By Rubén Darío
Born in Nicaragua, Rubén Darío is named the consummate chief of the Modernista circulate, an esthetic pattern that swept the Americas from Mexico to Argentina on the finish of the 19th century. looking a language and a mode that may distinguish the newly emergent international locations from the previous imperial energy of Spain, Darío’s writing provided a refreshingly new imaginative and prescient of the world—an inventive sensibility instantly cosmopolitan and attached to the rhythms of nature. the 1st a part of this assortment offers Darío’s most important poems in a bilingual layout and arranged thematically within the manner Darío himself predicted them. the second one half is dedicated to Darío’s prose, together with brief tales, fables, profiles, go back and forth writing, reportage, opinion items, and letters. A sweeping biographical creation through amazing critic Ilan Stavans locations Darío in old and inventive context, not just in Latin the USA yet in international literature.
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Extra resources for Selected Writings
In particular, Kurbas was taken with the Austrian's Romeo, Hamlet, and Mark Antony. Valentyna Chystiakova (who was to become Kurbas's wife) recalled that Kurbas was enthralled by Kainz's brilliant, virtuoso technique, his combination of emotion and intellectualism, elegance and restraint (Chystiakova, Letter, 243—4). In her study of Kurbas's early years, Volytska suggests that Kurbas was affected by Kainz's superb control of technique: a mastery over every part of his body, as well as a firm control over the musicality of his voice.
The potency of such 'organic' theatre, which drew on archetypal patterns was soon to inspire modernists such as the choreographer Bronislava Nijinska, whose deeply moving ballet, Les Noces, derived from precisely such East Slavic sources. Nevertheless, the ethnographic andpobut drama served an important — even a central — national function in keeping the theatre alive in the Ukrainian language and in preserving aspects of popular culture. Already in the early twentieth century, Ukrainians referred to these plays as their classics, regarding them as public symbols, part of a system by which the community recognized itself.
The theatricalism of Kainz's conception of his role, the sense of independence from convention and even the text, the control over language and body, the grace and clarity of the delivery — these were to become (and remained) some of the key postulates of Kurbas's own vision of acting. Kainz's theatricality and his ability 'to suggest an inner world that could not be fully grasped' (Williams, German, 204) were also qualities which characterized Ex nihilo: The Classics, Wars, and Revolutions 21 two other major influences on Kurbas developed during his Vienna days, Max Reinhardt and Edward Gordon Craig.