Shadow Play is the spellbinding continuation of the story started in Shadow Dance. This second book of the Shadow Saga carries the adventure to a whole new level of danger and intrigue! The next steps of the prophecy are moving toward fruition and the world hangs in the balance. Dark forces reveal their plots as the forces of good struggle to uncover them. At each turn, those aligned with light are cut off from their own and lost in the chaos that surrounds them. With Aras's death, only his wife and the future heir to the throne are left to combat the growing darkness. Within all of this, Namir and his friends find themselves consumed by enemies, burdened by woes and thrust into the fray against their will. Namir must find the courage to face those who would stop him from fulfilling his fate. All the while, his best friend, Nurn, searches valiantly to find his missing brother.

Shadow Play examines how members of the urban underclass in Indonesia seek to negotiate their rights to urban space in a country undergoing significant social, political, and economic change.

Discover the enthralling Richard & Judy Book Club pick from international bestseller Joseph O'Connor. 'The best novel that I've read in the last twenty years... It's fantastic' RICHARD MADELEY 'Breathtaking... A hugely entertaining book about the grand scope of friendship and love' Sadie Jones, Guardian __________ London, 1878. Three extraordinary people begin their life together - and the idea for Dracula is born. Fresh from life in Dublin, Bram Stoker - now manager of the Lyceum Theatre - is wrestling with dark demons in a new city, in a new marriage, and with his own literary aspirations. As he walks the streets at night, streets haunted by the Ripper and the gossip which swirls around his friend Oscar Wilde, he finds new inspiration. Soon, the eerie tale of Dracula begins to emerge. But Henry Irving, volcanic leading man and impresario, is determined that nothing will get in the way of Bram's dedication to the Lyceum. And both men are growing ever more enchanted by the beauty and boldness of Ellen Terry, the most celebrated actress of her generation. __________ Shortlisted for the Costa Novel Award 2019 Winner of the Irish Book Awards Novel of the Year 'A colourful tale of secret love and public performance...in a romantic, lost London' The Times 'Hugely entertaining and atmospheric' DEBORAH MOGGACH 'Extraordinary' SEBASTIAN BARRY 'A novel I'd recommend to anyone: a rollicking and moving story' James Naughtie, Radio Times 'Fabulous... A truly great book you simply cannot put down' JUDY FINNIGAN 'Rich, sad, funny, and a beautiful read. You'll LOVE it' RICHARD MADELEY 'Ingenious...hugely impressive and utterly haunting' Sunday Mirror

A year ago, the March Kingdoms were at peace, and the Eddon family held the throne. King Olin Eddon is a prisoner in a faraway land, and Olin's heir Kendrick is dead—slain by treachery and dark, bloody magic. With their father and brother taken from them, the royal twins Barrick and Briony have done their best to hold the kingdom together, but now Barrick has been captured in a failed war against the immortal Twilight People and Briony has been forced to flee. Behind the Shadowline, Prince Barrick is lost and spellbound in the land of the fairies, while Princess Briony finds both allies and deadly enemies in unexpected places far from the land of her birth. During their desperate journeys the twins discover that even a land's rulers may know little of it's true history, and that both families and nations can hide dark and terrible secrets. But even if Barrick and Briony survive learning the astonishing truths at the heart of their own family and of Southmarch itself, they must still find a way to do the impossible: they must reclaim their kingdom and rescue their home and people from the multitude of powerful enemies—from traitors, tyrants, a god-king, and even the angry gods themselves.

Javanese shadow puppetry is a sophisticated dramatic form, often felt to be at the heart of Javanese culture, drawing on classic texts but with important contemporary resonance in fields like religion and politics. How to make sense of the shadow-play as a form of world-making? In Tall Tree, Nest of the Wind, Bernard Arps explores this question by considering an all-night performance of Dewa Ruci, a key play in the repertoire. Thrilling and profound, Dewa Ruci describes the mighty Bratasena’s quest for the ultimate mystical insight. The book presents Dewa Ruci as rendered by the distinguished master puppeteer Ki Anom Soeroto in Amsterdam in 1987. The book’s unusual design presents the performance texts together with descriptions of the sounds and images that would remain obscure in conventional formats of presentation. Copious annotations probe beneath the surface and provide an understanding of the performance's cultural complexity. These annotations explain the meanings of puppet action, music, and shifts in language; how the puppeteer wove together into the drama the circumstances of the performance in Amsterdam, Islamic and other religious ideas, and references to contemporary Indonesian political ideology. Also revealed is the performance’s historical multilayering and the picture it paints of the Javanese past. Tall Tree, Nest of the Wind not only presents an unrivalled insight into the artistic depth of wayang kulit, it exemplifies a new field of study, the philology of performance.

While many Western scholars have discussed the technical aspects of Balinese music or the traditional contexts for performance, little has been written in Western languages about Balinese discourses on their music. This dissertation seeks to understand the experience of music in Bali according to Balinese voices through an analysis of oral and written dialogues on music, mainly by musicians and dalangs (shadow play puppeteers) from the village of Sukawati, scholars, teachers, administrators and students from the Indonesian College of the Arts (STSI) in the City of Denpasar. The study examines the influence of modernization on the traditional arts and their role in society. A concentration on Balinese discourses enables individual performers and scholars to represent themselves to a greater extent than previously seen in ethnomusicological scholarship, making this study more of a critical discussion among equals than a Western interpretation of 'others'. This approach permits a rare view into contemporary Balinese conceptions and practices of music.

Comprehensive study of shadow puppetry in several Asian countries as well as the Middle East, Europe, England and America.

The Oxford Handbook of Silent Cinema is a collection of new scholarship that investigates the first decades of motion-picture history from diverse perspectives and methodologies. Featuring over thirty essays by leading scholars in the field, the Handbook offers a comprehensive overview of cinema's earliest years while also illuminating how cinema derived strength from competing cultural forms, becoming in the process the most influential mass medium of the early twentieth century.

The Routledge Encyclopedia of Traditional Chinese Culture offers an in-depth discussion of cultural aspects of China from the ancient period to the pre-modern era, lasting over 5,000 years, comprised of 7,000 word pieces by more than 20 world-leading academics and experts. Addressing areas such as China studies, cultural studies, cultural management, and more specific areas – such as religion, opera, Chinese painting, Chinese calligraphy, material culture, performing arts, and visual arts – this encyclopedia covers all major aspects of traditional Chinese culture. The volume is intended to be a detailed reference for graduate students on a variety of courses, and also for undergraduate students on survey courses to Chinese culture.

Although stretching back into the unwritten and often mythic past, traditional Malay performing arts have, until recent times, been almost totally neglected. In recent years, the subject has begun to attract the serious scholarly interest it deserves. Such attention is timely, for the principal theatre genres, including Mak Yong, Wayang Kulit and the comparatively modern Bangsawan, have begun to suffer decline. Indeed, many of them are on the verge of extinction and, with time, will come the loss of an important facet of the native Malay genius. This volume by an acknowledged expert on Malaysian theatre, Ghulam-Sarwar Yousof, is a pioneering work on the subject, an invaluable contribution to Malay cultural studies. It discusses theatre from the perspectives of history, performance principles, functions and problems that have contributed to the decline of traditional performing arts in Malaysia. Also included is a chapter on Semangat, the Malay concept of soul, a seminal belief whose understanding allows for a deeper appreciation of Malay theatre and its role in traditional society. A vital forerunner of several books on the traditional performing arts and cultural traditions of the Malays, this volume is a landmark in cultural research by a Malaysian scholar.