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Please fill out the following form either by hand or in Adobe Acrobat. Mail printed forms to: The LCT Review Lincoln Center Theater 150 West 65th Street New York, NY 10023 NAME ADDRESS CITY, STATE, ZIP 1 year (3 issues), $10.00 handling fee. 2 years (6 issues), $18.00 handling fee. You MAY ALSo oRDER PAST ISSuES: A set of selected past issues. ($10 handling fee) oRDER INDIvIDuAL PAST ISSuES foR $2.00 HANDLING fEE EACH: 9 - Abe Lincoln in Illinois 26 - Old Money 47 - Dividing the Estate 65 - The King and I 10 - Hello Again & Carousel 27 - Ten Unknowns 48 - Joe Turner’s Come 66 - Dada Woof Papa Hot 11 - Hapgood 28 - The Invention of Love and Gone 67 - Oslo 12 - Arcadia 29 - Chaucer in Rome 49-50 - Anniversary Issue 68 - How to Transcend a 13 - LCT’s Educational 30 - Thou Shalt Not “50 Years of Theater at Happy Marriage Program 31 - Everett Beekin Lincoln Center” 69 - Pipeline 14 - Racing Demon & 32- Mornings at Seven & 51 - In the Next Room 70 - Junk Sex and Longing The Carpetbagger’s or the vibrator play 71 - My Fair Lady 15 - Special 10th Children 52 - The Grand Manner 72 - The Hard Problem Anniversary 33 - A Man of No Importance 53 - Women on the Verge of 16 - An American Daughter 34 - Dinner at Eight a Nervous Breakdown 17 - Pride’s Crossing 35 - A Bad Friend 54 - A Free Man of Color 18 - Ah, Wilderness! & 36 - Henry IV 55 - War Horse A New Brain 37 - King Lear 56 - Blood and Gifts 19 - Twelfth Night 38 - The Frogs 57 - Clybourne Park 20 - Parade 39 - Belle Epoque 58 - Vanya and Sonia and 21 - Via Dolorosa & 40 - Dessa Rose & Masha and Spike Ring Round the Moon The Light in the Piazza 59 - Golden Boy 22 - Director’s Lab re new al 41 - Bernarda Alba 60 - Nikolai and the Others 23 - Marie Christine & 42 - Awake and Sing! 61 - Domesticated Contact 43 - The Coast of Utopia 62 - Act One 24- The Time of the Cuckoo 44 - Cymbeline 63 - The City of 25 - Spinning Into Butter 45-46 - South Pacific Conversation (out of stock) 64 - The Oldest Boy ToTAL 1 year subscription x $10.00 handling fee = $ 2 year subscription x $18.00 handling fee = $ set of selected past issues x $10.00 handling fee = $ individual past issues x $2.00 handling fee each = $ TOTAL ENCLOSED $ Please make all checks payable to Lincoln Center Theater. We cannot accept credit cards at this time. Thank you..

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Plays to Read for Furman Theatre Arts Majors
1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Terence The Brothers Roman 160 BCE Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt Mother Courage and Her Children Epic Theatre 1939 Rodgers, Richard & Oscar Hammerstein Oklahoma! Musical 1943 Sartre, Jean-Paul No Exit Anti-realism 1944 Williams, Tennessee The Glass Menagerie Modern
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Objects in Tom Stoppard's Arcadia
Cercles 22 (2012) ANIMAL, VEGETABLE OR MINERAL? OBJECTS IN TOM STOPPARD’S ARCADIA SUSAN BLATTÈS Université Stendhal—Grenoble 3 The simplicity of the single set in Arcadia1 with its rather austere furniture, bare floor and uncurtained windows has been pointed out by critics, notably in comparison with some of Stoppard’s earlier work. This relatively timeless set provides, on one level, an unchanging backdrop for the play’s multiple complexities in terms of plot, ideas and temporal structure. However we should not conclude that the set plays a secondary role in the play since the mysteries at the centre of the plot can only be solved here and with this particular group of characters. Furthermore, I would like to suggest that the on-stage objects play a similarly vital role by gradually transforming our first impressions and contributing to the multi-layered meaning of the play. In his study on the theatre from a phenomenological perspective, Bert O. States writes: “Theater is the medium, par excellence, that consumes the real in its realest forms […] Its permanent spectacle is the parade of objects and processes in transit from environment to imagery” [STATES 1985 : 40]. This paper will look at some of the parading or paraded objects in Arcadia. The objects are many and various, as can be seen in the list provided in the Samuel French acting edition (along with lists of lighting and sound effects). We will see that there are not only many different objects, but also that each object can be called upon to assume different functions at different moments, hence the rather playful question in the title of this paper (an allusion to the popular game “Twenty Questions” in which the identity of an object has to be guessed), suggesting we consider the objects as a kind of challenge to the spectator, who is set the task of identifying and interpreting them.
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Past Productions
Past Productions 2017-18 2012-2013 2008-2009 A Doll’s House Born Yesterday The History Boys Robert Frost: This Verse Sleuth Deathtrap Business Peter Pan Les Misérables Disney’s The Little The Importance of Being The Year of Magical Mermaid Earnest Thinking Only Yesterday Race Laughter on the 23rd Disgraced No Sex Please, We're Floor Noises Off British The Glass Menagerie Nunsense Take Two 2016-17 Macbeth 2011-2012 2007-2008 A Christmas Carol Romeo and Juliet How the Other Half Trick or Treat Boeing-Boeing Loves Red Hot Lovers Annie Doubt Grounded Les Liaisons Beauty & the Beast Mamma Mia! Dangereuses The Price M. Butterfly Driving Miss Daisy 2015-16 Red The Elephant Man Our Town Chicago The Full Monty Mary Poppins Mad Love 2010-2011 2006-2007 Hound of the Amadeus Moon Over Buffalo Baskervilles The 39 Steps I Am My Own Wife The Mountaintop The Wizard of Oz Cats Living Together The Search for Signs of Dancing At Lughnasa Intelligent Life in the The Crucible 2014-15 Universe A Chorus Line A Christmas Carol The Real Thing Mid-Life! The Crisis Blithe Spirit The Rainmaker Musical Clybourne Park Evita Into the Woods 2005-2006 Orwell In America 2009-2010 Lend Me A Tenor Songs for a New World Hamlet A Number Parallel Lives Guys And Dolls 2013-14 The 25th Annual I Love You, You're Twelve Angry Men Putnam County Perfect, Now Change God of Carnage Spelling Bee The Lion in Winter White Christmas I Hate Hamlet Of Mice and Men Fox on the Fairway Damascus Cabaret Good People A Walk in the Woods Spitfire Grill Greater Tuna Past Productions 2004-2005 2000-2001
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This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in
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Alex Logemann (Deck Manager) is celebrating OUR SPONSORS estate in 1993 and 1995. In 1997, an additional his 41st show backstage with Center REP. Alex has endowment from Dean Lesher’s estate followed been backstage for ten seasons and is beyond Chevron (Season Sponsor) has been the the death of Margaret Lesher. A significant pleased to be involved with such an amazing leading corporate sponsor of Center REP and and final bequest from Mr. Lesher’s estate CENTER REPERTORY COMPANY group. Alex has also worked backstage for Contra the Lesher Center for the Arts for the past nine was received in 2003. As a family foundation, Michael Butler, Artistic Director Scott Denison, Managing Director Costa Musical Theatre and with Diablo Theatre years. In fact, Chevron has been a partner of support for the Contra Costa community will the LCA since the beginning, providing funding be carried on by the next generation of family Company. Alex is a proud member of the Fantasy for capital improvements, event sponsorships members. Grant-making decisions are based presents Forum Actors Ensemble. He is very thankful for our and more. Chevron generously supports every on the vision of Dean and Margaret Lesher who community and the fun it provides. “Opportunity Center REP show throughout the season, and felt quality education, diverse art programs, and is missed by most people because it is dressed in is the primary sponsor for events including healthy children and families are the building overalls and looks like work.” -Thomas Edison the Chevron Family Theatre Festival in July. blocks of a strong and vibrant community.
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Quote from History Boys About the Nature of Education Being Erotic
VERGE 3 Cincotta 1 Molly Cincotta Dance and Theatre as Culture Metaphors February 2, 2006 The Attraction England Left Out “The transmission of knowledge is in itself an erotic act.” Hector History Boys (Bennett 53) Tom Stoppard is well known for his ability to tease out the ironies of life while staying just this side of clarity. His plays challenge audiences to keep up with a type of British intellectualism that celebrates the perceived ideals from the classical world. Yet in holding up a mirror to scholars past and present, Stoppard asks us to see beyond the ideal into paradox. The great poets, playwrights and philosophers of ancient Greece and Rome celebrated intellect hand in hand with love and passion, and yet British academia stresses the more Enlightenment-based triumph of knowledge over instinct. As writer Richard Ellmann puts it, “Artists could display their morality by fidelity to nature, and by eschewing self-indulgent sensuality” (qtd. Haill, The Beautiful 5). Love, passion, sex— this side of understanding the universe—was carefully removed from scholarship in favor of a detached acquisition of knowledge. Nor is it Stoppard alone among the playwrights who explore this contradiction. In his play History Boys, Alan Bennett looks at the same incongruity in the British school system of today. Even Oscar Wilde, a great influence on Stoppard, questioned the dual expectations of his society through his plays, most notably The Importance of Being Earnest. But while Wilde wrote in the midst of controversy and Bennett during modern day, it is Stoppard, specifically in his plays The Invention of Love VERGE 3 Cincotta 2 and Arcadia, who captures the enduring nature of this paradox throughout English history.
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Playbill Was Created
Letter from the President Welcome to our 19th Season in which we explore and celebrate the theme of “Family”. As we attempt to recover from all of the carnage, offensive rhetoric, outlandish, atrocious and appalling shenanigans of this exceptionally divisive political season, we surely all feel the need to hold our loved ones just a little bit closer and to squeeze them a whole lot tighter. Thank you for coming out and sharing the next couple of hours with us as a part of our family. With your indulgence, we will transport you to a simpler time in the form of a good old fash- ioned comedy reminding us that differences can actually unite us; happiness is of higher value than money; and that family, with all of its quirks, challenges and surprises, also uplifts us with warmth, love, security and hope. We would love to have you become a larger part of our family either on stage or behind the scenes. If you are interested in playing with us or serving on our Board of Directors, please contact us by sending an e-mail to: [email protected]. Our annual fundraiser, A Night At The Cabaret, will be held on Saturday, February 4th 2017. This is a very fun evening with lots of entertainment showcasing some of our most talented performers. Please mark your calendar now as tickets tend to sell quickly! We will be posting details of the event, including a preview of items for the popular “Silent Auction”, over the next couple of weeks on our website at: www.longwoodplayers.org.
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Avocado Movement Theatre
UAB Town and Gown Productions ., � 1 . 1ll'te By Stephen Sondheim and Hugh Wheeler MAY7-17 AT CLARK THEATRE The Actor's Showcase Theatre Avocado Movement Theatre Choreography by Lori Cralg-Pulvlno MAY 19 - 23 AT BELL THEATRE Southern PlayWorks ..MANTRAP-" by Rob Nixon Directed by Sandra Taylor BELL THEATRE June 18 -June 28 -,:1NOINGIIOSe' by Bonnie Allee-Louise Morgan Directedby Jamie Lawrence BELL THEATREJuly9-July 19 .7HE DEVIL :SDREAM .. by Paul Ferguson Directedby Bess Peterson HOOVERLIBRARY THEATRE July 16-JulY25 "BUCK-NEKKID" by Jon Maxwell Directedby Janelle Cochran BIRMINGHAMFESTIVAL THEATREJuly 30-Aug. D ARCADIA BY ARCADIA TOM STOPPARD A play i11 tivo acts. The Story In 1993, an academic arrives at a country home to piece DIRECTOR together an alleged scandal involving the enigmatic poet BOBBY FUNK LordByron. As he constructs his version of events,we I I flash back to 1809 where, in the very same room,we COSTUME DESIGNER discoverwhat reallyhappened. Arcadia is a comic and INNAPOKRAS cosmic meditation on Romantic poetry, landscape gardening, Newtonian physics, adulteryand mortality, all SCENIC DESIGNER wrapped up in a time-travelingmystery. It proves that � KELL.AEGER anddesire throw everything into chaos. Stoppard is said to devour great stacks of background material in preparing to LIGHTING D.b--SIGNER write a play. LANG REYNOLDS Like much of his work, Arcadia is an elegant, intricate DRAMATURGE concoction of historical fact and theatrical invention. WILLIAM HUTCHINGS Arcadia juxtaposes two distinct sets of characters, in one gtaceful roomof the imaginaryEnglish estate of Sidley DIALECT COACH Park,in three separate moments in time: three daysin JILLBALCH COON 1809, one day in 1812, and several days in the present.
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Rifts in Time and Space: Playing with Time in Barker, Stoppard, and Churchill Jay M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Rifts in Time and Space: Playing with Time in Barker, Stoppard, and Churchill Jay M. King Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF THEATRE RIFTS IN TIME AND SPACE: PLAYING WITH TIME IN BARKER, STOPPARD, AND CHURCHILL By JAY M. KING A thesis submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2004 The members of the Committee approve the thesis of Jay M. King defended on April 1, 2004. Carrie Sandahl Professor Directing Thesis Mary Karen Dahl Committee Member Laura Edmondson Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables .................................................................................................................... iv Abstract ............................................................................................................................ v INTRODUCTION: SPACE, TIME, AND THOUGHT ..................................................... 1 1. BARKER’S CATASTROPHIC DISRUPTIONS........................................................... 19 2. STOPPARD AND THE SHAPE OF TIME................................................................... 41 3. CHURCHILL’S IMPOSSIBLE OBJECTS...................................................................
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Tom Stoppard: European Phantom Pain and the Theatre of Faux Biography
humanities Article Tom Stoppard: European Phantom Pain and the Theatre of Faux Biography Eckart Voigts English and American Studies, TU Braunschweig, 38106 Braunschweig, Germany; [email protected] Abstract: The paper reads Stoppard’s work in the 21st century as further testimony of the gradual politicisation of his work that began in the 1970s under the inﬂuence of Czech dissidents, and particularly as a result of his visits to Russia and Prague in 1977. It also provides evidence that Stoppard, since the 1990s, had begun to target emotional responses from his audience to redress the intellectual cool that seems to have shaped his earlier, “absurdist” phase. This turn towards emotionalism, the increasingly elegiac obsession with doubles, unrequited lives, and memory are linked to a set of biographical turning points: the death of his mother and the investigation into his Czech-Jewish family roots, which laid bare the foundations of the Stoppardian art. Examining this kind of “phantom pain” in two of his 21st-century plays, Rock’n’Roll (2006) and Leopoldstadt (2019), the essay argues that Stoppard’s work in the 21st century was increasingly coloured by his biography and Jewishness—bringing to the fore an important engagement with European history that helped Stoppard become aware of some blind spots in his attitudes towards Englishness. Keywords: Tom Stoppard; biography; European history; Holocaust/Shoah; Czech Republic; memory; contemporary political drama; Rock’n’Roll (2006); Leopoldstadt (2019) 1. Introduction Citation: Voigts, Eckart. 2021. Tom Tom Stoppard is the most renowned living British playwright. His trademarks since Stoppard: European Phantom Pain Rosencrantz and Guildenstern Are Dead (1966) have been witty, clever, and intellectual come- and the Theatre of Faux Biography.
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Familial Betrayal and Trauma in Select Plays of Shakespeare, Racine, and the Orc Neilles Lynn Kramer University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2016 Familial Betrayal And Trauma In Select Plays Of Shakespeare, Racine, And The orC neilles Lynn Kramer University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Comparative Literature Commons Recommended Citation Kramer, L.(2016). Familial Betrayal And Trauma In Select Plays Of Shakespeare, Racine, And The Corneilles. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3874 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. FAMILIAL BETRAYAL AND TRAUMA IN SELECT PLAYS OF SHAKESPEARE, RACINE, AND THE CORNEILLES by Lynn Kramer Bachelor of Arts Arcadia University, 1994 Master of Arts University of South Carolina, 2001 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Comparative Literature College of Arts and Sciences University of South Carolina 2016 Accepted by: Paul Allen Miller, Major Professor George Geckle, Committee Member Buford Norman, Committee Member Thorne Compton, Committee Member Paul Allen Miller, Vice Provost and Interim Dean of Graduate Studies © Copyright by Lynn Kramer, 2016 All Rights Reserved. ii DEDICATION For my parents, who never got to see me get this far, but always knew I could. iii ACKNOWLEDGEMENTS I would like to thank my dissertation committee for their patience and help. Dr. Miller, your willingness to chair this endeavor and to give me encouragement or cattle prods (as the need arose) is much appreciated.
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