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In this fascinating study, Laurence Senelick shows what went into the making of this event. The author makes extensive use of various previously untapped Russian sources and reveals the conflicts, both personal and artistic, underlying the mixed succes of this epoch-making production. The goings-on behind the scenes turn out to be at least as dramatic as the action on stage! Especially the story of Craig's assistant and interpreter Suler(zhitsky) is very poinant. The book provides a very detailed description of the eventual production with the famous screens and describes its impact.
In his "Hamlet", Gordon Craig aimed to create a highly personal, almost hermetic symbolist drama. Stanislavski directed the actors on the basis of what he believed Craig's wishes to be -- and this at a time when he was still feeling his way towards his "method", which was much more naturalistic. Perhaps their approaches could never be reconciled, but at least they made this valiant attempt...
Subsequently, both men proved to be seminal forces in 20th century theatre: Craig became the prophet of the director as the pivotal figure in stage production, three-dimensional and abstract set design, and proper stage lighting (instead of shadows painted on canvas backdrops). He also helped to get theatre history off the ground as a respectable occupation. Stanislavsky needs no introduction, of course.
This study is essential reading for anyone interested in the grass roots of 20th century theatre. Moreover, this is no dessicated academic study. In places, it's as entertaining as a Robertson Davies novel.
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His writing. Of course! This book is subtitled _A Writer's Journal_ for good reason. Stapleton specifically picked out many entries where Thoreau ruminates about his own writing and the creative process. To this end, this book reads like a 19th-century _Chicken Soul for the Writer's Soul_. Anyone who writes can identify with considerations like these:
"The best you can write will be the best you are. Every sentence is the result of a long probation. The author's character is read from title-page to end. Of this he never corrects the proofs." (Feb. 28, 1841)
"We cannot write well or truly but what we write with gusto. The body, the senses, must conspire with the mind. Expression is the act of the whole man, that our speech may be vascular. The intellect is powerless to express thought without the aid of the heart and the liver and of every member." (Sept. 2, 1851)
"Write often, write upon a thousand themes, rather than long at a time, not trying to turn too many feeble somersaults in the air,--and so come down upon your head at last." (Nov. 12, 1851)
"I wish that I could buy at the shops some kind of india-rubber that would rub out at once all that in my writing which it now costs me so many perusals, so many months if not years, and so much reluctance, to erase." (Dec. 27, 1853)
"Time never passes so quickly and unaccountably as when I am engaged in composition, i.e. in writing down my thoughts. Clocks seem to have been put forward." (Jan. 27, 1858)
"The more you have thought and written on a given theme, the more you can still write. Thought breeds thought. It grows under your hands." (Feb. 13, 1860)
(Is he speaking to *us* or to *himself*?) We also see publication notes of the two books released during Thoreau's lifetime, _A Week on the Concord and Merrimack Rivers_ and _Walden_. We read discourses and ramblings that will later become essays like "Slavery in Massachusetts" and "A Plea for Captain John Brown." The latter are served without any intrusion from the editor, so the savvy reader might need to brush up on pre-Civil War history to put the words into context. Thoreau's discussions about putting pen to paper make the audience feel almost guilty for spending time reading, not writing. A volume that can be appreciated by nature-lovers, contemporary transcendentalists and writers alike.
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Srikant "Steve" Hemmady
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I would also like the gift certificate!
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