Download A Wounded Name by Dot Hutchison PDF

By Dot Hutchison

Ophelia Castellan seriously isn't simply one other lady at Elsinore Academy. Seeing ghosts isn't really a ability prized in destiny society better halves. even if she takes her capsules, the bean sidhe beckon, reminding her of a promise to her lifeless mom. Now, within the wake of the Headmaster's unexpected demise, the complete academy is in turmoil, and Ophelia can not forget about the fae. specially as soon as she starts off seeing the Headmaster's ghosts—two of them—on the college grounds. Her simply confidante is Dane, the Headmaster's grieving son. but at the same time she supplies extra of herself to him, Dane spirals towards a sad fate—dragging Ophelia, and the remainder of Elsinore, with him.

You know the way this tale ends. but even within the face of convinced demise, Ophelia has a decision to make—and a promise to maintain.

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Extra info for A Wounded Name

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The actor should know these musical terms and have them constantly in mind, because they say almost everything. ),29 Albee similarly thinks of the control which is possible in musical composition and performance: You notate a play like a piece of music. By the use of punctuation, emphasis, underlining, you indicate the way a line is to be spoken. Two or three people in conversation are like two or three instruments answering each other. The structure of drama is similar to musical structure. When you have a dramatist who writes as precisely as Chekhov or Beckett, you can actually conduct the play - you know there is a silence here, a phrase there.

The box set is on the one hand an abstract which expresses the general idea of form and craft, and on the other serves as a space with human significance, just as the theatre space does. Voice considers its potential, using turns of phrase suggestive of past civilised values: 'room for a sedia d' ondalo . . ' When the set changes for Quotations from Chairman Mao, the deck of an ocean liner appears within the box frame of the earlier play. However, in contrast with Tiny Alice, here the theatrical metaphor requires no explanation.

Scenic elements are explored for the way in which they can stimulate and provoke the audience, not merely for the simple efficiency with which they provide an environment for the dramatic narrative. Albee's on-stage model with its 'mouse' inside, expressing Alice, truth, reality, whatever it is, is perhaps not a very happy invention in terms of the interpretation of the play. It looks as though it is expected to carry an intolerable burden of meaning. It is just as important, however, in exposing the pretence of the stage by playing with the value of images.

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