Books with title The Piper, a Play in Four Acts.

Wikipedia: Shloyme Zanvl Rappoport (1863 - 1920) , known by his pseudonym 'S. Ansky' was a Russian Jewish author, playwright, and researcher of Jewish folklore. "The Dybbuk" is a drama of mystical passion and demonic possession. The author brings together the saga of his own youthful rebellion against religious authority, his abiding faith in the power of the simple folk, his utopian struggle for equality, and his newfound commitment to the Jewish people. Anksy had just returned from an epoch-making ethnographic expedition through the Yiddish heartland of Eastern Europe, and what he found in the towns and townlets of the Ukraine was a religious civilization that mediated the living and the dead, the strong and the weak, the natural and the supernatural. Anskys return to Mother Russia was accompanied by a profound renegotiation with his hasidic heritage, the Yiddish language, and the Jewish historical imagination.

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A Methuen Student Edition of Chekhov's classic play in Michael Frayn's acclaimed translation. When it opened in St Petersburg in 1896, The Seagull survived only five performances after a disastrous first night. Two years later it was revived by Nemirovich-Danchenko at the newly-founded Moscow Art Theatre with Stanslasky as Trigorin and was an immediate success. Checkhov's description of the play was characteristically self-mocking: "A comedy - 3F, 6M, four acts, rural scenery (a view over a lake); much talk of literature, little action, five bushels of love". Michael Frayn's translation was commissioned by the Oxford Playhouse Company.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 edition. Excerpt: ... ACT SECOND A spacious and well-proportioned room, opening at the back upon a wide loggia. Beyond the loggia can be seen distant snow-peaks and a strip of sky. Late afternoon light. The room is furnished in a once splendid but now very old-fashioned and faded style. Furniture of black picked out with gold, and upholstered in yellow damask. A great crystal chandelier in the middle of the ceiling, and under it a circular ottoman. Right, a large two-leaved door; left, a handsome marble fireplace, with a mirror over it. Candlesticks with crystal pendants at each end of the mantelpiece, and in the middle a bronze statuette, some eighteen inches high, representing the manyarmed Goddess. A wood fire laid, but unlighted. Near the fireplace, two quite modern saddle-bag armchairs, out of keeping with the stiffness of the remaining furniture. A small table near the door, right, with modern English and French books on it. A handsome gramophone in the corner, right. On the walls, left and right, some very bad paintings of fine-looking Orientals in gorgeous attire. Electric lights. Traherne discovered at back, centre, looking out over the landscape, fie does not go out upon the loggia (which can be entered both right and left without passing through the room) because two turbanned servants are there, under the direction of an old and 28 dignified Major-domo, arranging a luxurious dinner table, with four covers. Traherne stands motionless for a moment. Then enters Crespin by the door, right, ushered in by a servant, who salaams and retires. Crespin Ah, there you are, Doctor. Traherne Turning. Hullo! How did you get on? Crespin All right. Had a capital tub. And you? Traherne Feeling more like a human being. And what about Mrs. Crespin? I hope she's all...

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