During her lifetime, she was best known as the flamboyant wife of celebrated muralist Diego Rivera. Theirs was a tumultuous relationship: Rivera declared himself to be "unfit for fidelity." As if to assuage her pain, Kahlo recorded the vicissitudes of her marriage in paint. She also recorded the misery of her deteriorating health--the orthopedic corsets that she was forced to wear, the numerous spinal surgeries, the miscarriages and therapeutic abortions. The artist's sometimes harrowing imagery is mitigated by an intentional primitivism and small scale, as well as by her sardonic humor and extraordinary imagination. In celebration of the one-hundredth anniversary of Kahlo's birth, this major new monograph is published on the occasion of the 2007-08 traveling exhibition. It features the artist's most renowned work--the hauntingly seductive and often brutal self-portraits--as well as a selection of key portraits and still lifes; more than 100 color plates, from Kahlo's earliest works, made in 1926, to her last, in 1954; critical essays by Elizabeth Carpenter, Hayden Herrera and Victor Zamudio-Taylor; and a selection of photographs of Kahlo and Rivera by preeminent photographers of the period, including Manuel Alvarez Bravo, Lola Alvarez Bravo, Gisele Freund, Tina Modotti and Nickolas Muray. The catalogue also contains snapshots from the artist's own photo albums of Kahlo with family and friends such as Andre Breton and Leon Trotsky--some of which have never been published, and several of which Kahlo inscribed with dedications, effaced with self-deprecating marks or kissed with a lipstick trace--plus an extensive illustrated timeline, selected bibliography, exhibition history and index.

    When loved ones die, where do they go? Are they still with us? If so, can they see us, even hear us? How can we communicate with them? This book explores the process of grieving and the earth-shattering feeling that comes from losing someone close to us.

    But how did this 19th-century Russian ballet become such a big part of the holidays in 21st-century America?Meet Willam, Harold, and Lew Christensen, three small-town Utah boys who caught the ballet bug in the early 1900s. They performed on vaudeville and took part in the New York City dance scene. Russian immigrants shared the story of The Nutcracker with them, and during World War II, they staged their own Christmastime production in San Francisco. It was America's first full-length version and the beginning of a delightful holiday tradition.

    Through a carefully curated selection of quotes and images, this book reveals what matters most to the masters of photography. With accompanying text by Henry Carroll, author of the internationally bestselling Read This If You Want To Take Great Photographs series, you’ll learn what photography actually means to the giants of the genres and how they developed their distinctive visual styles.

    Kochalka and Thompson draw together, trading the pages back and forth, adding to each others drawings as the conversation turns in unexpected directions. A wild energy forms as their two drawing styles merge together. It's like a comics version of My Dinner with Andre, but with a giant killer octopus.

    It sets out the principles and practice of Boal's revolutionary Method, showing how theatre can be used to transform and liberate everyone - actors and non-actors alike!This thoroughly updated and substantially revised second edition includes:two new essays by Boal on major recent projects in Brazil Boal's description of his work with the Royal Shakespeare Company a revised introduction and translator's preface a collection of photographs taken during Boal's workshops, commissioned for this edition new reflections on Forum Theatre.

    As she moves her known world, she discovers her own power and creates everything anew. The poem, written by Argentine poet Jorge Luján, comes from a culture saturated with magic, in which even the very young can make the world by reaching out and moving it. Mandana Sadat’s imaginative illustrations deepen and enrich the text. Moví la mano / I Moved My Hand is a very special contribution to the world of children’s books for the very young (and the not so young).

    In order to write, you need to get rid of notions about language, poetic form, and esoteric subject matter ? all the things that the poetry police have told you are essential if you are to write. I wanted to start from a different place, a place controlled by instinct rather than by intelligence. Revision, the shaping and honing of the poem, should come later, and, in revising, care always needs to be taken to retain the vitality and electricity of the poem. Anyone can learn to craft a capable poem, but it is the poems that retain that initial vitality that we remember; these are the poems that teach us how to be human.

    The Cyclops, translated and with an introduction by William Arrowsmith2. Heracles, translated and with an introduction by William Arrowsmith3. Iphigenia in Tauris, translated by Witter Bynner and with an introduction by Richmond Lattimore4. Helen, translated and with an introduction by William ArrowsmithIn nine paperback volumes, the Grene and Lattimore editions offer the most comprehensive selection of the Greek tragedies available in English. Over the years these authoritative, critically acclaimed editions have been the preferred choice of over three million readers for personal libraries and individual study as well as for classroom use.

    . . Dying City is a political play and also a psychodrama about what Arthur Miller called the politics of the soul. It’s about public conscience and private grief, and real and symbolic catastrophes.”?The New York Observer “Anyone who doubts that Mr. Shinn is among the most provocative and probing of American playwrights today need only experience the . . . sophisticated welding of form and content that is Dying City.”?The New York Times In Christopher Shinn’s new play Dying City, a young therapist, Kelly, whose husband Craig was killed while on military duty in Iraq, is confronted a year later by his identical twin Peter, who suspects that Craig’s death was not accidental. Set in a spare downtown-Manhattan apartment after dark, scenes shift from the confrontation between Peter and Kelly, to Kelly’s complicated farewell with her husband Craig. Shinn’s creepy, sophisticated drama?infused with references to 9/11 and the war in Iraq?explores how contemporary politics and recent history have transformed the lives of these three characters. Christopher Shinn was born in Hartford, Connecticut, and lives in New York. His plays include Where Do We Live, Other People, What Didn’t Happen, and On the Mountain, which have been widely produced in New York, across the United States, and in London. He is the recipient of an OBIE Award in Playwriting, as well as the Robert S. Chesney Award. He teaches playwriting at The New School for Drama.

    Pace Creagan, seventeen, brimful of adventure, fearless and feared. To Dalton, she's irresistible. To Pace, he's a challenge.The Trestle at Pope Lick Creek is a beautiful and haunting play. A coming-of-age story with a wicked twist, it reaches into the depths of a nation and asks what lies beneath.The Trestle at Pope Lick Creek received its European premi�re at the Traverse Theatre, Edinburgh, in February 2001.

    It explores the critical concepts while also examining why they are relevant. The core content is presented within the framework of predicting products, proposing mechanisms, and solving synthesis problems. Readers will fine-tune the key skills involved in solving those types of problems with the help of interactive, step-by-step instructions and problems.

    What's hiding behind those curtains on the stage? How does a huge set appear so quickly between scenes? Just two of the many questions answered in this visual compendium.

    She meets the women of Lockerbie, who are fighting the U.S. government to obtain the clothing of the victims found in the plane s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim s families. THE WOMEN OF LOCKERBIE is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate. Winner of the silver medal in the Onassis International Playwriting Competition and the Kennedy Center Fund for New American Plays award.