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Father's Prize Poland Chin

Once upon a time there lived in the heartland of America a farmer who had a successive string of prize Poland China hogs and two daughters, one plain and home grown, the other pretty and home flown. A gigolo enters their lives in a most upsetting manner. The plain daughter misconstrues his attentions and tumbles head over heels for the man, his charm and his high shining boots. It's the pretty one, however, who spends her nights entertaining the gigolo and ends up a fool for love with a black eye. The plain daughter intends to lure the gigolo into marriage by sharing with him the deed to the farm. But a third women who has lured father into marriage also has her eye on the deed. A lot of squealing ensues from both humans and hogs when the gigolo is found shot to death and discovered to have been married with children. Who did it? And what's wrong with father? Is he dead or alive? And what has become of the prize hog? It's a rollicking ending to a cleverly funny play. Winner of the American College Theatre Festival XXVI.

Faulkner's Bicycle

Drama / 1m, 3f / Blossoming wallflowers, the terrors of senility, the isolation of intellect and fear of failure are themes of this play about a journalist who, dispirited at the lack of passion in her life, returns home to Oxford, Mississippi, where her sister and ailing mother have an irritating neighbor: Bill Faulkner. While mother plays Chopin, plans a lavish garden, and dresses for a final tea party with the illustrious writer she has known since childhood, he rides his bicycle drunkenly about town at night and throws apples at strangers. He doesn't write anymore, but he does bestow life infusing gifts in this lyrical play by the author of Dream of a Common Language .

Fault Lines: Greenland – Iceland – Faroe Islands

In Greenland, the discovery of a new island off the nation's coast mirrors a growing rift between the island's discoverer and his family. In Iceland, set against the backdrop of the banking crisis, a confrontation between a real estate agent and a tenant takes an unexpected turn. A young woman's idealism is challenged by the infamous whale hunt in Faroe Islands. Nicolas Billon's critically acclaimed trilogy asks the audience to consider the values that guide human relations. As the characters confront us with their stories - at times confession, at times diatribe - we are forced to reckon with their yearning to belong to something larger than themselves. A striking new voice that can be described as a hybrid of Wallace Shawn and Neil Labute, Fault Lines showcases the wit and dark humour of its author, and offers a compelling exploration of relationships and the challenges of connecting to others in a meaningful way.

Faust: A Tragedy, Parts One And Two, Fully Revised (Dover Thrift Editions)

Hailed as Germany's greatest contribution to world literature, Goethe's Faust drew upon a folktale and Marlowe's Dr. Faustus for inspiration. But in this epic version, Faust sells his soul not for magic powers but for a heightened sense of existence. Part One covers his pact with Mephistopheles and seduction of an innocent girl; Part Two relates his courtship of Helen of Troy and his salvation. Acclaimed translation by Bayard Taylor.

Faust: A Tragedy (First Avenue Classics ™)

Faust, a once-godly scholar, is beginning to suspect that his efforts to learn the secrets of the universe will never be successful. Desperate, frustrated, and suicidal, he makes a deal with Mephistopheles, an agent of the devil. Signed in blood, the contract states that Mephistopheles will obey Faust on Earth, but in return, Faust must serve him in Hell. Faust is unaware that the pact is part of a wager that God and Mephistopheles have made over the fate of his immortal soul. Mephistopheles gives Faust anything and everything he wants, but is it worth the pain and suffering it causes Faust's loved ones? This is an unabridged version of German author Johann Wolfgang von Goethe's tragic play, first published in 1808, and translated by American poet Bayard Taylor in 1870.

Faust: (Part Two) (Thrift Editions Ser.)

The second part of Goethe's masterpiece opens with Faust struggling to recover from the death of his beloved Gretchen. The quick-witted demon Mephistopheles soon persuades him to look beyond his sorrow and enter the world of politics and power, but the great scholar is still eager for new sensations, and asks Mephistopheles to reveal Helen of Troy to him in a vision. Overwhelmed by her beauty, Faust demands she be brought back from the underworld - but even this fails to bring him contentment, and his appetite for knowledge remains unsated. Completed a few months before Goethe's death, this rich and allusive work weaves together a wealth of diverse philosophical ideas and influences, reworking the medieval myth of Dr Faustus and speculating upon the search for truth in the Age of Enlightenment.

Faust: The First Part of the Tragedy

While preserving the line structure of the German original and verbal echoes that permeate the poem, Margaret Kirby's translation of Faust I attempts to capture in unrhymed modern English the distinctive voices, wide metrical range, quick shifts in tone, comic and tragic registers, and other key stylistic elements of Goethe’s greatest poetic and dramatic masterpiece.

Faust

A classic of world literature, Goethe's Faust is a philosophical and poetic drama full of satire, irony, humor, and tragedy. Martin Greenberg re-creates not only the text's varied meter and rhyme but also its diverse tones and styles--dramatic and lyrical, reflective and farcical, pathetic and coarse, colloquial and soaring. His rendition of Faust is the first faithful, readable, and elegantly written translation of Goethe's masterpiece available in English. At last, the Greenberg Faust is available in a single volume, together with a thoroughly updated translation, preface, and notes. "Greenberg has accomplished a magnificent literary feat. He has taken a great German work, until now all but inaccessible to English readers, and made it into a sparkling English poem, full of verve and wit. Greenberg's translation lives; it is done in a modern idiom but with respect for the original text; I found it a joy to read."--Irving Howe (on the earlier edition)

Faust: A Tragedy, Part I

Goethe is the most famous German author, and the poetic drama Faust, Part I (1808) is his best-known work, one that stands in the company of other leading canonical works of European literature such as Dante’s Inferno and Shakespeare’s Hamlet. This is the first new translation into English since David Constantine’s 2005 version. Why another translation when there are several currently in print? To invoke Goethe’s own authority when speaking of his favorite author, Shakespeare, Goethe asserts that so much has already been said about the poet-dramatist “that it would seem there’s nothing left to say,” but adds, “yet it is the peculiar attribute of the spirit that it constantly motivates the spirit.” Goethe’s great dramatic poem continues to speak to us in new ways as we and our world continually change, and thus a new or updated translation is always necessary to bring to light Faust’s almost inexhaustible, mysterious, and enchanting poetic and cultural power. Eugene Stelzig’s new translation renders the text of the play in clear and crisp English for a contemporary undergraduate audience while at the same time maintaining its leading poetic features, including the use of rhyme. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Faust-Ikonologie: Stoff und Figur in der Bildkultur des 19. Jahrhunderts

Die Geschichte des Faust-Stoffes seit Goethe ist lange Zeit vor allem unter ideologischen Gesichtspunkten gedeutet worden. Die vorliegende Studie untersucht erstmals tiefergehend die populärkulturellen Resonanzen von Faust in der sich formierenden Medienmoderne des 19. Jahrhunderts. Die ‚Explosion der Bilder‘ sorgt dafür, dass Stoff und Figur in einer nie dagewesenen Vielfalt und Breite als visuelles Phänomen in Erscheinung treten. Faust wird zu einer populären Projektions- und Identifikationsfigur, die mit ganz unterschiedlichen Formen, Funktionen und Kontexten in Verbindung steht. Ihre Omnipräsenz in der Bildkultur des Jahrhunderts ist sowohl Spiegel als auch Katalysator dieser Entwicklungen.

The Faust Legend: From Marlowe and Goethe to Contemporary Drama and Film

What do men and women desire? For what will they barter their immortal souls? These two questions have haunted Western society, and these persistent queries find their fullest embodiment in the Faust legend. This memorable story, told and retold in novels, prose fiction, and drama, has also profoundly influenced music, art, and cinema. Sara Munson Deats explores its impact, tracing the development of the Faust topos from the seminal works of Marlowe and Goethe to the large number of dramatic and cinematic adaptations which have fascinated audiences and readers throughout the centuries. Her study traces the durability of this legend and its pervasive influence on the literature of the Western world, in which it has adapted across time, languages, and nations to reflect the concerns of a given era or place. This is the first comparative analysis of the Faust legend in drama and film.

Faust, Part 1

Faust, Part I: Ein Mythos Und Seine Bearbeitungen (Faust #1)

Goethe's Faust reworks the late-medieval myth of Dr Faust, a brilliant scholar so disillusioned he resolves to make a contract or wager with the devil, Mephistopheles. The devil will do all he asks on Earth and seek to grant him a moment in life so glorious that he will wish it to last for ever. But if Faust does bid the moment stay, he falls to Mephisto and must serve him after death. In this first part of Goethe's great work the embittered thinker and Mephistopheles enter into their agreement, and soon Faust is living a life beyond his study and - in rejuvenated form - winning the love of the charming and beautiful Gretchen. But in this compelling tragedy of arrogance, unfulfilled desire and self-delusion, Faust, served by the devil, heads inexorably towards destruction.

Faust, Part One: A Tragedy, Parts One And Two, Fully Revised (Dover Thrift Editions: Plays)

One of the most fecund and enduring legends in Western folklore and literature is that of Faust, the old philosopher who sells his soul to the devil in exchange for knowledge and power.Perhaps the most profound treatment of the legend in Goethe's Faust, a dramatic poem that incorporates the story's themes of wickedness and mysticism and draws on an immense range of theological, mythological, philosophical, political, and other cultural sources.The present volume reproduces Part One (first published in 1808), which tells of Faust's despair, his pact with Mephistopheles and his love for Gretchen. Containing a vast array of poetic styles -- epic, lyric, dramatic, as well as operatic and balletic elements -- the poem is one of the supreme achievements of Western literature.

Fausto

Originalmente publicado en 1970 como Fausto, un fragmento, nada en la literatura alemana igualaba la extraña concepción y el poder concentrado de este drama. En su convicción de que ningún sistema filosófico puede aportar justicia al mundo, que la experiencia humana es irreducible a ninguna serie de conceptos y que la literatura puede reflejar ampliamente la ambigüedad de la vida, Goethe invita con esta obra a una comparación con los grandes filósofos como Nietzche o Kafka. Fausto se convirtió en una obsesión para Goethe, estuvo trabajando en esta obra por más de 60 años, terminándola apenas unos meses antes de morir. Goethe plantea un Mefistófeles cuyo carácter demoníaco reside exclusivamente en la no aceptación del dogma de lo establecido. Es una criatura que reflexiona en base a lo que observa, lo que le convierte en un maestro de lo que podríamos denominar "filosofía natural". Es una obra compleja y muy rica que soporta distintos acercamientos y esto se ha probado, ya que de esta historia han salido óperas, obras teatrales, comedias musicales y distintos experimentos teatrales modernos.

Faustus

Having put his personal stamp on the contemporary theater, David Mamet now performs the supremely audacious feat of reinventing the theater of the past. He does so by telling his own ingenious and eerily moving version of the tragedy of Dr. Faustus. Mamet's Faustus--like Marlowe's and Goethe's before him--is a philosopher whose life's work has been the pursuit of "the secret engine of the world." He is also the distracted father of a small, adoring son. Out of the clash between love and intellect and the fatal operation of Faustus' pride, Mamet fashions a work that is at once caustic and heart-wrenching and whose resplendent language marries metaphysics to conman's patter. A meditation on reason and folly, fathers and sons, and a breathtaking display of magic both literal and theatrical, Faustus is a triumph.

Fearless (Fearless Series #1)

Better Nate than Ever meets Love Sugar Magic in this spooky middle grade novel from Hamilton and Broadway star Mandy Gonzalez about a group of young thespians who must face the ghost haunting their theater.Twelve-year-old Monica Garcia has arrived in NYC with her grandmother and a few suitcases to live her dream on Broadway. She&’s been chosen as understudy to the star of Our Time, the famed Ethel Merman Theater&’s last chance to produce a hit before it shutters its doors for good. Along with her fellow castmates—a.k.a. &“the squad&”—Monica has a big and very personal reason to want this show to succeed. But rumors of a long-running curse plague the theater. And when strange and terrible things start to threaten their hopes for a successful opening night, Monica and the rest of the squad must figure out how to reverse the curse before their big Broadway debuts. With the help of her new friends, her family, and a little magic, can Monica help save the show—and save their dreams? From Broadway and television star Mandy Gonzalez comes a story about what it means to dream, be yourself, and be fearless.

Federico García Lorca (Routledge Performance Practitioners)

Lauded as one of the most important poets and playwrights of the twentieth century, Federico García Lorca was also an accomplished theatre director with a clear process and philosophy of how drama should be staged. Directing both his own work and that of others, Lorca was also closely involved in the rehearsals for productions of many of his plays, and from his own writings and those of his collaborators, a determined agenda to stimulate audiences and renovate theatre can be seen.This is the first book in English to fully consider Lorca as a director and his rehearsal methodology. The book combines:- A biographical account of Lorca’s work as a director and rehearsal leader, revealing his techniques and methods of approach texts;- An exploration of his key writings on and around theatre, drawing on his talks, play introductions, and some of the dramatic works themselves;- The first translation into English of his fragment Dragón;- A detailed discussion of Lorca’s key productions, Lope de Vega’s Fuente Ovejuna (1933) for La Barraca, and his own Yerma (1934).- Specific focus on the practical applications that we can draw from Lorca’s methods, both from what survives of his own work and from the accounts of his close collaborators.As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today’s student.

Federico García Lorca (Routledge Modern and Contemporary Dramatists)

Immortalized in death by The Clash, Pablo Neruda, Salvador Dalí, Dmitri Shostakovich and Lindsay Kemp, Federico García Lorca's spectre haunts both contemporary Spain and the cultural landscape beyond. This study offers a fresh examination of one of the Spanish language’s most resonant voices; exploring how the very factors which led to his emergence as a cultural icon also shaped his dramatic output. The works themselves are also awarded the space that they deserve, combining performance histories with incisive textual analysis to restate Lorca’s presence as a playwright of extraordinary vision, in works such as: Blood Wedding The Public The House of Bernarda Alba Yerma. Federico García Lorca is an invaluable new resource for those seeking to understand this complex and multifaceted figure: artist, playwright, director, poet, martyr and in the eyes of many, Spain’s ‘national dramatist’.

Feeling the Future at Christian End-Time Performances

The End is always near. The Apocalypse has sparked imaginations for millennia, while in more recent times, highly publicized predictions have thrust End-Time theology briefly into the spotlight. In the 21st century, fictional depictions of various apocalyptic scenarios are found in an endless stream of films, TV shows, and novels, while real-world media coverage of global issues including climate change and the migrant crisis often features an apocalyptic tone. Feeling the Future at Christian End-Time Performances explores this prevalent human desire to envision the End by analyzing how various live End-Time performances allow people to live in and through future time. ? The book’s main focus is contemporary Christian End-Time performances and how they theatrically construct encounters with future time—not just images or ideas of a future, but viscerally and immediately real experiences of future time. Author Jill Stevenson’s examples are Hell Houses and Judgement Houses; Rapture House, a similarly styled “walk through drama” in North Carolina; Hell’s Gates, an “outdoor reality drama” in Dawsonville, Georgia; Ark Encounter, a full-size recreation of Noah’s Ark; and Tribulation Trail, an immersive thirteen-scene drama ministry based on the Book of Revelation. The book’s coda considers similarities between these Christian performances and secular survivalist prepper events, especially with respect to constructions of and language about time. In doing so, the author situates these performances within a larger tradition that challenges traditional secular/sacred distinctions and illuminates how the End Times has been employed in our current social and political moment.

Feeling the Future at Christian End-Time Performances

The End is always near. The Apocalypse has sparked imaginations for millennia, while in more recent times, highly publicized predictions have thrust End-Time theology briefly into the spotlight. In the 21st century, fictional depictions of various apocalyptic scenarios are found in an endless stream of films, TV shows, and novels, while real-world media coverage of global issues including climate change and the migrant crisis often features an apocalyptic tone. Feeling the Future at Christian End-Time Performances explores this prevalent human desire to envision the End by analyzing how various live End-Time performances allow people to live in and through future time. ​ The book’s main focus is contemporary Christian End-Time performances and how they theatrically construct encounters with future time—not just images or ideas of a future, but viscerally and immediately real experiences of future time. Author Jill Stevenson’s examples are Hell Houses and Judgement Houses; Rapture House, a similarly styled “walk through drama” in North Carolina; Hell’s Gates, an “outdoor reality drama” in Dawsonville, Georgia; Ark Encounter, a full-size recreation of Noah’s Ark; and Tribulation Trail, an immersive thirteen-scene drama ministry based on the Book of Revelation. The book’s coda considers similarities between these Christian performances and secular survivalist prepper events, especially with respect to constructions of and language about time. In doing so, the author situates these performances within a larger tradition that challenges traditional secular/sacred distinctions and illuminates how the End Times has been employed in our current social and political moment.

Feeling Theatre

Why is it that in going to see plays we are also touched or moved by them, and is there more than metaphor involved in such claims? Considering these and other questions, this book examines a range of contemporary performance works in which performers and their audiences occupy a shared realm of feelings, in which the play is not always the thing.

Feet of the Angels

Ever since her brother's untimely death, Marie has been fascinated with angels, believing her brother has become one. Now as a young woman, she has dedicated her doctoral thesis to the subject: the sudden portrayal of angels with feet in Renaissance paintings. As Marie tries to analyze the motive behind this, she begins to uncover questions of existentialism, societal perceptions of women, and the meaning of art and life. Her biggest challenge, though, becomes grasping a seemingly impossible understanding of her brother's suicide, and dealing with her own dislocation.

Fellini: The Sixties (Turner Classic Movies)

Style. Beauty. Passion. Vision. These are just a few of the words often used to describe the films of the single most celebrated director in Italy, and one of the most important directors the world has ever known--Federico Fellini. Fifty years since their initial releases, his films of the 1960’s still inspire, shock and delight. More than just encapsulating the 1960’s, these films also helped define the style of the decade. With a staggering twelve Academy Award nominations between his four feature films during this period, Fellini reached the heights of fame, film artistry, and worldwide prominence. Studied, analyzed and re-released over the years, these films continue to amaze each new generation that discovers them. Their impeccable style makes them timeless. Their images make them unforgettable. Their passion brings them to life. And their singular vision makes them unique in all of cinema. Fellini: The Sixties is a stunning photographic journey through the director’s most iconic classics: La Dolce Vita, 8½, Juliet of the Spirits, and Fellini Satyricon. Carefully selected imagery from the Independent Visions photographic archive, many published here for the first time, illuminate these films as they have never been seen before, and reveal fascinating details of the director’s working style and ebullient personality. With more than 150 photographs struck from original negatives, these images spring to life from the page with the depth and quality of the films themselves. Complemented with insightful essays from contemporary writers, Fellini: The Sixties is a true testament to the man and his work, a remarkable compendium to the legendary filmmaker’s greatest achievements.

Female Acts in Greek Tragedy (Martin Classical Lectures #15)

Although Classical Athenian ideology did not permit women to exercise legal, economic, and social autonomy, the tragedies of Aeschylus, Sophocles, and Euripides often represent them as influential social and moral forces in their own right. Scholars have struggled to explain this seeming contradiction. Helene Foley shows how Greek tragedy uses gender relations to explore specific issues in the development of the social, political, and intellectual life in the polis. She investigates three central and problematic areas in which tragic heroines act independently of men: death ritual and lamentation, marriage, and the making of significant ethical choices. Her anthropological approach, together with her literary analysis, allows for an unusually rich context in which to understand gender relations in ancient Greece. This book examines, for example, the tragic response to legislation regulating family life that may have begun as early as the sixth century. It also draws upon contemporary studies of virtue ethics and upon feminist reconsiderations of the Western ethical tradition. Foley maintains that by viewing public issues through the lens of the family, tragedy asks whether public and private morality can operate on the same terms. Moreover, the plays use women to represent significant moral alternatives. Tragedy thus exploits, reinforces, and questions cultural clichés about women and gender in a fashion that resonates with contemporary Athenian social and political issues.