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The Seven Deadly Sins of the Lower Middle Class translated by Michael Feingold from the original text by Bertolt Brecht and Kurt Weill. Etchings and Lithographs by Mark Beard
New York: Vincent FitzGerald & Company. 1992. Limited to 50 copies only, all on Rives paper, each signed by the artist, Mark Beard, and translator, Michael Feingold, over 100 hand-collaged and water-colored images of etchings and lithographs, with each of the seven sins a separate gate fold. Printed letterpress in Garamond in at least 14 different colors by Dan Keleher at Wild Carrot Letterpress. Calligraphy by Jerry Kelly. Page size: 12-1/2 x 21 inches. Bound by Zahra Partovi in association with BookLab: cloth over boards, 3/4 leather spine, protective box with game board map of America. Vincent FitzGerald's publication of THE SEVEN DEADLY SINS OF THE LOWER MIDDLE CLASS takes the form of a game - complete with game board - using what Weill had dealt with in the ballet: the iconography of America. Mark Beard's neo-classic imagery is a perfect foil for Weill's take of two sisters struggling to build their family a home on the banks of the Mississippi in Louisiana. The "seven deadly sins" are personified each on a gatefold page, using more than 100 prints to embellish the tale. The map of the United States is on paper by Dieu Donne with pigment embedded into the paper with the seven cities of sin silkscreened after an original watercolor by Beard. The reader / viewer must be involved in the book with the gameboard and detachable magnetized print elements that reveal themselves - to be removed and placed on the board - as the pages are turned. & THE SEVEN DEADLY ISNS OF THE LOWER MIDDLE CLASS was commissioned in 1933 by Tilly Losch, a famous Viennese dancer married to the wealthy English aristocrat Edward James (associated with the Surrealists). Losch and Edwards were good friends of Lotte Lenya and Kurt Weill who were in Paris in 1933 and close to broke. This commission was a way to give some money to Weill/Lenya and serve as a vehicle for Tilly Losch and her good friend, Lotte. Weill brought in Brecht to write the libretto, and it was produced in June of 1933 as part of the review, "Les Ballets," choreography by George Balanchine and starring Losch and Lenya. Auden and Kallman translated it in the late 1950's, but Lotte Lenya was never happy with the translation and asked Michael Feingold to translate the piece in 1981 for performance by the American Repertory Theater at Harvard.
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      [Bookseller: Priscilla Juvelis, Inc.]
Last Found On: 2013-07-20           Check availability:      Biblio    

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