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Hassan: The Story of Hassan of Baghdad and How He Came to Make the Golden Journey to Samarkand
by James Elroy FleckerNone.
Anna Christie
by Eugene O'NeillEarly in his career, Eugene O'Neill (1888-1953) wrote a series of plays revolving around characters obsessed with the sea. This period culminated in the 1922 production of Anna Christie, a drama of social realism that was among the first of the author's plays to explore characters searching for their own identities. Centering on the reunion of a barge captain and his daughter after a twenty-year separation, the play derives its tension from the former's disaffection for the seafaring life and the latter's love for a sailor. The father-daughter conflict elicits a shocking confession, which illuminates the author's contention that character is fate and the seemingly external forces controlling destiny actually lie within<P><P> .Anna Christie amply displays O'Neill's extraordinary insights into character and his masterly use of language, qualities that have earned him acclaim as one of America's greatest playwrights. Students and lovers of modern theater will prize this inexpensive edition of his landmark drama.<P> Pulitzer Prize Winner
Shakespeare at Work: 1592-1603
by G. B. HarrisonProvides discussion of the plays of Shakespeare written and performed during this period.
Manonmaneeyam
by P. Sundaram Pillai"Manonmaneeyam" tells us about the harm done by the wicked to the good, and how ultimately the good emerges victorious. This play is unique in the sense that, like English plays, it is divided into Acts and Scenes.
Voice and the Actor
by Cicely BerryThere is no right way--there are only a million wrong ways, which are wrong because they deny what would otherwise be affirmed. Wrong uses of the voice are those that constipate feeling, constrict activity, blunt expression, level out idiosyncrasy, generalize experience, coarsen intimacy. These blockages are multiple and are the results of acquired habits that have become part of the automatic vocal equipment; unnoticed and unknown, they stand between the actor's voice as it is and as it could be and they will not vanish by themselves. So the work is not how to do but how to permit: how, in fact, to set the voice free. And since life in the voice springs from emotion, drab and uninspiring technical exercises can never be sufficient. Cicely Berry never departs from the fundamental recognition that speaking is part of a whole: an expression of inner life.