Two of Wedekind's most seminal plays, "e;Earth Spirit"e; and "e;Pandora's Box"e; both focus on the actions of the young heroine Lulu, who embodies both animal sensuality and waif-like innocence, as she escapes a life on the streets, receives a society education, marries, takes on various lovers, becomes a dancer in a revue, is imprisoned for murder, and encounters Jack the Ripper. When "e;Earth Spirit"e; was premiered Leipzig in 1898, Wedekind was vilified and persecuted for advocating unfeigned sexual pleasure and making his heroine a heartless whore. "e;Death and Devil"e; and "e;Castle Wetterstein,"e; the other plays that make up this volume, are essentially extensions of and complementary to the Lulu tragedies.

“At the beginning stands Wedekind.” So wrote German literary critic Rudolf Kayser in 1917 of the new forms of expressionist theater that were then becoming central to German culture. In Schloss Wetterstein (Castle Wetterstein), one of his most important plays, Wedekind offers a satirical take on marriage and the bourgeois nuclear family; at the play’s center is a rebellious teenage girl who turns to prostitution after her upbringing in an unstable household. The play was published in 1912, but a performance ban was put into effect immediately, and continued until after Wedekind’s death. This new edition offers a fresh translation, an illuminating brief introduction, and a selection of background materials that help to set the play in context.

Two of Wedekind's most seminal plays, Earth Spirit and Pandora's Box both focus on the actions of the young heroine Lulu, who embodies both animal sensuality and waif-like innocence, as she escapes a life on the streets, receives a society education, marries, takes on various lovers, becomes a dancer in a revue, is imprisoned for murder and encounters Jack the Ripper. When Earth Spirit was premiered in Leipzig in 1898, Wedekind was vilified and persecuted for advocating unfeigned sexual pleasure and making his heroine a heartless whore. Death and Devil and Castle Wetterstein, the other plays that make up this volume, are essentially extensions of and complimentary to the Lulu tragedies.

Play pretend with someone Or play pretend alone Using your imagination You will have a lot of fun!

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This book is a guide to Berg's second opera, Lulu, written in non-technical language and intended for those students and music lovers wishing to become familiar with one of the masterpieces of twentieth-century music. Jarman presents a clear and concise introduction to the musical language and to the intricate musical and dramatic structure of Berg's opera. The volume also examines the literary background, the genesis, composition, and tortuous posthumous career of the work. The final chapters survey the performance history and suggest a possible interpretation of this complex and challenging composition. An important feature of the book is the inclusion of source documents and critical responses to the opera. Illustrated with photographs from the premiere and from recent productions, the volume also includes a synopsis, bibliography, and discography.

Separation and miles cannot keep a determined cardinal from his loved one in an ode to serendipity and belief that is destined to be a Christmas classic. Red and Lulu make their nest in a particularly beautiful evergreen tree. It shades them in the hot months and keeps them cozy in the cold months, and once a year the people who live nearby string lights on their tree and sing a special song: O Christmas Tree, O Christmas Tree. But one day, something unthinkable happens, and Red and Lulu are separated. It will take a miracle for them to find each other again. Luckily, it’s just the season for miracles. . . . From Matt Tavares comes a heart-tugging story combining the cheer of Christmas, the magic of New York City, and the real meaning of the holiday season: how important it is to be surrounded by love.

In Nothing eight young people - including a Vandal, a Stalker and a Porn Girl - recount their experiences, capturing the apathy rampant in today's youth. Yet Nothing is much more than a series of monologues. It is about - among other things - cupcakes, action films, crap television, shitting, sex, buses and stalking. It is about alienation and being young. Initially written as eight monologues by Lulu Raczka (winner of the Sunday Times Young Playwriting Award), Nothing asks questions about the nature of theatre itself. In its original production by Barrel Organ Theatre the performers improvised a new cut with every performance, each starting the show without knowing which particular monologue they would be performing on that occasion. Nothing is thus a game for both performer and audience, but it is also a serious interrogation of the structures within which we live.

(Applause Books). "The complete script to Frank Wedekind's symphony or rather a cacophony of deotic sexual rhetorics. Eric Bentley's achievement here as translator is a beautifully playable and juicy English; his larger gift is the opening to us of what must be ranked as among the supreme masterpieces of nineteenth-century theater." Donald Lyons, The New Criterion