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Translated by Richard Wilbur Directed by Makaela Pollock
Translated by Richard Wilbur Directed by Makaela Pollock All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Tartuffe is a wonderful play, and can be great for students. Its major themes of hypocrisy and gullibility provide excellent prompts for good in-class discussions. Who are the “Tartuffes” in our 21st century world? What can you do to avoid being fooled the way Orgon was? Tartuffe also has some challenges that are best to discuss with students ahead of time. Its portrayal of religion as the source of Tartuffe’s hypocrisy angered priests and the deeply religious when it was first written, which led to the play being banned for years. For his part, Molière always said that the purpose of Tartuffe was not to lampoon religion, but to show how hypocrisy comes in many forms, and people should beware of religious hypocrisy among others. There is also a challenging scene between Tartuffe and Elmire at the climax of the play (and the end of Orgon’s acceptance of Tartuffe). When Tartuffe attempts to seduce Elmire, it is up to the director as to how far he gets in his amorous attempts, and in our production he gets pretty far! This can also provide an excellent opportunity to talk with students about staunch “family values” politicians who are revealed to have had affairs, the safety of women in today’s society, and even sexual assault, depending on the age of the students. Molière’s satire still rings true today, and shows how some societal problems have not been solved, but have simply evolved into today’s context. -
Download Teachers' Notes
Teachers’ Notes Researched and Compiled by Michele Chigwidden Teacher’s Notes Adelaide Festival Centre has contributed to the development and publication of these teachers’ notes through its education program, CentrED. Brink Productions’ by Molière A new adaptation by Paul Galloway Directed by Chris Drummond INTRODUCTION Le Malade imaginaire or The Hypochondriac by French playwright Molière, was written in 1673. Today Molière is considered one of the greatest masters of comedy in Western literature and his work influences comedians and dramatists the world over1. This play is set in the home of Argan, a wealthy hypochondriac, who is as obsessed with his bowel movements as he is with his mounting medical bills. Argan arranges for Angélique, his daughter, to marry his doctor’s nephew to get free medical care. The problem is that Angélique has fallen in love with someone else. Meanwhile Argan’s wife Béline (Angélique’s step mother) is after Argan’s money, while their maid Toinette is playing havoc with everyone’s plans in an effort to make it all right. Molière’s timeless satirical comedy lampoons the foibles of people who will do anything to escape their fear of mortality; the hysterical leaps of faith and self-delusion that, ironically, make us so susceptible to the quackery that remains apparent today. Brink’s adaptation, by Paul Galloway, makes Molière’s comedy even more accessible, and together with Chris Drummond’s direction, the brilliant ensemble cast and design team, creates a playful immediacy for contemporary audiences. These teachers’ notes will provide information on Brink Productions along with background notes on the creative team, cast and a synopsis of The Hypochondriac. -
Drake Plays 1927-2021.Xls
Drake Plays 1927-2021.xls TITLE OF PLAY 1927-8 Dulcy SEASON You and I Tragedy of Nan Twelfth Night 1928-9 The Patsy SEASON The Passing of the Third Floor Back The Circle A Midsummer Night's Dream 1929-30 The Swan SEASON John Ferguson Tartuffe Emperor Jones 1930-1 He Who Gets Slapped SEASON Miss Lulu Bett The Magistrate Hedda Gabler 1931-2 The Royal Family SEASON Children of the Moon Berkeley Square Antigone 1932-3 The Perfect Alibi SEASON Death Takes a Holiday No More Frontier Arms and the Man Twelfth Night Dulcy 1933-4 Our Children SEASON The Bohemian Girl The Black Flamingo The Importance of Being Earnest Much Ado About Nothing The Three Cornered Moon 1934-5 You Never Can Tell SEASON The Patriarch Another Language The Criminal Code 1935-6 The Tavern SEASON Cradle Song Journey's End Good Hope Elizabeth the Queen 1936-7 Squaring the Circle SEASON The Joyous Season Drake Plays 1927-2021.xls Moor Born Noah Richard of Bordeaux 1937-8 Dracula SEASON Winterset Daugthers of Atreus Ladies of the Jury As You Like It 1938-9 The Bishop Misbehaves SEASON Enter Madame Spring Dance Mrs. Moonlight Caponsacchi 1939-40 Laburnam Grove SEASON The Ghost of Yankee Doodle Wuthering Heights Shadow and Substance Saint Joan 1940-1 The Return of the Vagabond SEASON Pride and Prejudice Wingless Victory Brief Music A Winter's Tale Alison's House 1941-2 Petrified Forest SEASON Journey to Jerusalem Stage Door My Heart's in the Highlands Thunder Rock 1942-3 The Eve of St. -
2018 04 21 Houghton Symphony Orchestra
Welcome to La vie est belle —“Life is beautiful!” Tonight we celebrate fun, love, joy, friendship, and laughter, and do so the French way. The first half of our program will feature our stunning vocal faculty at the Greatbatch School of Music. Though all of the pieces feature French text, the settings for these opera numbers span the globe with scenes taking place in Spain (Carmen), France (La fille du regiment), India (Lakmé), Germany (Les contes d’Hoffmann), and Sri Lanka (Les pêcheurs de perles). All of these pieces come from the best of the French opera tradition and are sure to leave you wanting more! The second half of the concert will feature Maurice Duruflé’s Requiem, a gem of the 20th century choral-orchestral repertoire. Duruflé’s work was inspired in large part by his predecessor, Gabriel Fauré, another French composer who completed his own Requiem just over 50 years earlier. Duruflé’s work mirrors Fauré’s in many ways including its structure, choice of text, and performing forces. He uses harmonic language that was modern for its time, but infuses it with the ancient liturgical music of Gregorian chant. The work is not in the strata of requiems more casual concert-goers may know such as those of Mozart, Verdi, and Fauré, but for that reason I suspect you will be surprised and delighted by what you hear tonight, perhaps for the first time. I think it contains some of the most beautiful, affective, dramatic, and meaningful music I know. I decided to pair vocal pieces celebrating life with Duruflé’s Requiem— ostensibly a work about death—because the latter is something quite different than more traditional works from the genre of the same name. -
Exclusively from Signet Classics
all in love with a Fclassic. PA-4783 MH click ON A classic signetclassics.com The Signet Classics website includes: ■ New monthly newsletters for consumers and booksellers, with details on current and upcoming publications ■ Academic Services, with Penguin’s unique interactive College Faculty Information Service, convention schedules, desk copy ordering, and Teacher’s Guides, offers profes- sors and students the definitive classics experience Other site features include: ■ Information on all Signet Classics titles and authors ■ Downloadable and printable catalogs ■ Information on the annual Signet Classics Student Scholarship Essay Contest ■ The definitive history of Signet Classics ■ Advanced search and browse functions by author, subject, and era beautiful Open hou s closets! TIMELESS WRITING SEEKS Excellent lease. Rent spacious, pointment PASSIONATE READER FOR FUN, views of 555-3333 EXPLORATION, AND For sale a space! LONG-TERM RELATIONSHIP. Like New! ge studio Forward elevator Height ad ceilings I am: as adventurous as Tarzan of the Apes (new Includes laundry Afterword by Michael Meyer), as successful as For 6 mo 55-4444 The Prince (new Introduction by Regina Barreca), Great for Dimensions for sale and as soulful as The Complete Poetry of Edgar Allan Call Judy vy duty Poe (new Afterword by April Bernard). You are: 555-1111 all steel playful like The Complete Fairy Tales of Oscar Wilde utomatic (new Introduction by Gyles Brandreth) and as socially SALES condition committed as Charles Dickens (Hard Times, with a 555-1234 Open hou new Afterword by Jane Smiley) and Mariano Azuela Excellent ilds bike (The Underdogs, with a new Afterword by Max Parra). spacious, t brakes views of ickstand Love of travel a plus, from Main Street like new For sale new tires (new Introduction by George Killough) to Like New! Ask for Treasure Island (new Introduction by Patrick Scott). -
Llamas Gomez, Noemi (2018) Francesc Payarols and Andreu Nin, Agents of the Catalan Polysystem
Llamas Gomez, Noemi (2018) Francesc Payarols and Andreu Nin, agents of the Catalan polysystem. Unmediated translations from Russian in the 1930s: a critical overview. PhD thesis. https://theses.gla.ac.uk/30794/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Francesc Payarols and Andreu Nin, Agents of the Catalan Polysystem. Unmediated Translations from Russian in the 1930s: A Critical Overview. Noemi Llamas Gomez Submitted in fulfillment of the requirements for the Degree of Doctor of Philosophy School of Modern Languages and Cultures College of Arts University of Glasgow August 2018 iii Abstract This thesis addresses the contribution of Francesc Payarols and Andreu Nin to the Catalan literary system between 1928 and 1937 via the introduction of unmediated translations from Russian into Catalan. This contribution has been studied by comparing it to previous translation activity from Russian into Catalan, to translations in literary systems that due to prestige and geographical proximity can be considered neighbouring systems to the Catalan system (the French, the British and the Spanish), and by reviewing some of the critical reception that these publications gathered in the Catalan press of the time. -
The French Passages of Tolstoy's War and Peace in English Translation
Shedding Light on the Shadows: The French Passages of Tolstoy’s War and Peace in English Translation by Caitlin Towers Timothy Portice, Advisor Julien Weber, Second Reader Comparative Literature Thesis Middlebury College Middlebury, VT February 8, 2016 1 Introduction Lev Tolstoy first published the entirety of his novel War and Peace in 1869.1 It did not take long for his work to reach a foreign audience, and the first translation of War and Peace into English was completed between 1885 and 1886. Over the past century and a half since its publication there have been twelve major English translations of the novel. Archdeacon Farrar, who was a 19th century cleric and author, said “If Count Tolstoï’s books have appeared in edition after edition, and translation after translation, the reason is because the world learns from him to see life as it is” (Dole, iii) Each translation of a novel speaks to a different generation and different audience, and helps decades of readers learn “to see life as it is” in ways specific to their times. With each new translation Tolstoy’s novel becomes accessible to and relatable for new audiences, ranging from a British audience at the turn of the century to an American audience in the middle of the Cold War. Although all of these American and British translations vary in ways that are fascinating culturally, politically and historically, this study focuses specifically on one aspect of the translation of War and Peace: the different ways in which the many passages of the novel originally written in French are translated. -
THE IMAGINARY INVALID ADAPTED by CONSTANCE CONGDON BASED on a NEW TRANSLATION by DAN SMITH TABLE of CONTENTS the Imaginary Invalid Character List
AUDIENCE GUIDE MOLIÈRE’S THE IMAGINARY INVALID ADAPTED BY CONSTANCE CONGDON BASED ON A NEW TRANSLATION BY DAN SMITH TABLE OF CONTENTS The Imaginary Invalid Character List .................................. 3 Synopsis ........................................................ 4 Playwright Biography: Molière ....................................... 5 Molière Timeline .................................................. 6 Translator and Adaptor Biographies .................................. 7 Translation and Adaptation in The Imaginary Invalid ..................... 8 Themes ......................................................... 9 Quackery and Medicine in 17th Century France ...................... 10 How To Become A Doctor ....................................... 11 Resources & Further Reading ................................... 12 A NOISE WITHIN’S EDUCATION PROGRAMS MADE POSSIBLE IN PART BY: The Ahmanson Foundation, AMC, The Capital Group Companies Charitable Foundation, The Michael J. Connell Foundation, The Dick and Sally Roberts Coyote Foundation, The Dwight Stuart Youth Fund, Edison International, The Green Foundation, The Michael & Irene Ross Endowment Fund of the Jewish Community Foundation of Los Angeles, Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, Metropolitan Associates, National Endowment for the Arts: Shakespeare in American Communities, The Kenneth T. & Eileen L. Norris Foundation, The Ralph M. Parsons Foundation, Pasadena Rotary Club, The Ann Peppers Foundation, The Rose Hills Foundation, -
THE FORDHAMRAM, ,41__No77^77
THE FORDHAMRAM, ,41__No77^77. 14 ~~ Fordham'college, New York 58, N.Y.— April 20, 1961 <€S*' 401 LiZf^i Iwdidates Univ. Council Decision Class Restricts Its Powers, Accents Administrate ampaigns By ELMEU BKUNSMANBKUNSMAN ,J Jrr. I Thirty-two candidates for po- RAM News Editor jlita! office in next year's senior, Alter more than three months of intra-University s^uab* Imior autJ sophomore classes will in tlicir campaigns this Sun- bling, the University Student Council Tuesday night decided st 10 p.m. After a petition! in effect it did not have the power that it once sought. Thfl -lioc' and a week of interviewing ' Council endorsed a resolution which observers feared might original' field of 40 candi- seriously limit its jurisdiction. Ijtf-s lias been reduced. Eight The move would give member student councils addeti rreuirtive candidates were ellm- machinery to thwart U. S. C. measures and welcomes domina," (• on the basis of poor scho- SPRING FORMAL COMMITTEE: Paul Lennon, Al Vita, Ed Chretien Al Hurt and Kay Farrelly display dance favor. tion of the student group by mem- '•'••ins read with minimal fanfare• . avcrages or the failure to bers o-f the Administratio-;..4.._<-.•„., n cot the requirements imposed Id Chretien of the College Sodali- Passed by a 0-0-1 vote, the re- y, meeting chairman, commented n-ing the interview. solution reads: "The dean of any .hat it should settle all objection!* Al Vita, S.G. vice-president, has school of the University may at ,o the U. S. C. constitution. Several Ilinounced a change in the cam- Junior Weekend Features ihe request of the student govern- eprescntatlvos, named to the jfeii procedure. -
1 LEO TOLSTOY WAR and PEACE Translated by Richard Pevear And
LEO TOLSTOY WAR AND PEACE Translated by Richard Pevear and Larissa Volokhonsky New York: Alfred A. Knopf 1312 pages $40 reviewed by Orlando Figes 1 In his Lectures on Russian Literature Vladimir Nabokov maintains that 'the third, and worst, degree of turpitude' in literary translation, after 'obvious errors' and skipping over awkward passages, 'is reached when a msterpiece is planished and patted into such a shape, vilely beautified in such a fashion as to conform to the notions and prejudices of a given public. This is a crime, to be punished by the stocks as plagiarists were in the shoebuckle days.'1 Whether one agrees or not with Nabokov - whose own translation into English of Pushkin's Eugene Onegin sacrificed poetic rhythm, rhyme, and readability for literal word-by-word equivalence - there is no doubt that the practise of translation is strongly influenced by the literary tastes and sensibilities of the receiving culture. When the great Russian novels of the nineteenth century were first translated into English, beginning with Turgenev's in the 1870s, they were patted into a Victorian mould of 'good writing'. That the first to be translated was Ivan Turgenev, the most Europeanized of all the Russian writers, was to have a lasting influence on the reception of Russian literature in the English-reading world: Turgenev's elegant simplicity of style and gentle social realism fixed the acceptable boundaries of 'Russianness', influencing 1 Vladimir Nabokov, 'The Art of Translation' in Lectures on Russian Literature, edited with an Introduction by Fredson Bowers (London: Weidenfeld and Nicolson, 1982), p. -
Einar Nilson SF 2020 A
Eija Kurki EINAR NILSON – COMPOSER OF THE FIRST JEDERMANN MUSIC Nilson in Chicago in the 1920s at the time of The Miracle tour ‘When Einar Nilson went to school in his home town of Kristianstad in Sweden, he had one great ambition: to become an orchestra conductor. It frequently happened that travelling theatre troupes engaged the 15- year old boy to wield the baton at their performances in the Kristianstad theatre, when the regular conductor, for one reason or another, was unable to attend to his duties. Once it happened that the theatrical director offered him a good salary to follow the troupe on tour. Einar accepted the offer, leaving family, teachers, books and school mates. Years later we find Einar Nilson in Berlin, as conductor of the mighty orchestra of Max Reinhardt [1873–1943], the greatest European theatrical director of all time.’1 In this way Einar Nilson was introduced to readers of the Pacific Coast Viking in the USA in 1936 before the Jedermann (Everyman) performance in the Hollywood Bowl in California, but he is virtually unknown to audiences today. Even in Salzburg, where his most famous composition Jedermann was played at the Salzburg Festival for decades from 1920 onwards, he is known only by name. The aim of this article is to present the person and composer Einar Nilson for the first time. The article is based on material and information from private and public sources and interviews with Nilson’s descendants. Einar Nilson has remained in oblivion because he concentrated on composing and arranging music that was needed for the plays in theatre performances. -
The Long and Short of It : from Aphorism to Novel / Gary Saul Morson
THE LONG AND SHORT O F I T THE L O N G A N D SHORT OF I T FROM APHORISM TO NOVEL GARY SA U L MO R S O N STA NFO R D UNI VERSITY P RESS STA NFO R D , CAL I F O R N I A Stanford University Press Stanford, California © by the Board of Trustees of the Leland Stanford Junior University. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or in any information storage or retrieval system without the prior written permission of Stanford University Press. Printed in the United States of America on acid-free, archival-quality paper Library of Congress Cataloging-in-Publication Data Morson, Gary Saul, – author. The long and short of it : from aphorism to novel / Gary Saul Morson. pages cm Includes bibliographical references and index. ---- (cloth : alk. paper) — ---- (pbk. : alk. paper) . Aphorisms and apothegms—History and criticism. Wit and humor—History and criticism. Epigram. Literary form. I. Title. . '.—dc Typeset by Bruce Lundquist in / Minion FOR KATIE They were arguing about something complex and important, and neither one of them could convince the other. They did not agree about anything, and that made their dispute all the more engaging and endless. —Mikhail Bulgakov, The Master and Margarita ACK NOWL E DGM E N T S Some thirty years ago, my former teacher, the late Martin Price, commenting on my first book, remarked that my style tended to the aphoristic and sug- gested that I might someday examine the form systematically.