Murder of Thomas Becket
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Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
JEAN ANOUILH the Australian Elizabethan Theatre Tru St
, .. ., ...I I I 1 • ,,~- • i' JEAN ANOUILH The Australian Elizabethan Theatre Tru st when you fly with Trans-AustraliaAirlines PAT RON : H ER MAJESTY T H E QUEE N P RE SIDE T The Rt. H on . Sir John Latham, G.C.M.G., Q .C. CH AIRM A1 Dr. H . C. Coombs EXECUTIVE Dffi ECTOR Hu gh Hunt HO . SECRETARY :l,faurire Parker STATE REPRESE , TAT JVES: , ew South \,Vales Mr. C. J. A. lvloscs, C.B .E. Qu eensland Prof esso r F. J . Schone II Western Australia Pr ofessor F. Alexander Victoria Mr . A . H. L. Gibson Sou tit Australia Mr. L. C. Waterm an Tasmania Mr . G. F. Davies In presenting TIME REMEMBERED , we are paying tribute to a dramatist whose contribution to the contemporary theatre scene is a11 outstanding one and whose influence has been most strongly felt during the post-war years in Europe. The J1lays of Jean An ouilh have not been widely produced in Cao raln and First Officer at the co mrol s of a TA A Viscount . Australia , and his masterly qualities as a playwright are not TAA pilots are well experi years of flying the length and sufficiently k11011·n. enced and maintain a high breadth of Australia. standard of efficiency in flying TAA 's Airmanship is the total TIME REME1vlBERED htippily contains some of the the nation's finest fleet of skill of many people-in the most typical aspects of his work . .. a sense of the comic, modern aircraft. air and on the ground-w ork ing toward s a common goal: almost biza1'1'e,and tl haunting nostalgia which together pro When you and your family fly your safety, satisfaction and T AA, you get with your ticket peace of mind. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
Sophocles' Elektra
DATE: August 12, 2010 FOR IMMEDIATE RELEASE ABOUT THE COMPANY Sophocles' Elektra Thursdays, Fridays, Saturdays, September 9—October 2, 2010 Carey Perloff (Director) Carey Perloff is celebrating her nineteenth season as artistic director of Tony Award-winning American Conservatory Theater (A.C.T.) in San Francisco, where she is known for directing innovative productions of classics, championing new writing for the theater, and creating international collaborations with such artists as Robert Wilson and Tom Stoppard. Before joining A.C.T., Perloff was artistic director of Classic Stage Company (CSC) in New York. She is a recipient of France’s Chevalier de l’Ordre des Arts et des Lettres and the National Corporate Theatre Fund’s 2007 Artistic Achievement Award. Perloff received a B.A. Phi Beta Kappa in classics and comparative literature from Stanford University and was a Fulbright fellow at the University of Oxford. She has taught at the Tisch School of the Arts at New York University and in the Master of Fine Arts Program in Acting at A.C.T., in addition to authoring numerous plays. This is Perloff’s second encounter with Sophocles’ Elektra, having directed the world premiere of Ezra Pound’s version of the play at CSC in 1988. Timberlake Wertenbaker (Translator/Adaptor) Timberlake Wertenbaker is an acclaimed playwright who grew up in the Basque Country in southwest France. Plays include The Grace of Mary Traverse (Royal Court Theatre); Our Country's Good (Royal Court Theatre and Broadway), which won the Laurence Olivier Play of the Year -
Lavender Hill "Serious Competition for 'GUYS AND
On Wifely Constancy The Passing Show Miss Cornell Poetic Speaks Playwrights Of Those She Go on Plays Right Writing Star of Maugham Revival Sees Lesson in Classic Hits Way Is Hard and Rewards Fewer, By Mark Barron But, Like Anouilh, They Work On NEW YORK. [sake, just because it was a great A veteran from in the * By Jay Carmody trouper coast play past. to coast, Miss Katharine Cornell “It is just as Maugham writes The is that so sensitive surprise many humans go on writing in ‘The Constant Wife’ when I for the theater. was still traveling the other eve- am fighting to hold my husband The insensitive ones, no. are ning after her They gamblers, betting that their Broadway premiere from a beautiful blond who is al- literal reports on life or their broad jokes about will catch the it, in W. Somerset Maugham’s artful most stealing him from me.’’ she public fancy and make them rich. They know the odds and the comedy, "The Constant Wife.” said. consequences involved in failure and nature armed them with the This “As the wife in Maugham’s toughness to both. These are time, however, Miss Cor- play, accept the addicts and there is I am faced with nell took only a hop-skip-and- the realization little need to give them a second thought. that Jump from National every marriage needs a great It is different with the other, smaller group. They are crea- Broadway’s Theater to her deal more thought than most tive, artistic and idealistic. They write plays because they want long-established home on Manhattan’s East wives devote to it. -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
Convert Finding Aid To
Peter Glenville: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Glenville, Peter, 1913-1996 Title: Peter Glenville Papers Dates: 1914-2001 Extent: 37 document boxes, 5 oversize boxes, 4 oversize flat files (osf) (17.64 linear feet) Abstract: The Peter Glenville Papers embrace correspondence, business records, address books, appointment books, photographs, clippings, and personal documents. Spanning the years 1914 to 2001, the collection is largely in its original order, with the material in each series arranged alphabetically by original file title. Language: English Access: Open for research. Some materials have mold damage; see the Condition Note concerning access to these materials. Condition Note: Portions of the Peter Glenville Papers were damaged by mold during storage in the years after Glenville’s death. Most of the damaged materials were in sufficiently sound condition to permit the Ransom Center’s Conservation Department to clean them so that they could be safely handled and viewed with proper precautions. During cataloging, preservation photocopies were made of all personal correspondence located within the moderately mold-damaged materials (boxes 30-37) and these surrogates are now interfiled in the undamaged papers (boxes 1-29) to facilitate use of the collection. All photocopies are marked "Preservation photocopy of mold-damaged original in the Peter Glenville Papers." Researchers wishing to access the moderately mold-damaged originals located in boxes 30-37 are cautioned that while the Conservation Department has treated these manuscripts for mold infestation by aspiration and/or dry cleaning, mold may still be present. Users sensitive to mold should wear gloves and a dust/mist respirator while handling this material. -
Becket: Forking Normans and a Not So Turbulent Priest | Film | the Guardian 2/6/21, 11 12 PM
Becket: forking Normans and a not so turbulent priest | Film | The Guardian 2/6/21, 1112 PM Becket: forking Normans and a not so turbulent priest Misplaced Saxons, rubber swords ... they even got the cutlery wrong in this error: strewn drama about the sainted Archbishop of Canterbury and King Henry II Friends and enemies ... Peter O'Toole as Henry II and Richard Burton as Thomas Becket. Photograph: Kobal Alex von Tunzelmann Thu 1 Jan 2009 07.15 EST Becket (1964) Director: Peter Glenville Entertainment grade: B– History grade: D https://www.theguardian.com/film/2009/jan/01/reel-history-becket Page 1 of 4 2/6/21, 1112 PM History grade: D Thomas Becket became chancellor to Henry II of England in 1155, and Archbishop of Canterbury in 1162. He fought bitterly with Henry over various legal issues. In 1170, he was murdered in Canterbury Cathedral. People Life at the court of King Henry is a circus of boozing and wenching, with Henry occasionally tearing himself away from the bedchamber to belch, shout at archbishops, complain about his sore bottom, and patronise Thomas Becket, whom he calls "my little Saxon". Henry and Becket go hunting, and stumble across a comely Saxon peasant girl. "She stinks a bit, but we could wash her," observes Henry. "I fancy her," says Becket. "That's very tiresome of you," replies Henry. "I fancy her myself." Grudgingly, he lets Becket Courtly etiquette ... Photograph: Kobal take the girl, whereupon Becket, demonstrating his Saxon solidarity, quietly lets her go without molestation. Which would be fine, only Thomas Becket was a Norman, just like Henry II. -
THE LARK L'alouette JEAN ANOUILH After Centuries of Abuse
THE LARK L’Alouette JEAN ANOUILH After centuries of abuse, repudiation, prejudice, misunderstanding, and indifference, Joan has been vindicated. The facts are now commonly known. No one in his right mind any longer questions her belief in her sacred mission, her dedication, and her accomplishments. After the Canonization and Shaw’s very credible interpretation, what was left? Only occasional variations on the theme, such as those by Bertolt Brecht and Maxwell Anderson. Before Anouilh, one could well have wondered, as some did, whether another first-rate drama, faithful to the truth about Joan, was possible. But for Anouilh another path opened. Perhaps we had become so absorbed in a cool analysis of the facts that we had lost the spirit of Joan, the sense of wonder and joy in the legend. Anouilh attempted to recapture what we might have been in danger of losing. He wrote The Lark in 1953. The translation used here was made in 1955 for the London premiere by the English poet and playwright Christopher Fry. The American dramatist Lillian Hellman adapted the play for the New York production later in the same year. NOTE The following note by Jean Anouilh appeared in the program of the French production of The Lark: The play that follows makes no attempt to explain the mystery of Joan. The persistent effort of so-called modern minds to explain mysteries is, in any case, one of the most naive and foolish activities indulged in by the puny human brain since it became overstocked with shallow political and scientific notions, and can yield nothing, in the long run, but the nostalgic satisfaction of the small boy who discovers at last that his mechanical duck was made up of two wheels, three springs and a screw. -
Past TRC Productions
TRINITY REPERTORY COMPANY 201 Washington Street, Providence, RI 02903 PAST PRODUCTIONS Counting seasons: In the official count of seasons (1st, 2nd, 3rd, etc.), it may have been decided in 1970 to not count 1963-64 as the first season. Or a mistake in a brochure may have never been caught until it was much too late. Subscription brochures for the 1969-70 Season and 1970-71 Season both refer to the upcoming season as the 7th Season. Brochures for the 1967-68 and 1968-69 Seasons refer to them respectively as the 5th and 6th Seasons, but a brochure for the 1965-66 Season refers to that as the “second full season.” During the 1963-64 Season, Trinity Players on the Square was not a fully professional company and there were no actual performances in 1963. 1964-65 was the first full season with Adrian Hall as artistic director and Equity contracts. The counting of the seasons proceeded consecutively from the second 7th Season. *World Premiere Production **American Premiere Production ***Pre-Season Productions + Booked-In, Rental, Competition Winner, Special Presentation, or Co-Production 1963-1964 Season • 1st Director Playwright Designers The Hostage Ira Zuckerman Brendan Behan Sets: Sandra Tilles Costumes: Joyce Anderson Lighting: Thomas J. Aubin Sound: Vincent Vessela The House of Bernarda Alba Ira Zuckerman Frederico Garcia Lorca Sets: Morris Nathanson Costumes: Sue Neely Lighting: Thomas J. Aubin and Catie Calvo Sound: Bud Peltier American Dream Adrian Hall Edward Albee Sets: Richard L. Peterson and Carl Ravenal Costumes: Edith Brown Lighting: Thomas J. Aubin and Catie Calvo Sound: Sandra Tilles Orpheus Descending Adrian Hall Tennessee Williams Costumes: Edith Brown Lighting: Thomas J. -
Ring Round the Moon Is Often Considered an Adaptation Rather Than a Translation
Jean Anouilh was born on June 23 rd , 1910, in Jean Anouilh the small village of Cérisole, France to parents of Basque heritage. His father was a tailor and his mother, a violinist. Anouilh became interested in drama at a young age and began his playwriting career at the age of 12. Anouilh received his secondary education at the Collège Chaptal and later enrolled as a law student in the University of Paris, only to Jean Anouilh abandon the course after just eighteen months when he found employment in the advertising industry. It was in advertising, through drafting copy, that Anouilh discovered the importance of the brevity and precision of language; he put the discovery to use when, at 25, he chose to devote himself entirely to writing. In addition to many successful plays, he also wrote ballets and translated and adapted works from such authors as Shakespeare and Oscar Wilde. Many of his works deal with moral choices and the limitations imposed upon his characters. Anouilh's work reflects the classical theatre of Molière in its comic portrayal of human folly and misery and the experimental theatre of Pirandello in its overt use of theatrical devices to explore the nature of reality and illusion. A note on “adaptation” and “translation” A Charade with Music Ring Round the Moon is often considered an adaptation rather than a translation . When Christopher Fry adapted it for Peter Brooks’ 1950 Adapted by Christopher Fry London production, he made several changes to the script. Fry softened some of the edges of the original, for example cutting out all Anouilh’s allusions to anti-Semitism, and also pushed the A Playgoer’s Guide comedy up a notch, both in language and action.