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Capek Four Plays: R. U. R.; The Insect Play; The Makropulos Case; The White Plague (World Classics) (Vol 1)
Download Ebook Capek Four Plays: R. U. R.; The Insect Play; The Makropulos Case; The White Plague (World Classics) (Vol 1)
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"There was no writer like him. . . prophetic assurance mixed with surrealistic humour and hard-edged social satire: a unique combination" (Arthur Miller)This volume brings together fresh new translations of four of his most popular plays, more than ever relevant today. In R. U. R., the Robot - an idea Çapek was the first to invent - gradually takes over all aspects of human existence except procreation; The Insect Play is a satirical fable in which beetles, butterflies and ants give dramatic form to different philosophies of life; The Makropulos Case is a fantasy about human mortality, finally celebrating the average lifespan; The White Plague is a savage and anguished satire against fascist dictatorship and the virus of inhumanity.
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Product details
Series: World Classics
Paperback: 320 pages
Publisher: Methuen Drama (September 13, 1999)
Language: English
ISBN-10: 0413771903
ISBN-13: 978-0413771902
Product Dimensions:
5 x 0.8 x 8 inches
Shipping Weight: 8.5 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
7 customer reviews
Amazon Best Sellers Rank:
#888,130 in Books (See Top 100 in Books)
I buy this book for containing my favorite play MACROPULUS CASE. The other three are very interesting too and every of them have bin played in English speaking world, when they have bin created. Especially in London and Canada with they warnings about dictators regimes and scary future.R.U.R. is very famous for bringing the word Robot in world languishes. The case Macropulus is about the mankind dream about immortality.Already in the time when it was written and still to to day it is a focused work in psychology a philosophical works. It started with essay from British philosopher Bernard Williams, who liked especially the opera version from this play by Leos Janacek.( He was big lower and expert in modern music). The question he asked is more actual today, then ever.Also Karel Capek play White plague can make today good point in the discussion in this election year.
Capek created the word "robot" with his brother resulting the play "R.U.R.". Capek foresaw the world of 21st century and gave a warning so much ahead of time. This is one book everyone should read before they talk about robot technology and its benefit. T.K.OHSKA
While these plays by Karel Capek were written decades ago, they are still timely and are still being produced to this day. I was fortunate enough to have seen "Vec Makropulos" live in Prague Theater and it was widely enjoyed by the audience. Many of Capek's works question our existence and even though he uses insects as characters, they are not science fiction in the usual way of aliens come to earth, but more as a way of questioning why we are here and what is to become of the human race. Capek coined the word "robot" to serve as machines that morph into beings that begin to take over their human creators.
I think K. Capek is a visionary! The plays were written a while ago, but they will be modern in hundreds years from now.
When I was twenty-six –this is fifty-three years ago—I directed the Capek brothers’ expressionist allegory, The Insect Play (1921) in the high school where I was teaching. It was 1962. These are my program notes:director’s notebookPLOTA vagrant having fallen asleep in a woods distant from the city which he has just fled, dreams. Dreams filled with crickets and beetles and other insects in place of humans. The insects act out, in his dreams, the parts of humans. When the old man wakes out of his sleep, his distaste for his own life is confirmed. Then moths appear. They affirm the eternity of life, they twirl and die. In their short lives the vagrant sees a way to live his longer one. But before he can start it, he dies. Dawn. A woodsman discovers the body. A woman enters, carrying a baby. She and the woodsman talk, and then leave, the woodsman to report the death of the old castoff, she taking her baby to its christening.***That’s the plot –all of it. Using only this skeleton, the authors, who lived in as Europe as disillusioned with its life as was the vagrant with his own, commented on what they could see in the Central Europe of the 1920’s. The background for this play is a world at odds with all its old values, unsure of any new –a world just christening the Hitlers, Mussolinis, and Dolphusses of the decade to come. The play mirrors its times.PRODUCTIONTo have effect, this play had to develop in a swelling curve, both in dynamics and in mood. It had to start in a whisper (prologue), well into a quick=p[aced, light, frothy part (act 1), become more stylized but still humorous (start of act 2), grow steadily less humorous (end of act 2) and move to dark overtones (act 3) and then to a peak (epilogue: moths’ death and the death of the old man), and then, very quickly, slide to a soft and quiet end.The play uses empty spaces, periods of no movement, rhythm changes. Crescendos, especially in the third act, are important. All had to be planned ahead of time. Pacing was critical.The characters of the individual kinds of insects were no less important. They had to seem parts of people, not whole people. I wanted their characters to overlap to create a whole (whole mood, not person).If some of what we tried came through, it’s because the cast, mostly novice (only eight had been in a three-act play before—out of 38) worked hard, and in spite of flu, measles, and my sometimes none too gentle criticisms, kept on.d.k.I hope it’s apparent how much I love this play. When we did it, my students stepped up and performed better than I had ever expected. They were good in other plays but they were extraordinary in this one.
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