shepard sam chaikin joseph (30 résultats)

Paperback. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 0.8.

Hardcover. Etat : Good. Etat de la jaquette : Good. A collection of letters and other writings by Sam Shepard, the Pulitzer Prize-winning playwright and actor, and Joseph Chaikin. Due to age and/or environmental conditions, the pages of this book have darkened. Former library book. Mylar protector included. Solid binding. Moderate edgewear on the boards. Moderate shelf wear. Please note the image in this listing is a stock photo and may not match the covers of the actual item. Ex-Library.

Trade Paperback. Etat : Good. 155936095x A prior owner wrote their name in black crayon on the top of the half-title page. Pages are otherwise clean, tight and bright. 255 pages.

Hardcover. Etat : Very Good. BCE. Slight foxing on edges of pages.

Hardcover. Etat : Near Fine. Etat de la jaquette : Fine. Edited by Barry Daniels. First printing. Remainder mark on bottom edge, else fine in a fine dust jacket.

Hard Cover. Etat : Very Good. Etat de la jaquette : Very Good. First Edition. 252pp Edited by Barry Daniels.

Hardcover. Etat : Near Fine. Etat de la jaquette : Near Fine. First Edition. Near Fine hardcover in a near Fine dj (remainder mark to lower outer page edge block). A nice copy - clean text, tight binding, and a clean and bright dj. First Edition, First Printing. Edited by Barry Daniels. 252pp.

Hardcover. Etat : Good. Etat de la jaquette : Good. First edition. Edited by Barry Daniels. xii, 252pp. Pages and boards lightly age-toned, edges of boards nicked and worn, thus good only in a good only dust jacket with corresponding wear on edges.

Paperback. Etat : Near Fine. Uncorrected Proof. Edited and with a Preface by Barry V. Daniels. Near Fine. Wraps faded at the spine. Square and firmly bound, lightly soiled at the bottom edge of the text block, clean internally. A collection of correspondence with "several short plays and monologues that they produced and performed together.".

Etat : Good. Good condition. Good dust jacket. Book Club edition. (Plays, Drama, Monologues) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Etat : Collectible-LikeNew. Text block, wraps and binding are in like new condition, without markings of any kind. Well packaged and promptly shipped from California. Partnered with Friends of the Library since 2010.

Hardcover. Etat : Fine. Etat de la jaquette : Fine. First edition. Edited by Barry Daniels. 252pp. Fine in a fine dust jacket.

Paperback. 120p. + ads, essays, opinion, play scripts, performance photos, reviews, very good paperback theatre arts journal in pictorial wraps. Includes the first appearance of Shepard's "The Tooth of Crime". Also van Itallie's "Eat Cake!" and Robert Patrick's "Un Bel Di". Also Owens' essay "Mustard Gas: an interaction".

Hard Cover. Etat : Very Good. Etat de la jaquette : Very Good. Book Club (BCE/BOMC). Jacket and boards have only light wear. Pages are clean, text has no markings, binding is sound. Size: 8vo - 7¾" - 9¾" Tall.

Hard Cover. Etat : Very Good. Etat de la jaquette : Good+. Book Club (BCE/BOMC). 143pp. Black hardback, DJ has few small tears, b&w photos, A Lie of the Mind : A Play in Three Acts / The War in Heaven : Angel's Monologue,

Etat : Very good. New York: New York Performance Foundation, Inc., 1973., 1973. Very good. - Small quarto, 10 inches high by 7-1 /2 inches wide. Softcover, bound in pictorial black & white wraps. The covers are lightly bumped. 120 pages plus ads, with black-and-white illustrations. Very good. Among the contents of this issue are scripts of "Tooth of Crime" by Sam Shepard, "Eat Cake!" by Jean-Claude Van Itallie, "Un Bel Di" by Robert Patrick and "Shearwater" by William Hauptman; and essays on theatre and film by Rochelle Owens, Todd Gitlin, Walter Benjamin, Joseph Chaikin, Stanley Kauffmann and Richard Schechner.

Etat : Good. - Small folio [14 inches high by 10-1/2 inches wide], unbound leaves laid into pictorial wrappers, as issued. The wraps are lightly rubbed & chipped with some rippling to the paper. There is a partially detached mailing label on the front wrap. 58 pages, unbound as issued. Full-page pictorial story titles in color. There is a small area of very light dampstaining to the bottom corners of the pages. Good. Francis Coppola explains in his introductory Letter to the Reader that this new magazine will publish only short stories and one-act plays. He emphasizes that stories will not be chosen because they seem to lend themselves to film adaptation but solely on the strength of the writer's voice and the quality of the writing. Each issue will include a short story commissioned by Coppola and based on a idea provided to the writer, and also a classic short story which has been successfully adapted to film. The magazine was later renamed Zoetrope: All-Story and has received every major short-fiction award, including the National Magazine Award for Fiction.Among the contents of this first issue are a commissioned story,"The Baker's Wife" by Sara Powers; an essay by David Thomson "What Happens Next? Hollywood and the short story"; and fiction by Nicola Barker, Joseph Chaikin and Sam Shepard, and Thom Jones.Rare.

Vintage reference photograph from the 1969 film, showing Robert Frank, Peter Orlovsky, and Allen Ginsberg. Printed mimeo snipe affixed to the verso, along with the stamp of Israel Film Archive. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 10 x 8 inches. Near Fine.

Vintage studio still photograph taken on the set of the 1969 film, showing director Robert Frank capturing a passionate scene between two men. Stamp of photographer Tom Conroy on the verso. Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 10 x 8 inches. Near Fine.

Vintage reference photograph from the 1969 film, showing Allen Ginsberg with Peter and Julius Orlovsky. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 8 x 10 inches. Near Fine.

Vintage poster for the 1969 film, an experimental mix of documentary and fiction. Poster designed by Robert Frank. Director Robert Frank's first feature film, in which he follows poet Peter Orlvosky and his mentally ill brother Julius as they move through the late 1960s Beat scene, while Peter tries to care for his mostly catatonic brother. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin. The film examines the boundaries of reality and sanity, and features the screenwriting debut of Sam Shepard and the first feature film appearance of Christopher Walken. The film was restored and released by Steidl in 2007, along with a book publication outlining the film. From the Steidl book: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 26.75 x 20.75 inches. Near Fine.