Starstruck: A Fame Game Novel by Lauren Conrad
By Lauren Conrad
Lauren Conrad, big name of the hit MTV fact sequence The Hills, brings her insider wisdom to Starstruck, the second one booklet within the status online game series.
In Starstruck, Madison isn’t getting a lot reveal time on The repute Game, the truth television express following 3 women attempting to develop into stars in L.A. She’s too busy doing neighborhood carrier after stealing a necklace. Kate, however, is getting large quantities of exposure now that one in every of her songs has develop into an in a single day sensation—and it’s going to her head. And aspiring actress Carmen, the daughter of Hollywood royalty, is eventually creating a identify for herself.
The juicy tale from bestselling writer Lauren Conrad explores friendship, kin, romance, ambition, and fame.
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Extra resources for Starstruck: A Fame Game Novel
Pillars of Society and A Doll’s House reached the German theatre at a fairly early date (1878 and 1880), in fact only one year after 16 See Horst Claus, The Theatre Director Otto Brahm, Theatre and Dramatic Studies, 10 (Ann Arbor, Michigan: UMI Research Press, 1981), pp. 13–14. Fischer, 1913–15), I, 30–36. Conrad, Von Emil Zola bis Gerhart Hauptmann: Erinnerungen zur Geschichte der Moderne, Leipzig: Seemann Nachf. (1902), p. 80. 19 Yet this early success of Ibsen’s social dramas was something of a false start.
Fischer, 10 vols (Berlin: Dietz Nachfolger, 1924–25) X, 214. 9 Erika Fischer-Lichte, Kurze Geschichte des deutschen Theaters (Tübingen and Basel: Francke, 1993), pp. 236–37. 10 Kritische Waffengänge, 4 (1882), 41 f. 11 See Julius Bab, ‘Gerhart Hauptmann als Regisseur’, Gerhart Hauptmann Jahrbuch, Neue Folge, 1 (1948), 148–53. 12 Kritische Waffengänge, 4 (1882), 17. 13 An urgent need is felt for an actors’ school, to function in close association with the National Theatre; such a school was subsequently to be founded by Emanuel Reicher, an actor intimately associated with Brahm, and directly involved in the successes of Hauptmann and Ibsen.
Subsequently, though, he became distinctly hostile towards Holz (he re-dedicated Vor Sonnenaufgang in its second edition to Brahm and Schlenther) and denied that his influence had ever been decisive. This later view is probably a more accurate one. Even before the publication of Papa Hamlet, in January 1889, Hauptmann was himself already attempting to reproduce accurately everyday speech in his works; Fasching (Siegfried, 1887) and Bahnwärter Thiel (Die Gesellschaft, 1888) had already been published, and Vor Sonnenaufgang had been completed.