Pleasure Reading. "Sister Carrie" by Theodore Dreiser (Conclusion).

Hurtswood confessed Carrie to his deception, but he promissed her not  to leave her. Hurtswood asked Carrie to stay with him. They left Chicago and got married under flse names. Soon Hurtswood's theft of money was exposed and he had to return money. However he was allowed to return in America where he managed to put in order his own business.

Meanwhile Carrie made acquaintance with interesting people. Her life was improved again. She visited theatre and restaurants, met with inventor Bob Ems who was also interested in her. But their acquaintance didn't last long. Ems in turn became the ideal of men for Carrie.

After three years Hurtswood had problems again. His business didn't make a profit and his business partner cenceled a contract. Hurtswood had to look for a new job, but his attempts failed. He and Carrie tried to save money but they were short of them catastrophically. Then Hurtswood began to play poker in order to earn money but he lost the last ones.

Carrie understood their difficult situation and decided to test her strength on the stage again. This time she was lucky. She became an actress of corps de ballet. Gradually Carrie became successful and famous. She left Hurtswood who appeared at the bottom of his life. Eventually he commited suicide because he was unable to bear the poverty.

Carrie met Drouet again. The later wanted them to be together again, but Carrie was interested in him no longer. Carrie staied with Ems who returned to America after his success in his inventions. Being a successful actress Carrie was not needy. Nevertheless she fell into apathy because everything seemed her unreal and false. 

Pleasure Reading. Sister Carrie by Theodore Dreiser. (Chapters 23-27)

Being seized with doubts about Carrie's fidelity, Drouet intended to find out the truth concerning her relationships with Hurtswood. It was difficult for him to start. But when he finally did it, the matter took a bad turn. Blaming Carrie for her betrayal, Drouet deeply offended her and the later in turn blamed him for such a bad outcome of events. They quarreled and in a burst of anger Drouet told Carrie that Hurtswood was a married man. It was a heavy blow for Carrie, she made a decision never to meet him again. Drouet left Carrie but he hoped to make it up with her.

As for Hurtswood, he also had some problem. His wife also blaming him for betrayal laid down conditions: he must do everything what she wants otherwise she can sploil his reputation. She attached lawyers to this affair. Moreover Hurtswood's fortune belonged to her. Hurtswood was evicted from his own house and he had to live in hotels. He thought Carrie to be the only happy thing in the dark line of his life, but the later didn't make herself felt. Hurtswood began to suspect that Carrie learned about his wife.

Meanwhile, Carrie started looking for a job again. She was alone again and she didn't know what to do. She  was conscience-sricken toward Drouet. He was kind to her and he didn't turn out her from house, but she couldn't forgive him for his selfishness. Looking for a job, Carrie tried to get fixed up as an actress, but she failed.

Hurtswood spent all his time in deep thought about his situation. His wife blackmailed him and Carrie sent a letter where she wrote about her awareness of his marriage and about their parting. Trying to divert his attention from his problems, Hortswood drunk in his bar. At night, checking everything before closing the bar, Hortswood suddenly found out a huge amount of money which belonged to his boss. Hurtswood tried not to yield to temptation to take the money and thus to forget about all his troubles, but he faild, he stole the money and came to Carrie. Having lied that Drouet got hurt, Hurtswood enticed her from house and with no explanation took her to the station in order to leave Chicago.

Rendering 7 (Theatre)

The article "UK playwright plans shaw drawing on Anders Breivik's Norway killings" was published by Vanessa Thorpe on the website of The Guardian on March 24, 2013. This article reports about controversial play of one of Britain's acclaimed writers for the stage, David Greig, based on mass murders in Norway committed in 2011 by Anders Breivik. It was revealed that the play will be called "The Events" and it will be premiered this summer at Edinburgh's Traverse Theatre, before it travels to London for a run at the Young Vic.

Speaking of the play, it's necessary to note that according to Greig, this show is to examine the limits of human empathy. Researching the project the author of the play visited the country three months after the atrocity that took away the lives of 77 people and spoke to people who had been affected as well as to a journalist who revealed that he had been at school with Breivik and was able to give Greig detailed information.

It's also interesting to notice that Greig decided to creat such a controversial play because he was most interested in how Norwegian society was feeling. Greig has a critical view that Breivik's violence was done to an entire society. Norway seems to him to be a poster boy for the liberal west. In proportional terms Greig presumed that the Norwegian murders were akin to the 9/11 attacks on New York. But Americans responded one way, and Norway responded with democracy. So the playwriter wanted to look at whether trying to understand a crime of this nature is really the best way.

As for plot of this play, Greig's story centres on a woman, described as being "at the centre of the events", who has to try to decide on her response to the impact of a politically and racially motivated mass murder. The writer decided not to name Breivik in the show and to relocate the atrocity to his native Scotland.

The author of the article gives nor appraisals nor comments to British writer's play. As for me, I think that such a controversial production requires a very delicate approach. Mass murders of 2011 are severe tragedy for Norwegians. So what's the point in carrying back?

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The article "James Bruke-Dunsmore, the actor who weaves his own thorny crown" was published by David Twistorn-Davies on the website of The Telegraph on March 24, 2013. The author covers an interesting aspect of professional occupation of British actor James Bruke-Dunsmore. This aspect concerns his playing as a Jesus in Passion plays.

Giving a hictorical reference the aurthor notes that Passion plays performed by laymen were a popular feature of the medieval church until suppressed at the Reformation. However, such plays have been creeping back in recent years, perhaps, as the journalist Malcolm Muggeridge once said, because people are looking for God anywhere except in church.

It was revealed tha tthis Easter, at least 15 performances are being planned by amateur groups around the country. They will draw their casts from volunteers with widely different backgrounds: members of local churches, Christmas-only churchgoers, even people uncertain about exactly who Jesus was. And in several performances the actor James Bruke-Dunsmore will be involved. Firstly James will play Jesus on Good Friday in Trafalgar Square. It was revealed that he will arrive on a donkey, and perform with another 78 players mingling with the audience until Jesus and the two thieves are crucified, usually in awed silence. The following day, James will perform it twice in Guildford High Street; and on Easter Sunday, he will watch the production he has directed at St Peter’s Church in Brighton.

Speaking of the actor, the author notes that James has been playing Jesus Christ in 57 separate productions during the 16 years. The author also emphasizes that two things struck him when he interviewed James. The first one is that he is an unspectacularly, unthreateningly Christian. James has written and edited 32 scripts based on the four Gospels, particularly that of St John. He gives some 40 talks a year to schools, in which he emphasises the importance of pupils feeling, not just studying, the words. And the second striking thing about James is his distinct resemblance to the Christ portrayed by the great religious painters, in those large works to be found in churches and museums, and on those small cards designed to be slipped into prayer books.

It's interesting to note that one consequence of it is that James Bruke-Dunsmore is often the first choice for casting directors looking for a Jesus.

In conclusion the author gives no comments, but there are reasons to believe that he was impressed by such an astonishing person as James Bruke-Dunsmore. As for me I think it's great that an actor can find such image in which he is able to expose all his artistic potential and realize himself entirely as an actor.

    

Pleasure Reading. Sister Carrie by Theodore Dreiser. (Chapters 16-22).

Drouet was a member of a secret order in which favour he was working. So this order for the sake of improvement of its economic prosperity made a decision to organize a play. Drouet was asked to find a young woman for one of the main roles in this play. His decision fell upon Carrie.

As for Carrie, she was afraid to accept his suggestion in view of her shyness, but after long persuasions of Drouet she agreed.  Furthermore, Carrie dreamed to become an actress and it was her chance. Carrie rapidly got into the role and Drouet’s praises and admiration instilled confidence in her. Moreover Hurtswood supported this idea and promised her to be at the play. Hurtswood as an influential person in the city did his best in order to attract the social attention to this play.

After successful rehearsals Carrie was inspired and became confident in her success. But in the day of performance all her confidence vanished and the beginning of the play failed. Hurtswood sent Drouet to cheer up her and after that Carrie regained her spirit and finished the play perfectly striking the audience. Hurtswood and Drouet loved her even more and each of them desired to own her. Hurtswood suffered that he couldn’t to admire her openly and hated Drouet that he could.  During their next meeting Hurtswood begged Carrie to leave Drouet and she promised him to do it.

Meanwhile, Drouet began to suspect that something was wrong. He couldn’t recognize former Carrie who saw him as an object of adoration. Carrie stopped to admire him and share some events and plans. So he learned from housemaid that Hurstwood frequently visited Carrie during his absence, but Carrie told him about it nothing.

Moreover Hurtswood’s family relationships also began to ruin. His wife, Mrs. Hurtswood, cold and circumspect woman began to suspect his husband in unfaithfulness. Some of evidences from Hurtswood’s friends made Mrs. Hurtswood think out a plan of revenge. 

Pleasure Reading. Sister Carrie by Theodore Dreiser. (Chapters 11-15).

After acquaintance of Hurtswood, Carrie’s life with Drouet began to be a burden on her. She began to see selfishness in him. Drouet often went away as a travelling salesman leaving her alone with her sad thought about her home and wrong behavior. And the only man who began to pay attention to her was Hurtswood. Hurtswood in turn fell in love with Carrie and was full of decision to conquer her from Drouet. He didn’t see his friend as a serious rival. He also saw Drouet as a frivolous man who wasn’t ready to serious relationships.  As evidence, Hurtswood noted him in the company of another woman while Carrie was alone in home.

Hurtswood began to act. Firstly he invited Carrie and Drouet at the theatre trying to make a good impression upon Carrie. Then he began to visit to Drouet’s house regularly and when the later once again went on his business, Hurtswood began to call Carrie for a walk. And during one of such walks, he made a declaration of his love to her. As for Carrie, she was impressed by this assured and noble man. He seemed her different from Drouet who indeed cared about his own vanity. Carrie saw an attentive man in Hurtswood. Her love to him appeared to be mutual. And when Drouet came back, Carrie and Hurtswood became already secret beloveds.

But they became to be often seen together and gossip began to spread…

Finally Hurtswood could bear this conspiracy no longer and suggested Carrie leaving Drouet.

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The article "Purple Heart, Gate Theatre, Nitting Hill, review" was published by Dominic Cavendish on the website of The Telegraph on March 14, 2013. This article covers the UK premiere production of Bruce Norris' play "The Purple Heart" at the Gate Theatre.

It was revealed that Bruce Norris usually gets the hell out of theatres as soon as performance of one of his plays is over lest he overhear. Speaking of the play, the author expresses his critical view concerning its plot. A big "So what?" hangs over the evening, which Norris rustled up, at speed in 2002, as war with Iraq loomed. Analysing the scenario of the play, it's neccessary to note that Norris still struggles to  flesh out it.

In conclusion the author gives his own appraisal of the play. He assumes that even with the kick of a creepy twist, the drama as a whole feels like one of  throwaway amusements. 

Rendering 4 (art)

Richard Dorment, The Telegraph's journalist, published a quiet interesting article entitled "George Bellows, Modern American Life, Royal Academy, review" on the newspaper's website on March 11, 2013. The author takes a critical view about works of American painter George Bellows and tries to determine his position in a contemporary American art at length of the article.

Speaking of the artist's paintings, it necassary to note that they probe beneath the surface of American life. Dwelling on his picture "Stag at Sharkey's" which depicts two sinewy boxers hurling themselves at each other like stags locked in mortal combat, Richard Dorment maintains that Bellows hits a nerve of Americans because this picture looks at the violence and racism at the heart of American society. Analyzing this painting, it's necessary to emphasize that boxing was illegal in New York untill 1911 and in order to circumvent the ban matches were held behind closed doors. It should be noted that Bellows did not approve or disapprove of boxing and according to his own words he was “just painting two men trying to kill each other”. Anyway there is grneral feeling to believe that Americans were shocked both by the near-nudity of the boxers and by the brutality of the subject.

Analyzing another Bellows' picture "North River" the author maintains that in contrast to 19th American landscape painters who focused on awe-inspiring natural phenomena like the Grand Canyon or Niagara Falls  George Bellows painted the man-made equivalent. He found beauty in tugboats butting through the icy waters of the rain-sodden East River. He also painted Manhattan under snow and the lovely sight of the Palisades rising up on the Jersey side of the Hudson and some pretty views of summer fetes in Central Park. But in resolute terms the author claims that for all his superb craftsmanship, these subjects don’t have quite the edge of superb studies of working-class and poor New Yorkers.

In conclussion the author makes it clear that George Bellows' works  certainly take a weighty position in American art. Moreover he shares an opinion of a contemporary American critic who once described Bellows as “an adherent of the 'wallop’ in painting”.

As for me,  I think George Bellows is one of such painters who can expose the vices of their own nations. I completely approve of the phrase “an adherent of the 'wallop’ in painting”. Bellows' pictures certainly break the traditional vision of art. 

Review 1. (art)

Vincent and Theo.

Cast: Tim Roth, Paul Rhys, Adrian Brine, Yves Dangerfield and others
Director: Robert Altman

Synopsis.
The film tells about a mad life of a great artist Vincent van Gogh and his brother Theodore who supported him secrificing his own private life, work, health and even reputation...Their relationship is something more than a simple brotherly love. Dragging out a miserable existence, Vincent slowly goes mad and doesn't cease to shock Theo with his crazy acts up to his death. Vincent's death becomes a hard blow to Theo and after great artist's decease his the same great brother also departs his life...

Review.
"Vincent and Theo" is a very specific film. It can refer to the category of "another movie" which is not for a general public. But admirers of Van Gogh's works will probably relish this movie because it contains a lot of scenes with drawing process of his famous pictures. The film is built up very specifically. An intricate plot, a constant anxious background music, a lot of silent scenes and the direction of the film in whole create an atmosphere of  madness and even insanity. At first sight the film seemes absurd and difficult, but that's the main trick of the movie! It was created to show a reality of the great artist's life. And his reality is following:

Vincent loses his faith in God. But he manages to find a substitution for it. This is art. Art becomes everithing for him: his religion, his God, his life.Moreover, (if we consider his attitude to art deeper) it becomes even more important than his family. Actually family relationship became the main impact to his current condition. Vincent loses his faith in his family that doesn't approve of his wish to be a painter. He wants his brother Theo to help him to sell his paintings, but seeing his misunderstanding, his censure, Vincent shrinkes into himself deeper and deeper. The feeling of needlessness makes Vincent shelter a prostitute, who also leaves him eventually. The feeling of loneliness and the great power of art gradually bring him to madness.

It would be wrong to assume that this film touches upon only Vincent van Gogh's life. Actually the plot is built up on two story lines. And the second one is a life story of Theo, Vincent's brother. The role of Theo is not secondary. This is another reality and another insanity. Theo is also mad like Vincent, but the reason of his madness is Vincent himself. Just as a painting was a sacred object for Vincent, Vincent was a sacred object for Theo. Theo is a keeper of art gallery, but his affairs go badly. Moreover, being seriously ill, Theo can't put in order his private life. And the only good thing in his problem life is Vincent. But unfortunatelly the later also begins to  let him down. Suicidal attemps of his brother exhaust Theo and drive him to despair. Theodore has to balance between two extremes: The first one is the insanity of his brother which implies a prodigious love and fear for his life; and the second one is his own happy life to which he sought so long, with his wife and a future child.

But we can see, Vincent remains the most important person in Theo's life. When Theo tries to explain his wife who eats heartily and doesn't suspect about her husband's pain, that Vincent is in medhouse, we can see  how it's difficult for him: he doesn't eat, he tries to find a substitution for a word "medhouse", his lips shiver and then we see his tears...And when Vincent died, Theo finaly "was broken". His life became senseless. At the end of the movie we can see him dirty, naked and delirious in a medhouse. And a logical end of this strange but touching story becomes a scene that depicts two grey gravestones with two brothers' names: Vincent van Gogh and Theodore van Gogh.

Speaking about cast, I think it's brilliant. Tim Roth is a very talented actor. And his role of Vinvent van Gogh makes us sure of it again. I think Tim Roth manage to convey such a strange and mad inner world of this artist that  is reflected in his paintings. But perhaps the most outstanding role was the role of Theodore. Paul Rhys played perfectly. All tragedy, all pain and all despair are conveyed so vividly, so realistically and so professionally that it seems Paul Rhys realy became a mad person for this role.

So the movie "Vincent and Theo" is worth to watch if you want to experience another level of human relationships. So impulsive and so explosive brotherly love at the level of insanity exposes the TRUE love that is far from that word "love" which we used to use for denotation of "attachment", "sympathy" or something like that.

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The article "Now Hear This: Works by Chinese Sound Artists" was published by two reporters James C. and MvKinley Jr. on the website of The New York Times on March 1, 2013. This artical reports about an exhibition of sound-art installations by Chinese artists organized by Colgate University in the United States.

Bringing readers up to date on the case, the reporters give a brief explanation of sound artists. These are persons who use noise, live performances by musicians, recorded ambient sounds, spoken words, audio-visual tapes and other aural elements to create art installations that either have no visual elements or forge a connection between images and sounds. Speaking of this modern art, it's neccessary to note that it has become a popular genre in China in recent years.

It was revealed that more than 30 Chinese sound artists will display their works in the Colgate exhibition "Revolution Per Minute" from March 26 to April 26. Among them the authors distinguish Samson Young who uses for his artworks the performers’ brain waves to control a sound-making device as a homage to the sound art pioneer Alvin Lucier and his brain-wave pieces, and “Liquid Border,” which uses ambient noises from fences along the border between Hong Kong and mainland China; as well as provocative art piece by Xu Cheng who uses recordings of people engaging in telephone sex and arranging casual trysts on a chat line.  

Giving appraisal of the coming exhibition, an assistant professor of art Wenhua Shi says that these sound artworks reflect the landscape and soundscape of China.

In conclusion the authors accentuate that lots of art pieces of the Chinese Sound exhibition touch upon sensitive political and social issues, though none have been banned in China.

It's hard to predict the future, but as for me, the Colgate exhibition of Chinese Sound Artists will create a great furore in the world of art. It's certainly of big interest for the development of modern art.