Becky Nurse Of Salem Tcg Edition

A wry, innovative reckoning with the legacy of the Salem witch trials from one of America’s foremost playwrights. Becky Nurse is an outspoken, sharp-witted tour guide at the Salem Museum of Witchcraft who’s just trying to get by in post-Obama America. She’s also the descendant of Rebecca Nurse, who was infamously executed for witchcraft in 1692—but things have changed for women since then…haven’t they? After losing her job for calling out The Crucible in front of schoolkids, Becky visits a local witch for help. One spell leads to another, and then everything really goes off the rails. A darkly comic play about a woman coming to terms with her family’s legacy and finding her voice in the “lock her up” era. Becky Nurse of Salem received its world premiere at Berkeley Rep in December 2019, in a production directed by Anne Kauffman. The play will receive its New York premiere at Lincoln Center Theater in the fall of 2022.

A wry, innovative reckoning with the legacy of the Salem witch trials from one of America's foremost playwrights. Becky Nurse is an outspoken, sharp-witted tour guide at the Salem Museum of Witchcraft who's just trying to get by in post-Obama America. She's also the descendant of Rebecca Nurse, who was infamously executed for witchcraft in 1692--but things have changed for women since then...haven't they? After losing her job for calling out The Crucible in front of schoolkids, Becky visits a local witch for help. One spell leads to another, and then everything really goes off the rails. A darkly comic play about a woman coming to terms with her family's legacy and finding her voice in the "lock her up" era. Becky Nurse of Salem received its world premiere at Berkeley Rep in December 2019, in a production directed by Anne Kauffman. The play will receive its New York premiere at Lincoln Center Theater in the fall of 2022.

Theorizing vision and power at the intersections of the histories of psychoanalysis, media, scientific method, and colonization, Scenes of Projection poaches the prized instruments at the heart of the so-called scientific revolution: the projecting telescope, camera obscura, magic lantern, solar microscope, and prism. From the beginnings of what is retrospectively enshrined as the origins of the Enlightenment and in the wake of colonization, the scene of projection has functioned as a contraption for creating a fantasy subject of discarnate vision for the exercise of “reason.” Jill H. Casid demonstrates across a range of sites that the scene of projection is neither a static diagram of power nor a fixed architecture but rather a pedagogical setup that operates as an influencing machine of persistent training. Thinking with queer and feminist art projects that take up old devices for casting an image to reorient this apparatus of power that produces its subject, Scenes of Projection offers a set of theses on the possibilities for felt embodiment out of the damaged and difficult pasts that haunt our present.

Hushpuppy lives with his Daddy and his ghost Mamma on the edge of the earth. Life is juicy and delicious until Hushpuppy’s dad gets sick, the world starts to fall apart, and prehistoric ice beasts begin to crawl out of the red Georgia clay. As Daddy gets weaker, the world becomes more fragile and nature itself begins to come unrendered. Hushpuppy and his friends must learn to care for each other while they battle the fearsome aurochs in this magical Southern fantasia that inspired the movie Beasts of the Southern Wild.

Caroline Cox has been working in the Department of Human Services for twenty-five years. She thinks troubled teenagers Peter and Karlie, the parents of newborn Luna Gale, are a typical case. But she discovers an array of unspoken motives amongst all the parties with an interest in Luna's future. Everybody believes they offer the best solution, but their positions are diametrically opposed... and Caroline has responsibility for determining the outcome. With events accelerating and Caroline uncovering more of the truth, her conclusions begin to look startlingly unconventional - even to her. Rebecca Gilman's Luna Gale received its UK premiere at the Hampstead Theatre, London, in June 2015.

A bittersweet portrait of love and loss from award-winning playwright Sarah Ruhl.

“This new play is a subversive enchantment. It is part absurd domestic seriocomedy, part erotic magic realism, unflinching about taboos and about questioning that, just maybe, monogamy isn’t enough.” —Linda Winer, Newsday Over dinner with another married couple, George and her husband grow fascinated by stories of their friends’ new acquaintance—an intriguing younger woman named Pip. What begins as an innocent intellectual discussion turns into a sexually explosive New Year’s Eve party after George extends an invitation to Pip and her two live-in boyfriends, raising the question: What ultimately binds human beings together?

A book-length cycle of forty-nine poems written over the course of more than a decade that together serve as a lament for Durs Grünbein's hometown, Dresden, which was destroyed in the Allied firebombing of February 1945. Porcelain is a book-length cycle of forty-nine poems written over the course of more than a decade that together serve as a lament for Durs Grünbein's hometown, Dresden, which was destroyed in the Allied firebombing of February 1945. The book is at once a history and "declaration of love" to the famed "Venice on the Elbe," so catastrophically razed by British bombs; a musical fusion of eyewitness accounts, family memories, and stories, of monuments and relics; the story of the city's destiny as seen through a prism of biographical enigmas, its intimate relation to the "white gold" porcelain that made its fortune and reflections on the power and limits of poetry. Musical, fractured, ironic, and elegiac, Porcelain is controversial, too, in setting itself against what Grünbein calls the "myth" of the Germans as innocent victims of a war crime. At the same time, it never loses sight of the horror deliberately visited on an unwitting civilian population, nor the devastation that looms so large in the German memory. Published for the first time in English, on the seventy-fifth year anniversary of the firebombing, this edition contains new images, notes, Grünbein's own reflections, and an additional canto--an extraordinary act of poetic kintsugi for the fractured remains of Dresden's memory.