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Desdemona (Oberon Modern Plays) epub download

by Rokia Traoré,Peter Sellars,Toni Morrison


Only 10 left in stock (more on the way). Peter Sellars is one of the most innovative and powerful forces in the performing arts in America and abroad.

Only 10 left in stock (more on the way). A visionary artist, Sellars is known for his groundbreaking interpretations of classic works. Series: Oberon Modern Plays.

Toni Morrison was awarded the Nobel Prize for Literature in 1993. At first glance, Morrison's response to Sellars and Shakespeare is a provocative though unnececessary sequel

Toni Morrison was awarded the Nobel Prize for Literature in 1993. She is the author of many novels, including The Bluest Eye, Beloved (made into a major film), Paradise and, most recently, Home. She has also received the National Critics Circle Award and a Pulitzer Prize for her fiction. Rokia Traoré is a Victoires de la Musique award-winning Malian singer, songwriter and guitarist. At first glance, Morrison's response to Sellars and Shakespeare is a provocative though unnececessary sequel. She is 'playing in the light,' as it turns out.

The story of Desdemona from Shakespeare's Othello is re-imagined by Nobel Prize laureate Toni Morrison, Malian singer and songwriter Rokia Traoré, and acclaimed stage director Peter Sellars

The story of Desdemona from Shakespeare's Othello is re-imagined by Nobel Prize laureate Toni Morrison, Malian singer and songwriter Rokia Traoré, and acclaimed stage director Peter Sellars. Morrison's response to Sellars’ 2009 production of Othello is an intimate dialogue of words and music between Desdemona and her African nurse Barbary. Morrison gives voice and depth to the female characters, letting them speak and sing in the fullness of their hearts

Toni Morrison, Rokia Traore, Peter Sellars. Lyrics by Rokia Traore and a Foreword by Peter Sellars.

Toni Morrison, Rokia Traore, Peter Sellars.

Oberon Books Ретвитнул(а) Oberon Books. recommendation no. 3: - Burgerz by isalabanza - with the 2019 tour having just ended, get your teeth into the play text of their acclaimed show that explores how trans people exist in the world. ly/34N1qE9 pi. witter. 1 ответ 1 ретвит 1 отметка Нравится.

Desdemona is a play by Toni Morrison. It was first produced in Vienna in May 2011. The title character of the play is Desdemona, the wife of the title character in Shakespeare's Othello. The 2011 play arose from a collaboration between Morrison, director Peter Sellars, and musician Rokia Traoré, and revolves around Desdemona's relationship with the African nurse who raised her.

Peter Sellars and Toni Morrison agreed that he would stage Shakespeare’s Othello and that .

Peter Sellars and Toni Morrison agreed that he would stage Shakespeare’s Othello and that she would create a response to the work. Now Ms. Morrison has delivered her part of the bargain in Desdemona, a production directed by Mr. Sellars that opened in this Paris suburb on Oct. 13 at the Théâtre Nanterre-Amandiers and ran through last Friday. Mr. Sellars brought in Rokia Traoré, the 37-year-old Malian singer/songwriter, who has an austere, intimate style different from much of drum-inflected African world music.

The story of Desdemona from Shakespeare's Othello is re-imagined by Nobel Prize laureate Toni Morrison, Malian singer and songwriter Rokia Traor�, and acclaimed stage director Peter Sellars. In this intimate dialogue of words and music between Desdemona and her African nurse Barbary, Morrison gives voice and depth to the female characters, letting them speak and sing in the fullness of their hearts.

Morrison debuted another work in 2011: She worked with opera director Peter Sellars and Malian singer-songwriter Rokia Traoré on a new production, Desdemona, taking a fresh look at William Shakespeare's tragedy Othello. The trio focused on the relationship between Othello's wife Desdemona and her African nursemaid, Barbary, who is only briefly referenced in Shakespeare.

The story of Desdemona from Shakespeare's Othello is re-imagined by Nobel Prize Laureate Toni Morrison.

Desdemona (Oberon Modern Plays) epub download

ISBN13: 978-1849433891

ISBN: 1849433895

Author: Rokia Traoré,Peter Sellars,Toni Morrison

Category: Other

Subcategory: Humanities

Language: English

Publisher: Oberon Books (October 23, 2012)

Pages: 96 pages

ePUB size: 1410 kb

FB2 size: 1946 kb

Rating: 4.2

Votes: 539

Other Formats: azw rtf mbr mobi

Related to Desdemona (Oberon Modern Plays) ePub books

Hǻrley Quinn
I bought this play for a class. It's beautifully written (like it wouldn't be, given it's a Toni Morrison...). I was lucky enough to recently attend a staged reading of it, and it's even better in performance! If you get a chance to see it, I highly recommend it.
Hǻrley Quinn
I bought this play for a class. It's beautifully written (like it wouldn't be, given it's a Toni Morrison...). I was lucky enough to recently attend a staged reading of it, and it's even better in performance! If you get a chance to see it, I highly recommend it.
Gavinrage
I received a very corrupted copy of this play, where whole verses at the bottom of the page were missing. The speaker indications were not clear, and the introduction of characters without any hint of who they are and what they represent was very confusing. In all, not a well thought out project.
Gavinrage
I received a very corrupted copy of this play, where whole verses at the bottom of the page were missing. The speaker indications were not clear, and the introduction of characters without any hint of who they are and what they represent was very confusing. In all, not a well thought out project.
ZloyGenii
School use.
ZloyGenii
School use.
Hamrl
Love it!
Hamrl
Love it!
Agrainel
Can't speak for myself as this was a gift for my granddaughter in college but she loved it!
Agrainel
Can't speak for myself as this was a gift for my granddaughter in college but she loved it!
Kazimi
"The valiant never taste of death but once" (William Shakespeare, 'Julius Caesar' Sc II, Act ii,ln 32). Dying twice is the curse of the cowardly according to Caesar. In the case of Toni Morrison's Desdemona; misery is the curse for having but one life after gaining wisdom in death. At first glance, Morrison's response to Sellars and Shakespeare is a provocative though unnececessary sequel. She is 'playing in the light,' as it turns out. Perhaps she is the first dramatist to do so and Shakespeare the earliest to 'play in the dark.' Both execute their purposes with a sharp sense of their central characters. Shakespeare's tragedy uses the acceptable Moor who is nearly absent from his own story to discuss evil i.e., to discuss Iago. In some ways recalling how 'Julius Caesar' tells the story of Brutus. Morrison uses a rather shallow Desdemona to move forward with brevity a re-examination of the motivation and character of the Moor, Othello.

Morrison presents a morality piece and introduces a preferable defense for the noble General's brutal reaction to warnings from his trusted ensign. She offers disloyalty in service rather than simple-mindedness or raw passion for the slaying of the naive Desdemona--a traditionally intelligible retribution. Morrison gives an overdue reminder to readers; the loyal Moor is married to the military. 'Desdemona' is a plausible characterization of the suffering and slain now enlightened paramour to Othello. The full soldier takes the war that surrounds him as his lover. Re-directing attention to a mature Desdemona musing over her youth and its "trivial" (cf. 7, 37) romantic provocations prolongs the classic drama enough for her to grow in wisdom, to discover a more defensible motive for her death, and to have her story placed within the descriptive history of the times.

Sa'ran as Desdemona's nurse, Barbary, becomes the voice of clarity and symbol of the dark environment among the common population of Shakespeare's England as compared to the insular royal life of the Elizabethan court. England enters into slave trade with the New World. There is the scourge of the Black Death on land, scurvy, the formidable Barbary pirates at sea, and the actual (or predicted) death of the beloved virgin queen, Elizabeth. Shakespeare creates a credible and sympathetic black Other--Othello--to fight battles for the wealthy against brutes and sets a petty officer beside the Other with whom he closely binds. The envious attendant projects personal jealously for his missed promotion onto the General in an otologic plot of mortal intent. Unfortunately, the play's actors and audiences likewise are infected with suggestions of jealous rage.

Morrison and Shakespeare acknowledge generals fight battles to win and to punish rather than to gain peace or discernment. In both their tragedies, attention subtly turns to the glaring attribute likely found in most successful military officers--militarism. A carefully analyzed soldier of rank proves his utter efficiency and unconditional subordination of all interests save those affairs of war. Profound unguarded trust and warmheartedness required of genuine love (unlike the "love" glibly expressed by most of the characters throughout the original drama) demonstrate weakness to adversaries and are feelings foreign to the warrior experience especially when combat training starts at a very early age. The dark tragedy of Morrison's Desdemona is her late-coming awareness of the impact of militarism, its killing ways, and her eternal inability to affect change without another opportunity at life.
Kazimi
"The valiant never taste of death but once" (William Shakespeare, 'Julius Caesar' Sc II, Act ii,ln 32). Dying twice is the curse of the cowardly according to Caesar. In the case of Toni Morrison's Desdemona; misery is the curse for having but one life after gaining wisdom in death. At first glance, Morrison's response to Sellars and Shakespeare is a provocative though unnececessary sequel. She is 'playing in the light,' as it turns out. Perhaps she is the first dramatist to do so and Shakespeare the earliest to 'play in the dark.' Both execute their purposes with a sharp sense of their central characters. Shakespeare's tragedy uses the acceptable Moor who is nearly absent from his own story to discuss evil i.e., to discuss Iago. In some ways recalling how 'Julius Caesar' tells the story of Brutus. Morrison uses a rather shallow Desdemona to move forward with brevity a re-examination of the motivation and character of the Moor, Othello.

Morrison presents a morality piece and introduces a preferable defense for the noble General's brutal reaction to warnings from his trusted ensign. She offers disloyalty in service rather than simple-mindedness or raw passion for the slaying of the naive Desdemona--a traditionally intelligible retribution. Morrison gives an overdue reminder to readers; the loyal Moor is married to the military. 'Desdemona' is a plausible characterization of the suffering and slain now enlightened paramour to Othello. The full soldier takes the war that surrounds him as his lover. Re-directing attention to a mature Desdemona musing over her youth and its "trivial" (cf. 7, 37) romantic provocations prolongs the classic drama enough for her to grow in wisdom, to discover a more defensible motive for her death, and to have her story placed within the descriptive history of the times.

Sa'ran as Desdemona's nurse, Barbary, becomes the voice of clarity and symbol of the dark environment among the common population of Shakespeare's England as compared to the insular royal life of the Elizabethan court. England enters into slave trade with the New World. There is the scourge of the Black Death on land, scurvy, the formidable Barbary pirates at sea, and the actual (or predicted) death of the beloved virgin queen, Elizabeth. Shakespeare creates a credible and sympathetic black Other--Othello--to fight battles for the wealthy against brutes and sets a petty officer beside the Other with whom he closely binds. The envious attendant projects personal jealously for his missed promotion onto the General in an otologic plot of mortal intent. Unfortunately, the play's actors and audiences likewise are infected with suggestions of jealous rage.

Morrison and Shakespeare acknowledge generals fight battles to win and to punish rather than to gain peace or discernment. In both their tragedies, attention subtly turns to the glaring attribute likely found in most successful military officers--militarism. A carefully analyzed soldier of rank proves his utter efficiency and unconditional subordination of all interests save those affairs of war. Profound unguarded trust and warmheartedness required of genuine love (unlike the "love" glibly expressed by most of the characters throughout the original drama) demonstrate weakness to adversaries and are feelings foreign to the warrior experience especially when combat training starts at a very early age. The dark tragedy of Morrison's Desdemona is her late-coming awareness of the impact of militarism, its killing ways, and her eternal inability to affect change without another opportunity at life.
Kriau
More men need to be introduced to "Desdemona." It was an experience I needed. It would be a welcome addition to sensitivity training classes no matter the basic topic. Seeing the point of view from other perspectives is jarring and enlightening.
Kriau
More men need to be introduced to "Desdemona." It was an experience I needed. It would be a welcome addition to sensitivity training classes no matter the basic topic. Seeing the point of view from other perspectives is jarring and enlightening.
Toni Morrison never let's you down.
Toni Morrison never let's you down.