DOCSLIB.ORG

La Ronde by Arthur Schnitzler Translated by Carl Mueller Directed by Cameron Watson Scene Dock Theatre Nov 19–22, 2015 PRESENTS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Ronde by Arthur Schnitzler Translated by Carl Mueller Directed by Cameron Watson Scene Dock Theatre Nov 19–22, 2015 PRESENTS La Ronde By Arthur Schnitzler Translated by Carl Mueller Directed by Cameron Watson Scene Dock Theatre Nov 19–22, 2015 PRESENTS Cast of Characters La Ronde (in order of appearance) The Prostitute The Husband By Arthur Schnitzler Selina Scott-Bennin Ryan Holmes Translated by Carl Mueller The Soldier The Sweet Young Thing Jim French Mehrnaz Mohammadi WITH (in alphabetical order) The Parlor Maid The Poet Jim French Kristina Hanna Ryan Holmes Philippa Knyphausen Julián Juaquín The Young Gentleman The Actress Julián Juaquín Philippa Knyphausen Courtney Lloyd Charley Stern Courtney Lloyd Mehrnaz Mohammadi Selina Scott-Bennin Charley Stern The Young Wife The Count Kristina Hanna Jim French SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Katrina Coulourides Erica Park Nicole Eng TIME: The late 1890s. SOUND DESIGN VOCAL COACH STAGE MANAGER PLACE: Vienna. Briana Billups Lauren Murphy Savannah Harrow The story is told in ten dialogues with no intermission. DIRECTED BY Cameron Watson WARNING Please be advised that this production contains e-cigarettes, e-cigars, nudity, as well as mature language and themes. PRODUCTION STAFF Scene Dock Theatre | November 19-22, 2015 Scenic Artist Erin O’Donnell Crew Alison Applebaum, Caroline Berns, Haley Brown, Justin Chien, Anna Courvette, “La Ronde” is produced in special arrangement with Smith & Kraus Publishers. Sabrina Sonner, John Tavcar, Patrick Wallace INTERIM DEAN Associate Professor of Theatre Practice David Bridel (Director of MFA in Acting) ASSOCIATE DEANS Professor Sharon Marie Carnicke Professor Velina Hasu Houston (Director of Dramatic Writing) ASSOCIATE PROFESSORS Meiling Cheng (Director of Critical Studies) Oliver Mayer ASSISTANT PROFESSORS Luis Alfaro Carla Della Gatta Takeshi Kata DIRECTOR'S NOTE Tom Ontiveros La Ronde Sibyl Wickersheimer Everything that can go wrong between lovers, will. PROFESSORS OF THEATRE PRACTICE Andrei Belgrader Natsuko Ohama DIRECTOR'S BIO Andrew J. Robinson Cameron Watson, hailed by the Los Angeles Times as “one ASSOCIATE PROFESSORS OF THEATRE PRACTICE of our finest contemporary directors,” returns to the USC Philip G. Allen School of Dramatic Arts after directing The American Clock Paul Backer (Director of Undergraduate Voice and Movement) Brent Blair (Director of MA in Applied Theatre Arts) and Our Town for the MFAs and To Gillian on Her 37th Elsbeth M. Collins (Director of Production) Birthday and The Country Club for the BFAs. He recently Anita Dashiell-Sparks directed the smash hit revival of Picnic at Antaeus, as well Christina Haatainen-Jones (Director of Design) as last season’s highly-praised Top Girls, also at Antaeus, Joseph Hacker and the critically-acclaimed Los Angeles premiere of Duncan Mahoney (Technical Director) Cock at Rogue Machine Theatre. Other credits include All Mary-Joan Negro (Director of BA Acting) My Sons (The Matrix Theatre Company), Trying and The Jack Rowe (Artistic Director, Director of BFA Acting) Savannah Disputation (The Colony Theatre), I Never Sang Stephanie Shroyer (Associate Artistic Director) Eric Trules for My Father (The New American Theatre), I Capture the Castle and A Midsummer Night’s Dream (The Shakespeare ASSISTANT PROFESSORS OF THEATRE PRACTICE Theatre of New Jersey) and Rolling with Laughter in Paula Cizmar John DeMita London’s West End. He wrote and directed the Miramax Kathleen Dunn-Muzingo feature film Our Very Own, starring Allison Janney in Laura Flanagan an Independent Spirit Award-nominated performance. Melinda C. Finberg Cameron also created the new comedy web series Break Randle Mell a Hip, starring Christina Pickles, Britt Hennemuth, Octavia David Warshofsky Spencer and Allison Janney. Season One is available at ADJUNCT/PART-TIME FACULTY OF THEATRE PRACTICE www.breakahip.com. Tony Abatemarco, Rob Adler, Robert Bailey, Joe Bays, Andrew Borba, Jennifer Brienen, Tom Buderwitz, Anne Burk, Frank Catalano, Anatasia Coon, Debra DeLiso, Allison Dunbar, Frank Dwyer, Dan Fishbach, Jeff Flowers, Parmer Fuller, Terry Gordon, Linzi Juliano, SPECIAL THANKS Michael Keenan, Edgar Landa, Vicki Lewis, Heather Lyle, Babette Markus, Kevin McCorkle, Debbie McMahon, Lauren Murphy, Jeremiah O’Brian, Patrick Pankhurst, Leah Piehl, Haley Miller John Rubinstein, Zachary Steel, Nausica Stergiou, Jason Thompson, Alice Tuan, Julie Welch, Charlayne Woodward Courtesy Joint Appointments: Thomas G. Cummings, Larry E. Greiner (Emeritus), Bruce Smith Emeriti Faculty: Don Llewellyn, Eve Roberts, Robert R. Scales, James Wilson BOARD OF COUNCILORS STAFF SUPPORTERS OF DRAMATIC ARTS Michele Dedeaux Engemann DEAN’S OFFICE The USC School of Dramatic Arts would like to recognize the generosity of the following individuals Founding Chair and organizations who have supported the School with a gift of $1,000 or more over the past year Executive Assistant to the Dean Karita Pablik Michael Felix towards core annual programs such as production, guest artists, scholarship and the Dean’s Strategic Chair Administrative Assistant Michele Medina Fund. We recognize at the visionary level those donors whose tremendous generosity has reached the Information Technology Director Prakash Shirke cumulative giving level of $1 million+ and whose foresight and extraordinary commitment has helped Patrick J. Adams secure our role as one of the leading dramatic arts programs in the country and laid the foundation for ACADEMIC & STUDENT AFFAIRS Lisa Barkett our continued prominence and future achievements. Todd Black Assistant Dean Lori Ray Fisher VISIONARY CIRCLE PRODUCERS (continued) ANGELS Steve Braverman Director of Academic & Student Services Sergio Ramirez David Bridel Academic Advisors Daniel Leyva, Isaac Vigilla Dr. & Mrs. Peter Bing and Roger & Michele Dedeaux Jonathan & Adrienne Anderle Tate Donovan Internship & Special Programs Coordinator Meghan Laughlin the Anna H. Bing Living Trust Engemann Mohammed & Elizabeth Anis Greg Foster Admissions Counselor Ramón Valdez George N. Burns Trust Margaret Eagle & Eli Rapaport Anonymous Brad Fuller Scheduling Coordinator Helga Matthews Katherine B. Loker Brad & Ally Fuller Susan & David Berck Michael Gilligan Office Manager Mabel Lopez Robert & Elizabeth Plumleigh Mark J. & Elizabeth L. Kogan Yvonne M. Bogdanovich Robert Greenblatt in memory of Philanthropic Fund Sara Bancroft-Clair Donna Isaacson BUSINESS AFFAIRS Karen Plumleigh Cortney* Gary & Karen Lask & Pierson Clair Linda Chester & Kenneth Rind in Gary Lask Assistant Dean Virginia Ross Sheila & Jeff Lipinsky SEASON SPONSORS honor of Howard & Sally Oxley James D. Stern Business Administrator & HR/Payroll Coordinator Crystal Balthrop Moss Foundation The Ahmanson Foundation Richard Frankosky Rik Toulon Budget/Business Analyst Xinmin Chen Aileen & James Reilly Albert & Bessie Warner Fund Jim & Leslie Visnic & Elaine Eliopoulos Steve & Abbey Braverman* Alan Friedman & Laura Lee PARENT AMBASSADORS COMMUNICATIONS Barnett Charitable Foundation* DIRECTORS Susan A. Grode Assistant Dean Delphine Vasko Steve & Abbey Braverman Richard & Lori Berke* Todd Black & Ruth Graham Black Melvin & Doris Hughes Director of Print and Digital Media Stacey Wang Rizzo Suzanne Bruce, MD & Elizabeth & Thomas Dammeyer In memory of John R. Bukowiec David & Debra Jensen Graphic Designer Christopher Komuro Malcolm Waddell Scott & Deborah DeVries* Dr. Verna B. Dauterive James & Margaret Kelly Elizabeth & Thomas Dammeyer DEVELOPMENT Michael & Debbie Felix* Ken & Kim Farinksy The Bridges Larson Foundation Scott & Deborah DeVries Kathryn & John Gilbertson Gregory & Marci Foster Mike & Stacy Lederer Anne Helgen & Michael Gilligan Assistant Dean Sara Fousekis Eric T. Kalkhurst & Nora K. Hui* Laurie & William Garrett David & Debra Little Ernest & Raphael Morgan Director of Major Gifts Billie Ortiz Seth & Vicki Kogan* George & Dyan Getz Marguerite E. Maclntyre Lauren & David Rush Director of Individual Giving Kimberly Muhlbach Joshua & Siobhan Korman Anne Helgen & Michael Gilligan Douglas & Elissa Mellinger Director of Special Events Marissa Gonzalez Philanthropic Fund* Pat & Cindy Haden from Cathy Moretti Development Assistant Kathy Morgan Brian & Dianne Morton* The Rose Hills Foundation Sandra Moss Steve & Jerri Nagelberg* Jimmy & Cheryl Miller Scott S. Mullet PRODUCTION Sally & Howard Oxley Christine Marie Ofiesh & Jenelle Anne Marsh-Mullet Assistant Technical Directors Michael Etzrodt, Michael Wiskow in honor of Madeline Puzo* Steven and Sylvia Ré Robert & Debbie Myman Theatre Manager CB Borger Susie & Alex Pilmer* Robert R. Scales in memory of Sherri Nelson Asst. Theatre Managers Christopher Paci, Joe Shea Teri & Byron Pollitt* Suzanne Grossmann Scales Dr. Willa Olsen Costume Shop Manager Howard Schmitt Lauren & David Rush* Carole Shammas & Darryl Holter Mark Paluch Costume Technicians Charlotte Stratton, JoEllen Skinner Suzanne Bruce, MD Thomas Schumacher Teri & Gary Paul Scenic Charge Artist Vika Teplinskaya & Malcolm Waddell* James D. Stern Joseph & Catherine Phoenix Properties ManagerHannah Burnham Craig & Jennifer Zobelein Rik Toulon Andrew J. & Irene Robinson Nancy & Peter Tuz Meredith & Drew Rowley EXECUTIVE PRODUCERS John & Cyndy Scotti Anonymous PATRONS ABOUT THE SCHOOL Rick & Jeanne Silverman Alexander & Megan LoCasale* Patrick J. Adams Nancy Sinatra, Sr. in honor of Located in Los Angeles, a city synonymous with artistic Ernest & Raphael Morgan* The Emanuel Bachmann my niece Madeline Puzo innovation and excellence, the top-ranked USC School of Oscar & Mary Pallares* Foundation Abe & Annika Somer Richard & Diane Weinberg Dramatic Arts is a leader in dramatic arts education. The Barbara
Load more

Recommended publications
  • LA RONDE EXPLORES PSYCHOLOGICAL DANCE of RELATIONSHIPS New Professor Brings Edgy Movement to Freudian-Inspired Play
    FOR IMMEDIATE RELEASE: January 30, 2009 PASSION, POWER & SEDUCTION – LA RONDE EXPLORES PSYCHOLOGICAL DANCE OF RELATIONSHIPS New professor brings edgy movement to Freudian-inspired play. 2008/2009 Season What better time to dissect the psychology of relationships and human sexuality than just after Valentine’s Day? 3 LA RONDE Where better than at the University of Victoria Phoenix Theatre's production of La Ronde, February 19 to 28, 2009. February 19 – 28, 2009 By Arthur Schnitzler Steeped in the struggles of psychology, sex, relationships and social classes, Arthur Schnitzler's play La Ronde, Direction: Conrad Alexandrowicz th Set & Lighting Design: Paphavee Limkul (MFA) written in 1897, explores ten couples in Viennese society in the late 19 century. Structured like a round, in music or Costume Design: Cat Haywood (MFA) dance, La Ronde features a cast of five men and five women and follows their intricately woven encounters through Stage Manager: Lydia Comer witty, innuendo-filled dialogue. From a soldier and a prostitute, to an actress and a count, their intimate A psychological dance of passion, power and relationships transcend social and economic status to comment on the sexual mores of the day. Schnitzler himself seduction through Viennese society in the 1890s. was no stranger to such curiosities. A close friend of Sigmund Freud, Schnitzler was considered Freud's creative Advisory: Mature subject matter, sexual equivalent. He shared Freud’s fascination with sex: historians have noted that he began frequenting prostitutes at content. age sixteen and recording meticulously in his diary an analysis of every orgasm he achieved! Recently appointed professor of acting and movement, director Conrad Alexandrowicz gives La Ronde a contemporary twist while maintaining the late 19th century period of the play.
    [Show full text]
  • Shattering Fragility: Illness, Suicide, and Refusal in Fin-De-Siècle Viennese Literature
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Shattering Fragility: Illness, Suicide, and Refusal in Fin-De-Siècle Viennese Literature Melanie Jessica Adley University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the German Literature Commons, and the Women's Studies Commons Recommended Citation Adley, Melanie Jessica, "Shattering Fragility: Illness, Suicide, and Refusal in Fin-De-Siècle Viennese Literature" (2013). Publicly Accessible Penn Dissertations. 729. https://repository.upenn.edu/edissertations/729 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/729 For more information, please contact [email protected]. Shattering Fragility: Illness, Suicide, and Refusal in Fin-De-Siècle Viennese Literature Abstract How fragile is the femme fragile and what does it mean to shatter her fragility? Can there be resistance or even strength in fragility, which would make it, in turn, capable of shattering? I propose that the fragility embodied by young women in fin-de-siècle Vienna harbored an intentionality that signaled refusal. A confluence of factors, including psychoanalysis and hysteria, created spaces for the fragile to find a voice. These bourgeois women occupied a liminal zone between increased access to opportunities, both educational and political, and traditional gender expectations in the home. Although in the late nineteenth century the femme fragile arose as a literary and artistic type who embodied a wan, ethereal beauty marked by delicacy and a passivity that made her more object than authoritative subject, there were signs that illness and suicide could be effectively employed to reject societal mores.
    [Show full text]
  • German (GERM) 1
    German (GERM) 1 GERM 2650. Business German. (4 Credits) GERMAN (GERM) Development of oral proficiency used in daily communication within the business world, preparing the students both in technical vocabulary and GERM 0010. German for Study Abroad. (2 Credits) situational usage. Introduction to specialized vocabulary in business and This course prepares students for studying abroad in a German-speaking economics. Readings in management, operations, marketing, advertising, country with no or little prior knowledge of German. It combines learning banking, etc. Practice in writing business correspondence. Four-credit the basics of German with learning more about Germany, and its courses that meet for 150 minutes per week require three additional subtleties and specifics when it comes to culture. It is designed for hours of class preparation per week on the part of the student in lieu of undergraduate and graduate students, professionals and language an additional hour of formal instruction. learners at large, and will introduce the very basics of German grammar, Attribute: IPE. vocabulary, and everyday topics (how to open up a bank account, register Prerequisite: GERM 2001. for classes, how to navigate the Meldepflicht, or simply order food). It GERM 2800. German Short Stories. (4 Credits) aims to help you get ready for working or studying abroad, and better This course follows the development of the short story as a genre in communicate with German-speaking colleagues, family and friends. German literature with particular emphasis on its manifestation as a GERM 1001. Introduction to German I. (5 Credits) means of personal and social integration from the middle of the 20th An introductory course that focuses on the four skills: speaking, reading, century to the present day.
    [Show full text]
  • You Can't Take It With
    Insights A Study Guide to the Utah Shakespeare Festival You Can’t Take It with You The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Michael Thomas Holmes (left) and Laurie Birmingham in You Can’t Take It with You, 1995. Contents You Can’tInformation Take on theIt Play with You Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play Happy Lunacies 7 Still Speaking to Audiences 9 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: You Can’t Take It with You The Vanderhof family at the center of You Can’t Take It with You is a collection of cheerful and erratic (yet lovable) incompetents.
    [Show full text]
  • The Figure of the Magister Ludi
    Herbert Herzmann Play and Reality in Austrian Drama: The Figure of the Magister Ludi In Calderón de la Barca’s El gran teatro del mundo (The Great Theatre of the World), the Crea- tor/God wishes to see a play performed, and he orders the World to arrange it. He distributes the roles and then watches and judges it. In short, he is a Magister Ludi. The impact of the Baroque tradition, and especially of Calderón’s paradigm, can be detected in many Austrian works for the stage, works which show not only a predilection for a mixture of the emotional and the farcical, but also a strong sense of the theatricality of life, which often leads to a blurring of the borders between play and reality. This chapter concentrates on the function of the Magister Ludi and the relationship between play and reality in Calderón’s El gran teatro del mundo (1633/36), Mo- zart’s Così fan tutte (1790), and Arthur Schnitzler’s Der grüne Kakadu (The Green Cockatoo; 1898) and Felix Mitterer’s In der Löwengrube (In the Lion’s Den; 1998). Felix Mitterer: In der Löwengrube (1998) The Vienna Volkstheater premiered Mitterer’s In der Löwengrube on 24 Jan- uary 1998.1 The plot is based on the true story of a Jewish actor, Leo Reuss, who in 1936 fled from the Nazis in Berlin and went to Austria, where he took on the guise of a Tirolese mountain farmer who claimed to be obsessed with the desire to become an actor. He managed to be interviewed by Max Rein- hardt, who employed him in the Theater in der Josefstadt in Vienna, and he enjoyed a remarkable success.
    [Show full text]
  • South Pacific
    THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
    [Show full text]
  • Sigmund Freud, Arthur Schnitzler, and the Birth of Psychological Man Jeffrey Erik Berry Bates College, [email protected]
    Bates College SCARAB Honors Theses Capstone Projects Spring 5-2012 Sigmund Freud, Arthur Schnitzler, and the Birth of Psychological Man Jeffrey Erik Berry Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Berry, Jeffrey Erik, "Sigmund Freud, Arthur Schnitzler, and the Birth of Psychological Man" (2012). Honors Theses. 10. http://scarab.bates.edu/honorstheses/10 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. Sigmund Freud, Arthur Schnitzler, and the Birth of Psychological Man An Honors Thesis Presented to The Faculty of the Departments of History and of German & Russian Studies Bates College In partial fulfillment of the requirements for the degree of Bachelor of Arts By Jeffrey Berry Lewiston, Maine 23 March 2012 Acknowledgements I would like to thank my thesis advisors, Professor Craig Decker from the Department of German and Russian Studies and Professor Jason Thompson of the History Department, for their patience, guidance and expertise during this extensive and rewarding process. I also would also like to extend my sincere gratitude to the people who will be participating in my defense, Professor John Cole of the Bates College History Department, Profesor Raluca Cernahoschi of the Bates College German Department, and Dr. Richard Blanke from the University of Maine at Orno History Department, for their involvement during the culminating moment of my thesis experience. Finally, I would like to thank all the other people who were indirectly involved during my research process for their support.
    [Show full text]
  • My Fair Lady
    Woodside Community Theatre Presents my fair lady October 26–28 and November 2-4, 2018 Woodside High School Performing Arts Center Woodside Community Theatre Production of my fair lady Lerner and Loewe’s My Fair Lady Book and Lyrics by Music by Alan Jay Lerner Frederick Loewe Adapted from George Bernard Shaw’s Play and Gabriel Pascal’s Motion Picture “Pygmalion” Original Production Directed by Moss Hart Learner and Lowe’s May Fair Lady is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com 1 2 my fair lady Producers Darlene Batcheldar, Mark Bowles, Donna Losey, Liz Matchett Director John Baiocchi Assistant Director Steve Wilner Choreography Gary Stanford Jr. Music Director/ Orchestra Conductor Kristin Pfeifer Vocal Director Heather O’Brien Production Stage Manager Don Coluzzi Rehearsal Stage Manager Alyssa Houston Technical Directors Don Coluzzi, Akio Patrick Lighting Design Don Coluzzi Set Design Akio Patrick Scenic Artists Don Coluzzi, Tina Patrick Costume Design Karen Patrick Dialect Coach Kimily Conkle Properties Alistair Lindawson, Kevin Stanford Sound Design Rob Harper Assistant Stage Managers Brett Ayoob, Alyssa Houston 3 4 the cast (In Order of Appearance) Eliza Doolittle…………………………………………...Alicia Teeter Freddy Eynsford-Hill…………………………………Justin Kerekes Mrs. Eynsford-Hill………......………………….……Leslie Newport Colonel Pickering………………………………...….Steven Anthony Selsey Man……………………………………..…… Michael Sacco Professor Henry Higgins……………………………Aaron Weisberg Hoxton Man………………………………………………Issac Booth The Cockney Quartet……………….…Michael Sacco, Joey Montes Richard Vaughan, Gary Pugh Newman Frank, the Bartender……………………….…….Darrell Batchelder Harry…………………………….………………Gary Pugh Newman Jamie……………………………...………………………Issac Booth Alfred P. Doolittle…………………………...……Daniel Dominguez Angry Cockney Woman …………………………Claudia McCarthy Flower Girl……………………………….………Chloe Montgomery Mrs.
    [Show full text]
  • Arthur Schnitzler and Jakob Wassermann: a Struggle of German-Jewish Identities
    University of Cambridge Faculty of Modern and Medieval Languages Department of German and Dutch Arthur Schnitzler and Jakob Wassermann: A Struggle of German-Jewish Identities This dissertation is submitted for the degree of Doctor of Philosophy by Max Matthias Walter Haberich Clare Hall Supervisor: Dr. David Midgley St. John’s College Easter Term 2013 Declaration of Originality I declare that this dissertation is the result of my own work. This thesis includes nothing which is the outcome of work done in collaboration except where specifically indicated in the text. Signed: June 2013 Statement of Length With a total count of 77.996 words, this dissertation does not exceed the word limit as set by the Faculty of Modern and Medieval Languages, University of Cambridge. Signed: June 2013 Summary of Arthur Schnitzler and Jakob Wassermann: A Struggle of German- Jewish Identities by Max Matthias Walter Haberich The purpose of this dissertation is to contrast the differing responses to early political anti- Semitism by Arthur Schnitzler and Jakob Wassermann. By drawing on Schnitzler’s primary material, it becomes clear that he identified with certain characters in Der Weg ins Freie and Professor Bernhardi. Having established this, it is possible to trace the development of Schnitzler’s stance on the so-called ‘Jewish Question’: a concept one may term enlightened apolitical individualism. Enlightened for Schnitzler’s rejection of Jewish orthodoxy, apolitical because he always remained strongly averse to politics in general, and individualism because Schnitzler felt there was no general solution to the Jewish problem, only one for every individual. For him, this was mainly an ethical, not a political issue; and he defends his individualist position in Professor Bernhardi.
    [Show full text]
  • Arthur Schnitzler Papers, 1875-1931
    http://oac.cdlib.org/findaid/ark:/13030/tf7w1008gn No online items Arthur Schnitzler papers, 1875-1931 Finding aid prepared by Manuscripts Division staff; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 19 November 2016. Arthur Schnitzler papers, 0511 1 1875-1931 Title: Arthur Schnitzler papers Collection number: 0511 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 1.5 linear ft.(3 boxes and 9 oversize boxes) Date: 1875-1931 Abstract: Arthur Schnitzler (1862-1931) was a physician and author. He wrote poems, plays, short fiction, and novels. The collection consists of microfilm copies of the Arthur Schnitzler Archives from Cambridge. The microfilm includes manuscripts, correspondence, scripts, sketches, a dissertation on Schnitzler, and autobiographical material and documents related to Arthur Schnitzler's father, Johann Schnitzler. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Schnitzler, Arthur, 1862-1931 Restrictions on Use and Reproduction Property rights to the physical object belong to UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Restrictions on Access Open for research.
    [Show full text]
  • STUDY GUIDE Inside
    McGuire Proscenium Stage / Jan 28 – Mar 19, 2017 by GEORGE S. KAUFMAN and EDNA FERBER directed by RACHEL CHAVKIN STUDY GUIDE Inside THE AUTHORS When Edna met George...and wrote some plays • 3 Selected Chronology on the Life and Times of George S. Kaufman and Edna Ferber • 4 Comments by and about the Authors • 9 THE PLAY Synopsis, Characters and Setting • 13 Comments about the Play • 14 The Barrymores: The (Real) Royal Family of Broadway • 16 Myself as I Think Other See Me by Ethel Barrymore • 16 CULTURAL CONTEXT The Lingo of the Stage • 21 People and Things of the Period • 24 THE GUTHRIE PRODUCTION Notes from the Creative Team • 26 ADDITIONAL INFORMATION For Further Understanding • 28 Play guides are made possible by Guthrie Theater Study Guide Copyright 2016 DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Waldusky RESEARCH Stephanie Engel, Carla Steen All rights reserved. With the exception of classroom use by teachers and Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 individual personal use, no part of this Play Guide may be reproduced in any form or by any means, electronic or mechanical, including ADMINISTRATION 612.225.6000 photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers. Some materials BOX OFFICE 612.377.2224 or 1.877.44.STAGE TOLL-FREE published herein are written especially for our Guide. Others are reprinted guthrietheater.org • Joseph Haj, artistic director by permission of their publishers. Jo Holcomb: 612.225.6117 | Carla Steen: 612.225.6118 The Guthrie Theater, founded in 1963, is an American center for theater performance, The Guthrie Theater receives support from the National Endowment production, education and professional training.
    [Show full text]
  • The Presideut's Column
    KURT WEILL NEWSLETTER PUBLISHED BY THE KURT WEILL FOUNDATION FOR MUSIC HENRY MARX, EDITOR FALL 1983 lishers and vendors throughout the world. performances, recordings, productions, he Presideut's My own research and performing ac­ workshops, fellowships, and scholar­ Column: tivities had to be suspended while I ships. Already the Foundation staff of doggedly learned about international Mrs. Symonette and Mr. Farneth, with the A PROFILE OF copyright laws, terminations, extensions, aid of a half-time secretary, are answering T the differences between small, grand inquiries and assisting scholars, perform­ THE FOUNDATION and print rights, performing rights so­ ers, conductors, and producers with vari­ It's hard for me to believe that Lenya has cieties, and the curious internal mecha­ ous projects. Now that the Foundation's been gone nearly two years. When she nisms of the "publishing" industry existence is secure and its role defined, asked me to succeed her as President of wherein few "publishers" actually print we are entering an exciting new phase of the Foundation, I had no inkling that music anymore. My naivete was neces­ activities. This is the first issue of a sem,­ these two years would be the most hec­ sarily short-lived as I reviewed contracts annual newsletter; 1984 will witness the tic. frustrating, rewarding and exhilarating and accounts that apparently had never publication of Volume I of a Weill Year­ of my life. Although it had been chartered been verified, much less audited. I would book; long-term plans are being formu­ nearly twenty years ago and had been hope that soon it will no longer be impos­ lated for publication, performance, or active sporadically during those two de­ sible to purchase or rent certain scores in recording of such "lost'' works as Der cades, the Foundation had been little this country because the U.S.
    [Show full text]