Dormir est un besoin essentiel auquel lrsquo;homme se soumet en partageant le temps veacute;cu entre eacute;veils et endormissements. Srsquo;endormir conduit ainsi la vigilance agrave; sa suspension; guide le repos du corps et concegrave;de agrave; la conscience des pertes. Dormir est alors le moment ougrave; lrsquo;inactiviteacute; physique srsquo;exprime. Le sommeil semble srsquo;opposer agrave; la vivaciteacute; des faccedil;ons de lrsquo;art. Cependant; ses repreacute;sentations soulignent une meacute;taphore de la creacute;ation artistique forgeacute;e depuis la vacatio de Marcile Ficin; issue de la penseacute;e neacute;oplatonicienne de la Renaissance. Lrsquo;esprit se libegrave;re de ses affairements journaliers pour un eacute;tat susceptible de recevoir lrsquo;inspiration; lrsquo;imagination ou lrsquo;eacute;nergie neacute;cessaires aux gestes de la creacute;ation artistique. Le sommeil fait osciller les paupiegrave;res mais concerte-il des attitudes opposeacute;es ? Peut-il ecirc;tre dynamique et creacute;ateur ? Comment degrave;s lors faire faccedil;ons drsquo;endormis ? La journeacute;e drsquo;eacute;tude Faccedil;ons drsquo;Endormis; articuleacute;e avec deux expositions; a exploreacute; les diffeacute;rentes formes que revecirc;t la repreacute;sentation des sommeils dans lrsquo;art contemporain.
#4490198 in eBooks 2008-02-05 2008-02-05File Name: B00M4L8I48
Review
0 of 0 people found the following review helpful. He was a larger than life character who I doubt that I would have liked but who I really admireBy Barbara N.Its an important story for anyone interested in the history and future of theater in America. Joe Papp made plays more exciting by taking them out of the theater and doing shows for free. He was a larger than life character who I doubt that I would have liked but who I really admire. And I like the oral history technique of telling the story in the exact words of all of the participants. The inconsistencies between accounts are interesting. But the book is too long and makes the same points over and over. And it is long at the end of Papps career when he was providing new playwrights with a venue and a bridge to Broadway. That was a lot less interesting to me than the beginning when he was producing Romeo and Juliet in the parks in bad neighborhoods. Still; I highly recommend it.3 of 3 people found the following review helpful. The Greatest (Theater) Story Ever ToldBy Timothy ChildsThe Greatest (Theater) Story Ever ToldJoe [Papp] has been the entrepreneur par excellence; the voodoo man; the magic man; the medicine man who went and found all the people; who played the drum and brought all the folks in from the wilderness and gave them a fire to gather around.....LINDA HUNT (actress; Aunt Dan and Lemon).If a man can love a man as a brother; I love Joe. But he has complications on top of complications in him; he has the same dark sides we all have....[and] hes experimenting all the time. Just when you think hes going in one direction; hes ready to change horses. And that can hurt people....CHARLES DURNING (actor; That Championship Season)."Free for ALL; Joe Papp; the Public; and the Greatest Theater Story Ever Told;" by Kenneth Turan Joseph Papp; is my favorite of the hundred or so theater books - Im a Broadway producer; and blog at [...] - Ive read over the past twenty years. This book is the best primer Ive seen on how theater truly is created; and how it truly works; both backstage and in the producers office.The theatrical process doesnt always work smoothly or happily; as many of us know; but somehow Papp held his productions together; and the stories of how he did that are wonderful indeed.In fact; my biggest problem in writing this blog was that every time Id pick up the book again to find a quote or check a fact; Id start rereading the stories Id read a couple of days before."Free For All" has a curious history: 23 years ago; Turan and Papp contracted to make an oral biography from interviews with Papp and nearly 200 of the people who had been important in his theatrical life.But when Papp read the first draft; he refused to allow the book to be published. By then his son had been diagnosed with AIDS; and he; himself; with prostate cancer. Turan felt Papp was also upset over some of the comments about him that had come out of the interviews. Turan was stuck with a long manuscript in a box; until years later he was finally able to strike a deal with Papps widow.Im not sure Ive ever read a book that was entirely composed of quotes; but the format really works; giving immediacy to each event. Often the reader has a Rashomon experience; as two or more people recount the same meeting or moment in entirely different ways. And the deeply personal feelings expressed by those interviewed make for wonderful insights into them; and into Joe Papp.My ancestral roots are in Eastern Europe; and Im very conscious of that; conscious that Im in the tradition of the Holocaust....I came from a certain kind of poverty level; which was really below that of most of New Yorks Jews. I always felt that distinction. Ive always felt slightly removed from; for instance; the world of Broadway and the Shuberts. I can talk to them; Ill walk with them; but; as Shylock would say; I wont eat with them....JOSEPH PAPPBriefly stated: Joseph Papp was born in 1921 in Brooklyn; had no money; started producing plays in the Navy; then in basements; toured minimal Shakespearian productions throughout the five boroughs of Manhattan; established Shakespeare in the Park; established the Public Theater; took over and failed at running Lincoln Center Theater; and died in 1991; at the age of 70.At one point; he was producing for a total of ten New York stages.Papp sent many productions to Broadway; including Hair; That Championship Season; A Chorus Line; and The Pirates of Penzance. He gave first big breaks to many actors - Colleen Dewhurst; George C. Scott; James Earl Jones; and Meryl Streep included; and to many playwrights - David Rabe; Jason Miller; and Wallace Shawn included; and though Papp didnt give William Shakespeare his first big break; he sure did give him one hell of a boost.Joseph Papp produced some huge hits that were fun to watch; and many more plays that were difficult to watch.He wanted his audiences to see and experience parts of American life they might otherwise avoid: the heartlessness of the Vietnam War (Pavlo Hummel; Sticks and Bones); child molesters in prison (Short Eyes); mastectomies (Mert Phil); street kids (Runaways); the outbreak of AIDS (The Normal Heart); and the basic hypocrisy and blindness of society (Aunt Dan and Lemon).I told the cast; "Once in every ten years or so; a play comes along that fulfills my original idea of what role theater must play in society;"....JOSEPH PAPP [on The Normal Heart].I was enjoying myself watching "Aunt Dan and Lemon" and at some point somebody got up and stalked out; hitting his heels; and afterwards I asked Joe "God; what was that about?" And he said; "I always like it better if it gets them mad....LINDA RONSTADT (singer/actress; The Pirates of Penzance).He was passionate; infuriating; shrewd; relentless; soft-hearted (at times); ruthless (at times); mercurial; unstoppable; idealistic; pragmatic; often impossible; brilliant."Free For All" contains too many great stories from which to choose; so Ill close with only two; perhaps my favorites:In 1956; a totally broke Papp was producing THE TAMING OF THE SHREW; for no money; at the East River Park Amphitheater. His Company was so broke that if he didnt get the Chief Drama Critic for the Times; Brooks Atkinson; to come to this unlikely theater and review the show; he`d have to close down his operation.So he went to the Times offices; plopped himself down in the lobby; and waited hours for Atkinson to turn up. Determination. Perseverance. Finally; Atkinson arrived; and Papp insisted on their having a meeting. Cojones.Somehow he convinced Atkinson - Persuasiveness - to come to the show that night; but Atkinson insisted Papp had to drive him there. So Papp picked up the immaculately-dressed critic at the Harvard Club in the only vehicle he had; an old; dirty two-ton truck; and took his chosen reviewer to his Off-Off-Off-Broadway play in its flea-bitten Lower East Side theater.Atkinson gave the show a rave; and Joe Papp could go on producing.And; three years later; the immensely powerful Robert Moses; who counted Parks Commissioner among his four City positions; decided the audiences for Papps Shakespeare in the Park should have to pay admissions; some of which would go to the City. This was against everything Papp stood for; so he took the immensely powerful Robert Moses to court; and - against all odds - won the battle.There was a moment when I picked up the New York Times and saw that Joe had literally beat the government. He had no name; no political push; nothing. I know a lot of people who have power; but hes probably the only person I know who has real power; because he had it before he had the trimmings....COLLEEN DEWHURST (actress; The Taming of the Shrew).If youve read this far; you must love the theater; and if you love the theater; you must read "Free For All".I guarantee you wont regret it.1 of 1 people found the following review helpful. The genius of Joe PappBy Marge RivingstonHaving worked with and for Joe Papp for 10 years betweem 1980 and 1990 I enjoyed reading about his life; love of Shakspeare and his dedication to good Theater. For me he was a mentor; hiring me to vocal coach his musicals. He was tough and always fair. Honest to the core and standing always for truth in the Theater. There are many of us who miss him personally and the work he provided for so many talented artists. Marge Rivingston
