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The Chairs

Dumping Mr. Heartless, Finding Mr. Right

I secretly sent Lena Parker, my husband Dominic Caballero's mistress, away to Sicara. I'm defying his authority as the Don of Coastwick, New Hudson. That very night, he abducts my parents and younger brother, using their lives to force me to reveal Lena's whereabouts. Dominic pushes his phone in front of me. On the screen, I see my family tied to chairs, the timer of the bombs ticking down. 00:59:59 00:59:58 He sits across from me and taps his fingers softly against the table, like he's closing a business deal. "Alyssa, you have 59 minutes," Dominic says in a calm, almost gentle voice. "Where's Lena?" I freeze, my throat tightening as if strangled. I can't get a word out. This is the third time he's pressed me. The first time, he asked where Lena had gone, but I stayed silent. The second time, he grabbed my chin and said in a low voice, "Alyssa, don't play games." Now, for the third time, he's threatening my family's lives. "Dominic…" I call out, my voice trembling. "They're my family. They're the most important people to me." He chuckles. "Is that so? Then why didn't you think about how important Lena is to me when you sent her away?" I stare at him, feeling how utterly absurd it all is. Important? He told me before that other women were just playthings. Once he got bored, he'd dump them. He swore I was the only one he loved. But now, for Lena, he's willing to kill my family.

18 Bab

Owned by the Mafia Boss

I stepped closer. Close enough to smell his cologne—cedarwood, leather, and power. My hand moved. Smooth, practiced. The pistol slide from under the apron into my palm. I raised it fast. But before I could pull the trigger— BANG. Not my shot. A scream tore through the restaurant as another man launched himself toward Romano’s table, blade flashing. Another assassin. What the hell— Romano didn’t flinch. He shoved the table forward, knocking the attacker off balance. The blade scraped across wood, not skin. I ducked instinctively as the room erupted into chaos. Gunfire cracked. Glass exploded. People screamed and dove for cover. “Get him out—NOW!” one of the guards barked. I aimed for the second attacker. Didn’t even hesitate. One shot—head. Gone. The guard saw me. Confusion flashed in his eyes. Then rage. I ran. I weaved between overturned chairs, plates, and screaming bodies. The smell of blood was real now, thick in the air. One of the guards grabbed me. I slammed my elbow into his ribs, twisted, and brought the butt of my gun down on his skull. He dropped like a sack of bricks. Out. I had to get out. My boots pounded the floor as I tore through the narrow hallway. But then— “Elisa.” His voice stopped me cold. I turned. Antonio Romano stood in the middle of the carnage, suit untouched, blood spattered behind him like art. His eyes were on me. And he was smiling. It was darker. Slower. Like a hunter seeing something worth chasing. Somehow, he knew who I was. “Interesting,” he said softly, tilting his head. “They sent you.” I didn’t answer. I ran. But that voice followed me. He knew my name. And he let me go. This wasn’t over. It had just begun.

154 Bab

The Final Cut

In an East London lock up, two film makers, Jimmy and Sam, are duct taped to chairs and forced to watch a snuff film by Ashkan, a loan shark to whom they owe a lot of money. If they don’t pay up, they’ll be starring in the next one. Before the film reaches its end, Ashkan and all his men are slaughtered by unknown assailants. Only Jimmy and Sam survive the massacre, leaving them with the sole copy of the snuff film. The film makers decide to build their next movie around the brutal film. While auditioning actors, they stumble upon Melissa, an enigmatic actress who seems perfect for the leading role, not least because she’s the spitting image of the snuff film’s main victim. Neither the film, nor Melissa, are entirely what they seem however. Jimmy and Sam find themselves pulled into a paranormal mystery that leads them through the shadowy streets of the city beneath the city and sees them re-enacting an ancient Mesopotamian myth cycle. As they play out the roles of long forgotten gods and goddesses, they’re drawn into the subtle web of a deadly heresy that stretches from the beginnings of civilization to the end of the world as we know it. ©️ Crystal Lake Publishing

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40 Bab

Stronger Than Pain

"Did you kill him?" The detective asked again."I've already answered you like a thousand times... Yes, he was a monster. Yes, he beat me up a lot but I didn't do it. I didn't kill Jude!" Amanda replied."I'm sorry. I know what it's like to be a victim of abuse and all that, but you need to understand that murder is a serious case too. You'll have to forgive us for asking you continually it's just that you were the closest to him we've got here.""I wasn't. There was someone else he was seeing that knew a lot about him than I ever did," Amanda replied.*******The night was growing colder and the rains seemed to have agitated in full force. Amanda sat on one of the soft leather chairs that squeaked with her every move in the living room with tears in her eyes as she watched the rains drop on the floor forming small pools and waited for Jude to come back. She was worried sick about his whereabouts even though all his presence caused her were pain and more tears. The protruding bump on her stomach, made it quite difficult to move around at ease so she was stuck with calling his busied line while she watched the clock tick its way into the midnight mark.*****A heart rending story told differently. Stronger than Pain captures a dysfunctional Nigerian home where a callous man, beats his wife on a daily basis. Time flies and now he is dead. All the characters have a reason to kill him, but she's their number one suspect. The Question still remains, who pulled the trigger?

8 Bab

Lucifer: Untold

With the chaos that happened, Nathalia's grave was not finished. It was half filled. Wasted flowers scented the grounds. Shovels lie useless. Chairs scrambled in the area. A forlorn sight for the most feared woman in the society. As the rest of the people squandered for their lives, one man remains. The oldest friend. Three other men came. They picked the shovels as the old man orders. Slowly, they packed the unfilled grave. The old man held his hands to his back. Stared at the freshly dug soils. All these years, he lived behind the shadows of Nathalia. Hiding from the morbid influence of his kind. It's time to step out of the dark. To tell a story, Lucifer: Untold.

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17 Bab

Destined By The Moon Goddess

We stood across from each other, with a bed in the middle. The bed was surrounded with golden pots of burning incense, the fragrance intoxicating. On one side of the bed stood a warrior wolf from my pack, and on the other side was a vampire from Diego's pride, both present to guard us. Chairs were set in both sides of the large room, with the werewolves occupying the right side and the vampires on the other side. Everyone stood when the head witches of the three covens arrived and took their seats adjacent to the two parties. " Creatures of the underworld, we have all gathered here to witness something spectacular, something unheard of, the mating of a vampire and a werewolf. These two from both sides have claimed to be mated to each other even though they are not of the same kind, so tonight, underneath the full moon, we shall witness them in bed to attest if the Moon Goddess truly destined them for each other. Let the drums roll!", one of the witches addressed everyone. The incense had aroused us . My were hard and erect, and I could clearly see the bulge in Diego's pants as he stood across. The drums signalled us to begin the mating process, and we got onto the bed. We gently , suppressing the urge to tear each other's clothes off. I felt a bit insecure and ashamed. I could literally feel my alpha's eyes on me and could only imagine the disdain that will be written on his face. Diego's father too was watching, together with their maester. Everyone we knew was there to watch us have and I just couldn't bring myself to feel comfortable. Most importantly, I couldn't help but wonder, what if we die mating?

85 Bab

What Do Scholars Say The Chairs Symbolize In Modern Drama?

3 Jawaban2025-08-29 00:05:39

The way I look at chairs in modern drama has gotten sneakily personal — I catch myself watching how actors treat a seat the same way I eavesdrop on tiny domestic gestures at a café. Scholars tend to treat chairs as more than furniture: they're shorthand for power relations (a throne or a battered kitchen chair), for social class, and for the presence or haunting absence of characters. Think of 'The Chairs' by Ionesco, where empty chairs multiply into a gallery of absent guests; critics read that as a meditation on failed communication and the hollowness of social ritual. Other readings point to authority and hierarchy — who gets to sit, who must stand — which shows up in comedies and tragedies alike.

On the theoretical side, semioticians and phenomenologists (channeling ideas from people like Merleau-Ponty even if they don't name him directly) argue that objects on stage help construct subjectivity: a chair can shape posture, movement, and thus identity. Marxist critics push it further and call chairs commodities that reveal class anxieties — a cheap folding chair versus an upholstered armchair tells a social history. Feminist scholars, meanwhile, often spotlight how chairs map gendered spaces inside plays such as 'A Doll's House' or in domestic realist traditions where sitting and serving become coded behaviors.

Directors and actors also talk about chairs as pacing devices: a character sitting can mean resignation, defiance, or a power play, and the choreography of who moves a chair when creates rhythm. So for me, chairs in modern drama are like small, stubborn characters — always doing emotional heavy lifting even when no one notices, and I love spotting the little stories they tell between lines.

How Did Reviewers React To The Chairs In The 1960 Revival?

3 Jawaban2025-08-29 19:05:18

I still get a little thrill thinking about how people wrote about the chairs in the 1960 revival of 'The Chairs'. Critics couldn't stop talking about them — and not just as props. Many reviews treated the chairs like characters in their own right, praising the production for turning what could be a simple set piece into a kind of physical poetry. I read contemporary notices that applauded the choreography and timing: the way actors moved them, stacked them, arranged empty places at an invisible dinner felt simultaneously comic and mournful. Those pieces loved the visual clarity; reviewers said the chairs made absence visible, which in the world of absurd theatre was a huge compliment.

Not everyone was unreservedly enthusiastic, though, and that contrast is what I found most interesting. A fair number of critics called the staging gimmicky, arguing the spectacle risked overshadowing the play’s emotional core. Some felt the chairs became a distraction — clever, yes, but emotionally distancing. A few wrote about the lighting and design choices too, praising the stark palette that let the chairs dominate the stage, while others wished for subtler direction that leaned into human vulnerability instead of visual cleverness. Reading through those old columns, I laughed at some blunt takes, nodded at the thoughtful ones, and felt lucky to have a production that provoked such strong responses — theatre at its best, messy and alive.

Do Book Nook Chairs Come In Designs From Famous Book Covers?

3 Jawaban2025-08-10 11:30:57

I’ve been obsessed with bookish decor for years, and yes, book nook chairs absolutely come in designs inspired by famous book covers! I’ve seen some stunning pieces that mimic the iconic cover art of classics like 'The Great Gatsby' with its golden art deco vibes or 'Alice’s Adventures in Wonderland' with whimsical, oversized motifs. Some indie designers even create custom chairs featuring beloved covers like 'Harry Potter' or 'The Hobbit', complete with intricate carvings or fabric prints. It’s a dream for bibliophiles who want their reading nook to feel like a literal extension of their favorite stories. The craftsmanship varies, but the best ones feel like sitting inside the book itself.

Where Can Fans Buy Replicas Of The Chairs From The Play?

3 Jawaban2025-08-29 11:43:24

I get the urge to hunt down stage props the way other people chase sneakers — once you notice those chairs, you notice them everywhere. If the production sold official merch, start at the theater's website or box office; many companies list licensed replicas or limited runs right after the show closes. If that fails, look for licensed prop makers and theatrical suppliers — search phrases like "prop replica chair," "stage chair reproduction," or "theatre seat replica". Etsy and specialized prop shops often have handcrafted versions, and eBay can be a goldmine for both mass-produced replicas and actual retired theater seats from surplus sales.

If you want something exact and durable, contact prop houses or rental companies; sometimes they sell off inventory between seasons. For a custom, authentic-feel piece, independent furniture makers or carpenters can replicate dimensions and finishes from photos — expect to pay a premium, but you’ll get sturdiness and a closer match. Also consider 3D-printing smaller decorative parts or commissioning a seller on forums like theater Facebook groups or subreddits. When buying, ask for measurements, materials, and provenance (photos of the chair in use are a great sign). Shipping for bulky items can be costly, so local pickup or finding regional sellers helps.

I once tracked a replica through a forum thread where someone shared a local prop shop’s contact info — it took patience, screenshots, and a few messages, but it felt like a little treasure hunt. If you want, I can suggest exact keywords and marketplaces based on where you live or how much you want to spend; there’s always a way to get something that feels right.

What Motifs Connect The Chairs To Existentialist Themes?

4 Jawaban2025-08-29 13:46:58

There’s something quietly ridiculous and terribly honest about chairs that pulls straight into existential stuff — they’re everyday objects that insist you take a place, or they announce someone’s absence. When I think of 'The Chairs' by Ionesco, those empty seats feel like a stage full of unspoken lives; the chairs themselves become witnesses and props for meaning that won’t hold together. That tension — between presence and absence, between the invitation to sit and the impossibility of filling a role properly — is pure existentialism to me.

I also keep picturing 'Waiting for Godot' with its sparse seating and how characters use sitting and standing as rhythms of hope and despair. Chairs mark routines, social roles (throne vs. kitchen stool), and the thin line between being anchored and being trapped. Even in paintings like 'Van Gogh's Chair' the furniture reads like a portrait: posture, history, who’s been here, who’s gone. For all their banality, chairs ask us about choice, responsibility, mortality — and sometimes make me sit very still and think about what kind of seat I’m occupying in my own life.

Why Do Theater Schools Study The Chairs In Acting Classes?

4 Jawaban2025-08-29 06:22:59

I love how something as ordinary as a folding chair can become a tiny universe in theatre training. In class we treat chairs like actors: they're about posture, given circumstances, and the relationships we build around them. Teachers will have you sit, stand, hand over, block, carry, drop — each movement sharpens your awareness of weight, rhythm, and intention. Those simple drills force you to commit to choices on stage and make silence or stillness tell a story.

Sometimes we do the 'empty chair' exercise where you address a person who isn't there; it reveals what your lines actually need to do for the scene. Other times we recreate scenes from 'Waiting for Godot' or 'The Chairs' to see how an object can carry emotional occupancy. Plus, chairs help with status work: where you sit, how you sit, and whether you offer a seat can communicate power without words.

Beyond technique, I love how chairs train you to listen with your body. You learn to respond to tiny shifts — a scrape, a placement, the space left when someone moves a chair — and that makes performances feel alive. If you want to experiment at home, set up a chair and try playing a full scene without standing up once; it’s deceptively hard and incredibly revealing.

How Did Designers Stage The Chairs In 1950s Productions?

3 Jawaban2025-08-29 08:09:02

There’s something deliciously tactile about how 1950s designers treated chairs — they weren’t just seating, they were punctuation marks in the room. In productions from Broadway to early television, designers used chairs to carve space, define class and hint at psychological states. I still get a kick flipping through old Playbills and noticing how a single armchair could signal wealth, loneliness, or impending disaster depending on placement and light. Jo Mielziner and a few contemporaries popularized using furniture as extension of the actor’s body: place the chair slightly askew and the whole scene smells of tension; put it centered under a harsh spotlight and you’ve suddenly got an interrogation even if the dialogue is gentle.

Practically speaking, staging in the '50s balanced theatrical tradition with emerging on-screen realities. For live TV and studio-bound films, chairs had to be functional — often on casters or thin wagons — to allow rapid scene shifts. But designers also thought about sightlines for front-row theatergoers versus one static camera: backs facing the audience could create intimate private worlds for the actor, while chairs turned toward the audience invited confessions. Upholstery patterns and material mattered too — velvet and brocade read as opulent under tungsten lights, whereas worn leather or cane suggested hard lives. I like imagining a designer in a dim shop, running a hand along fabric swatches, listening to a director describe a character, and choosing a chair that quietly says everything the actor doesn’t.

Lighting and shadow in the 1950s were huge collaborators. In noir-tinged plays or films, a chair became a trap: hard-edged light slicing the seat produced dramatic silhouettes; in more expressionistic theater, sparse arrangement of chairs suggested existential emptiness — something Beckett and his directors played with in later stagings. Those little choices still teach me about economy: a single chair, placed with intent, often tells a story a thousand set pieces can’t, and that’s why I keep looking at them in old photographs and thrift stores alike.

How Do Actors Interact With The Chairs During Performances?

3 Jawaban2025-08-29 04:29:37

Being in my early twenties and still buzzing from last night's rehearsal, I love how chairs become this weird, beautiful language on stage. They're not just furniture; they're punctuation. Sometimes a chair is a throne, sometimes a prison, sometimes a pair of shoes you sit down to put on. In blocking we decide where a chair sits so that an actor can breathe, feel, and react — it's all about sightlines, weight distribution, and the tiny habits performers build around them.

Practically, actors learn to treat chairs like partners. We tap them for rhythm, slide them to show frustration, or perch on the arm to imply casualness. Cue hits are tactile: the scrape of a chair across the floor, the precise second you sit, the inhale before you stand — those physical beats sell the emotion. In shows like 'Waiting for Godot' or a small, intense drama, the chair can even carry a subtext the script doesn't state. Props people sometimes modify seats with sandbags or tape a mark so an actor can find the exact center without looking. That invisible choreography keeps an audience immersed.

Rehearsals are where the magic (and the bumps) happen. We'll rehearse entrances without chairs, then add them, and then replace a folding chair with something heavier to see how stamina and tempo change. You learn to protect your spine during long sits, to let your weight tell a story, and to respect the chair's echo in the space. When it all clicks — actor, chair, room — you get those micro-moments of truth that make theater feel alive to both the performers and people watching.

Which Production Companies Licensed The Chairs For Theater?

3 Jawaban2025-08-29 03:37:45

I’ve had to hunt this down for productions more times than I can count, and the easiest way to break it down is to separate two meanings: the play titled 'The Chairs' and the literal chairs used in a theatre production. If you mean the play 'The Chairs' by Eugène Ionesco (or any authored play), the companies that license performances are usually theatrical licensing agencies or the playwright’s publisher/estate. Big names you’ll see listed on acting editions or rights pages include Concord Theatricals (which absorbed Samuel French), Dramatists Play Service, Music Theatre International (for musicals), Playscripts, Theatrical Rights Worldwide, and smaller national publishers like Nick Hern Books in the UK. For classic or foreign works the rights might sit with the author’s literary estate or a European publisher — so the front matter of the script usually tells you who to contact.

If you actually meant physical chairs used onstage (as set pieces or auditorium seating), that’s a different chain: prop houses, scenic shops, and seating manufacturers. Regional prop rental houses and set workshops rent or fabricate period chairs; for venue seating you’d be talking to specialist manufacturers and vendors. Either way, the practical steps I always take are: check the script for publisher/rights info, search the title on the major licensing sites, and if it’s about props, contact local prop shops or your university/community theatre’s scenic department. Those paths have saved me from accidentally performing without proper rights more than once.

If you’re trying to put on a specific production and want a direct lead, tell me the exact title and region (community, school, professional, which country) and I’ll point to the most likely licensing contact — or the nearest prop house for renting chairs.

Who Manufactures Book Nook Chairs For Movie Fans?

3 Jawaban2025-08-10 23:17:27

I'm a huge collector of quirky furniture, especially pieces that blend fandom and comfort. Book nook chairs for movie fans are often handmade by niche artisans or small businesses on Etsy. Some of my favorites come from shops like 'GeekyHomeDecor' or 'CinemaNookCreations,' where they craft chairs inspired by iconic films like 'Harry Potter' or 'Star Wars.' These creators use high-quality materials and pay attention to details, like embroidered quotes or themed upholstery. I also stumbled upon a limited-edition 'Lord of the Rings' chair by a woodworking studio called 'MiddleEarthCrafts'—it was carved to resemble a hobbit hole! If you’re looking for mass-produced options, brands like 'Lovesac' occasionally release pop culture-themed designs, but the real gems are from independent makers.

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