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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. -
Portraits D'institutions Culturelles Montréalaises
Portraits d’institutions culturelles montréalaises Quels modes d’action pour l’accessibilité, l’inclusion et l’équité ? La collection « Monde culturel » Liste des titres parus : propose un regard inédit sur les Ève Lamoureux et Magali Uhl, Le vivre-ensemble multiples manifestations de la à l’épreuve des pratiques culturelles et artistiques contemporaines, 2018. vie culturelle et sur la circulation des arts et de la culture dans la Benoît Godin, L’innovation sous tension. Histoire d’un concept, 2017. société. Privilégiant une approche interdisciplinaire, elle vise à Nathalie Casemajor, Marcelle Dubé, Jean-Marie Lafortune, Ève Lamoureux, Expériences critiques de la réunir des perspectives aussi bien médiation culturelle, 2017. théoriques qu’empiriques en vue Julie Dufort et Lawrence Olivier, Humour et politique, d’une compréhension adéquate des 2016. contenus culturels et des pratiques Myrtille Roy-Valex et Guy Bellavance, Arts et territoires qui y sont associées. Ce faisant, à l’ère du développement durable : Vers une nouvelle elle s’intéresse aussi bien aux économie culturelle ?, 2015. enjeux et aux problématiques qui Andrée Fortin, Imaginaire de l’espace dans le cinéma traversent le champ actuel de la québécois, 2015. culture qu’aux acteurs individuels Geneviève Sicotte, Martial Poirson, Stéphanie Loncle et Christian Biet (dir.), Fiction et économie. et collectifs qui le constituent : Représentations de l’économie dans la littérature et les artistes, entrepreneurs, médiateurs arts du spectacle, XIXe-XXIe siècles, 2013. et publics de la culture, mouve- Étienne Berthold, Patrimoine, culture et récit. L’île ments sociaux, organisations, d’Orléans et la place Royale de Québec, 2012. institutions et politiques culturelles. Centrée sur l’étude du terrain contemporain de la culture, la collection invite également à poser un regard historique sur l’évolution de notre univers culturel. -
Last Tango in Paris (1972) Dramas Bernardo Bertolucci
S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 . -
SUBMISSION RE-EDIT Caitlin Thompson Dissertation 2019
Making ‘fritters with English’: Functions of Early Modern Welsh Dialect on the English Stage by Caitlin Thompson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto © Copyright by Caitlin Thompson 2019 Making ‘fritters with English’: Functions of Early Modern Welsh Dialect on the English Stage Caitlin Thompson Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto 2019 ABSTRACT The Welsh had a unique status as paradoxically familiar ‘foreigners’ throughout early modern London; Henry VIII actively suppressed the use of the Welsh language, even though many in the Tudor line selectively boasted of Welsh ancestry. Still, in the late-sixteenth century, there was a surge in London’s Welsh population which coincided with the establishment of the city’s commercial theatres. This timely development created a stage for English playwrights to dramatically enact the complicated relationship between the nominally unified nations. Welsh difference was often made theatrically manifest through specific dialect conventions or codified and inscrutable approximate Welsh language. This dissertation expands upon critical readings of Welsh characters written for the English stage by scholars such as Philip Schwyzer, Willy Maley, and Marissa Cull, to concentrate on the vocal and physical embodiments of performed Welshness and their functions in contemporary drama. This work begins with a historicist reading of literary and political Anglo-Welsh relations to build a clear picture of the socio-historical context from which Welsh characters of the period were constructed. The plays which form the focus of this work range from popular plays like Shakespeare’s Henry V (1599) to lesser-known works from Thomas Nashe’s Summer’s Last Will and Testament (1592) to Thomas Dekker’s The Welsh Embassador ii (1623) which illuminate the range of Welsh presentations in early modern England. -
Molière Au Théâtre Du Nouveau Monde : Du Bon Usage Des Classiques »
Article « Molière au Théâtre du Nouveau Monde : du bon usage des classiques » Dominique Lafon L'Annuaire théâtral : revue québécoise d’études théâtrales, n° 22, 1997, p. 23-42. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/041328ar DOI: 10.7202/041328ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 13 février 2017 06:53 MOLIÈRE AU THÉÂTRE DU NOUVEAU MONDE 23 Dominique Lafon Université d'Ottawa Molière au Théâtre du Nouveau Monde : du bon usage des classiques e spécialiste de Molière demeure toujours un peu perplexe, tout spécialiste qu'il soit, devant les différentes facettes de la postérité L d'un auteur couramment érigé en figure mythique. Le « patron » de la Comédie-Française fut aussi celui de Jacques Copeau, de Louis Jouvet, fédé• rant l'institution culturelle et les tenants du renouveau de la mise en scène, comme une figure tutélaire qui syncrétise, en dépit ou à cause du peu d'informa• tions tangibles qu'on a sur lui, le chef de troupe, l'auteur, le comédien et même, faut-il le rappeler, le subventionné avant l'heure. -
Teuxos 2 2008.Qxd
The Greek Theatre in the United States from the End of the 19th Century to the 21st Century Katerina Diakoumopoulou* RÉSUMÉ Cet article couvre l’activité théâtrale des immigrants Grecs aux Etats-Unis à partir de la fin du dix-neuvième siècle jusqu’à nos jours. Il souligne l’histoire de beaucoup de troupes de théâtre qui avaient fait leur apparition dans les communautés grecques d’Amerique à la fin du dix-neuvième siècle et ont connu le succès jusqu’à un déclin marquant dans la seconde décennie du vingtième siècle, déclin précipité par l’enrôlement de beaucoup de jeunes immigrants Grecs dans les Guerres Balkaniques. Le développement théâtral impressionnant, qui s’en est suivi de 1920 à 1940, et après la Seconde Guerre Mondiale, est examiné en mettant l’accent sur une variété d’aspects tels que les nombreuses troupes, d’amateurs et de professionnels et leurs répertoires, thèmes, tendances, problèmes, influences politiques, enjeux sociaux, etc., nécessaires pour comprendre le rôle et l’impact que le théâtre grec a eu jusqu’à nos jours. L’auteur note que l’on observe deux tendances particulières depuis la Seconde Guerre Mondiale: les auteurs dramatiques Américains Grecs composent leurs œuvres principalement en anglais et beaucoup d’Américains d’origine grecque de la seconde génération participent à des troupes de théâtre grecques, tandis qu’un nombre d’acteurs de la première génération ayant longtemps servi dans le théâtre sont devenus des professionnels. ABSTRACT This article covers the theatre activity of the Greek immigrants in the USA from the end of the nineteenth century until today. -
ARSC Journal
THE TWO WOMEN OF CAEDMON By Helen Roach In 1924 Sylvia Beach, the Paris bookseller of Shakespeare Incorporated, went to the Paris office of H.M.V. to arrange for a recording of James Joyce. She was told there was no money in spoken word records and settled for 30 copies to be paid for on delivery, confirming the fact that ever since Edison's invention, music recordings had dominated the marketplace. On February 22, 1952, Barbara Holdridge and Marianne Mantell, two Hunter College Phi Beta Kappas, Class of 1950, impatient with minor jobs in publishing and in small recording companies, pooled their $1,800 to establish the house of Caedmon, publishers of books and spoken word recordings. By 1954, after having issued two books and some 40 recordings, and convinced that there were enough publishers of books, the two women of Caedmon decided to systematically document "the great living authors, recording their work in order to capture the author's own interpretation and recreation of the emotions felt when the work was first set down." No one up to that time, furthermore, had undertaken to record the great literature of the past, and it became Caedmon's role to release such literature from its pres ervative entrapment in print. The music recording studio of Peter Bartok on West 57th Street, New York City, suited their purpose. First to be recorded was Lawrence Olivier who, while in New York, delivered The Eulogy on the Death of George VI at the Little Church Around the Corner. Then came Dylan Thomas, the Welsh poet, who at the time was giving public readings of his poetry in America and attracting large, young audiences, ready listeners for repeat performances on recordings. -
TNM Masters the Fine Art of Molière
TNM masters the fine art of Molière BY PAT DONNELLY, GAZETTE CULTURE CRITICOCTOBER 7, 2011 Every member of the cast in L’École des femmes is worth watching, but the interplay between Guy Nadon as Arnolphe and Sophie Desmarais as Agnès is especially riveting. Photograph by: Yves Renaud, Courtesy of Théâtre du Nouveau Monde MONTREAL - Théâtre du Nouveau Monde has just launched its 60th season with L’École des femmes de Molière, affirming the importance of this 17th century playwright within the repertoire of Montreal’s flagship classical theatre. When the company was founded, in 1951, by a group that included Jean Gascon (later to become the first Canadian artistic director of the Stratford Shakespeare Festival), the inaugural piece was L’Avare, also by Molière. Over the years, TNM has presented 48 Molière productions, or 49, if you count a remount of Le Malade imaginaire. In addition to Gascon, recognized founders of TNM include actor/playwright/director Jean- Louis Roux, Guy Hoffman, Eloi de Grandmont and Georges Groulx. Also considered a hero is Mark Drouin, first president of the TNM board of directors, who managed to dig up the $5,000 to bankroll L’Avare. Roux, 88, the last surviving member of the group, was singled out for special praise at Thursday night’s anniversary celebrations. In August, a $5,000 TNM playwriting award was inaugurated in his name, with Michel Marc Bouchard chosen as the first recipient Three actors from the original production remain with us: Gabriel Gascon, 84, brother of Jean, Janine Sutto, 90, who recently created a stir with her kiss-and-tell autobiography, and Monique Miller, 77, who replaced Ginette Letondal for the Ottawa/Quebec tour. -
2011 Gala Program
2011 GOVERNOR GENERAL’S PERFORMING ARTS AWARDS GALA The arts engage and inspire us 2011 GOVERNOR GENERAL’S PERFORMING ARTS AWARDS GALA Presented by National Arts Centre Ottawa May 14, 2011 The Governor General’s Performing Arts Awards The Governor General’s Performing Arts Awards are Recipients of the National Arts Centre (NAC) Award, Canada’s most prestigious honour in the performing arts. which recognizes work of an extraordinary nature in the Created in 1992 by the late Right Honourable Ramon John previous performance year, are selected by a committee Hnatyshyn (1934–2002), then Governor General of Canada, of senior NAC programmers. This Award comprises a and his wife Gerda, the Awards are the ultimate recognition $25,000 cash prize provided by the NAC, a commissioned from Canadians for Canadians whose accomplishments work created by Canadian ceramic artist Paula Murray and have inspired and enriched the cultural life of our country. a commemorative medallion. Laureates of the Lifetime Artistic Achievement Award are All commemorative medallions are generously donated selected from the fields of broadcasting, classical music, by the Royal Canadian Mint. dance, film, popular music and theatre. Nominations for this Award and the Ramon John Hnatyshyn Award for The Awards also feature a unique Mentorship Program Voluntarism in the Performing Arts are open to the public designed to benefit a talented mid-career artist. and solicited from across the country. All nominations The Program brings together a past Lifetime Artistic are reviewed by juries of professionals in each discipline; Achievement Award recipient with a next-generation each jury submits a short list to the Board of Directors artist, helping them to develop their work, explore 2 of the Governor General’s Performing Arts Awards ideas and navigate career options. -
In Memoriam Serge Garant Gabriel Charpentier, André Prévost, R
Document généré le 25 sept. 2021 00:11 Canadian University Music Review Revue de musique des universités canadiennes In Memoriam Serge Garant Gabriel Charpentier, André Prévost, R. Murray Schafer, Bruce Mather, Norma Beecroft, Robert Aitken, John Rea, Jean Papineau-Couture, José Evangelista, Anne Lauber, François Morel, Gilles Tremblay et Pierre Boulez Numéro 7, 1986 URI : https://id.erudit.org/iderudit/1014083ar DOI : https://doi.org/10.7202/1014083ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer ce document Charpentier, G., Prévost, A., Schafer, R., Mather, B., Beecroft, N., Aitken, R., Rea, J., Papineau-Couture, J., Evangelista, J., Lauber, A., Morel, F., Tremblay, G. & Boulez, P. (1986). In Memoriam Serge Garant. Canadian University Music Review / Revue de musique des universités canadiennes, (7), 4–25. https://doi.org/10.7202/1014083ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1986 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ SERGE GARANT, MORT Serge est le temps passé/présent de presque toute mon existence, celui auquel j'ai voulu toujours parler, à qui j'ai dit : "Ne crois-tu pas que ... -
Rating Guide 27 5P; 28 12P Comedy Gomez, Morticia and Their Natasha
park where the rides are designed with Elizabeth Hawthorne. (PG-13, 2:00) ’18 minimum safety for maximum fun. When SHOS-E 321 June 13 7:30a, TMC-E 327 a corporate mega-park opens nearby, June 1 5:15a, 10p; 9 11a; 17 6:15p; 20 D.C. and his loony crew of misfits must 7:45a; 28 2p; 29 4:30a, TMCX-E 328 adventurer and a botanist lead a Tibetan pull out all the stops to try and save the June 2 9:30a; 4 10p; 7 2:50p; 27 4:15p; A search for the legendary big-footed Yetis. day. Johnny Knoxville, Chris Pontius, 30 11:15a Dan Bakkedahl, Matt Schulze. (1:30) ’18 Abducted Suspense A war hero Forrest Tucker, Peter Cushing, Maureen Adventureland 555 Comedy-Drama 9 EPIX 380 June 13 6:30a, EPIX2 381 June takes matters into his own hands Connell, Richard Wattis. (1:30) ’57 A college grad takes a lowly job at an A FXM 384 June 10 4:30a, 11:50a; 16 7 5:40a, EPIXHIT 382 June 11 8:45a; 12 amusement park after his parents refuse when a kidnapper snatches his 8:05a; 25 8:20a young daughter during a home 11:50a; 27 9:35a; 28 6a to fund his long-anticipated trip to Europe. invasion. Scout Taylor-Compton, Daniel About a Boy 555 Comedy-Drama An An Actor Prepares Comedy After Jesse Eisenberg, Kristen Stewart, Martin Joseph, Michael Urie, Najarra Townsend. irresponsible playboy becomes emotion- suffering a heart attack, a hard-drinking Starr, Kristen Wiig. -
Paul Thompson
PAUL THOMPSON Director, Writer, Teacher, Administrator, Maverick and Innovator Paul William Thompson is one of the most remarkable and accomplished voices in Canadian theatre. Born in Charlottetown, P.E.I. in 1940, he was raised in the farming community of Listowel, Ontario, where he worked on his uncle’s farm in the summers. As a young boy he was a voracious reader and a gifted athlete, particularly excelling in wrestling. He began his undergraduate career at the University of Western Ontario, where he obtained his Honours B.A. (English and French), and in 1963 won a scholarship to the prestigious Sorbonne University in Paris, where his academic and creative life was transformed forever. There he first discovered the work of Roger Planchon at the Théâtre National Populaire in Lyon. After completing his M.A. in French (specializing in Theatre) at the University of Toronto, he returned to France to work with Planchon as stagiaire de la mise en scène (apprentice director), 1965–67. Upon his return to Canada he began his apprenticeship with the legendary Jean Gascon at The Stratford Festival, where he worked as his assistant director until 1970. In 1970 Thompson was appointed Artistic Director of Theatre Passe Muraille in Toronto, a ground-breaking theatre company born out of the cultural crucible that was Rochdale College, where he would help create some of the most influential theatrical events in Canadian history. During his 12-year artistic directorship he not only programmed and produced over 175 plays by authors ranging from Claude Jutra to Judith Thompson, but transformed the Canadian theatrical landscape forever with his own creations.