2 comments about Schoenberg: Pierrot Lunaire (Cambridge Music Handbooks).

1. As many who admire a lot of so-called "difficult" music know, the more you listen, the more you hear. If a work is really inspired and intelligently composed, any open-minded listener can come to appreciate it. After 90+ years, most who care about 20th century music would probably agree that PIERROT LUNAIRE has stood the test of time. It's mesmerizing, beautiful, frightening, all at the same time. Certainly it's challenging too, but what really good music is not?

   Jonathan Dunsby had done a service to Schoenberg with this straightforward analysis of PIERROT. Plenty of background information is provided (although more on Albertine Zehme and the early performances of the piece would have been useful). Musical analysis is not forbiddingly technical. Anyone who can read music should be able to follow Dunsby's lead with a score. Those who don't read music should be able to hear what the author points out in precise prose.

   It is important to cover as many aspects of PIERROT as possible: because the piece itself is brief and because Schoenberg carefully chose and set each poem. Dunsby treats each melodrama as a separate entity, but he also relates each one to the whole. It is also commendable that he discusses much of PIERROT in terms of melody. The composer was in the process of inventing a new kind of melody and he started an exploratory process that still continues today. Over and over again, Dunsby points out the kaleidoscopic melodic and instrumental variety of this fascinating musical landmark. PIERROT is not an important "museum piece", but an engaging masterpiece that lives on in performance today.




2. Jonathan Dunsby has helped to demystify the difficult and complicated issues surrounding this Schoenberg masterwork. The included English translation by Andrew Porter is excellent, and, by the way, can be heard with the German version (yes, both the English and the German on the same recording!) on Bridge BCD 9032 with Lucy Shelton and the Da Capo Chamber Players. Dunsby gives a detailed history of the work itself and the modern expressionist era that surrounds it, and a very useful interpretive and intentionally incomplete analysis of each of the twenty-one melodramas that will help the performer or the listener gain a better understanding of the work that shaped contemporary classical music. This is not for the faint of heart! Both Schoenberg and Pierrot are very complex, so be prepared to dig into specialized terminology and subject matter.

2 comments about Sleuth: A Play (Playscript, 46).

1. The middle aged Andrew Wyke, a successful author of English country house murder mysteries, is an obsessive player of games, games of deductive logic, inductive logic, semantics, mathematics, hypnosis, and prestidigitation. Milo Tindle, the young lover of Andrew's wife Marguerite, has cautiously accepted an invitation by Andrew to his house.

   Anthony Shaffer's play Sleuth opened to rave reviews in London in February, 1970, with Anthony Quayle and Keith Baxter in the lead roles. In the film production by Palomar Pictures Production and Twentieth Century Fox the roles of Andrew Wyke and Milo Tindle were played by Laurence Olivier and Michael Caine.

   Sleuth makes fascinating reading on several levels. The setting, an English country home, initially suggests a predictable English mystery. However, despite some elements of humor, the disguised rivalry between Wyke and Tindle gradually develops overtones of a psychological thriller. Like Tindle, the reader is uncertain whether Wyke is simply playing a game, or whether he has more serious intentions. Obsessive game playing and make believe appear to be metamorphosing into a dangerous reality, but who is the victim? The plot is highly unpredictable and it would be inappropriate to say more.

   The dialogue is fast paced and witty. Sleuth is entertaining, suspenseful, and great fun.




2. The one extremely odd thing about this play was the fact that it was more of an entertainment than anything else, which is something that the old, stodgy theater would highly frown upon. Actually, though, it comes across as more of a breath of fresh air in a profession which is breathing its last in the public eye. The story twists and weaves almost too much to keep track of, but ostensibly this is the story of a young foreign gentleman in England who is visiting an older native. The older man has called him over to talk about a concern. The younger man (Milo)is getting married, and it turns out that the woman in question is the older man's ex-fiancee. What starts out as a polite inquiry into the Milo's finances suddenly turns ugly, as his elder intends to scare him. The two become embroiled in a psychological battle of scares and pranks up until the unexpected ending of the play. The key words here are Reversal of Expectation, taken almost to ludicrous extremes but always clear and understandable. The dialogue is quick, clever, and entertaining, and the characters are memorable. Best of all, this play can be performed easily on a budget and with a limited cast and crew; the script is that undemanding. The only thing you should consider bringing to the table here is an experienced director and two very talented actors.

1 comments about Seneca: The Tragedies (Complete Roman Drama in Translation).

1. The "translations" in this two volume set aim at capturing the flavor of Seneca in roughly the same number of lines of poetry (most translations are longer than the originals, expanding upon the compacted Latin for the sake of literalness). These are good reading, and do capture something of the power of Senecan tragedy. But teachers should beware that they are often interpretive adaptations rather than literal translations. Ideas are often added to clarify the translators' sense of what a speech is about, for example. These occasionally obtrusive choices make these texts less than optimal for certain kinds of classroom teaching.

No comments about Batman Returns: The Official Book of The.

3 comments about Tales of the Lost Formicans and Other Plays.

1. i have recently read this play twice because i will soon be stage managing this very play at my university...if there is someone out that that is considering to read Constance Congdon's play, please read it. and if all else, i quote something my director told me when she was considering this play, "Constance songdon reminds me of Arthur Miller...on ACID!!!" i know it's funny, but when you are done reading this play you will understand what she meant; and it's TRUE.



2. It is a crime that Constance Congdon is not a household name like Arthur Miller. She consistantly writes some of the best, most touching, and startling original plays that this nation has ever produced. She has written much more than this retrospective would indicate, but this is a good collection that shows a range or her style and content. It is nearly pointless to try to summarize the inclusions here as the unfolding of the unknown into something painfully familiar is part of the delight of her work.

   Her writing challenges the expectations of the reader/audience, without causing separation from the pieces. Anyone looking to read some plays that prove sublime enjoyment and mind-blowing freshness are not mutually exclusive would be well served to pick up this excellent volume.




3. Connie Congdon is a not-well-enough known genius of late 20th Century American Theater. A contemporary of Sam Sheppard and August Wilson, her late-blooming fame is probably due to the facts that she is a woman, and that her work cannot be categorized. Her plays, as evident in this broad collection, run the gamut from the lyrical to the overheard conversation, to some magical place in-between. They are deeply moving and often hilarious. The world would do well to sit up and pay attention to this post-modern bard.
   Suzyn Jackso

No comments about Waiting in the Wings: A Larger Audience for the Arts and How to Develop It.

No comments about The Director as Collaborator.

3 comments about Martha: The Life and Work of Martha Graham.

1. Agnes De Mille, has an objective view of Martha Graham, and at the same time, a very close relationship with the Artist. Her description on Martha's moods, are eloquent, and astute, as if you were Agnes De Mille herself, witnessing the intricate life of this Genius, Martha Graham.
   The beggining of the book, might be a bit long if you are not a Dancer, but once it gets to the point, it is a very exciting book, you must own it.
   Enjoy your readding...



2. It is unfortunate that this book is out of print, for it gives a overview of one of the most brilliant choreographers of the twentieth century. The mind and values of Martha Graham are exposed in detail by the author, and it serves its purpose in giving the curious reader insight into the life and dance technique of a woman who single-handedly developed one of the most original forms of movement to this date. Anyone who is overcome by watching the dances of Graham will definitely appreciate this book, written by a person who had known Graham for fifty-eight years. Included in the book are an excellent collection of black-and-white photographs, both of Graham and some of the people she worked closely with. Indeed, Graham was a beautiful woman, and her personality, as well as her physical beauty, are exemplified nicely in these photographs.

   The knowledge one can gain from the reading of this book makes it well worth the time, for by reading it one can understand how Graham developed her technique, interestingly without any government aid; there was no National Endowment of the Arts to assist in her endeavors. Graham viewed dance as a celebration, and eschewed the attitude of those who danced for monetary gain. One reads of Graham's relationship with Louis Horst, and of the popularity of the writings of the philosopher Frederich Nietzsche among Horst, Graham, Doris Humphrey, and Isadora Duncan.

   Graham's father told her that "bodies never lie", and this statment apparently had a major influence on her resulting "philosophy of dance", as well as the influence of Ruth St. Denis and Erick Hawkins. The author discusses the differences between the dance technique of Graham and Humphrey, the latter being characterized as mathematical by the author, the former emotional. But I find the Graham technique straightforward to view from a mathematical standpoint, if one is so inclined.

   The technical aspects of the Graham technique are brought out nicely in the book, one example being the marvelous description of the "spiral fall" and its recovery. One also learns of the use of "plastiques", i.e, the posing and moving in scarves and costumes by the dancers. Also, it is interesting to learn of the omission of mirrors in the early Graham studios; lest the student, in the author's words, "drown in his own image". The class routine for the Graham dancers, particularly the floor exerices, along with the spasm of the the diaphragm, are the most well-known manifestation of the Graham technique, and are discussed nicely in this book.

   It is fortunate that Graham was able to find such dedicated students for her classes. Forcing to live a frugal existence, these students found her dances a "religion that they served", according to the author. Indeed, if one has ever viewed modern dance performances of the Graham technique, one can see this attitude in the dancers, as though they were priveleged, and moving to a unique traceform in space never before executed.

   The Graham technique is brilliant, and it forces one to rethink preconceived notions of what movement must be, and instead speculate on what it could be. Graham in her works made it readily apparent that gravity is real, but that it need not be a total master. Even on the floor the Graham dancers are in control, at least momentarily, interpolating brilliantly between order and bodily dissonance. Martha Graham, as protrayed by the author, was an innovator and a determined individualist, and has given us a unique collection of traceforms, both in our memories and in books and videos, that will embolden us and refresh us always.....




3. Agnes de Mille, a distinguished and popular choreographer in her own right, and a sometimes intimate friend of Martha Graham, has written an outstanding biography of this iconic woman. The story of Martha Graham is inevitably the story of Modern Dance-- which many would say she invented--and the history of American artists--of which she was the queen.

   De Mille's book is both extremely informative and thoroughly enjoyable. She gives you the history you need in order to put Graham's revolutionary dance technique in context, and then she offers personal insights and observations on the life, love affairs, personality, triumphs, and tragedies of the inimitable Martha.

   A portrait of a truly incredible, inspiring, tiny giant of a woman by another who is at least her equal in intellect and probably in artistry as well.

   For anyone interested in dance, this book is an absolute must.

5 comments about The Essential Guide to Vehicles and Vessels (Star Wars).

1. This has great illustrations and information on Star Wars vehicles.
   My son loves this.



2. Okay. Before the prequels this was a fantastic book that gave you a ton of information on the ships of the Star Wars universe. Not just the movie trilogy, but also the books. The problem is now this reference book is made obsolete by not only the prequels, but other books.
   
   These books do not have any details from the prequel movies. No Naboo fighters, no Jedi starfighters, no clone army arsenal. So if you want that information you either have to wait for the latest of the latest books or get the revised version (which doesn't include vehicles from Revenge of the Sith).
   
   Another thing I have noticed is that not all of the details in this book coincide with other books like the Incredible Cross Sections and Visual Dictionaries. Which is more accurate? Your guess is as good as mine.
   
   Still take all that away and look at how much this book is going for you are getting a ton of useful and interesting details about these vehicles. If you love getting into the technical side of things this book will suit you in at least a limited capacity. If you really want techinical hit up on the Incredible Cross Sections books. Although you only get a fraction of the ships covered here.
   
   If you want a complete listing wait. If you are happy with just the trilogy stuff and what's from the books before this was published you are in for a treat.



3. I am a huge fan of star wars, and so I decided to read some of the novels. I hated how there were so many ships that I didn't recognize. This book helped alot in visualizing the ships. It's also great if you're obsessed with details like I am. Beyond that though, I don't know if it's essential, as it focuses more on the novels thn the movies. Even then it's still lacking several ships from the novels, so all in all it's fun, but not essential for someone who is just a casual fan.



4. The Essential Guide to Vehicles and Vessels is a key reference book for the casual Star Wars fan or avid reader keen to know what their galaxy is flying and driving. Combining fun and informative knowledge makes this a great treat, and with the newer edition now out, there's no better time to acquire this when the price is low and many entries don't appear in the second guide.

   Each ship or vehicle is rendered with an outline schematic and pencilled illustration. Though colourless, depth and detail are more than sufficient to give you an exact idea what they are. Key systems and functions are labelled, telling you the placement of guns and other technical stuff, which is useful, though some tags are no more than just telling you this a support struts, that an engine nacelle.

   Pictures are brought to life by description, and the description for entries varied considerably. It's certainly informative for a casual reader, but many fans will find it light in detail too many places, specifics too vague at times. These guides should provide the basic specs of a ship: like manufacturer, length, number and types of guns, fighter complement, speed, and perhaps cargo capacity. While the Imperial Star Destroyer had extensive stats, the Ubrikkian space cruiser didn't even have a length, while the sandcrawler's height is only given, not its length. Both guides say only the Super Star Destroyer has "over a thousand weapons", but don't provide an extra sentence or two to say its composition.

   A considerable percentage of entries came from the Dark Empire comics, whose ships and vehicles have rarely been used outside those three comics. While the World Devastator and various starfighters within are of interest, who would care for the Amphibion water tank, TIE crawler tank or Hutt Caravel, that weren't even important in their respective comics?

   The EGVV features many stuff from quaint and obscure sources, like gargantuan insectile Ithullian ore haulers, Star Home, Shieldships, Coral Vanda and private vehicles to name a few. The manufacturer section in the beginning is useful in identifying who makes what.

   The errors and consistencies will appear only to the fan well conversant in SW lore. The TIE Defender made no mention of its tractor beam (neither did the NEGVV), the Sun Crusher looks different from its Dark Apprentice book's cover art, Star Home was undergunned from what its book said, are just some of the many but minor tidbits you'll discover.

   But it was the excessive redundancy that was the primary failing of this guide. Many important ships were omitted like the Strike Cruiser, Corellian Gunship, Assault Frigate, Floating Fortress and Golan battle stations, all in frequent and popular usage when this was done. Alas, the NEGVV omitted them as well. Yet there are THREE landspeeder entries, THREE Death Stars, TWO swoops and TWO B-wings.

   Overall, the EGVV is a great reference guide for those wondering what their SW ships and vehicles look and are, and with most of its contents unseen in the second guide, still have value as a current purchase.




5. Like the other Star Wars: Essential Guide books this book allows you to see what ships that featured in the many books looked like. A lot of the familier ships are here TIEs, X-Wings, Mon Cal Cruisers and Star Destroyers along with many unfamilier vessels Dreadnoughts, Victory Star Destroyers and Cloakshape fighters including several vessels from the books that covered the period some 10,000 or so years before the films. Giving manufacturer names, specifacations and some facts about each craft this book is useful if you ever wanted to know a little more about the Star Wars ships and vehicles.

   However this book does have some flaws. It gives the size of the Executor SSD at 8,000 meters, it has since been agreed that the Executor is closer to 18.5 KMs in length LARGER that the Eclipse by a full kilometer Lucas himself has apparently confirmed this. Also the Victory and Imperial Star Destroyers have the pictures mixed up.

   Apart from these flaws it is an interesting book.

3 comments about Saved (Methuen Modern Plays).

1. After years of hearing about the famous scene in Saved, and wanting to read it, and maybe even see it, I finally got to do the former, and am here to pass on that this is a remarkable play, not to be missed if it is being presented near you, and is also a great read-who likes working their Cockney dialect?-and has a wallop of a core to boot.
   Very much an ensemble story, Saved does have a main character, but it's scenes are mostly two-person short/quick dialogues, full of angst and boredom. The scene of infanticide is in the middle and serves as the apex of the nothingness that embodies the lives of these post-war, post-angry young man English, who's pursuits are none, other than occasional work, a night out, eating...you know, the basicness that allows for cruelty, when no valuable purpose is apparent.
   What makes Saved remarkable though is Len, the central character, who's constant interest and seemingly clueless tenacity turns out to be it's moral core that resounds with a curiosity and compassion that make for a real courageous and bold vision of modern life.
   Len's involvement in the family, his presence at their home, his dogged attachment to Pam, his lone interest in the baby, his questioning of Fred, his excitment at Mary and willingness to bond with Harry all make for a picture of hope and wonder in the midst of so much hatred, fear, nihilism, desperation, ignorance, boredom.
   A true classic. Highly recommended. Needs to be seen to be truly appreciated.



2. If you can believe that people make love out of boredom, why should you have trouble believing that they would kill just to pass the day? This play, a modern "must read/see" classic, takes as its premise that murder and fornicating become morally more or less indistinguishable when people have nothing better to do. The banality of evil? Well, if you can sit at your desk and sign death warrants for 6 million Jews, why not throw lighted matches and burning cigarette butts into a baby's perambulator? Why not try a few stones? London audiences were said to have gasped at the sight of the notorious scene, but in the overall context of the play, it's nothing new. The author sets up the 'world' of these oafs and louts, who have never had a thought in their heads, let alone some sort of complex moral compunction. They're deadheads. The author's play is upsetting not because they throw rocks at kids but because they do it because it was done to them, because...etc., right back to the stone age. Who ever said there was progress?



3. Yesterday night, I saw the play "Saved", by Edward Bond, with 2 friends of mine. It was translated in Greek, but I'm sure it doesn't lose anything of the original English text in the translation, which was excellent. The play lasted a little more than 3 hours, which in itself was exhausting. So, one first comment is that, while "Saved" is good writing, & the characters come alive...still, why 3 hours? Definitely overlong, in my opinion.

   "Saved" is basically the story of a family. A father & mother, who hate each other & won't even address each other by name, but still live in the same house. Their daughter, who is a very sick young woman, maybe suffers from bipolar disorder & clearly has severe psychological problems. This woman, Pam, forms a relationship with a young man (Len) who seems kind of a loser, but is kind & caring nontheless. In the beginning, they promise that they'll be different from Pam's parents...but of course, this promise soon, too soon, is forgotten. Still, Len is the only person that stands by Pam, when she's most in need, & even after she falls desperately in love with another man, who couldn't care less about her.

   The rest of the story I won't reveal. "Saved" is basically the story of extreme unhappiness in one family, a family that choses silence & sometimes loud, violent fights over talking & trying to communicate. They don't know HOW to communicate, all they know is shouting, hating, throwing things & crying. This is a very sad (but powerful) play, very violent at parts, which is the reason for the 3 stars: I can understand & appreciate characters with problems. But there's one scene which has to do with a baby, which broke my heart while I was watching it, & which I can't seem to get over. I know it is a powerful scene, & I know that many people might argue that it's the most meaningful scene in the play. But I just found it too cruel to be meaningful.