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Brand New Ancients
ISBN/GTIN

Produktbeschreibung

Kae Tempest is one of the most exciting and innovative performers to have emerged in spoken-word poetry in many years; their dramatic poem Brand New Ancients won the prestigious Ted Hughes Prize for innovation in poetry. Tempest's wholly unique blend of street poetry, rap and storytelling - combined with the spellbinding delivery of an open-air revivalist - has won them legions of followers all over the UK. Tempest's remarkable stage presence is wholly audible in this poem, a spoken story written to be told with live music.

Brand New Ancients is the tale of two families and their intertwining lives, set against the background of the city and braided with classical myth. Here, Tempest shows how the old myths still live on in our everyday acts of violence, bravery, sacrifice and love - and that our lives make tales no less dramatic and powerful than those of the old gods.
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Details

Weitere ISBN/GTIN9781447257691
ProduktartE-Book
EinbandE-Book
FormatEPUB
Format HinweisDRM Adobe
FormatE101
Erscheinungsdatum15.08.2013
SpracheEnglisch
Dateigrösse108 Kbytes
Artikel-Nr.4272905
KatalogVC
Datenquelle-Nr.203348
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After reading my collegue's review, I decided to give it a shot, being sex-related sociology amongst my fields of interest.
Ania Srinivasan deals with thorny topics which feminists have been engaging for decades with, without coming across as condescending. On the contrary, her stance on the different issues is imbued with knowledge and humbleness of not having necessarily the final answer. Her intellectual honesty is just so outstanding that - no matter if you agree with her or not - you can't help but keep the book glued to your eyes!

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Viola Davis impresses with intensity in cinema, for television and on stage. In 'Finding me' we accompany the actress through her childhood and to the roots of her strength.
It's a tough road full of adversity, setbacks and trauma.
Viola's powerful writing is breathtaking, relentlessly honest and full of wise insights.
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We're zooming in and out of T. Fleischmann's life in this dazzingly beautiful piece of literature, which is exactly what its title would suggest: a fragmentory reflection on what it means to have a trans body, and how it affects Fleischmann's way of existing in time, explored through a work that is part memoir, part travelogue and part essay about the artist Felix Gonzalez-Torres. Fleischmann choses to literally reject all kinds of metaphor, but they also don't feel the need to spell things out - that's why this book manages to invent an unusually poetic space where things remain just as they are, capable of carrying multiple meanings at once (queer experience being the main aspect this relates to, but not exclusively so). This is a text that is messy on purpose, that is hard to grasp and at the same perfectly precise; an ode to being complexely alive in the world.
Will man die großen amerikanischen Dramen der 50er Jahre kennenlernen, führt wohl kein Weg an Tennessee Williams vorbei. 1955 entstand Cat on a Hot Tin Roof und brachte einen Broadway Erfolg und einen weiteren Pulitzerpreis für den Autor. Wir lernen die Familie Pollitt kennen, wohlhabende Baumwollplantagenbesitzer. Zu Hauptfiguren stilisieren sich von Beginn an Maggie the Cat und Brick (der verletzte ehemalige Football-Spieler), seit Jahren verheiratet, kinderlos und schon seit einiger Zeit nicht mehr glücklich. Daneben steht das kinderreiche Paar Mae und Gooper, die versuchen Big Mama und Big Daddy zu gefallen. Der tieferliegende Konflikt wird nach und nach aus den langen Dialogen herausgeschält und überraschte beim Lesen doch stark. Manche Themen erwartet man vielleicht nicht in solch psychologisch-biographischen Stücken. Darüber hinaus fliehen die Figuren in Alkohlismus & Einsamkeit (Brick) oder finden sich auf dem heißen Blechdach wieder (Maggie), von dem es aus eigentlich nur einen Weg gibt. Das Drama entfaltet Stück für Stück die kommunikativen und gesellschaftlichen Probleme, die alle Figuren miteinander verbinden. Tennessee Williams zeichnet dabei höchst verständnisvoll zarte, sanfte Figuren, die an den scharfen Kanten der sie umgebenden Welt versehrt werden. Großartig eingesetzte Regieanweisungen unterstreichen die Stimmung des Werkes bis zum Schluss. Hier freue ich mich auf einen baldigen Theaterbesuch!
Will man die großen amerikanischen Dramen der 50er Jahre kennenlernen, führt wohl kein Weg an Tennessee Williams vorbei. 1955 entstand Cat on a Hot Tin Roof und brachte einen Broadway Erfolg und einen weiteren Pulitzerpreis für den Autor. Wir lernen die Familie Pollitt kennen, wohlhabende Baumwollplantagenbesitzer. Zu Hauptfiguren stilisieren sich von Beginn an Maggie the Cat und Brick (der verletzte ehemalige Football-Spieler), seit Jahren verheiratet, kinderlos und schon seit einiger Zeit nicht mehr glücklich. Daneben steht das kinderreiche Paar Mae und Gooper, die versuchen Big Mama und Big Daddy zu gefallen. Der tieferliegende Konflikt wird nach und nach aus den langen Dialogen herausgeschält und überraschte beim Lesen doch stark. Manche Themen erwartet man vielleicht nicht in solch psychologisch-biographischen Stücken. Darüber hinaus fliehen die Figuren in Alkohlismus & Einsamkeit (Brick) oder finden sich auf dem heißen Blechdach wieder (Maggie), von dem es aus eigentlich nur einen Weg gibt. Das Drama entfaltet Stück für Stück die kommunikativen und gesellschaftlichen Probleme, die alle Figuren miteinander verbinden. Tennessee Williams zeichnet dabei höchst verständnisvoll zarte, sanfte Figuren, die an den scharfen Kanten der sie umgebenden Welt versehrt werden. Großartig eingesetzte Regieanweisungen unterstreichen die Stimmung des Werkes bis zum Schluss. Hier freue ich mich auf einen baldigen Theaterbesuch!
It's admittedly slightly too late for this recommendation, but then again the Italian April is arguably more equal to the German May. An absolutely delightful holiday novel about four women escaping to a romantic Italian castle for some time to themselves - only to be literally spellbound by it. Read it for the lush Italian gardens and the irresistible spring airs - maby skim over some of the more dated romantic version of musical chairs.
It's admittedly slightly too late for this recommendation, but then again the Italian April is arguably more equal to the German May. An absolutely delightful holiday novel about four women escaping to a romantic Italian castle for some time to themselves - only to be literally spellbound by it. Read it for the lush Italian gardens and the irresistible spring airs - maby skim over some of the more dated romantic version of musical chairs.
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After reading my collegue's review, I decided to give it a shot, being sex-related sociology amongst my fields of interest.
Ania Srinivasan deals with thorny topics which feminists have been engaging for decades with, without coming across as condescending. On the contrary, her stance on the different issues is imbued with knowledge and humbleness of not having necessarily the final answer. Her intellectual honesty is just so outstanding that - no matter if you agree with her or not - you can't help but keep the book glued to your eyes!

I hope to hear more of her publishings soon
Her way of writing is magnificent, first and foremost. The essays were very interesting and greatly researched. At the same time there was a good balance of personal experience and societal topics. Some of the themes I had already seen docs on or read something else about. Also it was quite America-Centric, which gave it some limits.
Auch wenn ich Zweigs Sprache bisweilen als etwas schwulstig und altertümlich empfinde und die Miniaturen ein gewisses Maß an Geschichtswissen voraussetzen, haben mich viele der Handlungen gepackt. Besonders Scotts dramatische Südpolexpedition war fast unerträglich spannend.
Der ganz besondere Reiz dieses Buches ist, dass es sich um wahre Begebenheiten handelt und somit Geschichte lebendig werden lässt. Als Leser lernt man unter anderem Händel, Goethe und Tolstoi privat kennen und hat das Gefühl, mit ihnen in einem Raum zu sitzen.
In Kapuscinski's strange, genre-defying work, a choir of former courtiers whispers to him about the extravagances and eventual decline of the Ethiopian monarchy. The book sits somewhere between oral history and reportage but its strange magic is wrought through the voices of the disgraced king's servants, now in hiding and only to be met through secret doors. They describe the lavish palace, the absurd rituals and the absolute power of the king that everyone had to scrape under. Their flowery language of adoration and servitude masks hidden depths of resentment and glee. It is this contradiction, as well as the observations on possibly the last absolutist monarchy, that make this book the astonishing masterpiece it is.

Autor/in

Kae Tempest grew up in South-East London, where Tempest still lives. Starting out as a rapper, they toured the spoken word circuit for a number of years, and now works as a poet and playwright. Their work includes Balance, their first album with her band Sound of Rum; Everything Speaks in its Own Way, a collection of poems with CD and DVD of live performance; GlassHouse, a forum theatre play for homeless theatre company Cardboard Citizens; and the plays Wasted and Hopelessly Devoted for Paines Plough.

Brand New Ancients won the Ted Hughes Prize for innovation in poetry, and is published by Picador.

Tempest continues to work on new poems, a novel, and music with producer Dan Carey.