By Oliver Hilmes
During this meticulously researched ebook, Oliver Hilmes paints a desirable and revealing photograph of the intense Cosima Wagner—illegitimate daughter of Franz Liszt, spouse of the conductor Hans von Bülow, then mistress and for this reason spouse of Richard Wagner. After Wagner’s demise in 1883 Cosima performed a very important function within the promulgation and politicization of his works, assuming regulate of the Bayreuth pageant and remodeling it right into a shrine to German nationalism. The excessive Priestess of the Wagnerian cult, Cosima lived on for nearly fifty years, crafting identical to Richard Wagner via her organizational skill and ideological tenacity.
The first booklet to use the to be had documentation at Bayreuth, this biography explores the achievements of this striking and obsessive girl whereas illuminating a still-hidden bankruptcy of eu cultural heritage.
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Although he was anxious to make an impression in the movies, Paul felt as if he had taken two steps backward. He had to work longer hours with the coach and Mayo than he had with Logan and Inge back in New York. His old doubts and insecurities about his acting ability began to resurface. He had a snobbish attitude toward pretty Mayo, who had appeared in many musicals and light comedies and was in his opinion a “movie” person instead of one from the theater. The director, Victor Saville, told me that Newman made things twice as difficult because of his rather condescending attitude.
She had chosen Tennessee Williams’s Battle of Angels, the first version of what would eventually become Orpheus Descending. Newman took the part of the sexy drifter, Val Xavier, who comes to a small town and works for an Italian lady who runs “YOUNG ACTORS NEED FREEDOM” a shop. The young actress played the part of a free-spirited, slightly crazy townsperson who also makes a play for Xavier. ) Since Newman himself was not really auditioning, he wasn’t too nervous the night they were to perform. Until he found that in addition to the two people who always presided over final auditions, Elia Kazan and Cheryl Crawford, such luminaries as the director Frank Corsaro, Karl Malden, and Geraldine Page were sitting in the audience.
If you wanted to be a “real” actor, that was the place to go—if they would have you. The other actors Paul worked and hung out with all talked about the great talents who were part of the studio—Eli Wallach, Julie Harris, Marlon Brando, Rod Steiger—and what an honor it would be to be taken under the wing of the group for serious study. Paul was intrigued—he wanted to be a “real” actor, not just a pretty boy—but didn’t think he was good enough to walk among such distinguished company. As fate would have it, he was soon proven wrong.