Search Results for melville

..., contrasts and repetitions." It is theatrical equivalents for Melville's nar- Lowell's voice which pervades this vol- rative. Mood, states of mind, and descrip- ume, rendering the past contemporary tion must all be conveyed through and insisting upon the communality...

..., contrasts and repetitions." It is theatrical equivalents for Melville's nar• Lowell's voice which pervades this vol• rative. Mood, states of mind, and descrip• ume, rendering the past contemporary tion must all be conveyed through and insisting upon the communality of dialogue...

... is sometimes enlivened, but mostly sad- dom has not died, that they simply hide like dened, by the contradiction. fugitives within the ambience of jingle, slang, Anderson follows Melville’s example in and cliché, waiting to be detected by the canny that her production is not really about a whale observer...

... as time erases everything, Nathan’s quirky mind Melville’s Father Mapple and sings of Noah’s races and wanders; you keep thinking he’s like a destiny in a kind of ecstatic rapture, Cole stands cross between Ahab and Krapp, though the alongside Eckert singing some...

... Herman Melville’s Bartleby the Scrivener, adapted by R. L. Lane...

... can’t” in his lexicon. In his essay on Moby-Dick (Nowy Jonasz, 1993), he used a fine Polish transla- tion of Melville and in the process “tailored” it brilliantly to suit his needs. But Melville’s original would not submit to Kott’s demands. The result was awkward and unconvincing. Lacking the skill...

..., suburbanites, intellectuals, the press. Susan Yankowitz reviewed Robert Lowell’s Benito Cereno in the second issue. The play is based on the Melville novella, itself derived from the Amistad incident. “It is interesting to see the way in which Lowell, slighty diverging from Melville, points up...

...- and I do share that.” The Myopia, which he began in 1990, incor- porates nearly ten years of writing experiences. At one point the play stretched across several fifty-page acts, including one about the Republicans’ intraparty feuds over liquor interests. In early incarnations, Melville...

.... We learn about T.S. Eliot, who was a Royalist. But in fearless, and that’s what I want to raise up. terms of the whole other stream of writing - they always hold up Henry James over Melville, for instance. They say that Mark...

... the appearance of what would appear Hemingway, even Scott Fitzgerald, to be an obvious rival, vale/theatre. and not too far removed from the im• pulse-though not American-James Perspectives, nevertheless, seem necessary. Joyce. Melville and Hawthorne should Theatre magazines...

..., and it is no surprise that Vinaver regards T.S. Eliot as a profound influence on his work. In 1946, when he was studying for a B.A. at Wesleyan University, the 19-year-old Vinaver took a class on contemporary American poetry taught by Newton Arvin, the great Hawthorne and Melville scholar. “Discovered...

... in the ruins of yesterday’s performance: sausage, mustard, anxiety, and anger.10 From the fog of Kas- tanienallee comes Bert like out of a movie by Jean-­Pierre Melville: more elegant and 10 bert...

... of Gershwin songs and Gorky s Summerfolk, Velimir Khlebnikov s Zangezi, A Seagull at the Kennedy Center. What s the source of this attraction? PETER SELLARS In the 19th century the great American authors didn t write for theater. They wrote novels and short stories. Melville never wrote for the theater...

... the coincidence of the uses of this familiar for- mula in both Beckett and Sartre, Beckett’s scenario stages something close to Sartre’s model of the gaze. “Sartre’s primary stories about vision,” as Stephen Melville writes, “are about the encounter of two persons, one of whom imposes vision on the other...

... through an evening’s performance is to realize that he is engaged in a much more complex (and benevolent) deception that harks back to P. T. Barnum and Herman Melville’s Con- fidence Man. Talen co-opts the persona of a right-wing televangelist and uses...

... found expression in nearly all emplary, but the contributions of Dexter, Forster and Eric Crozier after Melville's of his productions at the Metropolitan, William Dudley (who designed the scenery novella. The new production, directed by among them a dark and austere staging of and costumes both...

... devised Center Stage’sjoint uideo pro- ductions with the Maryland Centerfor Public Broadcasting, directing (with Tom. Barnett) an adaptation of Melville’s Bartelby the Scrivener, named best...

... Alice in Won- derland, The Open Theatre's use of The Bible in The Serpent, and The Performance Group's use of Melville, Thoreau, and other Amer- ican writings in Commune. These texts all suggested dramatic ac- tions, but some of the finest moments in the productions came not from enacting...

... based on stories by Hawthorne and Melville. As Robert Brustein said, in 40 the introduction to those plays, "1 nvested Jonathan Miller at a Prometheus rehearsal...

... explain? Are you the world is indirect and weak at best. Here willing to take risks? Are you willing, as Her- is where I have, in a sense, really parted com- man Melville says, to risk a complete catastro- pany...