Love Me Or Kill Me
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📒 Love Me Or Kill Me ✍ Graham Saunders
✏ Love Me Or Kill Me Book Summary : Love Me or Kill Me is the first study of Sarah Kane, the most significant British dramatist in post-war theater. It covers all of Kane's major plays and productions, contains hitherto unpublished material and reviews, and looks at her continuing influence after her tragic early death. Locating the main dramatic sources and features of her work as well as centralizing her place within the 'new wave' of emergent British dramatists in the 1990's, Graham Saunders provides an introduction for those familiar and unfamiliar with her work.
📒Love Me Or Kill Me ✍ Hanna Kubowitz
✏Love Me or Kill Me Book Summary : Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 1.5, University of Freiburg (Englisches Seminar), course: Hauptseminar: British Drama after 1945, language: English, abstract: "From first to last [the] play is concerned with sexual and physical violence. (...) Nobody (...) will deny that it is the function of the theatre to reflect the horrific undercurrents of contemporary life. But it cannot be allowed, even in the name of freedom of speech, to do so without aim, purpose or meaning." "[The play] isn’t just disgusting, it’s pathetic (...) a lazy, tawdry piece of work without an idea in its head beyond an adolescent desire to shock." Accusations like these give evidence of how emotional, outraged, and hysterical theatre critics react when challenged by unexpectedly shocking and indigestible performances. It may come as a surprise that the above extracts are neither part of one single critique, nor do they refer to one single play. The first quote refers to Edward Bond’s Saved (1965), whereas the second one refers to the late Sarah Kane’s Blasted (1995). Not incidentally, both playwrights were accused by numerous irritated critics of committing the same unacceptable affront: They were reproached for depicting the most disgusting forms of violence on stage, merely for the sake of paying tribute to violence itself. .... “Violence shapes and ob¬sesses our society, and if we do not stop being violent we have no future (...) It would be immoral not to write about violence” (Bond 1978: 3). Although accepting and in fact admiring Bond’s decision to comment on his own work, Sarah Kane was always very reluctant about making “authorised” statements concerning her work. Nevertheless, she did provide equally comprehensible or even convincing reasons for putting violence on stage: “If you are saying you can’t represent something, you are saying you can’t talk about it, you are denying its existence, and that’s an extraordinarily ignorant thing to do.” Yet, paradoxical as it might seem,considering this apparent commitment to the representation of violence, violence is only a marginal topic in all of Kane’s plays. ... Based on an analysis of the 1998 play Cleansed, this paper aims at a reassessment and revaluation of Sarah Kane’s work: Violence – both physical and emotional – is an important ingredient, and yet only a minor theme in the plays. It is dominated by the all-encompassing theme of love. Love and violence, however, are not examined as two separate individual experiences. On the contrary, it is their overlapping that is scrutinised.
✏Love me or kill me Sex and love in the 1619 play The Maid s Tragedy by Francis Beaumont and John Fletcher Book Summary : Seminar paper from the year 2015 in the subject English Language and Literature Studies - Literature, grade: 2.3, University of Bonn (Institut für Anglistik, Amerikanistik und Keltologie), course: The Renaissance in England, language: English, abstract: If love is not the main issue in "The Maid's Tragedy", is the play a sex tragedy rather than a love tragedy? How important is sex for the story and is it connected with love in any way? This paper is supposed to answer exactly these questions with a strong focus on the meaning of sex and sexual relationships for the plot and for single characters, who have an important role. Furthermore, it will be analysed how sex is depicted in the play and what this tells about its role. "The Maid's Tragedy", written by Francis Beaumont and John Fletcher and published for the first time in 1619, is one of the plays that is often called a love tragedy due to the fate of the lady Aspatia, who is about to marry young Amintor, before the king forces Amintor to marry his own mistress, Evadne, to cover their sexual affair. Having such a plot, "The Maid's Tragedy" is a typical one for Jacobean theatre, which is explained by Marie Axton, quoted by Kristin Bezio stating “the playhouses of late Elizabethan and Jacobean London were a 'freer' place for political discussion than court or Parliament, and this drama actively participates in the ongoing Jacobean debates about the viability of tyrannicide.” This idea puts the king's acting into the play's focus, rather than the love between Aspatia and Amintor and their tragedy. Given this idea, one might ask if the play can really be called a love tragedy, or if the love story is just a subplot or a frame around the actually important issue: the sexual relationship between the king and his mistress and all its consequences that, by chance, are also consequences for the two lovers.
📒Kiss Me Or Kill Me ✍ Amargeaux Rai
✏Kiss Me or Kill Me Book Summary : This is a book poetry was made to reach out to people who are struggling and just need a hug. Read it for yourself or share with someone you love.
📒Plz Kiss Me Or Kill Me ✍ Mihir Raj,
✏Plz Kiss me or Kill me Book Summary : Mihir Raj a medico who developed a great passion for writing by the virtue of an introspective phase in his life when he realized this innate quality. Pursuing final year medical degree from Russia, he is a star blogger at Jagranjunction of Dainik Jagaran. He dreams to build hospitals in far flung areas where health facilities still do not exist and people do not get even the basic health care. Reach him at www.mihirraj.com
📒Theatre And Celebrity In Britain 1660 2000 ✍ Mary Luckhurst
✏Theatre and Celebrity in Britain 1660 2000 Book Summary : Theatre has always been a site for selling outrage and sensation, a place where public reputations are made and destroyed in spectacular ways. This is the first book to investigate the construction and production of celebrity in the British theatre. These exciting essays explore aspects of fame, notoriety and transgression in a wide range of performers and playwrights including David Garrick, Oscar Wilde, Ellen Terry, Laurence Olivier and Sarah Kane. This pioneering volume examines the ingenious ways in which these stars have negotiated their own fame. The essays also analyze the complex relationships between discourses of celebrity and questions of gender, spectatorship and the operation of cultural markets.
📒Love Me Or I Ll Kill You ✍ Lee Butcher
✏Love Me Or I ll Kill You Book Summary : Love At First Sight Angel-faced Paula Guitierrez was 15 when she met 14-year-old Nestor (Chino) DeJesus on a subway platform in New York City. Almost immediately they began a torrid affair fueled by sex and marijuana. But while Chino charmed Paula's parents, behind closed doors he was a sadistic control freak who forced Paula into submission and beat her when she tried to escape. And A Gun With A Plan Moving to Tampa, Florida, the couple found themselves penniless and hungry with a two-year-old daughter to feed. The only thing going for them was a semiautomatic Mac 11 pistol and a reckless plan. On the morning of July 6, 2001, the sordid saga of Paula and Chino finally reached its inevitable violent end. Make A Deadly Pact Hats and bandannas over their faces, the desperate duo rushed into a bank with their gun raised and walked out with $10,000. Believing they'd made a clean getaway, within the hour they found themselves in a tense standoff with two SWAT teams--one cop dead in the street. The only way out was suicide. Pointing the guns at themselves, Chino began counting to three. . .but only one would die. Includes 16 Pages Of Shocking Photos!
📒Eclipse Of Action ✍ Richard Halpern
✏Eclipse of Action Book Summary : "Thy bloody and invisible hand": tragedy and political economy -- Greek tragedy and the raptor economy: the Oresteia -- Marlowe's theater of night: Doctor Faustus and capital -- Hamlet and the work of death -- The same old grind: Milton's Samson as subtragic hero -- Hegel, Marx, and the novelization of tragedy -- Beckett's tragic pantry -- Postscript: after Beckett
📒Revelation Or Damnation Depictions Of Violence In Sarah Kane S Theatre ✍ Lea Jasmin Gutscher
✏Revelation or Damnation Depictions of Violence in Sarah Kane s Theatre Book Summary : With her controversial stage art, the young playwright Sarah Kane broke new dramaturgic ground and made a lasting impression that changed British drama forever. Even though it is part of the canon covering post-war drama, Kane’s work has often met with misunderstanding and fierce criticism due to the uncountable representations of atrocities. How can we make sense of Kane’s seemingly crude and bleak theatre? Mainly concentrating on the play Cleansed, the author examines the nature of violence in Kane’s writing. What purpose does it serve? Is it simply employed for its shock value? Or is it rather used as a metaphor? Kane herself considered her third full-length play as a play about love. In suggesting a figurative reading of the late playwright’s texts, the author shows how Kane embraces violence as a metaphor of the various sufferings both love and life perpetrate upon the human being. Locked beneath the revolting cruelties, we can find a vivid theatricality, powerful images, and a unique rhythm and sound of language.
📒Song Of Spider Man ✍ Glen Berger
✏Song of Spider Man Book Summary : “One of the best literary works of this year” (Miami Herald-Tribune): The true story of a theatrical dream—or nightmare—come true…the making of the Spider-Man musical. As you might imagine, writing a Broadway musical has its challenges. But it turns out there are challenges one can’t begin to imagine when collaborating with two rock legends and a superstar director to stage the biggest, most expensive production in theater history. Renowned director Julie Taymor picked playwright Glen Berger to cowrite the book for a $25 million Spider-Man musical. Together—along with U2’s Bono and Edge—they would shape a work that was technically daring and emotionally profound, with a story fueled by the hero’s quest for love…and the villains’ quest for revenge. Or at least, that’s what they’d hoped for. But when charismatic producer Tony Adams died suddenly, the show began to lose its footing. Soon the budget was ballooning, financing was evaporating, and producers were jumping ship or getting demoted. And then came the injuries. And then came word-of-mouth about the show itself. What followed was a pageant of foul-ups, falling-outs, ever-more harrowing mishaps, and a whole lot of malfunctioning spider legs. This “circus-rock-and-roll-drama,” with its $65 million price tag, had become more of a spectacle than its creators ever wished for. During the show’s unprecedented seven months of previews, the company’s struggles to reach opening night inspired breathless tabloid coverage and garnered international notoriety. Through it all, Berger observed the chaos with his signature mix of big ambition and self-deprecating humor.