5 comments about Duchess of Malfi (New Mermaids).

1. John Webster will probably never be as popular as William Shakespeare, Charles Dickens, or even Cliff Marlowe. Nevertheless, his writing is quite impressive. His plays came out about the time Shakespeare was putting out his final plays. As the play begins, we meet Bosola. While he is a murderer, he offers several intersting passages, and he is not quite a 2d villain. Bosola expresses his dislike for Duke Ferdinand and his brother the Cardinal. This opinion is shared by the Duchess's eventual husband Antonio. This allows Webster to prepare the villains of this story. The wicked Ferdinand expresses his wish for his sister (the Duchess) not to marry. Eventually, we will learn that he wants control over her estates. (How unheard of! Especially today!) He asks Bosola to spy on the Duchess. Bosola is a bit hesitant, but he proceeds. Well, the Duchess against her wicked brother's request marries Antonio secretly. Some time passes, and Bosola suspects that the Duchess is pregnant. While Antonio suspects the foul play of Bosola, he is basically a loving, but not so able man. Ferdinand of course finds out that his request has been disregarded. Interestingly, the cardinal comes off a little better when his cautious side contrasts with Ferdinand's rages. Onto Act 3. The Duchess and Antonio now have children. While Ferdinand knows the Duchess has married, he does NOT know Antonio is the husband. The poor Duchess makes the mistake of appealing to Bosola for help, and of course all is found out. Antonio is banished to Ancona. The parting between Antonio and the Duchess is quite sad. But all is not lost. Antonio flees to Milan and they may still be together. Sadly, hope disappears as the Duchess is arrested. Ferdinand orders Bosola to murder her, and while Bosola does hesitate, he performs the cruel murder of the Duchess. It is interesting that Bosola's evil deeds are often accompanied by hesitation and regret, as well as some interesting passages on the harsh truths of the human condition. But Webster does not stop here. Ferdinand's cruelty gives way to insanity and he taunts Bosola for carrying out his orders. Onto the final act. Poor Antonio (not knowing his wife is dead) has heard of Ferdinand's insanity. He thinks perhaps he can reconcile with the Cardinal. Soon we see that the cardinal is not quite an accomplished psychopath. With Ferdinand gone, he sinks further and further into panic trying to cover the bloody mess. In a well done scene, fragments of Antonio's echo foreshadow his downfall. Bosola accidentally kills Antonio and is filled with regret. The final scene begins with the cardinal giving a passage on fear of damnation. In a brutal massacre, Bosola, Ferdinand, and the Cardinal all die. The play ends with a restoration to order by the son of Antonio and the Duchess, but like Shakespeare's "King Lear," it doesn't take away the sadness of the play. Overall, it's a good play that combines an interesting variety of villains, romance, tragedy, suspense, horror, and dark comedy.



2. John Webster's play "The Duchess of Malfi" is a violent play that presents a dark, disturbing portrait of the human condition. According to the introductory note in the Dover edition, the play was first presented in 1613 or 1614.

   The title character is a widow with two brothers: Ferdinand and the Cardinal. In the play's opening act, the brothers try to persuade their sister not to seek a new husband. Her resistance to their wishes sets in motion a chain of secrecy, plotting, and violence.

   The relationship between Ferdinand and the Duchess is probably one of the most unsettling brother-sister relationships in literature. The play is full of both onstage killings and great lines. The title character is one of stage history's intriguing female characters; she is a woman whose desires lead her to defy familial pressure. Another fascinating and complex character is Bosola, who early in the play is enlisted to act as a spy. Overall, a compelling and well-written tragedy.




3. This is a review of the New Mermaids edition of The Duchess of Malfi by John Webster. Elisabeth M. Brennan edits this edition (ISBN: 0393900665.) I mention this incase it is cross-posted under some other editor's edition.

   I bought this after reading snippets of it in other books. I do not recall having to learn this in school. Only now do I intend to read "The White Devil" in anticipation of it being encountered in other works.

   Well what do you know? This animal is based on a true story of the Duchess of Amalfi. Evidentially there were several books written on this and he picked one for the outline of the play.

   This edition is almost as good as taking a class in its self. The introduction gives you a back ground and the basic story that the play was based on. You get some information on John Webster and some of his other plays. There is even a further Reading List. There are even notes on the text and how to read the notes for the different versions of the play its self. By the time you get to the play you are well prepared to read it.

   The play its self has stanzas, line numbers and notes to help you through the difficulty of understanding what the words mean in context. It is almost like reading a bible. You soon pickup speed and then actually get intrigued in the writing and story.

   Now I desperately want some local theater to present "The duchess of Malfi"




4. Of the "popular" editions of this play that by John Russell Brown (Revels Student Editions) and Elizabeth Brennan (New Mermaids) are both useful, though it must be said that no edition as yet does adequate justice to Webster's compexity - notably his presentation of Ferdinand. The play is both a tour de force and profoundly searching. It is perhaps the first major feminist play in England, with the Duchess presented as an outstandingly noble even if fallible character, the victim of her two evil "partriarchal" brothers. Of these, her twin brother Ferdinand is among the most intelligently conceived characters to appear on the Jacobean stage. Unknowingly (i.e. in his "unconscious") he is incestuously in love with his sister. Unable to cope with this "taboo" feeling, he tries to "repress" it unsuccessfully, and finally his ... "libido" comes to express itself in a violent wish to destroy her if he cannot ... own her, and he ends up believing himself to be a wolf, attempting to dig up her grave after he has had her killed. Obviously, then, this is a very Freudian work - anticipating Freud's insights brilliantly by some four centuries, and without lapsing into Freud's extravagantly improbable claims about such matters as the Oedipus complex. It is the working of the unconcious, as a reservoir of what we do not understand and cannot control, which is quite central in this play, and Ferdinand's ... confusion is potently contrasted with his sister's openminded, acknowledged and generous ... health. An outstanding play, recommended as among the best of its time (comparable in quality and interest to e.g. *Othello* or *The Changeling*). - Joost Daalder, Professor of English, Flinders University, South Australia



5. I do not feel Webster's "Duchess of Malfi" quite matches his "The White Devil." Nevertheless, it is still an excellent play. Only Webster could combine this much violence and beauty so well! Webster starts the play well when Antonio and Delio make comments on questionable characters. (Bosola and the Cardinal) Bosola is drawn well as the hired hand reluctant to join the demonic Ferdinand. 2.5 is captivating when Ferdinand explodes with fury upon discovering that the Duchess has married. The cardinal shows an interesting foil to Ferdinand when he tries to encourage caution. The fury exchanged between Ferdinand and the Duchess in 3.2 is memorable. Bosola offers a striking passage on politicians in 3.2. The tragic ceremony in 3.4 is sorrowful and yet beautiful. The parting of Antonio and the Duchess in 3.5 is very lamentable. 4.1 allows us to see that Ferdinand is not only evil, but demented as well. This paves the way for his final insanity. Bosola's hesitation to carry out the murder is well constructed. Ferdinand's final torture of the Duchess reminds us that he is not simply cruel, but psychotic as well. The Duchess is memorable when she faces her death with dignity. Webster DOES NOT stop here! Ferdinand actually taunts the hired killer and this paves the way for the final act. 5.3 is a scene that not even Marlowe or Shakespeare ever used. Fragments of Antonio's own echo foreshadow his death. Bosola's accidental murder of Antonio and his remorse pave the way for the final massacre! Even here, Webster keeps his efforts up. The cardinal's passage on fear of damnation keeps us in chills. Bosola's death and passage of remorse is a fitting end for this excellent work. My only complaint about this play is that the Cardinal could have been more complex.

1 comments about Hirschfeld's British Aisles.

1. All hail Hirschfeld, and, more importantly, all hail this trio of tomes featuring works by the premier theater and entertainment illustrator of the 20th century. For decades, Big Al's works adorned the cover of Sunday's New York Times Arts and Leisure sections, sketches celebrating plays, musicals, movies and celebrities gracing Gotham that particular week. The bearded, rotund artist (sort of a secular Santa for show-biz folk) was ubiquitous at opening nights in and out of town. And, of course, each week, there were the "Ninas," his daughter's name, hidden, sometimes once, sometimes up to eight times, in each sketch. (The number next to his signature would clue us in on the number of times Nina's name was hidden.) Cross-country phone calls wailing, "Where's the last Nina?" ensued on many a Sunday afternoon.
   Nina-searchers can now glut themselves on Hirschfeld's British Aisles, a collection culled from the New York Times; as a special treat, there are welcome commentaries from such big name Brits as Julie Andrews, Dame Edna, Sir Cameron Mackintosh and Lynn Redgrave.
   A veddy nice job, but the real treats are Hirschfeld's Harlem and The Speakeasies of 1932. In Harlem, we can see the artist's style develop; before the detailed line drawings we have come to expect came almost impressionistic pencil shadings, at once more personal and mysterious, more abstract, and evocative and startling in their originality. Harlem has, as well as several historical essays, text by a band of authorities, including Bobby Short, Lena Horne, Ossie Davis and Ruby Dee and Savion Glover.
   The Speakeasies of 1932 is a fascinating look at the dives and divine watering holes of that noble experiment, prohibition. Sketches of bars, bartenders and patrons, along with a written description of the joints, are included. Added to this fizzy mix are drink recipes from each bar; we should, perhaps, avoid the cocktail simply called "Smoke," from an establishment called O'Leary's on the Bowery. The principle ingredient? Two cans of Sterno.
   Art should teach us something about the past, about ourselves, about our society. But it should also be fun. Al Hirschfeld accomplished all of this with pencil, pen and ink. If you aren't familiar with his work, meet this terrific triumvirate. And if you are familiar with dear Al (and Nina), then enjoy a reunion with old and treasured friends.

1 comments about Abbas Kiarostami (Contemporary Film Directors).

1. This book consists of a 41 page essay by Rosenbaum, a 30 page essay by Saeed-Vafa, a 22 page dialogue between the two authors and ends with 20 pages of various interviews with Kiarostami. Rosenbaum, always a strong proponent of world cinema, gives an good introduction to Iranian cinema in general and also to Kiarostami. Saeed-Vafa writes as a native Iranian and from a feminist perspective. Both essays are interesting and informative.
   
   My major criticism comes in the dialogue between the authors: Rosenbaum uses the conversation to continue a spat he was having with fellow writer Howard Hampton, who thought Rosenbaum liked foreign directors too much and domestic directors too little. While Saeed-Vafa tries to bring the dialogue to more relevant topics, Rosebaum continually brings Hampton back up: "What about Hampton's charge that I..." and later "Maybe Hampton thinks I'm being snobbish..." He just comes off as being petty. The two authors also take shots at well-known movie critic Roger Ebert for not liking Kiarostami.
   
   Overall, this is a good introduction to Kiarostami and I would still recommend it to those interested in him or Iranian cinema in general, but the dialogue section gets a little bogged down with the professional spat between Rosenbaum and Hampton.

1 comments about Irving Berlin's Show Business: Broadway - Hollywood - America.

1. Irving Berlin was a national treasure and this book celebrates him in style. In the days when music was still civilized Berlin was king. He caught the mood of this country like no other composer. It's fun to browse through this gem over and over.

1 comments about Dancing Away an Anxious Mind: A Memoir about Overcoming Panic Disorder.

1. This would be a fascinating book for someone interested in overcoming panic disorder. But it is actually so much more. If that phrase were not in the title, it would more accurately reflect the book -- a wonderful entertaining and engaging story about one man's life.
   I quickly found myself very interested in this author; being drawn in to care about what was happening to him and how he was dealing with it. It's all about how he dealt with his panic disorder, but the telling is far more entertaining than it sounds. He leaves nothing out either -- the funny stuff, the heart breaks, the embarrassment, the girls and the sex. Often, I couldn't put the book down until I had finished a chapter.
   Rand's descriptive writing is awesome -- rich and flavorful and entertaining. It shows that even a calm, studious, serious fellow can have a very lively and engaging life.
   In addition, I found his dealing with the racial issues very frank and refreshing. (By way of explanation, Rand took up Zydeco dancing, which is from the Black Cajun culture of Louisiana and he spent considerable time there in the backcountry.)
   Overall, it was an excellent read. I highly recommend it.

5 comments about Here on Gilligan's Isle/the Professor's Behind-The-Scenes Guide to Everything You Ever Wanted to Know About Gilligan's Island, Including a Complete E.

1. Our favorite Professor, Russell Johnson (with the help of Steve Cox) puts down his memoirs in a quick trip through Johnson's life and focusing on his time at Gilligan's Island. GI fans will eat this up, but being a GI fan, I actually found it a bit flat. There are anecdotes and memories Johnson shares, both good and bad. Johnson talks about the partial regret the actors had about doing the show (except Alan Hale who lived the role). He also talks about each cast member individually as well as their after show experiences. Next up is coverage of the cartoons and tv movies. His part of the book wraps up with brief talks of his family but then the narrative ends very abruptly and we are launched into the episode guide covering the show which was very cool.
   
   Overall, as a GI fan, I liked this book and read it in a day. However, the whole thing was really just surface material for the most part and done for the fans. It was great memories but there's no real meat going on here. There are some fascinating items in here such as Johnson's WWII experience and being shot down in the Pacific and the wrap up about his son is touching.



2. Boy, these Castaways really influenced a generation! After getting the book, and reading a few paragraphs before going to sleep, I had dreams about the "characters" all night. I think, even if the show would be considered somewhat "lowbrow art" if having any merit in this area, might lead a possible procession of "Life imitating Art"!!!



3. Millions around the world know him only as "The Professor" on Gilligan's Island. However, before taking the role that would change his life, Russell Johnson was already an established actor in both film and television.

   In this wonderful book, Johnson tells his life story in a modest and entertaining fashion. His good nature, and sense of fairness is evident throughout. The book covers Johnson's life as "Professor Roy Hinkley", his remembrances of the Gilligan's Island years, and thoughts about his fellow island castaways. The book has a multitude of terrific photos, many from behind the scenes. With nothing mean-spirited to say, this is a warm "feel good" read, that is over much too quickly.

   There are many fascinating stories of interest to hardcore fans. Perhaps the most significant for the author, concerns the pilot episode. Shot in 1963, but never aired until 1992, the pilot featured different actors as The Professor, Ginger and Mary Ann. Circumstances led to the recasting of these roles with Johnson, Tina Louise and Dawn Wells.

   Most fans know that the show's theme song was re-recorded for the second season to include "The Professor and Mary Ann". But in this book we learn that the musical group that performed the second version, later appeared on the program as the rock group "The Mosquitoes". Johnson devotes some time to the assortment of guest stars that visited the island, and the issue of censorship. Also covered are the post series years, and the events leading to the rescue movie, and other related Gilligan's Island projects. The "Ship's Log", a brief summary of the 98 episodes, concludes this thoroughly enjoyable book that all fans of the series will appreciate.




4. When I was growing up during the time this show was airing, one of the standard questions among my teenage friends was, who did you have a crush on, Ginger or Marianne? Interestingly, there was almost universal agreement that, although Ginger was hot, Marianne had that girl-next-door wholesomeness and sex appeal, and so she got the vote.

   Almost 35 years later this same question came up at a lunch with a bunch of my work associates, most of whom are middle-aged computer geek types or engineers like me. The funny thing was, everybody agreed they still liked Marianne. I guess some things never change.

   But after her, the Professor was my favorite character on the program, and years later, when I was a college instructor briefly myself, I attributed it at least partly to the example Russell Johnson set on this show, as silly as that might sound. That maybe, and the original Star Trek, which made science and technology glamorous and sexy and very ungeeklike.

   Well, for all those who loved this show like I did and were in some way inspired to do something in their lives because of it, this book is full of great behind-the-scenes stories and trivia about every aspect of the show and characters. This book will be appreciated by all fans of this classic American 60's comedy series.




5. The first page of my book reads: "To my Great neice Kim--from your Uncle--Russell Johnson The Professor, Love to you" This is a wonderful book and the behind the scenes info is so way cool!!

3 comments about What is Scenography? (Theatre Concepts) (Theatre Production Studies).

1. An exciting and stimulating book that will make every serious theatre artist think, and think hard. This book will be used as a teaching tool in advanced courses and should be welcomed as a touchstone for discussions amongst serious directors and designers. Maybe it's not at quite the same level as The Dramatic Imagination or The Empty Space, but it's surely in the same category of seminal works that will exert a positive influence for years to come. I can't wait to use its insights and methodologies as I begin the creative process for my next production.



2. I have used the book only for research purposes, and I have to say, its scope is narrow and fails to credit the history of its subject. A book on scenography that contains only a cursory comment on Josef Svoboda seems a bit unsupported to me. As far as a very general look at the ideas of scenography it is mediocre at best. When defining an inherently undefinable term, it seems only appropriate to describe some the individuals which have coined the term, Howard fails to do this, and I feel the book suffers because of it.



3. This book is an eye-opener, a brilliant and utterly fresh approach to the art of theatre design. Pamela Howard leads the reader through the revolution in stage visualization that has taken us from decoration and backdrop to the astonishing complexities (and, more important, the visionary minimalism)of theatre at its highest levels of achievement in the 20th century. I can think of no better introduction for a beginning designer to the limitless possibilities of her or his medium. And I believe even the most accomplished experts in the field will find original and provocative challenges to conventional wisdom here. Best of all, the book is written as an intensely-felt personal statement, based on wide world experience of working with the great theatre practitioners of our time. And it's written with a directness and clarity worthy of a great stage design.

2 comments about Russell Crowe: The Biography.

1. Book is very informative,ejoyable to read and made me want to see more of him in movies. I would love to know him. He has a depth, intelligence and sensitivity to his soul.Most celebrities don't effect me that way.



2. Usually when I read celebrity biographies, I don't know a whole lot about the person and want to know more. With this book, I bought it simply because I am a big fan of Russell Crowe's but wasn't expecting many new facts about someone I already feel I know quite a bit about. I found this to be true but it was an enjoyable read, nonetheless.
   This book covers Crowe's life from his childhood in New Zealand and Australia, all the way through to his recent Academy Award victory and his most recent film, the Ron Howard-directed "A Beautiful Mind". I did like the authors' format of devoting an entire chapter to a single film or an aspect of Russell's life. If you're looking for information on a specific film, you can find the appropriate chapter immediately.
   As a longtime fan who reads and collects articles and videotaped interviews from all over the world, my one main criticism is that the authors seemed to take most of their information and quotes directly from previous print and visual media. Now, I know this is an unauthorized biography; still, it would have been more interesting if they had possibly interviewed friends and co-stars themselves.
   Still, they have painted what I feel is a fair, interesting portrait of a complex, intense man and a dedicated, talented actor. If you are a new Russell Crowe fan, this book will give you a lot of information, basic facts you'll want to know about him. If you're a longtime admirer, like myself, it won't tell you a whole lot you don't already know, but will be a good addition to your Crowe collection, anyway.

5 comments about I Remember Mama..

1. This book was advertised as an actual book and I received a thin play about the book. I was very disappointed.



2. I purchased this to look at because I was writing about another fascinating "Mama." I forgot what a wonderful story it is. It's about an era most of us have forgotten or never knew. I loved it, as I loved the movie which saw when I was quite young. It is a touching story of the influence this woman had on her family. We should all have this kind of mother. Too bad we don't. Read "Dancing in the Dark: Things My Mother Never Told Me" and you will find the story of an entirely different mother.



3. Kathryn Forbes' "I Remember Mama" is a classic tale of Norwegian newcomers on the west coast, which became a long-running, highly popular tv series as well as a movie. The central figure is the wise, loving, enduring matriarch of the clan. Supremely happy in her new home, she proudly says, "I am a San Franciscan." Surrounded by sisters and cousins and other relatives from the old country, as so many immigrant families were at that time, she raises her own brood in changing times.

   The book portrays family unity, love and laughter rising above hardships. Children will enjoy this book as much as adult readers, as it speaks to the best in immigrant experience.




4. I read this book with my teacher and classmates. I would, first of all, reccomend this book to teachers to read with their class, because it is a play, and it is fun to read with a lot of children. There are a lot of things we can learn from the book. Except an occasional swear word ( this is the reason I only gave the book 4 stars), It is a very good book.

   The book is about a family who was very poor. Some of the very important characters are: Mama- who is a very smart person, who counts every penny papa (her husband) brings home from work. Katrien- one of Mama's daughters whose dream is to become a writer when she grows up. Lars, Christine, & Dagmar- Mama's other children. Jenny, Sigrid, & Trina- Mama's sisters. Uncle Chris- Moma's brother, who is also the "head" of the family. Mr.Thorkleson- Trina's husband to be. These I think are the most important characters in the book.

   It is kind of hard to understand at first, but you'll get get used to it. Happy Reading!




5. "I Remember Mama" is a delightful book, a fond remembrance of "Mama" with all her strengths and weaknesses. It has all the charm of a bygone era when families seemed to be more cohesive and life may have had its ups and downs, but the family always pulled together. The book is written from the viewpoint of the eldest daughter, and looks back lovingly at Mama's life and how she did her best for her family. There are those occasional moments of epiphany when the daughter, now grown, realizes the adult reasons her mother had for making the choices she made, and understands the love that motivated them. I would put this book in the same category as "Cheaper by the Dozen", "Belles on Their Toes", "Mama's Bank Account", "Life With Father", and "Life With Mother", because all of these books show the ups and downs of family life in a simpler age, but with kindness and good humour. They allow the reader to be entertained, educated, and uplifted without a heavy tone or obscure references, and give the impression that it is still possible to have a happy, close family, even in these modern times.

No comments about Great Jobs for Theater Majors, Second edition (Great Jobs Series).