This volume contains the best of David Edgar's work from the 1970s. The Jail Diary of Albie Sachs is an adaptation of the famous South African writer's diaries and deals with solitary confinement and loneliness - "a remarkable, persuasive picture." (Observer) Mary Barnes is based in a commune in the sixties and focuses on schizophrenia "promulgating the theory that schizophrenia can be effectively treated through behaviourist methods alone" Saigon Rose tackles venereal disease and is "intriguing and entertaining...Edgar handles his themes - loss of innocence and a sense of betrayal - in a bitty, playful style laced with black comedy" (Independent) O Fair Jerusalem deals with the black death. Destiny deals with the loss of Empire and the rise of fascism in contemporary Britain - "A play which astonished me with its intelligence, density, sympathy and finely controlled anger." Dennis Potter, The Sunday Times
High-level treatment offers clear discussion of general theory and applications, including basic principles, coupling coefficients for vector addition, coupling schemes in nuclear reactions, and more. 1957 edition.
Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter’s memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet ‘The Spring’) (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas’ first painting devoted solely to the ballet was Le Foyer de la danse à l’Opéra de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musée d’Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.
This volume contains the best of David Edgar's work from the seventies The Jail Diary of Albie Sachs is an adaptation of the famous South African writer's diaries and deals with solitary confinement and loneliness - "a remarkable, persuasive picture." (Observer); Mary Barnes is based in a commune in the sixties and focuses on schizophrenia "promulgating the theory that schizophrenia can be effectively treated through behaviourist methods alone"; Saigon Rose tackles venereal disease and is "intriguing and entertaining...Edgar handles his themes - loss of innocence and a sense of betrayal - in a bitty, playful style laced with black comedy" (Independent); Oh Fair Jerusalem deals with the black death and Destiny deals with the loss of Empire and the rise of fascism in contemporary Britain "A play which astonished me with its intelligence, density, sympathy and finely controlled anger." Dennis Potter (Sunday Times).
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.