alan albee (11 resultados)

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good -. First Published. Scuffs and soils on dust jacket; blue marks on lower page edges. 416 pages. Book.

Soft cover. Condición: Very Good. pp90-96, illustrated. Removed from AMERICAN ANTIQUITY. JOURNAL OF THE SOCIETY FOR AMERICAN ARCHAEOLOGY, Volume 38, Number 1, January, 1973. Wrps. VG. May contain a first or last xeroxed page. Abstract: "A series of Clear Fork tools from the Rio Grande Plain of southern Texas have been subjected to a functional analysis. Macroscopic, microscopic, and edge angle studies were conducted. A high frequency of nibbling wear was recorded on steeply-angled working edges. Comparisons of these data with several published studies indicate that this tool form was used in the working of wood or other tough materials.".

GD. GD.

Softcover. xxix, 223 pp. Literary Conversations Series. Softcover. LCC: 8721481 Very good condition; on covers: traces of wear on edges, with a few very light creases and previous owner's name on front.

Hardcover. First Edition; First Printing. Very Good in a Very Good dust jacket. Owner inscription. ; 8vo 8" - 9" tall.

8 pp.; 22.8 x 15.3 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Showbill for the 1962 season of plays staged at the Cherry Lane Theater in Greenwich Village. Introduction by Kermit Bloomgarden. Plays include: "Theater of the Absurd," by Samuel Beckett, directed by Alan Schneider: "Bertha," by Kenneth Koch, directed by Nicola Cernovich; "Gallows Humor," by Jack Richardson, directed by George L. Sherman; "The Sandbox," written and directed by Edward Albee; "Deathwatch," by Jean Genet, directed by Donald David; "Picnic on the Battlefield," by Fernando Arrabal, directed by Gene Feist; "The American Dream," by Edward Albee, directed by Alan Schneider; "The Zoo Story," by Edward Albee, directed by Richard Barr and "The killer," by Eugene Ionesco, directed by Richard Barr. Includes selected biographies. Very Good. 1.5 cm. mark on recto cover. Gently folded in half vertically. Contents clean and unmarked.

Hardcover. Condición: Very Good. No Jacket. Alan Phillips Ilustrador. Collector's edition. Certificate of Authenticity laid in. Signed by Edward Albee on the front free end page. Hardbound, no dust jacket. Full leather with gilt cover & spine decorations. Gilt to page edges. Collector's note laid in. Signed by Author(s).

Hardcover. Condición: Near Fine. Alan Phillips Ilustrador. First Edition Thus. pp: 238. Full decorative brown leather covered boards, raised bands to spine, all edges gilt, ribbon marker. Full page, full colour frontispiece. Illustrations by Alan Phillips. The play was first staged in October, 1962. The plot concerned the complex marriage of the main characters, Martha and George. A near fine, to fine, copy.

Hardcover. Condición: Fine. Estado de la sobrecubierta: no d.j. as Issued. illustrated by Alan Phillips Ilustrador. collector's edition,238 pages , full page, full colour frontispiece. bound in genuine leather, gilt cover and spine, all edges gilt, 2 raised bands. moire end papers, silk ribbon page marker, a fine copy Size: 4to - over 9¾ - 12" tall. Book.

Soft cover. Condición: Very Good. No Jacket. Paperback copy with stapled spine, no dustjacket as issued. B/w photographs and adverts. Not library copy, no inscriptions. (16/7).

Full leather. Condición: Fine - As New. Alan Phillips Ilustrador. Collector's Edition. Fine+/As New condition with no flaws. A handsome dark brown full leather Collector's Edition of Edward Albee's classic work, signed by him on the signature page. The year of publication of this book is unclear: the copyright page indicates the year 1990, the copy of the Certificate of Authenticity (included) indicates Mr. Albee signed it in 2006, and we received it in 2007. Nonetheless a beautiful copy of Albee's masterpiece, with gold gilt cover designs and page edges, moire silk endpapers and bound-in silk bookmark. In fine unread condition opened for this listing and then rewrapped. Also includes the publisher's Note from Easton Press. Easton Press publications are bound for decades of use and durability. The 1962 Broadway play ignited controversy from its inception and earned Albee the prestigious Pulitzer Prize. Critics, though divided, acknowledged its provocative nature, with one lamenting its simultaneous attraction and repulsion, while another, in close proximity to the Pulitzer Prize board, denounced it as "filthy". The narrative, unflinching in its portrayal of an unhappy marriage, unfolds across three acts: "Fun and Games," "Walpurgisnacht" (Night of the Witches), and concludes with "The Exorcism." The subsequent black-and-white film adaptation achieved unprecedented popularity, nearing the million-dollar mark, an extraordinary feat for its time. This success led to its global dissemination, with productions staged in major cities such as Tokyo, Berlin, and Paris. Despite critical acclaim and literary endorsement, the play's exploration of dark themes, notably its perceived "vulgarity" encompassing sex, substance abuse, and profanity, stirred controversy. When Warner Brothers acquired the play rights for half a million dollars in 1964, it ignited debates on American censorship, prompting challenges to prevailing regulatory bodies such as the Production Code Administration and the Legion of Decency. The studio, seeking commercial viability while navigating societal sensibilities, proposed the removal of numerous profanities and anatomical references from the script. However, the finalized film, featuring Elizabeth Taylor and Richard Burton, retained much of the original controversial content, thereby challenging the constraints of its era. Albee, defending his work against accusations of vulgarity and poor taste, elucidated its multi-layered nature, inviting audiences to engage with its complexities beyond surface realism. Within the seemingly mundane domestic setting lies a tapestry of existential themes, including the interplay between masculine and feminine archetypes, the tension between progress and destruction, and the generational conflict symbolized by the characters of Martha, George, Nick, and Honey. Beneath the facade of a dinner party lies an unexpected narrative of horror. The enigmatic title, "Who's Afraid of Virginia Woolf?" recurs within the play, inviting myriad interpretations. Some discern allusions to virginity/innocence and predation/exploitation, while others delve into existential inquiries regarding reality versus illusion and the existential fear of mortality. Albee himself traced the title's origin to a Greenwich Village bar, where it appeared as graffiti, symbolizing the fear of confronting life without comforting illusions. Albee's correspondence with Leonard Woolf, husband of Virginia Woolf, reveals a nuanced connection between the play and Woolf's literary exploration of marital discord. Woolf's own commentary on marriage resonates with the themes depicted in Albee's work, further intertwining their narratives. In a letter to Albee, Leonard Woolf refers to Virginia's own "Lappin and Lapinova," a short story where a deeply unhappy couple create an illusory world where they live as rabbits. Very David Lynch. For deeper insights into the intertwined legacies of Albee and Woolf, Natania Rosenfield's "Outsiders Together: Virginia and Leonard Woolf" and William Flanagan's "The Art of Theater No. Edward Albee" offer invaluable resources for enthusiasts of both writers. Albee lived in an incredible 6,000-square-foot loft that served as a former cheese warehouse in a popular NYC neighborhood.