Death of the Author by Steven Drukman (Page 3)
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Member Association AFTRA / AEA / SAG Hassan El-Amin Height
Member Association A.F.T.R.A. / A.E.A. / SAG Hassan El-Amin Height: 6’ Weight: 212lb Theatres Roles Directors Resident Ensemble Players August: Osage County Bill Fordham Jackson Gay Murder on the Orient Express Samuel Ratchett Sanford Robbins The Crucible Thomas Putnam Ben Barnes Lettice and Lovage Mr. Bardolph Steve Tague Woman in Mind Andy Jackson Gay Minor Fantastical Kingdom Bernard Mark Lamos Inherit the Wind Rev. Brown Sanford Robbins Fences Troy Maxson Cameron Knight The MountainTop Martin Luther King Jr. Walter Dallas From the Author Of Dax Jade King Carroll A Flea in her Ear Dr. Finache Mark Lamos Twelfth Night Antonio Maria Aitken God of Carnage Michael Novak Kate Buckley Clybourne Park Albert/Kevin Lee E. Ernst The Bells Jim Theresa Rebeck The Elephant Man Dr. Carr Gomm Sanford Robbins Dallas Theatre Center Christmas Carol Jacob Marley Joe Ferrell In the Beginning God / Ensemble Kevin Moriarty It’s a Bird, It’s a Plane, It’s Superman! Perry White Kevin Moriarty Death of a Salesman Uncle Ben Amanda Dehnert Henry IV Northumberland Kevin Moriarty God of Carnage Michael Joe Ferrell King Lear Earl of Kent Kevin Moriarty The Odd Couple Roy Kevin Moriarty Fly (2013) Pirate Jeffery Seller A Raisin in the Sun Bobo Tre Garrett Clybourne Park Albert/Kevin Joel Ferrell Sherlock Holmes King of Bohemia Kevin Moriarty Les Misérables Priest Liesl Tommy Driving Miss Daisy Hoke Colburn Joel Ferrell The Kennedy Center August Wilson 20TH Century Fences Gabriel Kenny Leon Two Trains Running Hambone Isreal Hicks Jitney Booster Gordon Davidson The -
Maria Conchita Alonso, Jami Gertz, Jenny O'hara, Harriet
MARIA CONCHITA ALONSO, JAMI GERTZ, JENNY O’HARA, HARRIET SANSOM HARRIS AND CHRISTINE LAHTI JOIN CAST OF LOVE, LOSS AND WHAT I WORE Fifth Cast will Perform Nora Ephron and Delia Ephron’s Fashion-Focused Hit Through September 26 LOS ANGELES, August 25, 2010 — Nora Ephron and Delia Ephron’s Love, Loss, and What I Wore attracts a whole new cast of actresses as it continues its Los Angeles run in the Audrey Skirball Kenis Theater at the Geffen Playhouse through the month of September. The new cast includes Jenny O’Hara, who is known for her Broadway roles in The Odd Couple and Promises, Promises and was most recently seen on the big screen in M. Night Shyamalan’s Devil, as the narrator Gingy; Oscar and Emmy Award winner Christine Lahti, best known in the theater world for her collaboration with Wendy Wasserstein in The Heidi Chronicles; Broadway vet Harriet Sansom Harris, who won a Tony Award for her role in Thoroughly Modern Millie; Jami Gertz, who is well-recognized for her film work in Twister and The Lost Boys as well as a recent stint on HBO’s Entourage; and Maria Conchita Alonso best known for television work on Desperate Housewives. Love, Loss and What I Wore, an intimate collection of stories covering some of life’s most poignant moments and their corresponding wardrobe, is directed by Jenny Sullivan. The evening of vignettes, which is based on the best-selling book of the same name by Ilene Beckerman as well as personal reminiscences from the Ephrons and their friends, features a rotating cast of five actresses who share tales to which every woman can relate. -
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 -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
Through FILMS 70 Years of European History Through Films Is a Product in Erasmus+ Project „70 Years of European History 1945-2015”
through FILMS 70 years of European History through films is a product in Erasmus+ project „70 years of European History 1945-2015”. It was prepared by the teachers and students involved in the project – from: Greece, Czech Republic, Italy, Poland, Portugal, Romania, Spain, Turkey. It’ll be a teaching aid and the source of information about the recent European history. A DANGEROUS METHOD (2011) Director: David Cronenberg Writers: Christopher Hampton, Christopher Hampton Stars: Michael Fassbender, Keira Knightley, Viggo Mortensen Country: UK | GE | Canada | CH Genres: Biography | Drama | Romance | Thriller Trailer In the early twentieth century, Zurich-based Carl Jung is a follower in the new theories of psychoanalysis of Vienna-based Sigmund Freud, who states that all psychological problems are rooted in sex. Jung uses those theories for the first time as part of his treatment of Sabina Spielrein, a young Russian woman bro- ught to his care. She is obviously troubled despite her assertions that she is not crazy. Jung is able to uncover the reasons for Sa- bina’s psychological problems, she who is an aspiring physician herself. In this latter role, Jung employs her to work in his own research, which often includes him and his wife Emma as test subjects. Jung is eventually able to meet Freud himself, they, ba- sed on their enthusiasm, who develop a friendship driven by the- ir lengthy philosophical discussions on psychoanalysis. Actions by Jung based on his discussions with another patient, a fellow psychoanalyst named Otto Gross, lead to fundamental chan- ges in Jung’s relationships with Freud, Sabina and Emma. -
2020 Variety Theatre Teen Intern Program Packet
2020 Variety Theatre Teen Intern Program Packet Executive Producer The executive producer intern will work directly with the executive producer to ensure that the production meets required criteria for the Variety Theatre production, including artistic merit, a professional staff, and budgetary needs. Executive Producer Jan Albus introduces all of the interns onstage before a performance Responsibilities could include, but are not limited to: Attend the intern/mentor orientation (required) at the beginning of the summer (date TBD) Reading the script Attending all auditions and callbacks to observe the professional casting process Attend production meetings as assigned Reviewing the budget and providing input on some purchases, as assigned Attend Curtain Up! summer camp and assist the directors and coordinators, as needed Attend rehearsals as assigned by mentor Attend all technical rehearsals and note sessions, as assigned Director/Choreographer Intern Interns will work directly with and receive mentorship and training from the director/choreographer and his/her assistants. Interns will observe the directing team and participate in the process of auditions, blocking, character work, and overseeing the overall concept of the story being told. The directing intern will interact with actors of all ages, the production team, and everyone else involved in the production. Directing Intern Taylor Branson working with Director Lara Teeter during a rehearsal Responsibilities could include, but are not limited to: Attend the intern/mentor -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Orpheus: Cinematic (And Operatic) Evocations
Orpheus: Cinematic (and Operatic) Evocations A number of cinematic productions have featured ancient pagan concepts of death and the afterlife, e.g. The Mummy (1932); Gladiator (2000). Within this sub-corpus, those involving Orpheus have a particular signature that began developing in the Renaissance. Poliziano’s Fabula di Orfeo (c. 1480) synthesized the Vergilian and Ovidian accounts into a pastoral drama. (Segal, 1989) Two early seventeenth century operas, the Rinuccini/Peri Euridice (1600) and the Striggio/Monteverdi L’Orfeo (1607), accommodated Baroque court patronage by refitting the tragic story with a deus ex machina-engendered happy ending. In a political denouement, the Parisian Buti/Rossi Orfeo (1647) pleased the French court by comparing Orpheus’ lyre to the royal fleur-de-lis. Considered together with the popular Halévy/Offenbach operetta, Orphée aux enfers (1858), which features an unhappily married Orpheus and Eurydice, the cumulative effect of such high-profile dramatized adaptations of the Orpheus myth was to transform its original tragic outcome and expand its dramaturgical potential with updated artistic, philosophical, and political themes. The early decades of the twentieth century contributed a dense cluster of equally innovative Orpheus operatic productions leading to Jean Cocteau‘s one-act tragédie, Orphée (1926), revised in 1950 as the first film featuring Orpheus. In his 1973 essay Du Cinématographe, Cocteau revealed his artistic reason for selecting Orpheus as his protagonist: (Cocteau, 1992) Nobody can believe in a famous poet whose name has been invented by a writer. I had to find a mythical bard, the bard of bards, the Bard of Thrace. And his story is so enchanting that it would be crazy to look for another. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
By Yasmina Reza Translated by Christopher Hampton Principal Funders Welcome Regional Funding
season of By Yasmina Reza Translated by ChRisTopheR hampTon principAL funders welcome regional funding In 2000 Auckland Theatre her ability to drill down through entertainment and provocation. core funders Premier partners Company presented Yasmina the sophisticated veneer of Metro Magazine stood out from Reza’s first internationally her middle class characters to the start and we’re delighted successful play, ART. The reveal to us the pain, the anger, to have them on board as a winner of multiple awards in the fear or the disinterest they Premier Partner for the first France, Britain and the USA, spend their time disguising. time this year. ART was translated into 30 Like Chekhov, she is a Thanks to my sterling design languages and is estimated compassionate satirist, allowing team Rachael Walker and Nik to have grossed $US300 million us to see her characters Janiurek — and to our Senior at box offices around the world. strengths and weaknesses Stage Manager Fern Christie major supporters GOD OF CARNAGE, Reza’s through a comic lens. “I’m and our Trainee Assistant latest play looks set to press interested in the banal, Director Pip Smith for their the same buttons. Theatre unguarded moments and the support and contribution to the companies around the world hairline fractures in a character process. are scrambling to present this that let the light through,” said play. What’s the attraction? Reza in a recent New Yorker Enjoy! Proud to be NZ’s Most Official caterers of Certainly the small cast and interview. Awarded Winery and Auckland Theatre Sponsor of Auckland Company the single set makes it very It's been a great pleasure to Theatre Company attractive to managements realise this production of in these straightened times. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Olympus on My Mind
Artistic Director Bruce Miller Managing Director Phil Whiteway in association with “MURRAY THE FURRIER” OLYMPUS ON MY MIND Originial Production Book and Lyrics by Music by Directed by BARRY GRANT BARRY HARMAN STURIALE HARMAN Originially presented by Harve Brosten and Mainstage Productions, Ltd. STAGE MANAGEMENT Kristy Bell COSTUME DESIGN LIGHT DESIGN SET COORDINATION Sarah Grady K. Jenna Ferree Chase Kniffen MUSIC DIRECTION Jason Marks DIRECTION & CHOREOGRAPHY K Strong SPONSORS CAST The Chorus Tom Tyler D. Wilson Dick Paul S. Major Horace Dan Cimo Delores Maggie Roop JupiterRichardTravis MercuryMoscatiArden Charis Mary Anne Furey S ara SommersAlcmeneSara Sosia Scott Wichmann* Amphitryon George Spelvin FOR THIS PRODUCTION Cover Art Illustration Robert Meganck Accompaniment Creation Jason Marks Deck Crew Maggie Peterson Light Board Operator Kristy Bell Sound Engineer Zach Baumann SETTING The ancient Greek city of Thebes during the course of a 41-hour day. There will be one 15-minute intermission between acts. * Member of Actors’ Equity Association, the union of professional actors and stage managers in the U.S.A. SONGS ACT ONE Welcome to Greece Chorus Heaven on Earth Jupiter, Alcmene, and Chorus The Gods on Tap Delores, Jupiter, Mercury, and Chorus Surprise! Sosia Love--What a Concept Jupiter and Mercury Wait ‘Til It Dawns Mercury, Chorus I Know My Wife Amphitryon It Was Me Sosia Back So Soon? Amphitryon, Sosia, and Chorus Wonderful Alcmene At Liberty in Thebes Charis and Chorus Jupiter Slept Here Entire Company ACT TWO Back to the Play Chorus Something of Yourself Mercury General’s Pandemonium Amphitryon, Jupiter, Sosia, and Chorus Heaven on Earth (Reprise) Sosia and Charis Olympus is a Lonely Town Jupiter A Star is Born Delores and Company Final Sequence Entire Company Heaven on Earth (Reprise) Jupiter and Alcmene ABOUT THE MYTHOLOGY The legend of Amphitryon, which chronicles the birth of Hercules, has been used as source material by dramatists down through the ages.