#maskerade

[dr-graf]

[ansatsu-sha]

I meant to post this photo after completing my reread of Maskerade & before starting Feet of Clay, but I forgot.

I love that Sir Terry actually did a special author photo in honour of Maskerade's opera theme. More than you can ever imagine.

GNU Terry Pratchett.

[muppetebbtide]

discworld dashboard simulator

❓ ankhmorporkpolls

BADDEST BITCH IN ANKH MORPORK TOURNAMENT ROUND 1

Adora Belle Dearheart

Captain Angua

Voting ended onMar 19, 2024

🧙🏻 blackalisstan

This is like that tsortian guy who had to pick between goddesses and started a war and then died. Or like paying the assassin's guild to kill you

🔪 treefroghousealumni follow

*inhume

🧙🏻 blackalisstan

piss off you posh knob

🍴 priestessofanoia

tbf I don't think the watch is wasting its time on this blue hellsite so ur probably safe there. the POSTMASTER however...

#sometimes I think only bloody stupid johnson could have come up with this fucking site

10,435 notes

🪻watchofficial follow

ALL'S WELL!

🍴 priestessofanoia

nvm lmao 😭

47 notes

☕ klatchmeifyoucan follow

.

#ppl on here are actually sooooo ankh morpork centric it's insane #'EVERYONE knows webblethorpe the unconscious' who??? why the fuck should I??? #like HELLO there's other places on the disc? #and klatch is NICER like omg

4 notes

unseenuniconfessions reblogged:

🦧 unseenuniversitylibrary

Ook

#SO TRUE KING

100,034 notes

Anonymous asked:

Is lord vetinari gay

🪄ramtopswitches answered:

Why would you ask us, a ramtops witches blog, this

50,432 notes

🔮 uucompetitiveeatingchamp follow

CALLOUT: @ /spanglersal (deactivated)

• started a Kickstarter to crowdfund a click of Captain Vimes & Errol then disappeared with the money and has gone completely ghost on everyone

• apparently stole over 100k

• cringe

Read More

2000 notes

Anonymous asked:

Blessings be upon this askbox

🌷queen-of-lancre answered:

I don't know if this is nanny pretending to be granny, or if it's actually granny, and I think I'm too scared to find out

435 notes

cmot-dibbler-enterprises sponsored

SAUSAGES INNA BUN ‼️‼️‼️‼️🌭🌭🌭🌭

🏚️ throwingshades

Gonna go skating on the frozen river ankh!!

💀 nojusticejustus

HAVE FUN

🏚️ throwingshades

Thanks man!

34 notes

✉️ ampostofficeofficial follow

🐸 bursaaaaaaaaar

is. is the post office posting crab rave bc reacher gilt just turned up dead

7013 notes

🧳 agateantravels follow

The Crumley's Hogswatch grotto is being advertised again but somehow I just don't think they can top last year's... like idk where they got the budget from but the real pigs?? CRAZY. my little sister asked for a pony and there was just one in the house when we got back like?? My mum was PISSED but yes talk abt Hogswatch magic. Still wonder how they pulled it off

345 notes

💖 angelofmusic

It's literally SO unfunny to be making jokes about the Opera Ghost when you all KNOW I saw so many of my friends DIE last year??? I literally have so much PTSD from it... like it's so insensitive you're all actually the WORST

#vent #don't rb #some of you will say ANYTHING for a cheap laugh :(

5 notes

🐊 genuablogging

My dealer: got some straight gas 🔥😛 this strain is called “narrative causality” 😳 you’ll be zonked out of your gourd 💯

Me: yeah whatever. I don’t feel shit.

5 minutes later: dude I swear I just saw the Duc turn into a frog

My buddy Mrs Pleasant, pacing: Lilith de Tempscire is lying to us

456 notes

[bakedbakermom]

in which we are all gytha ogg

[necrotelicomnicon-certified]

If anyone knows who drew this picture, do tell. This is the best depiction of Nanny Ogg and Greebo that I've ever seen

[unhappytogekiss]

'You recall young Agnes Nitt?' said Nanny as Granny Weatherwax tried to find the milk. Granny hesitated. 'Agnes that calls herself Perditax?' 'Perdita X,' said Nanny. She at least respected anyone's right to recreate themselves. - Terry Pratchett, Maskerade

Be like Nanny Ogg and respect people's right to recreate themselves

[pratchettquotes]

"Where're you from, Henry?" said Nanny.

"Really from," said Granny.

"I grew up in the Rookery Yard in the Shades. They're in Ankh-Morpork," said Henry. "It was a terrible rough place. There were only three ways out. You could sing your way out or you could fight your way out."

"What was the third way?" said Nanny.

"Oh, you could go down that little alleyway into Shamlegger Street and then cut down to Treacle Mine Road," said Henry. "But no one ever amounted to anything who went that way."

Terry Pratchett, Maskerade

[pantalon-et-colombine]

Walter Schnackenberg (German, 1880-1961)

Ballet und Pantomime "Maskerade", plate #9

1920

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, and ornamentation became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages.

In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color.

Schnackenberg Ballet und Pantomime, a portfolio of 22 color pochoir lithographic prints by Walter Schnackenberg with an introduction by Alexander von Gleichen-Russwurm, printed in an edition of 850, of which 50 examples were numbered and printed on Buttenpapier, commissioned by Kunstanstalt Albert Frisch in Berlin and published by Georg Muller Verlag, Munich, 1920.

Schnackenberg’s contemporary, the celebrated satirical artist Thomas Theodore Heine, described the sophistication, spiritual nature and sensuality of Modern Dance as “praying with your legs.”

In his introduction to Schnackenberg’s portfolio Ballet und Pantomime, Alexander von Gleichen-Russwurm, the godson of King Ludwig and Friedrich Schiller’s heir, writes of its timeliness. He recognizes the portfolio’s uplifting nature in the face of humiliation and defeat in the aftermath of war. He insightfully points out the primal power of Modern Dance and how Schnackenberg expertly and artfully translates his keen sense of movement to the graphic medium. Perhaps most significative is his commentary on Schnackenberg’s creation of a fantasy through the use of classical precedent, exotic cultures and the Carnival tradition. Schnackenberg’s personages assume the roles of wizards, ghosts, flowers, and insects, they are harlequins and an African princess, a Native American shaman, a Vedic dancer and a Waltz dancer; they are man-made items like a powder puff or become the personification of night, itself. A distinctive aspect of the Modern experience is the multiple roles each of us play on a daily basis. While Schnackenberg’s carnivalesque dancers serve as a means of escape through fantasy, they also represent a leveling effect by broadening awareness to augment the possibilities of social existence. Another aspect of modern life which Schnackenberg’s work addresses is the multitude of choices we have and our ability as consumers to make for ourselves something unique out of often-times mass-produced and duplicative items. Schnackenberg’s was not a pessimistic take on modernity, but rather anticipated a gestalt sensibility where one can assemble disparate parts to create an organic structure which functions in a manner greater than the sum of its parts. His dancers are summations of parts, summations of movements: a naturalistically rendered section of torso with deeply shaded regions to accentuate the curve of the rib cage and musculature around the chest and upper arm is balanced by flat patterns of colorful fabric; bare flesh is contrasted by costume; an expressive face pokes out from a fantastical headdress; arms are contorted into mannered poses; feet emerge to complete the amalgamation of pantomimic experience and dynamic movement. Parts become wholes.

Schnackenberg’s prescient understanding of the potentially marginalized and fracturous nature to modern life provides a soothing balm with many possibilities. Indeed, Schnackenberg recognized that dance in his era had moved far beyond the surface of mere visual delight, that dance was the medium - the modern allegory - with which to capture deep feeling and the essence of the modern experience. By designing ballet costumes and illustrating the final outcome of a costumed dancer in full performance mode, Schnackenberg has created his own gestalt of dance which was not only timely for his modern age but resonates powerfully today.