Von dem Buch No Author Better Served: The Correspondence of and haben wir 3 gleiche oder sehr ähnliche Ausgaben identifiziert!
Falls Sie nur an einem bestimmten Exempar interessiert sind, können Sie aus der folgenden Liste jenes wählen, an dem Sie interessiert sind:
100%: Beckett, Samuel; Schneider, Alan; Harmon, Maurice [Editor]: No Author Better Served: The Correspondence of and (ISBN: 9780674625228) 1998, Harvard University Press, Cambridge, MA, Erstausgabe, in Englisch, Broschiert.Nur diese Ausgabe anzeigen…
77%: Samuel Beckett, Alan Schneider: No Author Better Served: The Correspondence of and (ISBN: 9780674003859) in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
54%: Harmon Maurice Harmon: No Author Better Served : The Correspondence of Samuel Beckett and Alan Schneider (ISBN: 9780674273429) 1984, in Englisch, auch als eBook.Nur diese Ausgabe anzeigen…
No Author Better Served: The Correspondence of and - 11 Angebote vergleichen
Bester Preis: € 9,83 (vom 10.02.2017)1
No Author Better Served
EN NWISBN: 9780674003859 bzw. 0674003853, in Englisch, Harvard University Press, United States of America, neu.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, in-stock.
For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: "Don't mention any of this to your actors!"He claimed he couldn't talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright's ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays. Alan Schneider premiered five of Beckett's plays in the United States, including Waiting for Godot, Krapp's Last Tape, and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters-about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright's vision emerges, as well as a feel for the director's task. Of Godot, Beckett wrote to Schneider, "I feel my monster is in safe keeping." His confidence in the director, and Schneider's persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett's work in conception and in production. The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider's accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon's thorough notes provide a helpful guide to people and events mentioned throughout.
For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: "Don't mention any of this to your actors!"He claimed he couldn't talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright's ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays. Alan Schneider premiered five of Beckett's plays in the United States, including Waiting for Godot, Krapp's Last Tape, and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters-about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright's vision emerges, as well as a feel for the director's task. Of Godot, Beckett wrote to Schneider, "I feel my monster is in safe keeping." His confidence in the director, and Schneider's persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett's work in conception and in production. The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider's accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon's thorough notes provide a helpful guide to people and events mentioned throughout.
2
No Author Better Served : The Correspondence of Samuel Beckett and Alan Schneider (1984)
EN NW EB DLISBN: 9780674273429 bzw. 0674273427, in Englisch, Harvard University Press, neu, E-Book, elektronischer Download.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, Despatched same working day before 3pm.
For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: "Don't mention any of this to your actors!"He claimed he couldn’t talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright’s ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays. Alan Schneider premiered five of Beckett’s plays in the United States, including Waiting for Godot, Krapp’s Last Tape, and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters—about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright’s vision emerges, as well as a feel for the director’s task. Of Godot, Beckett wrote to Schneider, “I feel my monster is in safe keeping.†His confidence in the director, and Schneider’s persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett’s work in conception and in production. The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider’s accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon’s thorough notes provide a helpful guide to people and events mentioned throughout.
For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: "Don't mention any of this to your actors!"He claimed he couldn’t talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright’s ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays. Alan Schneider premiered five of Beckett’s plays in the United States, including Waiting for Godot, Krapp’s Last Tape, and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters—about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright’s vision emerges, as well as a feel for the director’s task. Of Godot, Beckett wrote to Schneider, “I feel my monster is in safe keeping.†His confidence in the director, and Schneider’s persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett’s work in conception and in production. The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider’s accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon’s thorough notes provide a helpful guide to people and events mentioned throughout.
3
No Author Better Served: The Correspondence of and (1998)
EN HC NW FEISBN: 9780674625228 bzw. 0674625226, in Englisch, 512 Seiten, Harvard University Press, gebundenes Buch, neu, Erstausgabe.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, The Table Press.
For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: "Don't mention any of this to your actors!" He claimed he couldn't talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright's ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays. Alan Schneider premiered five of Beckett's plays in the United States, including Waiting for Godot, Krapp's Last Tape,and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters--about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright's vision emerges, as well as a feel for the director's task. Of Godot, Beckett wrote to Schneider, "I feel my monster is in safe keeping." His confidence in the director, and Schneider's persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett's work in conception and in production. The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider's accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon's thorough notes provide a helpful guide to people and events mentioned throughout. , Hardcover, Edition: 1, Label: Harvard University Press, Harvard University Press, Product group: Book, Published: 1998-10-20, Studio: Harvard University Press, Sales rank: 4052556.
Von Händler/Antiquariat, The Table Press.
For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: "Don't mention any of this to your actors!" He claimed he couldn't talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright's ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays. Alan Schneider premiered five of Beckett's plays in the United States, including Waiting for Godot, Krapp's Last Tape,and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters--about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright's vision emerges, as well as a feel for the director's task. Of Godot, Beckett wrote to Schneider, "I feel my monster is in safe keeping." His confidence in the director, and Schneider's persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett's work in conception and in production. The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider's accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon's thorough notes provide a helpful guide to people and events mentioned throughout. , Hardcover, Edition: 1, Label: Harvard University Press, Harvard University Press, Product group: Book, Published: 1998-10-20, Studio: Harvard University Press, Sales rank: 4052556.
4
No Author Better Served: The Correspondence of and
EN NWISBN: 9780674003859 bzw. 0674003853, in Englisch, Harvard University Press, United States of America, neu.
Lieferung aus: Kanada, In Stock, plus shipping.
Samuel Beckett, Alan Schneider, Books, Entertainment, No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider, For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: Don't mention any of this to your actors!He claimed he couldn't talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright's ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays.Alan Schneider premiered five of Beckett's plays in the United States, including Waiting for Godot, Krapp's Last Tape,and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters--about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright's vision emerges, as well as a feel for the director's task. Of Godot, Beckett wrote to Schneider, I feel my monster is in safe keeping. His confidence in the director, and Schneider's persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett's work in conception and in production.The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider's accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon's thorough notes provide a helpful guide to people and events mentioned throughout.
Samuel Beckett, Alan Schneider, Books, Entertainment, No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider, For Alan Schneider, directing Endgame, Samuel Beckett lays out the play's philosophy, then adds: Don't mention any of this to your actors!He claimed he couldn't talk about his work, but Beckett proves remarkably forthcoming in these pages, which document the thirty-year working relationship between the playwright and his principal producer in the United States. The correspondence between Beckett and Schneider offers an unparalleled picture of the art and craft of theater in the hands of two masters. It is also an endlessly enlightening look into the playwright's ideas and methods, his remarks a virtual crib sheet for his brilliant, eccentric plays.Alan Schneider premiered five of Beckett's plays in the United States, including Waiting for Godot, Krapp's Last Tape,and Endgame, and directed a number of revivals. Preparing for each new production, the two wrote extensive letters--about intended tone, conception of characters, irony and verbal echoes, staging details for scenes, delivery of individual lines. From such details a remarkable sense of the playwright's vision emerges, as well as a feel for the director's task. Of Godot, Beckett wrote to Schneider, I feel my monster is in safe keeping. His confidence in the director, and Schneider's persistent probing for a surer understanding of each play, have produced a marvelous resource: a detailed map of Beckett's work in conception and in production.The correspondence starts in December 1955, shortly after their first meeting, and continues to Schneider's accidental death in March 1984 (when crossing a street to mail a letter to Beckett). The 500 letters capture the world of theater as well as the personalities of their authors. Maurice Harmon's thorough notes provide a helpful guide to people and events mentioned throughout.
5
No Author Better Served
EN PB USISBN: 9780674003859 bzw. 0674003853, in Englisch, Triliteral, Taschenbuch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock.
9780674003859,0674003853,author,better,served,samuel,beckett, Excellent Marketplace listings for "No Author Better Served" by Samuel Beckett starting as low as $13.49! Paperback, Shipping to USA only!
9780674003859,0674003853,author,better,served,samuel,beckett, Excellent Marketplace listings for "No Author Better Served" by Samuel Beckett starting as low as $13.49! Paperback, Shipping to USA only!
6
Symbolbild
No Author Better Served The Correspondence of Samuel Beckett & Alan Schneider (1998)
EN HC USISBN: 9780674625228 bzw. 0674625226, in Englisch, Harvard University Press, Cambridge, MA, gebundenes Buch, gebraucht, mit Einband.
Von Händler/Antiquariat, John Fort [1016606], Woodridge, IL, U.S.A.
$35.00 Publishers Dust Jacket Price intact, 486 Pages, "VERY LIGHT SHELF RUBBINGS to the DUST JACKET" Size: 8vo - over 7¾" - 9¾" tall.
$35.00 Publishers Dust Jacket Price intact, 486 Pages, "VERY LIGHT SHELF RUBBINGS to the DUST JACKET" Size: 8vo - over 7¾" - 9¾" tall.
7
Symbolbild
No Author Better Served: The Correspondence of and (1998)
EN HCISBN: 9780674625228 bzw. 0674625226, in Englisch, Harvard University Press, gebundenes Buch.
Lieferung aus: Vereinigte Staaten von Amerika, Shipping costs to: USA.
Von Händler/Antiquariat, Ergodebooks.
Harvard University Press, 1998-10-20. First Edition. Hardcover. Used:Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. 24*7 Customer Service.
Von Händler/Antiquariat, Ergodebooks.
Harvard University Press, 1998-10-20. First Edition. Hardcover. Used:Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. 24*7 Customer Service.
8
Symbolbild
No Author Better Served: The Correspondence of and (1998)
EN HC USISBN: 9780674625228 bzw. 0674625226, in Englisch, Harvard University Press, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Shipping costs to: USA.
Von Händler/Antiquariat, Ergodebooks.
Harvard University Press, 1998-10-20. Hardcover. Very Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. Expedite Shipping Available.
Von Händler/Antiquariat, Ergodebooks.
Harvard University Press, 1998-10-20. Hardcover. Very Good. Buy with confidence. Excellent Customer Service & Return policy. Ships Fast. Expedite Shipping Available.
9
No Author Better Served
ENISBN: 9780674273429 bzw. 0674273427, in Englisch, Vitalsource Technologies, Inc.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
Lade…