Bücher veröffentlicht von Reed Independent

If you are a famous-enough author long presumed dead and you keep sending notes to your Publisher through some far-off precocious teenage girl who says she's never heard of you - and the frightening predictions in those notes keep coming true -- then you can't be dead. Can you? For one, the mother of Jimmy Massey knew nothing of you walking into the sea off southern Sri Lanka, or your predictions of the murders of all sorts of priests across Asia and Australasia - nor a thing about the woman-child making them. Nor did she have a clue as to why her little Jimmy, a simple taxi-driver, got slaughtered along with the priest in Cairns Cathedral that Easter. But she did know Dr Valentino Sebastian kept coming and literally sniffing around her tribe people's little chapel, even if she couldn't know what he could do with birthings, seemingly at will. The mother of Jimmy Massey knew that, no matter how much sniffing around her and hers went on, or what all the police and all the nosey-parkers in the world might say, she could see in her mind that-there black shore your notes kept going on about. She could hear the nearing howling. She sensed the coming. But not one thing ever was going to come anywhere near what she held enclosed unto herself as dearly as life itself. Nuh huh. You and all the others can take your prophecies- and predictions-come-true and shove it all..

The live-acted shadow play of today uses live actors to evoke fantasy combined with realism to illustrate a fully-rounded play narrated by a storyteller sitting in full audience view.It is not a puppet show. It does not demand actors contort themselves into amazing shapes like trees of elephants. It is a play-behind that theatrically lies in the unfurrowed field between mime and the theatre we conventionally know today. It has hardly, if ever, been attempted in a full play's setting until now.The modern live-acted shadow play can be seen (at least conceptually) to need two directors working in unison - one to conduct how the shadow play portion of the performance can be welded into an amusing and poetic distillation of the storyteller's tale; the other to take care of the overall dramatic interaction between the storyteller and the shadow play behind him or her.Here are 14 pioneering live-acted shadow plays especially written for wholesale professional stage production, or for 'picking-and-choosing' by workshoppers and educators. Three of them are world classics by Gogol, Morton and Runyon especially adapted by Bill Reed; the others are of his own making. Each contains probably a deliberate over-fullness of shadow-play directions, but only to give the director the widest choice of possibilities to get his shadow play to keep pace with the story, even if it's not really practical to wholly keep up with every narrative twist and turn.What each play has in common are elements of the fantastical and the magical threading through the down-to-earth, a blending that only the shadow play can evoke in any sort of encompassing harmony.In its dynamic interplay of shadow acting and voice, the live-acted shadow play of today almost represents a new form of theatrical genre.