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Dina Ross

When Brecht wrote The Good Person of Szechuan (1939–42), he had been influenced by the colour and brashness of Chinese theatre, whose archetypal heroes and villains underpinned his concept of the Alienation Effect. Brecht, ever the political theorist, wasn’t interested in characters with whom the audience empathised, or of employing Stanislavski-based a ...

Shy is a strange beast – part memoir, part journalistic investigation, part cri de coeur. Reading it, you are immersed in the interior life of an intelligent and sensitive woman. The experience is unsettling, almost voyeuristic. You wonder whether you should be sharing such an intense and honest self-scrutiny, and often feel as if you were breaching the sanctity of the confessional. But discomfort is Sian Prior’s aim: she wants the reader to feel the unease and embarrassment she has had to cope with all her life. For Prior suffers from a common but crippling social anxiety: she is painfully shy.

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East by Steven Berkhoff

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April 2014, no. 360

Stephen Berkoff has always been the bad boy of British theatre. At East’s London première in 1975, the critics howled. Berkoff’s first play was filthy, with explicit references to sex and violence. Yes, the 1950s had spawned Kitchen Sink Drama, exposing the lives of the lower classes to a predominantly middle-class British stage. But Berkoff’s c ...

George Balanchine’s name is synonymous with ballet. We know him as a dancer in the post-revolutionary Soviet Union before his flight to the West in the early 1920s. After joining Diaghilev’s Ballets Russes as an innovative choreographer, Balanchine soon realised that moving to the United States would enable him to fulfil his creativity and ambition. In 1934 he founded the New York City Ballet, remaining its prime choreographer and ballet master until his death in 1983. He combined the classical aesthetic he learned at St Petersburg’s rigorous Imperial Ballet School with daring modernism. Collaborations with composers such as Stravinsky ensured that his ballets would remain icons of contemporary dance.

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In 2006, novelist Ann Patchett found herself in the midst of intense controversy. Truth and Beauty, an account of her friendship with the late writer Lucy Grealy, had been allocated as a text for freshmen at Clemson University, South Carolina. One parent objected because the book depicted an intense affection between two women, discussed premarital sex, and ‘encouraged (students) to find themselves sexually’. Clemson banned Patchett’s book, branding it ‘pornographic’. Her 2007 Atlantic Monthly essay, reprinted in This Is the Story of a Happy Marriage, is an eye-opening account of her confrontation with American academic fundamentalism. Written with unflagging dry wit, her subsequent address to the Clemson University student body is a courageous, blazing defence of intellectual, academic, and artistic freedom.

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My Mother, My Father edited by Susan Wyndham

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November 2013, no. 356

In A Heartbreaking Work of Staggering Genius (2000), novelist Dave Eggers recounts the horror of losing both his parents within one year, leaving him and his sister as sole carers of their young brother. Eggers recalls the intense pain of being orphaned at the age of twenty-one, but also the frustration and acute resentment at having to grow up too fast.

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My Mother, My Father edited by Susan Wyndham

by
November 2013, no. 356

In A Heartbreaking Work of Staggering Genius (2000), novelist Dave Eggers recounts the horror of losing both his parents within one year, leaving him and his sister as sole carers of their young brother. Eggers recalls the intense pain of being orphaned at the age of twenty-one, but also the frustration and acute resentment at having to grow up too fast ...

... (read more)
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