Man’s evident failure to make the most out of his material life suggests a study of the elements in each citizen that make him of value to his age and community. What are the measurements of mankind, and why is it that daily some add new treasures to the storehouse of civilization, while others take from and waste the store already accumulated?

Anton Chekhov's iconic plays including some of the unfamiliar short pieces such as The Wedding, and some of the more established classics such as The Cherry Orchard. Chekhov revolutionised world literature influencing generations of playwrights, screenwriters and actors. George Bernard Shaw described Chekhov's work as a fantasia in the Russian manner on English themes.

Troilus and Cressida is set during the later years of the Trojan War, faithfully following the plotline of the Iliad from Achilles' refusal to participate in battle to Hector's death. Troilus, a Trojan prince (son of Priam), woos Cressida, another Trojan. They have sex, professing their undying love, before Cressida is exchanged for a Trojan prisoner of war. As he attempts to visit her in the Greek camp, Troilus glimpses Diomedes flirting with his beloved Cressida, and decides to avenge her perfidy.

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Trebuie spus c ghinga pe nelesul tuturor e i el un volum de construcie. Se vede de la poziionarea la nceput i la final a dou texte pn la capt/ la capt. Nu doar prin abilitatea cu care l structureaz, Coman d impresia unei poete exersate ndelung nainte de a-i propune s debuteze, ci prin modul impecabil n care i concepe fiecare text n parte. Dac vei cuta bjbieli, construcii ntmpltoare, falsete, balast (inerente unui volum de debut), v asigur ca nu le vei gsi aici. Coman reuete s construiasc o lume credibil cu o voce feminin care, dei pare s opteasc, strig. Este o carte care exploateaz jocul de contraste, nuannd: abia dup cel de-al doilea copil al nostru/ am neles ca sunt chestiuni/ perfect distincte – dragostea (am/ putea tri foarte bine/ ca fraii) i plcerea./ pentru amndoi plcerea a venit/ de la corpul strin. n-a mai rmas dect dragostea./ o vom duce cum se cuvine pn la capt. Unei poetici feminine viscerale cu artificii retorice, Coman i opune ceea ce muli ar punea vedea drept o extirpare a afectivitii. Vorbim de dedublare: niciodat n-am ncetat s-mi vorbesc/ altfel dect unei femei/ dar astzi am depit orice nchipuire./ astzi cnd tocmai reuisem/ s-mi adorm trupul/ iar tensiunea dintre mine i el/ aproape c se risipise i de depersonalizare: ntr-un loc n care se aud tot mai tare/ copiii/ cineva m numete nina./ am 40 de ani/ i nu vreau s-mi mai beau cafeaua cu un mort. Vorbim de existen domestica printre oale, robinet, frigider, paa hasan, adjectiv, de hiperchinezie dublat de deficien de concentare, dar i de oboseal cronica (nu m odihnesc niciodat) i acuitate perceptiv, de pnd (ciulesc urechile). O figur care pare c folosete prospecia ca terapie: voi schimba ceva la pr, mi voi/ cumpra ciorapi verzi./ voi zugrvi buctria. mi voi/ face timp s corectez teancurile cu lucrri./ voi mbtrni pentru a cdea, de fapt, imediat n blazare. Pe aceste schimbri brute de direcie, fr a fi disonante, ci perfect muzicale, Coman mizeaz i iese pe deplin ctigtoare.“ – Ioana Dunea

O poezie de o stranietate izbitoare, o lume postapocaliptic cldit pe datele unui imediat nstrinat. O poezie rece, tioas, ritmat (ritmul i aduce aportul formal la respectiva stranietate) care pune n dialog un Eu bntuit de moarte, pe care o citete, o palpeaz n toate detaliile unui univers cvasimitologic pe care-l construiete tocmai pentru a o putea circumscrie. Eul acesta al lui Kemény se afl ntr-o continu stare de asediu pe care o transfer asupra cititorului ideal adoptnd de multe ori structura narativ a mitului, a povestirii legendare (...)Materia are o greutate sufocant n poemele lui Kemény, contrastnd parc cu imaginile aflate n continu micare i transformare. Un vag suprarealism care aduce oarecum, vizual, cu acele videoclipuri ale anilor ’90 trzii, care mizau, pentru a obine stranietatea, pe ocul dat de alternarea dintre accelerarea brusc a micrii i aspectul static al temei mitologice (m gndesc n special la Metallica, clipul de la Until it sleeps)Un volum excelent, un adevrat manual de poezie care sun, datorit lui Andrei Dósa, impecabil.“ – Bogdan Alexandru Stanescu

The story of the survival of a dynasty bloodline protected by the Priesthood of Isis, setin the Ptolemaic era of Ancient Egyptian history. The main character Harmachis is charged by the Priesthood to overthrow the supposed impostor Cleopatra, drive out the Romans and restore Egypt to its golden era.

„Bucur?-te de fiecare clip? tr?it?!“ „Principala mea preocupare în via?? a fost s? mi cultiv pl?cerile sim?urilor. Sim?indu-m? n?scut pentru sexul opus, l-am iubit întotdeauna ?i m-am l?sat iubit de el. Mi-a pl?cut la nebunie savoarea meselor bune ?i m-a pasionat tot ceea ce era menit s?-mi incite curiozitatea.“ – Casanova Casanova (n. 1725, Vene?ia), „scandalosul ?i insolitul vene?ian, nu a fost doar ceea ce s-a crezut: un aventurier, escroc ?i libertin. Ci ?i poetul, memorialistul, filosoful, muzicianul ale c?rui Memorii au fost considerate «adev?rata Enciclopedie a secolului al XVIII lea».“ – Blaise Cendrars „Pu?ine persoane îi pot egala cunoa?terea, inteligen?a ?i imagina?ia.“ – Lamberg ?Via?a monden? ?i amoroas? a lui Casanova a fost consemnat? f?r? pudoare în miile de pagini ale Memoriilor sale, intitulate ?i Povestea vie?ii mele, autobiografie lipsit? de complezen??, care traverseaz? Secolul Luminilor. Scris? extrem de savuros, cartea – din care edi?ia de fa?? ofer? o bogat? selec?ie – este considerat? o capodoper? a literaturii, prin picanteria detaliilor, amploarea moravurilor descrise ?i erudi?ia autorului.

Agasat de o doamn? care gira rubrica monden? a unui ziar newyorkez, cu privire la preferin?ele sale, la ?ntrebarea care este obiectul s?u favorit din natur?, Mark Twain a r?spuns, ?n maniera sa unic?: ?O frumoas? mut?!“Ziarist, traduc?tor, autor de c?r?i, Irina Airinei ?ndepline?te doar una dintre condi?ii. Fiind universitar – doctor ?n filologie -, pred?nd cursuri, ?in?nd seminarii, preg?tind studen?i, nu prea are cum s? fie mut?. ?i, cu at?t mai mult, ca ziarist de pres? scris? ?i de radio. Urm?rind ?ns? transcrierile interviurilor luate de ea unor personalit??i din aproape toate domeniile, ??i dai seama c?, departe de a fi t?citurn?, Irina Airinei are o mare calitate: ?tie nu numai s? ?ntrebe, ci mai ales s? asculte. Este perfect con?tient? c? rolul reporterului, dincolo de a descoperi oameni cu vie?i ?i personalit??i interesante, nu este s? se pun? ?n valoare pe sine cu ?ntreb?ri ?inteligente“ p?n? la narcisism sau incisive p?n? la obr?znicie, dimpotriv?, ci s? se apropie de partenerul de discu?ie cu discre?ie, ?ncerc?nd s? scoat? din mintea ?i sufletul s?u tot ceea ce este mai semnificativ ?i mai interesant. Pentru c? oamenilor care au fost ?sorti?i s? vad?“ nu le prea place s? vorbeasc? despre ei ?n?i?i. Multe dintre interviurile sale aduc aminte de tehnicile arheologice, de migala dezgrop?rii cu delicate?e a frumosului ascuns ?n eul interlocutorului, ref?c?nd din cuvinte ceea ce, poate, altfel nu ar fi fost spus niciodat?. (Dorin Suciu)

The Portuguese visual artist Paula Rego has inspired this trilogy of plays. Her paintings Crivelli’s Garden, The Prey and Breaking China became the catalyst for writing by theatre maker Fiona Graham. Commissioned by Theatre Centre and Komedia, these three new plays were developed for specific audiences through a series of artist/audience residencies and collaborations. These works have toured Britain and been re-staged in Portugal and Singapore. Crivellis’s Garden was created for a 16+ audience and explores rites of passage as two young women decide whether they should stay or leave their fishing village to go to university in Portugal. Between Friends is for 7 -11 year olds and examines the politics of friendship between three young people when they are shipwrecked and abandoned in a lighthouse. Breaking China is for 4-8 year olds and shows the importance of creative play and storytelling when making sense of change and adversity. About the authorDR FIONA GRAHAMFiona teaches dramaturgy at Goldsmiths University. Previously she spent over a decade in New Zealand writing and teaching at Auckland University. Her plays include: Passage (The Herald Theatre, Auckland 2010), Breaking China (Theatre Centre, 2002 and Singapore’s International Festival, 2004) and Legacy (for Massive Theatre Company, 1998). Most recently she worked as dramaturge with Otago University and Talking House Theatre Company on Be/Longing and Hush, with Red Leap Theatre Company on Paper Sky and Sea, with playwright Mei-Lin Hansen on The Mooncake And The Kumara, with Winning Productions on I Wanna Be -- Ponsonby and Carol Brown on 1000 Lovers and the Pah Collective. Her book Catalyst For Change: The Interventions of the Dramaturge was published in New Zealand in 2017. Reviews: ‘Graham’s poetically eloquent script flows like molten silver and should give students, teachers and other theatregoers much to think about’ (on Crivelli’s Garden) – The Stage ‘A prime example of how an excellent script innovatively directed and beautifully performed can be applied to a wide age range. This joyful production provides much food for thought.’ (on Breaking China) – The Stage

"I am a human being; I am a woman; I am a black woman; I am an African. Once I was free; then I was captured and became a slave; but inside me, here and here, I am still a free woman."During a period of four hundred years, European slave traders ferried some 12 million enslaved Africans across the Atlantic. In the Americas, teaching a slave to read and write was a criminal offense. When the last slaves gained their freedom in Brazil, barely a thousand of them were literate. Hardly any stories of the enslaved and transported Africans have survived.This novel is an attempt to recreate just one of those stories, one story of a possible 12 million or more.Lawrence Hill created another in The Book of Negroes (Someone Knows my Name in the U.S.) and, more recently, Yaa Gyasi has done the same in Homegoing. Ama occupies center stage throughout this novel. As the story opens, she is sixteen. Distant drums announce the death of her grandfather. Her family departs to attend the funeral, leaving her alone to tend her ailing baby brother. It is 1775. Asante has conquered its northern neighbor and exacted an annual tribute of 500 slaves. The ruler of Dagbon dispatches a raiding party into the lands of the neighboring Bekpokpam. They capture Ama. That night, her lover, Itsho, leads an attack on the raiders’ camp. The rescue bid fails. Sent to collect water from a stream, Ama comes across Itsho’s mangled corpse. For the rest of her life she will call upon his spirit in time of need. In Kumase, the Asante capital, Ama is given as a gift to the Queen-mother. When the adolescent monarch, Osei Kwame, conceives a passion for her, the regents dispatch her to the coast for sale to the Dutch at Elmina Castle. There the governor, Pieter de Bruyn, selects her as his concubine, dressing her in the elegant clothes of his late Dutch wife and instructing the obese chaplain to teach her to read and write English. De Bruyn plans to marry Ama and take her with him to Europe. He makes a last trip to the Dutch coastal outstations and returns infected with yellow fever. On his death, his successor rapes Ama and sends her back to the female dungeon. Traumatized, her mind goes blank. She comes to her senses in the canoe which takes her and other women out to the slave ship, The Love of Liberty. Before the ship leaves the coast of Africa, Ama instigates a slave rebellion. It fails and a brutal whipping leaves her blind in one eye. The ship is becalmed in mid-Atlantic. Then a fierce storm cripples it and drives it into the port of Salvador, capital of Brazil. Ama finds herself working in the fields and the mill on a sugar estate. She is absorbed into slave society and begins to adapt, learning Portuguese. Years pass. Ama is now totally blind. Clutching the cloth which is her only material link with Africa, she reminisces, dozes, falls asleep. A short epilogue brings the story up to date. The consequences of the slave trade and slavery are still with us. Brazilians of African descent remain entrenched in the lower reaches of society, enmeshed in poverty. “This is story telling on a grand scale,” writes Tony Sim?es da Silva. “In Ama, Herbstein creates a work of literature that celebrates the resilience of human beings while denouncing the inscrutable nature of their cruelty. By focusing on the brutalization of Ama's body, and on the psychological scars of her experiences, Herbstein dramatizes the collective trauma of slavery through the story of a single African woman. Ama echoes the views of writers, historians and philosophers of the African diaspora who have argued that the phenomenon of slavery is inextricable from the deepest foundations of contemporary western civilization.” Ama, a Story of the Atlantic Slave Trade, won the 2002 Commonwealth Writers Prize for the Best First Book.