15

Oct

Secrets to Winning Togel Online 2025

Smart Tips for Slot Enthusiasts

Modern slot games has become a global phenomenon among slot enthusiasts. In the past, slot were limited to physical machines, but now they have completely transformed. Every day, thousands of slot lovers try their luck in various popular platforms such as SLOT88 and more. One of the most secure sites is akun demo slot, offering secure systems and daily promotions for every player.

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In this digital age, slot sites offer more features. famous studios such as Pragmatic Play now create jackpot-focused titles. Platforms also provide welcome packages, allowing players to gain extra value. With instant play, the experience becomes faster. It’s no surprise that casino lovers continue to increase worldwide each year.

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The real secret of slots lies in volatility levels. Many slot masters believe that choosing the right game can provide smart strategies. Some use progressive staking to increase chances. While results can’t be predicted, applying analysis can make playing potentially rewarding.

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Digital slot machines in today’s digital age has become a global trend. With modern features, players can spin reels anytime, anywhere. As long as players play responsibly, slots remain fun. And don’t forget, slot gampang maxwin is always a top recommendation for digital gamblers in this year.

3 weeks ago Short URL

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14

Oct

Secrets to Winning Togel Online 2025

Step-by-Step Guide to Slot Success

Casino-style slots online has become widely played among players. In the past, one-armed bandits were only in casinos, but now they have entered digital platforms. Every day, thousands of bettors try their luck in various providers such as Pragmatic Play and more. One of the most popular sites is slot gampang maxwin, offering secure systems and attractive bonuses for every player.

Traditional Slots vs Modern Online Slots

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Latest Developments in Slots

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How to Win at Slots

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How to Handle Balance in Slot Play

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Modern Slot Approaches

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Wrap-Up for Slot Players

Digital slot machines in this year has grown massively. With modern features, players can hunt jackpots anytime, anywhere. As long as players play responsibly, slots remain rewarding. And don’t forget, slot gampang maxwin is always one of the best options for digital gamblers in 2025.

3 weeks ago Short URL

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14

Oct

Panduan Lengkap Main di Jendelatoto

Tutorial Modern Slot Gacor 2025

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Ringkasan Slot Online 2025

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3 weeks ago Short URL

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25

Oct

Go See Mr. Burns at Chicago’s Theater Wit

So much has happened to so many over the past two years that it seems insensitive, even to myself and my family, to complain that the pandemic has robbed us of live theater. On a trip to Chicago this week, I saw my first play, from the front row of a small and well-kept theater, in two years. Theater Wit’s production of Mr. Burns, A Post Electric Play by Anne Ashburn accomplished more good from me than I’d had any right to expect of any show I might have seen under these circumstances. It’s not fair, of course, but that first show back not only has to compensate for the productions I missed (Assassins at Classic Stage Company chief among them) but the shows I don’t even know I didn’t get to see because they were never produced.

Theater Wit’s production, directed by the company’s artistic director Jeremy Wechsler and featuring a score by Michael Friedman, captures all the darkly comic and poignant moments of Washburn’s script. It revisits and perhaps reimagines, a Theater Wit production from five years prior, though the story may be more topic now than when the show was first staged in New York.

We’re some time in a not distant future, after some chair reaction disaster has deprived the United States, and likely the world, of electricity. People pack together in small communities to survive. Most post-apocalypse stories would concentrate on the aspects of survival – how do people share and gather resources and how do they protect themselves become the central questions of the story? Largely, the theme that emerges (whether the cause of disaster is pandemic, zombies or asteroids) is that the real threat to survival is human nature – (i.e. “we are the walking dead…”). This story is different.

Washburn is interested less in how people find food and shelter than in how they reconstruct the human need for entertainment, news, and storytelling. Soon after the disaster we meet a core group of survivors who gather around a fire to tell old stories, the way we imagine early humans did when hunter/gatherer societies emerged. While those humans told stories about the environment around them, these humans also go towards what they know – they recount the television shows that have been denied them, specifically The Simpsons.

Mr. Burns takes us through three evolutions of a telling of the same story – a Simpson’s episode called Cape Feare that parodies Martin Scorcese’s 1991 Cape Fear remake. It starts with a retelling around a fire. It becomes, seven years later, a key part of the repertory of a touring theatre troupe and then becomes a fully formed musical production that’s as far from its source material as Shakespeare is from the old European tales of King Lear’s tragedy.

An 8-person ensemble cast here plays multiple roles over time and helps the audience through a story that spans nearly a century. Subtle acting all around brings humanity to something that could play as pastiche by less skilled practitioners.

The show is a triumph for Theater Wit and live performance generally. I watched it alongside an enthusiastic audience, and we gave the troupe a well-earned standing ovation. See it if you can.

4 years ago Short URL Comments

Experimental Theater/Theater/Theatre/Writers

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17

Oct

The Afterword to Fahrenheit 451

In a few pages at the end of Fahrenheit 451, Ray Bradbury gives us an eloquent defense of freedom of speech as he recounts the ridiculous editing of short fiction for consumption by students in the middle 20th century. These pages should be required reading now, as Bradbury reminds us that not only governments can censor thought and art and that all censorship is dangerous and deplorable.

“There is more than one way to burn a book,” he writes. “And the world is full of people running about with lit matches.” This should resonate with anybody paying attention today as misguided activists demand that Netflix remove The Closer from its streaming line-up because they find Dave Chappelle’s jokes offensive. The badly reasoned USA Today op-ed I linked even quotes academics in opposition to Chappelle, which is ironicury because the first victims of the government’s war on books in Fahrenheit are scholars of literature, history and philosophy.

Says Bradbury: “Every minority, be it Baptist/Unitarian, Irish/Italian/Octogenarian/Zen Buddhist/Zionist/Seventh Day Adventist, Women’s Lib/Republican, Mattachine/Four Square Gospel feels it has the will, the right, the duty to douse the kerosene, light the fuse. Every dimwit editor who sees himself as the source of all dreary blanc-mange plain porridge unleavened literature licks his guillotine and eyes the neck of any author who dares to speak above a whisper or write above a nursery rhyme.”

Bradbury is as annoyed at the petty censors from society as he is the professionals who kowtow to such audiences, citing market forces as reason enough to blandify art and culture to suit the under-developed tastes of amateur critics.

These few pages, clearly stated and a strong rebuke to the forces of order and obedience now at work in our homogenizing culture, are refreshing and vital.

https://ljekarna-osijek.com/

4 years ago Short URL Comments

Fiction/First Amendment/Freedom of Speech/Writers

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14

Oct

Albee, Guare and the Novel on Stage

It was a treat to notice that the movie version of Six Degrees of Separation showed up on HBO Max this month. A faithful adaptation of the Lincoln Center production of John Guare’s play, the film has stuck with me over the years and it was exciting to see it anew. The virtuouso performances still thrill and the dialogue remains unrivaled for its cleverness, rhythm and subtext. The film is a reminder of what movies could be doing for us in 2021 and what a mistake it was for audiences to have allowed Hollywood to abandon the character-driven, indie aesthetics of the 80s and 90s. Or, maybe the problem is that we’ve ceded film to Hollywood when what we need are the more traditionally grounded “New York” stories, from Breakfast at Tiffanys’ to Mean Streets.

After I watched Six Degrees (twice) I read the script for the stage play and was struck by how little Guare changed adapting it to film. In the play, originally staged in a 3 quarter thrust, Flan and Ouisa, the couple at the center of the action, break the fourth wall to narrate directly to the audience, as if engaging them in cocktail party conversation. A theme of the play is how we so easily reduce life-altering events to fodder for idle conversation. In the movie, they set up each recount to have an audience (at a wedding, at a charity dinner) rather than have our protagonists talk to the camera. However they are presented, the words in the screenplay almost perfectly match the words in the stage script.

What sets Six Degrees apart is the layering of meaning in each line. The audience almost doesn’t realize that they’re watching the dissolution of a marriage as the story plays out because the director and writer respect them enough not to spoon feed everything. In this, Six Degrees is novelistic in its story telling.

Reading Six Degrees sent me to other scripts in my collection, including some shorter works by Guare and then, finally, back to Edward Albee’s Who’s Afraid of Virginia Woolf. It has also been a long time since I’d cracked open those words and maybe it’s all the talk of Catcher in the Rye in Six Degrees, but reading Virginia Woolf was very much like reading a short novel. The dialogue is fast-paced, hilarious, layered and detailed. The stage directions are artful. With different formatting, I think you could offer up Albee’s play, word for word, as a novel and it would not only pass, but stand up as a solid work of dialogue-driven prose fiction.

It even has its own “Catcher in the Rye” moment when the history professor George, left alone for a few moments during a drunken night of “Hump the Hostess” and “Get the Guests” with a younger biology professor and his wife, sits down to read a book and recites: “And the west, encumbered by crippling alliances, and burdened with a morality too rigid to accomodate itself to the swing of events, must…eventually…fall.” I wondered if Albee had made this up or was quoting some real book about foreign policy from the late 1960s. If it were real, I might even want to read that book, as a glimpse into the thinking of the time. That is an amazing accomplishment — Albee set me off on an intellectual path separate from his domestic tragicomedy. It seems Albee had invented this sentiment, another layer of reality that adds depth to the entire story.

I’m no declinist about the state of the arts. I know there’s a lot of great writing out there right now, in film, theatre and prose. But, we’re no longer seeing work like Guare or Albee get consistent, mass attention and financial support. The culture is poorer for it. We need and deserve more.

4 years ago Short URL Comments

Film/Literary New York/Novels/On Writing/Playwrights/Theater/Theatre/Writers

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02

Oct

Truman Capote

Diana Trilling’s account of her and Lionel’s train encounter with Truman Capote is such a strange little document, care of Alexander Chee.

The repetition of the phrase “little creature” to describe Capote is so off-putting. It would somehow be acceptable once but twice it becomes dismissive and condescending. Of course, this also documents the secrecy and fear around discussion of topics like homosexuality in America at the time, even among cosmopolitan people in literary circles.

It’s an eye-opening and depressing little document.

4 years ago Short URL Comments

Literary New York/Writers

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15

Sep

The Uses and Abuses of Shakespeare in the Park

I experienced some shrill reading this morning when I encountered Daniel Larkin’s attack on the Public Theatre’s free Central Park production of The Merry Wives of Windsor. Our critic is not only annoyed that William Shakespeare’s farce isn’t the Bard’s most consequential work, he’s mad that the Public is carrying on Joseph Papp’s tradition of producing free Shakespeare in the summers at all. Writes Larkin:

“When Joseph Papp began staging Shakespeare in New York City parks in 1954, the city was 90% white, according to the official estimate. In a city that is now less than 50% white, it is no longer democratic, ethical, or representative to predominantly produce the work of a dead British man in this publicly owned outdoor theatre. How might this stage in Central Park — which purportedly belongs to everyone — more equally and authentically honor the heritage and culture of all its citizens.”

It’s stunning language. It’s no longer ethical to put on free Shakespeare in New York City? “It’s time to meet Lorraine Hansberry, Ntozake Shange, Joceyln Bioh, and other BIPOC playwrights,’ writes Larkin, as if Shakespeare is somehow crowding out the recently deceased Shange or as if summer crowds would gather for a light-hearted outdoor production of A Raisin in the Sun. Jocelyn Bioh, meanwhile, adapted Shakespeare’s script, to praise from The New York Times. I’m sure Bioh appreciated the opportunity and the artistry of the work, even if Larkin wishes better for her.

I’ve been reading through older scripts lately, because some surprises can be found and it’s amazing what you miss, even if you study theater. I’d only read Ibsen’s more realistic plays, for example, so I had no idea that Peer Gynt is a romp through northern European mythology, full or surrealism and surprises. Though I did wonder about the point of reading such a play in 2021 as I’m unlikely to see it produced or even to run into others who have read it or would show an interest.

Larkin wants to move some of these older writers out of the way, to make room for new voices. But there are always new things to explore even in history’s most celebrated plays and novels. People are best served by producing what inspires them.

I’m sure Larkin means well and we’re certainly beyond the point of hurting Shakespeare’s feelings. But not all traditions have to be swept away and the Public offers a diverse array of programming year round, both on its main stages, in Joe’s Pub and through its outdoor and travelling troupes.

The Public, and the public it serves, do not need Larkin’s advice.

4 years ago Short URL Comments

Literary New York/Playwrights/Theater/Theatre

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02

Sep

Random Thoughts About Hamlet

I’m reading Twentieth Century Interpretations Of Hamlet: A Collection Of Critical Essays edited by national treasure, David Bevington, who died in 2019. It’s been awhile since I’ve thought about Hamlet and I studied it most closely in high school. My teachers liked to assign it to college bound seniors since Hamlet is a scholar who we meet at a pivotal moment in his life and graduation from high school is often equated with a time when we young people are first asked to make consequential decisions about what we are going to do next.

But, these essays remind me of some things that are easy to forget about Hamlet. Chiefly, he is not some Elizabethan version of Holden Caulfield. He is 30 years old. This is young for a prince, who might envision himself ruling over Denmark for decades starting in his 40s or 50s, ending an aged leader like Lear. But, he was no child. He was a sophisticated, highly eduated adult.

Another misconception I took from my high school years is that Hamlet is a man whose actions are throttled by thought and that this is a story about the dangers of too much philosophy and not enough action. But this is also not quite true. Hamlet is a remarkable swordsman and he is a killer, when pushed. He does not sit trembling in the face of action.

Along those lines, I think that when many of us first read or see Hamlet we have the story ruined for us. We’re told that while Hamlet is away at college his uncle Caludius murders his father the king and then assumes the throne of Denmark and takes Hamlet’s mother Gertrude as his bride. While it’s far too late to complain about Hamlet spoilers, knowing in advance that Claudius is guilty of everything he’s accused of by the ghost of Hamlet’s father can’t help but color how we take in the story and what we think about Hamlet’s character.

It’s easy to forget that from Hamlet’s point of view, Claudius isn’t a known criminal. Hamlet doesn’t know if the ghost is really his father and doesn’t know if he’s dealing with a just request from heaven or some malevolent spirit out to ruin him. Were Hamlet to simply take the ghost at his word and lop Claudius’ head off, we’d have to view him as rash and violent at the very least.

Hamlet, tarred by so many for his inaction, takes an active role in proving Claudius’ guilt, as best he can. There’s the mousetrap play, his own feigned madness and his inteorrogations of his betrothed Ophelia, her father Polonius, her brother Laertes and his own mother. He actively pursues evidence and certainty.

I also wonder if he doesn’t drive himself a little mad. Faking insanity is the best way to lose one’s mind. After all, you are what you think.

4 years ago Short URL Comments

Essayists/Literature/Playwrights/Theater/Theatre/Writers

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31

Aug

About the Bygone Greats

I won’t bother linking to it or calling out the writer by name, but I happened upon a piece today about Kanye West that spent it’s first several paragraphs railing against Norman Mailer, who the writer imagined must have been a difficult subject for critics back when he was considered one of America’s best writers. Mailer’s personality and non-literary deeds were analyzed and then the writer turned to Kanye, with some relief.

Along the way, the writer tried to relegate Mailer to the past, as if his works aren’t still among the best American writers have produced in the last hundred years. It’s nonsense. Think what you will of Mailer as a person (I never met the man), but if you don’t acknowledge his writing, you simply don’t write well enough to criticize art.

My favorite Mailer, by the way, is one of his least celebrated short novels: The Gospel According to the Son. I read it around the time I read The Last Temptation of Christ and I think about it now as I consider delving into Leo Tolstoy’s retelling of the gospels.

It seems like some people would like us to be in some sort of cultural interegnum, where we must slay the giants of the past so that new talens can be born. I think this is folly. We shoul celebrate our cultural legacy, improve upon it and advance it, without being so dismissive.

There’s a book to be written about all the good we’re throwing away, mistaking a hasty clearance of history for progress.

4 years ago Short URL Comments

Fiction/Literature/Novels/On Writing/Writers

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