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Simon Callow
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Аннотация
An entertaining biography of Dickens by one of our finest actorsAcclaimed actor and writer Simon Callow captures the essence of Charles Dickens in a sparkling biography that explores the central importance of the theatre to the life of the greatest storyteller in the English language.From his early years as a child entertainer in Portsmouth to his reluctant retirement from ‘these garish lights’ just before his death, Dickens was obsessed with the stage. Not only was he a dazzling mimic who wrote, acted in and stage-managed plays, all with fanatical perfectionism; as a writer he was a compulsive performer, whose very imagination was theatrical, both in terms of plot devices and construction of character.Like many actors, Dickens felt the need to be completed by contact with his audience. He was the original ‘celebrity’ author, who attracted thousands of adoring fans to his readings in Britain and across the Atlantic, in which he gave voice to his unforgettable cast of characters.In Charles Dickens and the Great Theatre of the World, Callow brings his own unique insight to a life driven by performance and showmanship. He reveals an exuberant and irrepressible talent, whose ‘inimitable’ wit and personality crackle off the page.
Аннотация
Simon Callow plunges headlong into Wagner’s world to discover what it was like to be Wagner, and to be around one of music’s most influential figures.A hundred and thirty-five years after his death, Richard Wagner’s music dramas stand at the centre of the culture of classical music. They have never been more popular, nor so violently controversial and divisive. His music is still banned in Israel – the only classical composer whose music is banned in the western world. His ten great mature masterpieces constitute an unmatched body of work, created against a backdrop of poverty, revolution, violent controversy, critical contempt and hysterical hero-worship.As a man, he was a walking contradiction, aggressive, flirtatious, disciplined, capricious, heroic, visionary and poisonously anti-Semitic. At one point, he had four lengthy operas written with no hope of being performed when, as if in a fairy-tale, he was rescued by a beautiful young king with limitless wealth which he bestowed on the composer. When one of those works, Tristan and Isolde, was at last performed, it revolutionised classical music at a stroke. Finally he fulfilled his lifelong dream of creating a vast epic to rival the work of the great Greek playwrights, a music drama in four massive segments, ushering gods and dwarves, heroes and thugs, dragons and rainbows onto the stage, the apotheosis of German art as he saw it, so extreme in its demands that he had to train a generation of singers and players to perform it, and erect a custom-built theatre to house it. Wagner died, exhausted, after creating one final piece – Parsifal – that seems to point to an even more radical new future for music.Simon Callow recalls the intellectual and artistic climate in which Wagner worked, recording the almost superhuman effort required to create his work, and evoking the extraordinary effect he had on people – this composer like no other who ever lived, extreme in everything, creator of the most sublime and most troubling body of work ever known.
Аннотация
From the Booker Prize-winner of ‘Offshore’, ‘The Blue Flower’ and ‘Innocence’ comes this brilliant novel about life at an eccentric stage school.In the 1960s, Freddie’s was the usual name for the Temple Stage School, which supplied the West End theatres with children for roles in everything from Shakespeare to pantomime. Freddie, the proprietress, is a formidable woman, of unknown age and provenance. But everybody who is anybody claims to know her. By sheer force of character and single-minded thrust she has turned herself into a national institution.This story of what happened at Freddie’s is not only for theatre-lovers, but for people who care about children or hate them, or were – once upon a time – children themselves. In particular, it is for those of us who sometimes pretend to be what we are not – that is to say, act a little.