for a theatre class. It contains good plays, a clear dissection of theatre periods, and it organized very well.

   The version of "A Doll's House" that is in the book is not even close to the original, so if you want to use that, try somewhere else. Other that that, the book is okay, but not the best.




2. Contains the following -- Everyman, Oedipus, the Hypochondriac, Uncle Tom's Cabin, A Doll's House, Izutzu, Largo DeSoleto, The Adding Machine, The Hairy Ape, Waiting for Lefty, Othello, Cat on a Hot Tin Roof, The Bald Soprano, The Flying Dutchman, Children of a Lesser God, Body Leaks.

5 comments about Sesame Street Unpaved: Scripts, Stories, Secrets, and Songs.

1. Published in 1999 for Sesame Street's 30th anniversary, it is chuck-full of facts, trivia, pictures, lyrics... This is the second-best thing to a DVD best-of release, and is a great companion to the Songs from the Street CD box set.

   This book is a great trip down memory lane. This is why it's more interesting for us people born before 1980 than for the Elmo generation. Still, if you want to grasp what the early years were like, this is the book to read! And if you remember Mr. Hooper, I dare you not to cry when reading the transcript of Big Bird learning of his passing away.

   Hopefully, there will be a updated and expanded reprint of this book for this year's Sesame Street 35th anniversary, so that people who missed it when it came out 5 years ago can still enjoy it.




2. I found out about this book from a website. It shows a lot of secret facts about the origins of such characters and their names, and describes some old clips, most of which are still used on the show.
   But the show has changed a little since the book was published and some details are slightly outdated or not included, for instance the producer's name changed in 2000, Mr. Handford no longer runs Hooper's Store(what happened to him?), Gina became a vet in 2001, and the Fix-it Shop became the Mail-it Shop in 2002.
   Buy it and you'll have plenty of flashbacks of the show!



3. Reading Sesame Street Unpaved was like taking a joyful walk down memory lane. A fan of the show since I was a toddler, I savored each and every page of this lovingly crafted retrospective. I really appreciated how the book managed to be sweet, sentimental, and witty all at the same time. It is obvious that the folks behind Sesame Street are not only geniuses, but also endowed with a keen sense of humor.



4. This book is not meant to be a definitve history of Sesame Street, but rather a picture-rich fan appreciation of the series that entertained and educated children for over thirty years. Those of us who grew up on this show can revel in our memories of such characters as Sam the Robot, Mr. Hooper, and other's who are no longer with the show. The book includes many good quotes from the producers and actors involved, biographies of the principal actors, and little factoids throughout.

   If you are looking for a good, critical read about Sesame Street, this is not it. But the book is entertaining fluff, a good book to leave on the coffee table when your 25 - 35 year old friends come over. You can watch as they laugh and share what is in the book.




5. Looking through this book is like looking through your childhood yearbook.

   What is nice about this book is that a "kid at heart" adult can enjoy it as much as little kids due to the memories it generates.

   Lots of humour (character's profiles), sadness (script of when Mr. Hooper Died), learning (text/lyrics to classic bits), and photos photos photos.

   Only if A&E can release the SS video Biography of Unpaved.

   Mr. Smiley

5 comments about 'Tis Pity She's a Whore (New Mermaids).

1. Had there been no Shakespeare, John Ford's play "'Tis Pity She's a Whore" would never have been written--but Shakespeare's tremendous example not only provided part of context of this play, but also obscures it. "'Tis Pity" is not as good as Shakespeare's very best works (the great tragedies and romances). Ford struggles to match Shakespeare's second-best works (e.g., the great comedies such as "As You Like It").
   
   But judging Ford in comparison with Shakespeare is unfair. Perhaps a few score of writers really match Shakespeare: Homer, Sappho, Ovid, Virgil, perhaps Dante. I wouldn't give Shakespeare a five-star rating and give, say, Pope, Keats, or Austen a four-star rating. Nor would I give Ford a three-star rating next to Shakespeare's five-star and Keats' and Austen's four-star ratings.
   
   In the bell curve of literature, Shakespeare and Homer (in my opinion) occupy the vanishingly small right side of the curve. Very few writers match Ford's achievement in "'Tis Pity." The play is powerful, cleanly plotted, and brilliantly written. In particular, Ford does a great job in creating sympathy for all of his major characters, and in particular for the incestuous lovers at the heart of the play. The play suffers only by comparison with Shakespeare and perhaps a handful of other great dramatists.
   
   More important, the New Mermaids edition is very useful. The introduction is thoughtful and thorough; the page layout is clear (especially important with drama); and the footnotes are generally useful. The editor, Wiggins, sometimes elucidates matters that are perfectly clear--but I would rather the editor take that approach than leave me in the dark.
   
   In short, serious students of literature will want to read this play, and the New Mermaids edition provides a well-annotated text using modern English spelling.



2. Incest and dirty double hearted deeds that led all to this tragedy!
   In cattle and horses siblings are breed that good genes double and bad ones die out.
   In humans it engenders a madness of the superego
   that leads to downfall and disgrace for all.
   " Get thee to a nunnery " is the other side of "Tis Pity She's A Whore".
   There is no wrong save "they" said it were so.
   For men are but animals and their empty morals
   all useless inventions?
   We would better in these latter days trust
   to DNA science than outmoded conventions.



3. This is a highly emotional and well-written work that explores a very taboo subject matter. The play revolves a case of forbidden love, in this case, Giovanni's incestuous love for his sister Annabella. It's pretty easy to figure out after the first few pages that the play will have a tragic ending, but there are several major surprises that happen along the way, and the final scene is unbelievably violent. I'd love the chance to stage a production of "Tis Pity" one of these days...from a directorial standpoint, the script is filled with many interesting possibilities.



4. This play is an excellent example of incest in the Renaissance. It's also fairly short and very readable. Bergetto is an interesting character and provides much needed comic relief in this play which is ultimately quite tragic. The title is misleading in many ways, but female sexuality is problematic throughout.



5. I chose to read this play because firstly, Anthony Burgess mentioned it in his book "English Literature" (1857) and secondly, because it was a short play. Or maybe even thirdly - the central theme [incest] it deals with is treated in an entirely different manner from other literary works. The nature of the incest is frank and horrifying. The intensity of the unlawful relationship is compromised by the coarsening of Giovanni's love for Annabella; their ethereal relationship gradually loses its innocence in the course of the play, culminating in Annabella's pregnancy and finally her death in Giovanni's hands.

   While we certainly cannot put Ford in the ranks of Shakespeare, he deserves credit for a play whose themes of sexual jealousy, revenge, violence and incent intertwine in a most heartrending way.