Search Results for cassandra

... I number and shows it to the audience. It’s the going to pay for it? number for the scene we’re about to see. I’ll let time sort things out for itself. I log in. Cassandra. My fever did not cease during the night...

...—and confesses that “for me it’s all the same.” Cassandra’s mind lives outside of time, yet her fl esh is chained to the chronological world...

...—and confesses that “for me it’s all the same.” Cassandra’s mind lives outside of time, yet her fl esh is chained to the chronological world...

...—and confesses that “for me it’s all the same.” Cassandra’s mind lives outside of time, yet her fl esh is chained to the chronological world...

...—and confesses that “for me it’s all the same.” Cassandra’s mind lives outside of time, yet her fl esh is chained to the chronological world...

... the King delicately under his arm and originating from inside. accompanies him toward the door at the back. You too come down from the car He invites him to enter into the royal palace. . . . Cassandra, I’m speaking to you . . . Before exiting, Agamemnon turns, You too enter...

...- Clytaemnestra, Iphigenia, Cassandra, and Electra-tend to be much livelier, more natural, and far less posed. If anything, they avoid self-indulgent exhibitions of power, and try to express instead their distinctive humanity, which of course makes them vulnerable to patriarchal violence. Orestes’s costume...

... of Astyanax. quarreling couples, both divine and Cassandra's prophecies are far clearer, human, make sufficient dramatic point. but lesslistened to because her madness He has not, perhaps, created an immortal is taken for granted by Sartre. There is masterpiece, but we are not able...

... and reinforces the values of a patriarchal in this family?” 74 society? SALTER And what do you see as the advantages in SCHAUB The text of Athena is terrible! She’s so being cast, Niru, as Iphigenia, as Cassandra...

... - that of Cassandra and the one with wall of Troy. I did not see the first production of Trojan Women. Menelaus - and tlien the relationship between these two scenes. Reviews make it clear that the doll was dismembered and beaten An old man (he is the main character) thinks about the characters before...

... for its New York stage debut in a Center for the National Book Critics Circle Award. He Contemporary Opera production in spring currently resides in New York City and is 2003. Cassandra, with text by Eva Salzman, was working on a new book, The Jew’s Kiss. written for the singer Kristen Nordervahl...

... as Si. Joan, Cassandra, the Brontes and Emily Dickinson. Her works move from the genre of morality and monologue plays to more consciously theatrical productions which incorporate more than one protagonist, spoken language and more collaboration with composers and designers of set...

... by this murder of lphigenia and his bringing home of Cassandra. But in this version Clytemnestra seems still to suffer deeply with those memories., She tells her taunting daughter: I remember Orestes three years old, unconscious from Agamemnon’s slap...

... the speech. The at• her sword, Elke Petri (Cassandra) exactly where to place her hands titudes are statuesque and clear, but the through-line of the inten• as she crawls into the House, and Tina Engel (Electra) at what tion is lost. "I concentrate to make no false step, no movement too precise angle...

... very things. In Agamemnon, I have the bodies of Agamemnon and fast. And sometimes by necessity you had the same role played by Cassandra suspended, hanging from the roof, after Clytemnestra two actors in succession. So the character becomes the mask and murders them. My image for that one...

... in performance is combined with perfor- mance media: Skype conversations are reproduced via projections that deliver a gigantic and exasperated student, ominously named Cassandra, to whom Monti responds “live”; certain scenes are transmitted as clips from a History Channel–like documentary on the ancient...

.... And yet this anorexic young woman, a shy and awk- ward version of Cassandra, had been right against everyone else. The German Left was wiped out overnight. Just a few months later, in 1933,Artaud was invited by Dr. Allendy to give a lec- ture at the Sorbonne on “The Theater and the Plague...

..., and Cassandra’s prophecies. Instead of an Easter apotheosis, there is the death of civiliza- tion and the end of humankind. No longer grandiose and cosmic, the apocalypse has become an anonymous everyday experience, hll of ordinary objects and unrelieved ter- ror. The sun chariot has become a wheelbarrow...