...Laurence Shyer Ballet in New York Poets have sung of Orpheus does it truly attempt an exploration of its Who returned from hell implications and images in a new context...

.... Characters eurydice her father orpheus a chorus of stones big stone little stone loud stone These characters should be double-cast: a nasty interesting man (called man) a child (lord of the underworld) eurydice’s grandmother (the father’s mother) old...

.... They did an amazing elevator. It smells funny and it’s tinny. Then you Orpheus in the production, but there was no budget. Madison walk out and you’re in a corporate hell. I was raining elevator in was the first time that people paid for their tick- thinking about that sort of moral neutrality...

... com- pleted another shared work, Der neue Orpheus. In this work the authors eschewed art for art’s sake and laid the foundations for a new style of music drama that would be respon- sive to and critical of its contemporary social, political...

... what? Just one little thing- Drama Guild. Cat on a Hot Tin Roof You know, I have always had a TOM: What is that one little thing? was wending its way to Broadway as feeling that I am black. JIM: Primarily it amounts to - social Orpheus finally descended...

..., to describe the urban crisis caused by cars in our 60 society. In any case, the playwright of this street accident throughout its seasonal cycle, through its ability to sing in now faces various ways to extend reality into the veiled the wind like Orpheus. In this way, poetry as the essence...

... University Press, 1991), 175–87. 6. Kowalke, Kurt Weill in Europe, 82. 7. Christopher Hailey, “Creating a Public, Addressing a Market: Kurt Weill and the Universal Edition,” in A New Orpheus: Essays on Kurt Weill, ed. Kim H...

... Bourgeois (1922). His two and Selfhood: The Desire of Order in Mozart’s collaborations with Kurt Weill, Der neue “Magic Flute” and has contributed to Theater Orpheus (1925) and Royal Palace (1925–26), and to Before His Eyes: Essays in Honor...

...- of Neoplatonists. In Mirandola, Ficino, Leone Ebreo, and Bruno, ward, constructing and destroying the classical texts, illum- Paul can be found next to the Sibyl of the Aeneid, King David, inating or disintegrating them, consecrating or desecrating, Orpheus, Moses, or Plato. For the hermetics and Florentine...

... of Grahamstown as part of the main program of the 2007 National Arts Festival. The latter version re-imagines Orpheus’s quest as a sha- manic journey into Jungian depths, bookended by two ritualistic sequences partly inspired by the minimalism and beauty of Balinese ceremonies. Defamiliarized...

.... wide-open landscapes. orpheus appears and, husband I give you the rich continent. behind him, all living creatures, who finally offer their obeisance to the god. Dancing...

.... The First International Kurt Weill Conference, held at Yale in 1983, celebrated the opening of two archives dedicated to preserving Weill and Lenya’s legacies and spawned A New Orpheus: Essays on Kurt Weill (1986). Kim Kowalke begins the collection...

... performance after performance, it heals. Dionysos, whose theatre celebrates can't be done. After all, a Greek play dissolution of body and soul, also prom• was given a single production at a time. ises wholeness and rebirth. Orpheus, the There were no long runs. artist...

... after performance, it heals. Dionysos, whose theatre celebrates can't be done. After all, a Greek play dissolution of body and soul, also prom• was given a single production at a time. ises wholeness and rebirth. Orpheus, the There were no long runs. artist, reconciles...

... the dead to the other side. But Kantor does not tragedy. The tragic protagonist of these first operas, even before only usher the dead, he also summons them. In this theater of the Monteverdi, was Orpheus, who summoned Eurydice from under...

.... As in earlier works, including The Master and Margarita (2009) and Orpheus (2014), the company preserves a narrative kernel and poetic idiom from their source but refashions it for theater. They neither rewrite nor deconstruct the novel. Using much of Flaubert’s text, Four Larks’ adaptation seizes...

... the final blow, freeing the field from the question. In the nothing new and frightfully theological tabula rasa, it is replacing the body in the depth of the figure, evoking it, drawing it like Orpheus’s harp, because “every comedy has an end thanks to the return of my body on the scene” (Paul Valéry...

... of the apocalyptic jeremiad, which identifies corruption as a historical crisis and prophesies that the end is near. Expres- sionist New Man ideology influences the plots of Williams’s early plays, ranging from Moonyi Kid Don’t Cry (1934) to Orpheus Descending (1957), in which the path to spiritual...

... of classical material. So, in that sense we’re doing a lot of new material. We’re working on an opera that we commissioned and are developing. It’s a new opera but it’s based on the Orpheus myth; it’s about Eurydice in New Orleans, so again to some degree it has a classical base. Who...

... in the bach‘s Orpheus in the Underworld is, to my eyes, an icon of his guise of sexy waitresses. Modern European productions, with their paranoid sensibility: the ridiculous spiked crown and imperial robe calendar-art backdrops or unecessary starkness, have missed this contrast with his earthy...