Comédie de Shakespeare, traduite en fran?ais par Fran?ois Pierre Guillaume Guizot (1787 - 1874), historien fran?ais et homme d'?tat. Publié en 1862. Selon Wikipedia: "La Mégère apprivoisée est une comédie de William Shakespeare, qui aurait été écrite entre 1590 et 1591. La pièce commence par un dispositif d'encadrement, souvent appelé l'Induction, dans lequel un malicieux Nobleman trompe un bricoleur bourré du nom de Sly pour lui faire croire qu'il est lui-même un noble.Le noble a ensuite joué pour la diversion de Sly.Le complot principal dépeint la parade de Petruchio, un gentilhomme de Vérone, et Katherina, la musaraigne obstinée et opini?tre. Initialement, Katherina est une participante involontaire dans la relation, mais Petruchio la tempère avec divers tourments psychologiques - le ?domptage? - jusqu'à ce qu'elle devienne une épouse docile et obéissante.La sous-intrigue présente une compétition entre les prétendants de la s?ur plus désirable de Katherina, Bianca. "

The Shakespeare tragedy, in English, with line numbers, and translated to German. According to Wikipedia: "The Life of Timon of Athens is a play by William Shakespeare about the fortunes of an Athenian named Timon (and probably influenced by the philosopher of the same name, as well), generally regarded as one of his most obscure and difficult works. Originally grouped with the tragedies, it is generally considered such, but some scholars group it with the problem plays."

La pièce d'histoire de Shakespeare, Henry VIII, dans la traduction fran?aise. Selon Wikipédia: "La célèbre histoire de la vie du roi Henry VIII est une pièce d'histoire de William Shakespeare et (prétendument) John Fletcher, basée sur la vie d'Henry VIII d'Angleterre. dans les documents contemporains, le titre Henry VIII n'apparaissait pas avant la publication de la pièce dans le premier folio de 1623. L'évidence stylistique indique que la pièce a été écrite par Shakespeare en collaboration avec son successeur, John Fletcher, ou révisée par lui. de la fin des romans dans sa structure.Il est noté pour avoir plus de directions de scène que l'un des autres jeux de Shakespeare. "

Cartea pe care o ?ine?i ?n m?n? este periculoas?. Incomod?, scor?oas?, incendiar? fiind, ?n mod cert, va deranja unele personaje, nelipsite de importan??, din arena politicii rom?ne?ti, care confund? adeseori politica cu diletantismul, tr?d?nd interesele sus?inute cu at?ta patos ?n campaniile electorale. ?n mod sigur, Nu tr?da?i, v? rog! va alarma edilii capitalei ce se ?ntrec ?n a distruge ?micul Paris“ de pe vremuri. Aceast? carte, a?adar, va deranja nu pu?in? lume prin scenele din via?a social-politic? post-decembrist?, cu at?t mai mult, cu c?t umorul ?fichiuitor nu-i este str?in nici pe departe autorului. Nici deta?area…

In FEBRUARY, together, Sergeant Femi Kolawole and investigative journalist Chioma Okafor solves Emeka's Valentine-day murder, and on doing so, Chioma is exposed to Femi's heroic personality, which makes her eventually fall in love with him.The Plot:Chioma Okafor, a young investigative journalist, is pressured by her over-ambitious mother into an unwanted romantic relationship with Uche, a young sophisticated university lecturer. Chioma yields to her mother’s pressure, hoping she would eventually fall in love with Uche as her mother assured, but she never did. On a Valentine date with Uche, Chioma gets a glimpse of what her relationship has been missing, as she feels love for the first time with Emeka, a handsome stranger who’s unfortunately expecting a baby with Amara, a girl who Uche used to date in university. Uche turns a relationship that he intended to blow up into an engagement on Valentine's day, into a blood bath before midnight. Chioma who survives the near-death experience, narrates her Valentine dilemma to Femi, a clever Police Sergeant. The Twist:Everybody thinks Uche died that night, but a strange text message sent from Chioma’s phone to Emeka, triggers a series of twisted events, which proves that the jealous and malicious Uche is still alive and in the wind, and that the life of Chioma is hanging down by a thin thread. The ultimate question is: 'Since Uche is alive, then who is the man laying lifeless in the mortuary?' Chioma is certainly not pleased with the answer. Femi forcefully becomes Chioma’s personal bodyguard, while he hunts down Uche, an innocent-looking man who Femi had met a day ago and poorly judged. Follow Femi as he uncovers this intriguing murder mystery that nobody even knew happened.The Play:The screenplay starts with a scene of a couple whose faces aren’t revealed to the screen, laying MOTIONLESS in a wrecked car, covered in their own blood, and ends in a conference room, as Chioma calls Femi to tell him how she feels about him.FEBRUARY is a unique blend of romance, comedy, suspense, and adventure. A beautifully crafted story of love, jealousy, betrayal, conspiracy, and ambition.

Vreau s? cred c? drumul lui Eugenio Barba este cel ?n care ?nt?lne?te copacul de care at?rn? pe creanga cea mai de sus un m?r de aur ?i f?r? s? ?i pese de cei din jurul lui, de privirile lor arogante sau sc?nteind a dispre?, se ca??r? ?n copac, ?n plin? lumin? de zi, ?i culege m?rul. M?rul norocos al destinului. Curaj, perseveren??, credin?? de nezdruncinat ?n vocea l?untrului care mereu ?i ?opte?te drumul pe care s?-l urmeze, c?ci este drumul lui.Eugenio Barba, vizionar, reformator, artist, dramaturg-regizor, maestru, scriitor, ?n dramaturgia sa, ?n cuvintele sale imortalizate ?n reflec?ii asupra sensului ?i condi?iei artei teatrului ?i a artistului, ?n cercet?rile de natur? artistic? ?i ?tiin?ific?, ?n laboratorul de teatru, sesiunile ?colii Interna?ionale de Antropologie Teatral? forjeaz? un act artistic unificator prin coprezen?e ale contrariilor, ?ntrup?ri ale simultaneit??ilor, combin?ri temporale ?i spa?iale, dintre trecut ?i viitor, dintre Est ?i Vest, declan??nd ?o revolu?ie copernician? f?r? de care ?tiin?a teatrului de la sf?r?itul secolului XX ar fi incomprehensibil?“. (Diana Cozma)

This story belongs to the year 1837, and was regarded by the generations of that and a succeeding time as the most miraculous of all the recorded deliverances from death at sea. It may be told thus: Mr. Montagu Vanderholt sat at breakfast with his daughter Violet one morning in September. Vanderholt's house was one of a fine terrace close to Hyde Park. He was a rich man, a retired Cape merchant, and his life had been as chequered as Trelawney's, with nothing of romance and nothing of imagination in it. He was the son of honest parents, of Dutch extraction, and had run away to sea when about twelve years old. Nothing under the serious heavens was harsher, more charged with misery, suffering, dirt, and wretchedness, than seafaring in the days when young Vanderholt, with an idiot's cunning, fled to it from his father's comfortable little home. He got a ship, was three years absent, and on his return found both his father and mother dead. He went again to sea, and, fortunately for him, was shipwrecked in the neighbourhood of Simon's Bay. The survivors made their way to Cape Town, and presently young Vanderholt got a job, and afterwards a position. He then became a master, until, after some eight or ten years of heroic perseverance, attended by much good luck, behold Mr. Vanderholt full-blown into a colonial merchant prince. How much he was worth when he made up his mind to settle in England, after the death of his wife, and when he had disposed of his affairs so as to leave himself as free a man as ever he had been when he was a common Jack Swab, really signifies nothing. It is certain he had plenty, and plenty is enough, even for a merchant prince of Dutch extraction. Besides Violet, he had two sons, who will not make an appearance on this little brief stage. They are dismissed, therefore, with this brief reference—that both were in the army, and both, at the time of this tale, in India. Violet was Vanderholt's only daughter, and he loved her exceedingly. She was not beautiful, but she was fair to see, with a pretty figure, and an arch, gay smile. You saw the Dutch blood in her eyes, as you saw it in her father's, whose orbs of vision, indeed, were ridiculously small—scarcely visible in their bed of socket and lash. An English mother had come to Violet's help in this matter. Taking her from top to toe, with her surprising quantity of brown hair, soft complexion, good mouth, teeth, and figure, Violet Vanderholt was undoubtedly a fine girl. THE LAST ENTRY "OPINIONS OF THE PRESS ON THE LAST ENTRY": '"The Last Entry" is a rattling good salt-water yarn, told in the author's usual breezy, exhilarating style.'-”Daily Mail. 'In this new novel Mr. Russell has cleverly thrown its events into the year 1837, and there are one or two ingenious passages which add to the Diamond Jubilee interest which that date suggests.... "The Last Entry" is as certain of general popularity as any of Mr. Russell's former tales of the marvels of the sea.'-”Glasgow Herald. 'We do not think it possible for anyone to dip into this novel without desiring to finish it, and it adds another to the long list of successes of our best sea author.'-”Librarian. 'In addition to mutiny and murder, "The Last Entry" contains many of those good things which have made Mr. Russell's pages a joy to so many lovers of the sea during the last twenty years.... "The Last Entry" is a welcome addition to Mr. Clark Russell's library.'-”Speaker. 'The writer is as realistic and picturesque as usual in his vivid descriptions of the stagnant life on board the homeward-bound Indiaman.'-”Times. 'It is full of pleasant vigour.... As is always the case in Mr. Clark Russell's books, the elements are treated with the pen of an artist.'-”Standard. 'We expected plenty of go, of fresh and vigorous description of sea-faring life, coupled with a story which would not be wanting in interest. All this we have here.'”-Tablet.

Chapters of Opera

According to Wikipedia: "The Imaginary Invalid (French: Le malade imaginaire) is a 1673 three-act comédie-ballet by the French playwright Molière with dance sequences and musical interludes by Marc-Antoine Charpentier. It was originally choreographed by Pierre Beauchamp. Molière had fallen out with the powerful court composer Jean-Baptiste Lully, with whom he had pioneered the comédie-ballet form a decade earlier, and had opted for the collaboration with Charpentier, Lully's rival and arguably a more gifted composer. Le malade imaginaire would turn out to be his last work. He collapsed during his fourth performance as Argan on 17 February and died soon after. Beyond the obvious irony, given the play's title, it is possible that Molière was poisoned by Lully, or at the jilted collaborator's instigation."

Titus Andronicus, with line numbers

A Book of Operas

The Complete Works of John Greenleaf Whittier

Haydn

Poems

Musical Memories

The Standard Operas

Piano Tuning

Songs from Books

The Alchemist

The Sot-Weed Factor

Chopin and Other Musical Essays