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Big Ben Strikes Eleven
David Magarshack; Introduction by Martin Edwards
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R317
R260
Discovery Miles 2 600
Save R57 (18%)
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Ships in 9 - 15 working days
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The discovery of Sir Robert Boniface’s body on the floor of his
blue limousine was made quite accidentally on a sultry Friday
evening towards the end of June. The industrial and financial
tycoon, and former stalwart of the British Cabinet, had been shot
in the head and left in the quiet Vale of Health alongside
London’s Hampstead Heath. Nearby, a rejected portrait of Sir
Robert is found riddled with bullets in the studio of the now-
missing romantic artist Matt Caldwell. As it hurtles towards its
feverish denouement under the bells of the capital’s most famous
clock, this closely observed and stylish study of both character
and motive transports the reader from the Stock Exchange to
Scotland Yard. It asks the question of what it means to be crooked
and how immense power corrupts. First published in 1934, this novel
is now extremely rare, and is long overdue its rediscovery.
What is Chekhov's method of ensuring audience participation? What
does his stage direction 'through tears' mean? What happens between
the first and second acts of The Seagull? Is there any reason for
the despondency in Chekhov's drama? This book, first published in
1972, discusses these questions and many other issues around
Chekhov's last four plays. David Magarshack, the leading translator
and biography of many of Russia's greatest writers, closely
examines Chekhov's work for the relevant facts about his writing,
and demonstrates that no reliance should be placed on the so-called
subtext which can introduce all sorts of irrelevancies arising from
pre-conceived ideas about the plays. A careful reading of Chekhov's
text itself is all that is needed to correct the familiar
distortions of his characters and themes.
What is Chekhov's method of ensuring audience participation? What
does his stage direction 'through tears' mean? What happens between
the first and second acts of The Seagull? Is there any reason for
the despondency in Chekhov's drama? This book, first published in
1972, discusses these questions and many other issues around
Chekhov's last four plays. David Magarshack, the leading translator
and biography of many of Russia's greatest writers, closely
examines Chekhov's work for the relevant facts about his writing,
and demonstrates that no reliance should be placed on the so-called
subtext which can introduce all sorts of irrelevancies arising from
pre-conceived ideas about the plays. A careful reading of Chekhov's
text itself is all that is needed to correct the familiar
distortions of his characters and themes.
Konstantin Stanislavsky is one of the colossi not simply of
Russian, but American and European theatre. The works of the
creator of the Stanislavsky System - which later gave rise to the
Method - have tended to shroud him in mystique, leading his
followers to revere him as a saint and his detractors to dismiss
him out of hand. As Irving Wardle says in his foreword to this
edition (1986), David Magarshack's biography - first published in
1950 - offers 'a vigorous, highly readable narrative that succeeds
in demystifying the working of the Moscow Art Theatre, and in
removing Stanislavsky from his pedestal without cutting him down to
size. To his autobiographical writings, Magarshack supplied the
companion piece - A Life - and as such it remains unsuperseded.'
Konstantin Stanislavsky's reputation is founded on his theory of
acting and its application in practice. This volume contains his
posthumous work The Stysem and Methods of Creative Art, together
with an introductory essay by translator David Magarshack, giving a
careful exposition and a critical analysis of his 'system'. Two
appendices deal with Stanislavsky's views on stage ethics and
melodrama. A comprehensive guide to Stanislavsky's work.
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Oblomov (Paperback)
Ivan Goncharov; Translated by David Magarshack
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R408
R334
Discovery Miles 3 340
Save R74 (18%)
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Ships in 9 - 15 working days
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Written with sympathetic humor and compassion, this masterful
portrait of upper-class decline made Ivan Goncharov famous
throughout Russia on its publication in 1859. Ilya Ilyich Oblomov
is a member of Russia's dying aristocracy--a man so lazy that he
has given up his job in the Civil Service, neglected his books,
insulted his friends, and found himself in debt. Too apathetic to
do anything about his problems, he lives in a grubby, crumbling
apartment, waited on by Zakhar, his equally idle servant. Terrified
by the activity necessary to participate in the real world, Oblomov
manages to avoid work, postpones change, and--finally--risks losing
the love of his life. This superb translation by David Magarshack
captures all the subtle comedy and near-tragedy of the
original.Includes a new introduction and chronology of Goncharov's
life and works
This collection, unique to the Modern Library, gathers seven of Dostoevsky's key works and shows him to be equally adept at the short story as with the novel. Exploring many of the same themes as in his longer works, these small masterpieces move from the tender and romantic White Nights, an archetypal nineteenth-century morality tale of pathos and loss, to the famous Notes from the Underground, a story of guilt, ineffectiveness, and uncompromising cynicism, and the first major work of existential literature. Among Dostoevsky's prototypical characters is Yemelyan in The Honest Thief, whose tragedy turns on an inability to resist crime. Presented in chronological order, in David Magarshack's celebrated translation, this is the definitive edition of Dostoevsky's best stories.
Uncle Vanya has been described as the least pleasant and most
bitter of Chekhov's plays - yet the difficulty in communication is
one of its outstanding features.
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