Illustrated in rich pastels, this child's-eye view of an important milestone in South African history allows young readers to experience every detail of this eventful day.
Extremely well written, and exceedingly well informed, this is a work that opens a variety of important questions in sophisticated and theoretically nuanced ways. It is hard to imagine a better tour guide than Fuchs for a trip through the last thirty years of, as she puts it, what we used to call the 'avant-garde.'" —Essays in Theatre ". . . an insightful set of theoretical 'takes' on how to think about theatre before and theatre after modernism." —Theatre Journal "In short, for those who never experienced a 'postmodern swoon,' Elinor Fuchs is an excellent informant." —Performing Arts Journal ". . . a thoughtful, highly readable contribution to the evolving literature on theatre and postmodernism." —Modern Drama "A work of bold theoretical ambition and exceptional critical intelligence. . . . Fuchs combines mastery of contemporary cultural theory with a long and full participation in American theater culture: the result is a long-needed, long-awaited elaboration of a new theatrical paradigm." —Una Chaudhuri, New York University "What makes this book exceptional is Fuchs' acute rehearsal of the stranger unnerving events of the last generation that have—in the cross-reflections of theory—determined our thinking about theater. She seems to have seen and absorbed them all." —Herbert Blau, Center for Twentieth Century Studies, University of Wisconsin, Milwaukee "Surveying the extraordinary scene of the postmodern American theater, Fuchs boldly frames key issues of subjectivity and performance with the keenest of critical eyes for the compelling image and the telling gesture." —Joseph Roach, Tulane University " . . . Fuchs makes an exceptionally lucid and eloquent case for the value and contradictions in postmodern theater." —Alice Rayner, Stanford University "Arguably the most accessible yet learned road map to what remains for many impenetrable territoryan obligatory addition to all academic libraries serving upper-division undertgraduates and above." —Choice "A systematic, comprehensive and historically-minded assessment of what, precisely, 'post-modern theatre' is, anyway." —American Theatre In this engrossing study, Elinor Fuchs explores the multiple worlds of theater after modernism. While The Death of Character engages contemporary cultural and aesthetic theory, Elinor Fuchs always speaks as an active theater critic. Nine of her Village Voice and American Theatre essays conclude the volume. They give an immediate, vivid account of contemporary theater and theatrical culture written from the front of rapid cultural change.
Thembi and her beloved great-grandmother, who has not left the house for many years, go together to vote on the momentous day when black South Africans are allowed to vote for the first time.
Elinor Brent-Dyer's Chalet School books have been popular for decades, and the characters and events introduced in the series have continued in present day fiction. At the beginning of Gay from China at the Chalet School, we learn that several of the Chalet School mistresses, including Miss Annersley and Miss Wilson, have been hurt in a road accident. Miss Annersley, the Headmistress of the Chalet School, is the most severely injured, and it is over a year before she returns to the school. What happened in that year? Hilda Annersley: Headmistress answers that question. Starting from the accident itself, Hilda Annersley's background and character, develops in detail, filling in many of the gaps in her history... her childhood and upbringing, the start of her friendship with Miss Wilson, and her experiences as a Headmistress in Austria after the Anschluss.
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