Magic Theatre Collection

Production notes (cartons 22-49).

For Christmas, Clara is given new ballet shoes and a nutcracker doll. The nutcracker comes alive, turns into a handsome prince, and the marvellous adventures begin. Clara and her prince defeat the king of the rats and travel to the land of sweets.

The Magic Theatre records contain the administrative, production, financial, and publicity records of a theatre company that grew from a handful of graduate students to a well repsected company known for its support of new theatrical works. The collection, which spans the period of John Lion's tenure as Artistic Director and General Director, includes corresondence, bylaws, manuscripts of writings and speeches, programs, posters, financial statements, and clippings. Includes documents relating to the relationship between the Magic Theatre and Sam Shepard, who followed Michael McClure as an important playwright for the company.

The Magic Theatre records contain the administrative, production, financial, and publicity records of a theatre company that grew from a handful of graduate students to a well respected company known for its support of new theatrical works. The collection, which spans the period of John Lion's tenure as Artistic Director and General Director, includes corresondence, bylaws, manuscripts of writings and speeches, programs, posters, financial statements, and clippings. Includes documents relating to the relationship between the Magic Theatre and Sam Shepard, who followed Michael McClure as an important playwright for the company.

Abracadabra Kids will amaze friends and family with this pop-up magic show book. The Magic Show Book becomes part of the show as young magicians craft their own wand from its pages and interact with props, pop-ups, and pull-tabs to perform card tricks, mind-reading predictions, and much more. Kids can wave their new magic wand to conjure up a spectacular show with easy-to-perform but sure to amaze illusions using coins, cards, dice, and rope. Watch and be astounded as they make a coin jump from one hand to the other, saw a (paper) snake in half, and much more. The book's special flaps guide them through tricks, and hidden instructions make the act as seamless as possible. The audience never sees the notes and the paper engineering is part of the magic. The Magic Show Book is a performance in a book, full of mystifying magic that will occupy kids and astonish audiences.

Why, the rather staid young cellist Sarah wonders, should her aunt rent their spare room to the perhaps unstable Kari Zilke? Like the nephew in Hermann Hesse's Steppenwolf, Sarah finds herself taking an unexpected interest in the lodger, but she is unable to stop at providing a mere introduction to Kari's narrative of mid-life crisis and self-discovery, and develops her own more troubled tale of personal angst and growth, entwined with the account Kari herself purportedly left behind. Generational tensions, artistic collaborations, and even a romance steeped in Greek myth follow as Kari and Sarah pursue their very different creative paths in theater and music. And while Kari seems to blossom post-divorce, Sarah must grapple with the question of what the role of mothers, fathers, aunts, mentors, and male collaborators should be in her life as a young musician.

Martin Gardner's Mathematical Games columns in Scientific American inspired and entertained several generations of mathematicians and scientists. Gardner in his crystal-clear prose illuminated corners of mathematics, especially recreational mathematics, that most people had no idea existed. His playful spirit and inquisitive nature invite the reader into an exploration of beautiful mathematical ideas along with him. These columns were both a revelation and a gift when he wrote them; no one--before Gardner--had written about mathematics like this. They continue to be a marvel. This volume, first published in 1977, contains columns published in the magazine from 1965-1968. This 1990 MAA edition contains a foreword by Persi Diaconis and Ron Graham and a postscript and extended bibliography added by Gardner for this edition.

Analyzing Shakespeare's views on theatre and magic and John Dee's concerns with philosophy and magic in the light of the Italian version of philosophia perennis (mainly Marsilio Ficino, Pico della Mirandola and Giordano Bruno), this book offers a new perspective on the Italian-English cultural dialogue at the Renaissance and its contribution to intellectual history. In an interdisciplinary and intercultural approach, it investigates the structural commonalities of theatre and magic as contiguous to the foundational concepts of perennial philosophy, and explores the idea that the Italian thinkers informed not only natural philosophy and experimentation in England, but also Shakespeare's theatre. The first full length project to consider Shakespeare and John Dee in juxtaposition, this study brings textual and contextual evidence that Gonzalo, an honest old Counsellor in The Tempest, is a plausible theatrical representation of John Dee. At the same time, it places John Dee in the tradition of the philosophia perennis-accounting for what appears to the modern scholar the conflicting nature of his faith and his scientific mind, his powerful fantasy and his need for order and rigor-and clarifies Edward Kelly's role and creative participation in the scrying sessions, regarding him as co-author of the dramatic episodes reported in Dee's spiritual diaries. Finally, it connects the Enochian/Angelic language to the myth of the Adamic language at the core of Italian philosophy and brings evidence that the Enochian is an artificial language originated by applying creatively the analytical instruments of text hermeneutics used in the Cabala.