Selected Correspondence from the Horton Foote
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Horton Foote
38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis ....................................................................................................... -
[email protected]. TA
THST S392/ENGL S361: Modern American Drama Prof. Marc Robinson Summer 2016 E-mail: [email protected]. TA: David Bruin. E-mail: [email protected] This seminar surveys American theater between World War I and 2000. We’ll begin with the pre-history to this century’s theater—its melodramas, temperance plays, panoramas, and other popular forms. This work laid the foundation for the startling innovations of the early twentieth century. Eugene O'Neill and Gertrude Stein both began writing plays in 1913—O’Neill consciously allying himself with European innovation, Stein working in a theatrical vacuum, inaugurating a tradition of her own. We read both writers before moving on to the third pillar of American theatrical modernism, Thornton Wilder—someone wrongly assumed to be an unthreatening, homely figure in our culture. We then re-read canonical works by Tennessee Williams and Arthur Miller in the light of the less familiar experiment of previous decades. What, beyond narrative and character, contributes to these plays’ enduring value? We’ll also look at an idiosyncratic writer—Jane Bowles—who addresses shifting ideas of marginality and sociability in her theater. The boldness of all these mid-century playwrights sets the stage for the explosion of theatrical experiment in the 1960s. After a consideration of Edward Albee’s theatrical vitriol and menace, we’ll move briskly through selected playwrights from the 1970s, 80s, and 90s—some of whom are mainstays of our theaters (Sam Shepard, David Mamet), while others are deserving of more attention (Maria Irene Fornes, Adrienne Kennedy). We’ll also consider three writers who are also radical performers— Spalding Gray, Anna Deavere Smith, and Wallace Shawn. -
Sam Shepard One Acts: War in Heaven (Angel’S Monologue), the Curse of the Raven’S Black Feather, Hail from Nowhere, Just Space Rhythm
Sam Shepard One Acts: War in Heaven (Angel’s Monologue), The Curse of the Raven’s Black Feather, Hail from Nowhere, Just Space Rhythm Resource Guide for Teachers Created by: Lauren Bloom Hanover, Director of Education 1 Table of Contents About Profile Theatre 3 How to Use This Resource Guide 4 The Artists 5 Lesson 1: Who is Sam Shepard? Classroom Activities: 1) Biography and Context 6 2) Shepard in His Own Words 6 3) Shepard Adjectives 7 Lesson 2: Influences on Shepard Classroom Activities 1) Exploring Similar Themes in O’Neill and Shepard 16 2) Exploring Similar Styles in Beckett and Shepard 17 3) Exploring the Influence of Music on Shepard 18 Lesson 3: Inspired by Shepard Classroom Activities 1) Reading Samples of Shepard 28 2) Creative Writing Inspired by Shepard 29 3) Directing One’s Own Work 29 Lesson 4: What Are You Seeing Classroom Activities 1) Pieces Being Performed 33 2) Statues 34 3) Staging a Monologue 36 Lesson 5: Reflection Classroom Activities 1) Written Reflection 44 2) Putting It All Together 45 2 About Profile Theatre Profile Theatre was founded in 1997 with the mission of celebrating the playwright’s contribution to live theater. To that end, Profile programs a full season of the work of a single playwright. This provides our community with the opportunity to deeply engage with the work of our featured playwright through performances, readings, lectures and talkbacks, a unique experience in Portland. Our Mission realized... Profile invites our audiences to enter a writer’s world for a full season of plays and events. -
The Relevance of Tennessee Williams for the 21St- Century Actress
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par. -
Tennessee Williams's Dramatic World
ISSN 2411-9598 (Print) European Journal of September-December 2015 ISSN 2411-4103 (Online) Language and Literature Studies Volume 1 Issue 3 Tennessee Williams's Dramatic World Esmeralda Subashi, Ph.D Miranda Ostrosi Veliaj, Ph.D. University of Tirana Faculty of Foreign Languages English Language Department E-mail: [email protected] Abstract Tennessee Williams has been regarded as the greatest Southern dramatist and one of the most distinguished playwrights in the history of American drama. He is undoubtedly the most renowned American dramatist of the second half of the 20th Century. This paper addresses and explores some of the main features of his dramatic works. His drama was a lyric or poetic one, and that is why the critic and scholar Frank Durham referred to him as “Tennessee Williams, theater poet in prose”. When David Mamet describes William’s plays as “the greatest dramatic poetry in the American language”, he shares the widely accepted opinion that Williams brought to the language of the American theater a lyricism unequaled before or after. He infuses his dialogue with lyrical qualities so subtle that the reader or hearer, unaware, responds not to realistic speech but, instead, to speech heightened by such poetic effects as alliteration, rhythm, onomatopoeia, and assonance. As a Southern writer, Williams was attuned to the natural rhythm and melody of Southern speech, a melody, he says, heard especially in the voices of women. Characterization is one of Williams’s strongest achievements as a dramatist. His people are imaginatively conceived yet so convincing that it is tempting to take them out of context and theorize about their lives before and after the action of the play. -
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. -
Bernhardt Hamlet Cast FINAL
IMAGES AVAILABLE FOR DOWNLOAD HERE CAST ANNOUNCED FOR GEFFEN PLAYHOUSE WEST COAST PREMIERE OF “BERNHARDT/HAMLET” FEATURING GOLDEN GLOBE NOMINEE DIANE VENORA AS SARAH BERNHARDT WRITTEN BY THERESA REBECK AND DIRECTED BY SARNA LAPINE ALSO FEATURING NICK BORAINE, ALAN COX, ISAIAH JOHNSON, SHYLA LEFNER, RAYMOND McANALLY, LEVENIX RIDDLE, PAUL DAVID STORY, LUCAS VERBRUGGHE AND GRACE YOO PREVIEWS BEGIN APRIL 7 - OPENING NIGHT IS APRIL 16 LOS ANGELES (February 24, 2020) – Geffen Playhouse today announced the full cast for its West Coast premiere of Bernhardt/Hamlet, written by Theresa Rebeck (Dead Accounts, Seminar) and directed by Sarna Lapine (Sunday in the Park with George). The production features Diane Venora (Bird, Romeo + Juliet) as Sarah Bernhardt. In addition to Venora, the cast features Nick BoraIne (Homeland, Paradise Stop) as Louis, Alan Cox (The Dictator, Young Sherlock Holmes) as Constant Coquelin, Isaiah Johnson (Hamilton, David Makes Man) as Edmond Rostand, Shyla Lefner (Between Two Knees, The Way the Mountain Moved) as Rosamond, Raymond McAnally (Size Matters, Marvelous and the Black Hole) as Raoul, Rosencrantz, and others, Levenix Riddle (The Chi, Carlyle) as Francois, Guildenstern, and others, Paul David Story (The Caine Mutiny Court Martial, Equus) as Maurice, Lucas Verbrugghe (Icebergs, Lazy Eye) as Alphonse Mucha and Grace Yoo (Into The Woods, Root Beer Bandits) as Lysette. It’s 1899, and the legendary Sarah Bernhardt shocks the world by taking on the lead role in Hamlet. While her performance is destined to become one for the ages, Sarah first has to conVince a sea of naysayers that her right to play the part should be based on ability, not gender—a feat as difficult as mastering Shakespeare’s most Verbose tragic hero. -
Program Design Paul Mazerov Program Coordinator
KENTWOOD PLAYERS presents Designed & Directed by ARKY MARCOM Produced by PAUL MAZEROV Musical Director: 0001, BROWN Choreographer: DELORESHENRIKSEN . Associate Producer: DIANE ARNOLD WESTCHESTER PLAYHOUSE 8301 Hindry Avenue, Los Angeles 90045 COMING ATTRACTIONS ... ~977 NOV. 11 to DEC. 17, "DIAL M FOR MURDER" - Exciting mystery by FREDERICK KNOTT. "Quiet in style but'tingling with excitement OKLAHOMA! underneath." - N.Y. Times. Director: Max Stormes. Casting: Sept. Music by: RICHARD RODGERS Book & Lyrics by: OSCAR HAMMERSTEIN II 12·13,8:00 p.m. Producer: Chris David-Belyea. Based on LYNN RIGG'S "GREEN GROWS THE LILACS" As Originally Produced by: THE THEATRE GUILD. COMING ATTRACTIONS ... ~978 SPECIAL PERMISSION OF THE RODGERS & HAMMERSTEIN MUSIC LIBRARY JAN. 20·FEB. 25, "BUTTERFLIES ARE FREE." By LEONARD GERSHE. "Funny when it means to be. sentimental when it is so CAST IN ORDER OF APPEARANCE inclined, and heart warming." NN. Daily News. Director: C. Clarke Bell. f~B~~:~~;~::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::~'i-~~~~1:~~:~5 MAR. 17·APRIL 22, "ALL THE WAY HOME." By TAD MOSEL. This IKE SKIDMORE . Norman Jay Goldman portrait of early 20th Century American life won both the Pulitzer ~~N\-_-_-_-_-_-_-_-_-_-_-_-_-_~~-_-_-_-_-_-_-_-=:':': -.-_-_-_.-:_-.'-_-_-:~~--D~-V~a~:_tl~:~s~1~-_~-_-_~~-_-_-_-_~-_-_-_-_-_-_- Prize and Critics' Circie Award. Director: Charles Briles. WILL PARKER Peter von Ehren ro~ JUD FRY __Lawrence Ma rrlll ADO ANNIE CARNES ' Jama Tege er SPECIAL GROUP RATES All HAKIM Peter M. Eberhardt GERTIE CUMMMINGS Molly Bea Tweten Kentwood Players offers your group or organization an attractive way to arrange a desirable social event, or to plan a fund-ralsing project for any worthy cause. -
The Flyleaf, 1996
The Flyleaf Friends of Fondren Library Vol. 46, No. 4 Summer 1996 Keeping a Journal A LETTER TO THE FRIENDS sorely missed. We have been insured that she is available to advise or help in any way when she is Dear Friends of Fondren Library, not traveling or enjoying some well deserved free We begin the 1996-97 acadeniic year with time. The Board of Directors was pleased to ac- great pleasure as we welcome the new Vice Provost knowledge with great affection Betty's service at the and University Librarian, Charles Henry. Dr. Henry recent Annual Meeting with the purchase m her met with the Friends of Fondren Library Board of honor of three books to be housed in the Axson Directors at our May meeting and we look forward Collection in the Woodson Research Center. Betty to working closely with liis office. will be difficult to replace and we are working At this time one year ago, I reported to our directly with Dr. Henry to name the new Executive membership that the library endowment had passed Director of the Friends in the next few months. the one million doUar mark. Today, I am very On behalf of the Board of Directors I wish to pleased to report that our endowment exceeds $1.3 acknowledge departing Board Members Karen mOlion thanks to the continuing efforts of the Board, Rogers, Oliver Pennington, Bettie Carrell, Jan a generous membership, and a supportive commu- Domenico and Joan Ryan. Their collective energy, nity at large. The organization continues to enjoy a creativity, enthusiasm and commitment to the very healthy membership of 1,300. -
Everett Sifuentes
Everett Sifuentes height 5'3" waist 36" inseam 29" collar 16" sleeve 29" shoe 7 us Feature Film The Chameleon Chameleon Films LLC Jean-Paul Solome The Beacon Beacon The Movie LLC Michael Stokes Exit Speed Hellhounds, LLC Scott Ziehl Kings of the Picture Place LLC Andrew Jones Evening Guilty Gilty LLC Gabriel Folse Elvis & Annabelle Quested/Schatz Will Geiger Mexican Sunrise Red J Films Rowdy Stovall The Quiet Burnt Orange Prod. Jamie Babbit When Zachary Beaver Came to Axium/Amy Robinson John Schultz Town Warner Bros/Q Selena Gregory Nava Prod/Esparza/Katz Night Game Trans World Entertainment Peter Masterson Cotton Candy NBC/Rance Howard Ron Howard Code of Josey Multi/Tacar Prod. Michael Parks Wales Five Days from Epic Prod. George Peppard Home Deep in the Heart Warner Bros/Kestel Film Tony Garnet Getting Even AGA Prod. Dwight H. Little Europe American Caged Fear Bobby Houston Entertainment Televison Friday Night Lights Direct TV/NBC Walker Texas Ranger Borderline Cannon Television Mike Vejar Legend Amadea Film Tony Mordente Flashback Amadea Film Michael Preece Jacob's Ladder Amadea Film Michael Preece In the Name of Twenty Century Fox Bill D'Elia Love Dangerous Curves TPT/hemisphere/Group/CBS Michael Preece 13 East Scomi/TVP Scoey Mitchell Unsolved Cosgrove Meurer Prod Myesteries Jamie Kennedy WB Television Experiment Commercial Anheuser-Bush Dally Lyle Metzdorf Inc Atomico Directorz Mccann-Erickson/NY Bates USA DDB Needham Worldwide Millenium Pictures Bates Southwest Duncan & Asso. Murphy-Main & Asso Pinpoint Ideas & BBDO/Worldwide Focus Solu. Berman Film Frames Per Second Publicies Best of the Bunch Gleason/Caliese/Asso. -
Ulysses in Paradise: Joyce's Dialogues with Milton by RENATA D. MEINTS ADAIL a Thesis Submitted to the University of Birmingh
Ulysses in Paradise: Joyce’s Dialogues with Milton by RENATA D. MEINTS ADAIL A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY English Studies School of English, Drama, American & Canadian Studies College of Arts and Law University of Birmingham October 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis considers the imbrications created by James Joyce in his writing with the work of John Milton, through allusions, references and verbal echoes. These imbrications are analysed in light of the concept of ‘presence’, based on theories of intertextuality variously proposed by John Shawcross, Hans Ulrich Gumbrecht, and Eelco Runia. My analysis also deploys Gumbrecht’s concept of stimmung in order to explain how Joyce incorporates a Miltonic ‘atmosphere’ that pervades and enriches his characters and plot. By using a chronological approach, I show the subtlety of Milton’s presence in Joyce’s writing and Joyce’s strategy of weaving it into the ‘fabric’ of his works, from slight verbal echoes in Joyce’s early collection of poems, Chamber Music, to a culminating mass of Miltonic references and allusions in the multilingual Finnegans Wake. -
Theatre & Performance
CONTEMPORARY Theatre & Performance MULTICULTURALISM/ DIVERSITY • African-American Theatre • Global Theatre • LGBTQ • Performance • Asian-American • Performance Art Theatre • Experimental Theatre • Latino Theatre (LATC) AFRICAN-AMERICAN THEATRE • August Wilson (1945-2005) - Fences (1987) • Joe Turner’s Come and Gone (1988) • The Piano Lesson (1990) ASIAN-AMERICAN THEATRE • East/West Players (downtown LA) • David Henry Huang - M. Butterfly, Bondage, Yellow Face LGBTQ • Charles Ludlam (19431987) died of AIDS— founded The Ridiculous Theatre Company- The Mystery of Irma Vep (1984) with Everett Quinton • Tony Kushner- Angels in America (1993) • Larry Kramer -The Normal Heart (1985) • Terence McNally - Mothers and Sons (2014) • Split Britches (WOW Cafe)- Beauty and The Beast (1982), Belle Reprieve (1990), Lesbians Who Kill (1992) • The Tectonic Theatre Company (The Laramie Project) • Rent, Hedwig and The Angry Inch, Kinky Boots, Fun Home LATINO THEATRE • LATC (Latino Theatre Company- LA Theatre Center)- founded 1985 by Artistic Director, Jose Luis Valenzuela • Zoot Suit (1979) by Luis Valdez- made into a film (1981) • based on the Sleepy Lagoon Murder Trial (1942) and the Zoot Suit Riots in Los Angeles https://www.youtube.com/watch?v=M51xwySGNYc https://www.youtube.com/watch?v=dwINn5DEL1c GLOBAL THEATRE • Takarazuka Revue (Drag performance in Japan) https://www.youtube.com/watch?v=JLy2iOnBnsA https://www.youtube.com/watch?v=3Wccu0JjcLw • Handspring Puppet Company (South Africa) https://www.youtube.com/watch?v=SqAkQCbuvqg • Chinese Performance (spectacle)