Two outstanding examples of socialist-themed plays are combined in this remarkable volume. The Conspiracy of Feelings by Yurii Olesha (1899-1960) is based on his highly respected short novel Envy about the struggle between the old and new in Soviet society. The play; called The Conspiracy of Feelings; is not a simple adaptation; but an original work that reconceived the novel. The play explores the precarious position of the intelligentsia in the new collective state. The Little Theatre of The Green Goose was written by Konstanty Ildefons Galczynski (1905-53) who was one of Polands most beloved poets. After World War II; he began work as a playwright; inventing a colorful theatre troupe of performers (animal and human) and contributing a new instalment of The Little Theatre of the Green Goose each week to Przekroj; the Cracow literary magazine. Intended for reading only; The Green Goose went unperformed in Galczynskis life and was finally staged in 1955 and gained a permanent place in the theatre and became a force for the creation of the new Polish drama that flourished in the 1960s.
#334789 in eBooks 2014-04-03 2014-04-03File Name: B00JGQ5QT4
Review
1 of 2 people found the following review helpful. Four StarsBy Bob LazrineDated; but if your a long time jazz lover; very informative and enjoyable.8 of 9 people found the following review helpful. RALPH J. GLEASON IS "A GOOD LISTENER." DUKE ELLINGTON.By Stuart JeffersonSadly; I think there are many people who dont know Ralph Gleasons name. If you didnt come up in the 60s era (and especially if youre not a jazz fan) his name means nothing. And thats too bad because Gleason wrote about jazz and then the music that came out of S.F. in the late 60s like few did.The interviews included here were (except one) done in Gleasons living room. This book is the first time the complete interviews have been publicly available. Gleason wrote a long running newspaper column and was the jazz critic for the S.F. Chronicle. He understood and loved jazz and wrote about it with intelligence and insight. The interviews are from the years 1959-1961; and include a number of musicians who either had changed the sound of jazz (Bill Evans; Philly Joe Jones) or would do so in the near future (Coltrane; Rollins) to name just a few; along with a number of other well known musicians.Included are "back and forth" conversations (as opposed to a strict interview style) with people like Quincy Jones; John Lewis; Percy Heath; Horace Silver; Jon Hendricks; and other musicians who were passing through S.F. on tour. Gleason intended to use his interviews as information for his writing; and his ability to "get next to" his subjects shines through in these pieces. His writing style was always easy to digest and his observations and enthusiasm for the music gave readers more insight into the jazz genre.Deep jazz fans will want to check out this book. Theres no photographs. This is a well made book; printed in America with archival paper used to preserve his writing. For me its a good addition to my jazz library. Gleason was one of those people who both loved jazz and could put that feeling into his writing--no matter if if he was writing his column; album liner notes; or a stand alone piece for a magazine. And if his writing intrigues you check out another book of his work (released at the same time as this book) on jazz; blues; rock; and other subjects; "Music In The Air"; also published by Yale University Press.1 of 1 people found the following review helpful. Music Captured Though Moments in Time Through Soul-Baring ConversationsBy CS4.5 StarsConversations in Jazz: The Ralph Gleason InterviewsRalph Gleason; co-founder of Rolling Stone magazine and co-founder of the Monterey Jazz Festival; discovered jazz when he was a youngster recuperating from the measles; and went on to write record reviews for his college newspaper at Columbia University. Gleason launched his own music publication; ldquo;Jazz Information.rdquo; The first issue was mimeographed and mailed on 8 September 1939 from the back room of the 52nd Street Commodore Music Shop; ldquo;Jazz Informationrdquo; was one of the first magazines devoted to jazz in the US. Beginning the same week as WWII; it was also WWII that temporarily suspended Gleasonrsquo;s promotion of jazz.Relocating to the West Coast after WWII; Gleason began freelancing at the SF Chronicle until he was eventually hired full time in 1950. Over the years; he saw; heard; wrote reviews on numerous musicians; knew virtually everyone and was as at ease with everyone; making these conversations more like a visit with an old friend than an interview. In 1954 Gleason bought a small house on Ashby Avenue in Berkeley; California; which is where most of these recording were made.These recordings; these interviews remind me of some of my fatherrsquo;s old recorded conversations with some of his old flying buddies; they have that element of two guys; sitting around; maybe drinking a beer; smoking a cigar; just reminiscing. How music influenced their lives; and how their lives influenced their music. Some are longer than others; some were more interesting than others (to me); but all are worth reading.Included in this book are the transcripts of the recordings made by Gleason of his conversations with: John Coltrane; Quincy Jones; Dizzy Gillespie; John Lewis; Milt Jackson; Percy Heath; Connie Kay; Sonny Rollins; ldquo;Phillyrdquo; Joe Jones; Bill Evans; Horace Silver; Duke Ellington; Les McCann; Jon HendricksYou donrsquo;t have to be a jazz enthusiast to get something out of this book; each of these stories is remarkable in their own way. Music captured though moments in time through soul-baring conversations.Many thanks to the Yale University Press; NetGalley and to Toby Gleason (Editor and also son of Ralph J. Gleason) for providing me with an advanced copy.
