Kirjahaku

On a warm evening a man is crying Howl, howl, howl as he carries in his arms the body of a young woman. This isn't urban violence, it's Gorilla Rep's production of King Lear. There are no sets. The action uses available space: a parking lot, a pedestrian mall, a field. The audience - students, theater lovers, passersby, homeless people - move along with actors, from a tree to a fountain to a bench, and the audience may follow a portion of the performance or all of it. This is one of the most radical, and yet most easily available, concepts in theater: make the world the theater, make the world the audience. Christopher Carter Sanderson is the creator of an alternative theatrical concept: live free performance in public spaces. Featured in the New York Times, the Gorilla Rep productions are praised both for their acting and for the startling ingenuity of the concept. In this new book, Sanderson explains how theater can be made to work in any free space. He provides specific and practical advice for any performer or director, and relates stories from his own Gorilla Rep experience that show what the most unorthodox of theatrical techniques can achieve - without a theater, without a stage, and without a ticket to be sold.

On a warm evening a man is crying Howl, howl, howl as he carries in his arms the body of a young woman. This isn't urban violence, it's Gorilla Rep's production of King Lear. There are no sets. The action uses available space: a parking lot, a pedestrian mall, a field. The audience - students, theater lovers, passersby, homeless people - move along with actors, from a tree to a fountain to a bench, and the audience may follow a portion of the performance or all of it. This is one of the most radical, and yet most easily available, concepts in theater: make the world the theater, make the world the audience. Christopher Carter Sanderson is the creator of an alternative theatrical concept: live free performance in public spaces. Featured in the New York Times, the Gorilla Rep productions are praised both for their acting and for the startling ingenuity of the concept. In this new book, Sanderson explains how theater can be made to work in any free space. He provides specific and practical advice for any performer or director, and relates stories from his own Gorilla Rep experience that show what the most unorthodox of theatrical techniques can achieve - without a theater, without a stage, and without a ticket to be sold.

Fiction. The formal playfulness of Christopher Carter Sanderson's novel, THE TOO-BRIEF CHRONICLE OF JUDAH LOWE, is visually apparent at a glance. It consists of two parts, each composed of a series of short fragments. The first part, 79/79/'79, has 79 titled sections of 79 words each, and is set in 1979. The second, @1000thenovel, is set in 1980, and consists of roughly 1000 tweets of 140 characters each; the story also has 140 characters. The book is far more, however, than a formalist game. It is a deeply affecting Bildungsroman in which an adolescent explores many different windows into himself and his emerging world, and where the unity and plurality of experience are vividly encountered together. It's a masterful experiment in the best sense, and a deeply affecting story.

The Support Verses: Earliest Sayings of the Buddha is Christopher Carter Sanderson's uniquely poetic and practical translation of The Dhammapada. Sanderson, working from Pali and Sanskrit sources, aims to artistically transmit the essence of Buddha's sayings in a form useful for meditation. Freely cast in a flexible, idiomatic and often catchy iambic pentameter, in tone ranging as needed from the academic to the profane, these verses combine musicality with a refreshing directness. This new creative realization joins a galaxy of inspired translations of this great work to offer additional artistic insight and spiritual utility.