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The book focuses on the heroism of Jews throughout Europe who
risked their lives to save their coreligionists under Nazi rule.
The contributors discuss and analyze the actions of Jews who
rescued other Jews from the hands of the Nazis. These actions took
place, to different degrees, in Germany, in Axis states and all
across Nazi-occupied Europe, from the early stages of persecution
until the war's end, in the framework of collaborative efforts and
individual initiatives. The Jews who rescued other Jews during the
Holocaust came like their non-Jewish counterparts from different
backgrounds: men and women, old and young, religious and secular,
wealthy and poor, educated and uneducated. The rescue missions took
place in ghettos, areas without ghettos, jails, camps, hospitals,
children's homes, schools, monasteries, in hiding. This book
focuses on these rescue missions and the people behind them,
reminding us of their courage and willingness to act, even when it
put their own lives in danger.
When Jubal Slade moved his family to Texas and tried to enroll his
children in the local school system, they discovered something
amazing. The boys had wanted to play sports in High School, but the
demands and restrictions of local coaches allowed for only one
option for his children, Oatman High School. His daughter, a gifted
and extraordinary young girl, discovered that Oatman's lowly status
among the community's schools went way beyond the sports programs.
The family, along with their FBI appointed protector Wiley, uncover
corruption and cover-up while helping rebuild Oatman's disheveled
football team into a winner
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Sara Bear (Paperback)
Alan Schneider; Illustrated by Alan Schneider; Paul Sharp
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R332
Discovery Miles 3 320
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Ships in 10 - 15 working days
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For Alan Schneider, directing "Endgame," Samuel Beckett lays out
the play's philosophy, then adds: "Don't mention any of this to
your actors!"
He claimed he couldn't talk about his work, but Beckett proves
remarkably forthcoming in these pages, which document the
thirty-year working relationship between the playwright and his
principal producer in the United States. The correspondence between
Beckett and Schneider offers an unparalleled picture of the art and
craft of theater in the hands of two masters. It is also an
endlessly enlightening look into the playwright's ideas and
methods, his remarks a virtual crib sheet for his brilliant,
eccentric plays.
Alan Schneider premiered five of Beckett's plays in the United
States, including "Waiting for Godot," "Krapp's Last Tape," and
"Endgame," and directed a number of revivals. Preparing for each
new production, the two wrote extensive letters--about intended
tone, conception of characters, irony and verbal echoes, staging
details for scenes, delivery of individual lines. From such details
a remarkable sense of the playwright's vision emerges, as well as a
feel for the director's task. Of "Godot," Beckett wrote to
Schneider, "I feel my monster is in safe keeping." His confidence
in the director, and Schneider's persistent probing for a surer
understanding of each play, have produced a marvelous resource: a
detailed map of Beckett's work in conception and in production.
The correspondence starts in December 1955, shortly after their
first meeting, and continues to Schneider's accidental death in
March 1984 (when crossing a street to mail a letter to Beckett).
The 500 letters capture the world of theater as well as
thepersonalities of their authors. Maurice Harmon's thorough notes
provide a helpful guide to people and events mentioned
throughout.
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