Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

In recent years, classicists have begun aggressively to explore the impact of performance on the ways in which Greek and Roman plays are constructed and appreciated, both in their original performance context and in reperformances down to the present day. While never losing sight of the playscripts, it is necessary to adopt a more inclusive point of view, one integrating insights from archaeology, art, history, performance theory, theatre semiotics, theatrical praxis, and modern performance reception. This volume contributes to the restoration of a much-needed balance between performance and text: it is devoted to exploring how performance-related considerations (including stage business, masks, costumes, props, performance space, and stage-sets) help us attain an enhanced appreciation of ancient theatre.

British sex comedy. Mary Millington, 70's sex goddess, stars as a lady who leads a takeover of a health farm, developing some interesting new treatments along the way. When a pair of forgers hide out at the farm, events reach a hilariously naughty climax.

Animated feature for the Fab Four. The Beatles - John (voiced by John Clive), Paul (Geoffrey Hughes), George (Peter Batten) and Ringo (Paul Angelis) - are shocked to be transported to a world inhabited by the evil, apple-wielding Blue Meanies. Travelling to Pepperland in their yellow submarine, the foursome attempt to halt the Meanies reign of terror by showing them that all you really need is love. The real Beatles make a cameo appearance at the end of the film.

Live concert from the American folk blues singer celebrating three decades in the music business. Recorded in New York's Madison Square Garden, Dylan was joined on stage by a plethora of musical icons from Johnny Cash to Stevie Wonder and Eric Clapton to Neil Young. The songs performed include 'Like a Rolling Stone', 'It Ain't Me Babe' and 'I'll Be Your Baby Tonight'.

Psychedelic late 1960s pop fantasy released by the Beatles' Apple films, with music by George Harrison and surreal brightly-coloured sets. Jack MacGowran plays Oscar Collins, an eccentric butterfly scientist who becomes obsessed with his neighbour, Penny Lane (Jane Birkin) after discovering a secret peephole in the wall between their flats. Penny is a young and beautiful fashion model, who spends her days in her rainbow painted pop apartment smoking dope, cavorting around in various states of undress and making love to her sexy boyfriends. Collins is soon overcome by his delusional fantasies about her, and repeatedly loses himself in trippy musical daydreams.

A classic reprint from 1918 giving the history of the Bolsheviks & I.W.W. Today, locked behind several sets of steel bars in one of those dungeons Capitalism has prepared for workers who challenge its rule, the writer watches the play of social forces in the greatest of crises ever yet facing this stage of civilization. Someone has said that the people of any given period do not grasp the significance of events transpiring under their eyes; that events are only historically understood as they move into the past and afford perspective. It may be that my interested isolation, my severance from active participation in the great; drama, affords such perspective. But, be that as it may, the writer feels constrained to point out what, in his opinion, is the lesson to the workers contained in recent and current history what means that inspiring light that penetrates even the prison windows and floods my cell with the glory of the Red Dawn?