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295 INDEX © in This Web Service Cambridge
Cambridge University Press 978-0-521-74538-3 - The Cambridge Companion to Arthur Miller, Second Edition Edited by Christopher Bigsby Index More information INDEX Aarnes, William 281 Miller on 6, 152, 161 Abbott, Anthony S. 279 and No Villain/They Too Arise 6, 25, 28 “About Theatre Language” 76 productions xiii, 159, 161, 162 Ackroyd, Peter 166–67 revisions 160, 161 Actors’ Studio 220, 226 American Legion 215 Adding Machine, The 75 Anastasia, Albert 105 Adler, Thomas P. 84n, 280, 284 Anastasia, Tony 105, 108n Adorno, Theodor 201 Anderson, Maxwell 42 After the Fall xii, xiii, 4, 8, 38, 59–60, 61, Angel Face 209 118, 120–26, 133, 139, 178, 186, 262, Another Part of the Forest 285 265, 266 Anthony Adverse 216 changing critical reception 269–70 Antler, Joyce 290 The Last Yankee and 178 Archbishop’s Ceiling, The 5–6, 8, 141, Miller on 54–55, 121–22, 124, 126, 265 145–51, 167, 168 productions xii, xiii, 121, 123, 124–25, Miller on 147, 148, 152 156–57, 270, 283 productions xiii, 159, 161–62 The Ride Down Mount Morgan and 173 revisions 141, 159, 161, 162n structure 7, 128 Aristotle 13, 64, 234, 264 studies of 282, 284–85, 288, 290, 293 Aronson, Boris 129 viewed as autobiographical/concerned Art of the Novel, The 237n with Monroe 4, 121, 154, 157, 195, Arthur Miller Centre for American Studies 269, 275 (UEA) xiv, xv, 162 Ajax 13 Arthur Miller Theatre, University of Albee, Edward 154 Michigan xv Alexander, Jane 165 Aspects of the Novel 235 All My Sons xi, 2, 4, 36–37, 47, 51–62, 111, Asphalt Jungle, The 223 137, 209, 216, 240, 246, 265 Assistant, The 245 film versions xiv, 157–58, 206–12, 220, Atkinson, Brooks 293 232 Auden, W. -
A Memory of Two Mondays (1955)
Boris Aronson: An Inventory of His Scenic Design Papers at the Harry Ransom Humanities Research Center Descriptive Summary Creator: Aronson, Boris, 1900-1980 Title: Boris Aronson Scenic Design Papers Dates: 1939-1977 Extent: 5 boxes, 4 oversize boxes, 47 oversize folders (4.1 linear feet) Abstract: Russian-born painter, sculptor, and most notably set designer Boris Aronson came to America in 1922. The Scenic Design Papers hold original sketches, prints, photographs, and technical drawings showcasing Aronson's set design work on thirty-one plays written and produced between 1939-1977. RLIN Record #: TXRC00-A6 Language: English. Access: Open for research Administrative Information Acquisition: Gift and purchase, 1996 (G10669, R13821) Processed by: Helen Baer and Toni Alfau, 1999 Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Aronson, Boris, 1900-1980 Biographical Sketch Boris Aronson was born in Kiev in 1900, the son of a Jewish rabbi. He came of age in pre-revolutionary Russia in the city that was at the center of Jewish avant-garde theater. After attending art school in Kiev, Aronson served an apprenticeship with the Constructivist designer Alexandre Exter. Under Exter's tutelage and under the influence of the Russian theater directors Alexander Tairov and Vsevolod Meyerhold, whom Aronson admired, he rejected the fashionable realism of Stanislavski in favor of stylized reality and Constructivism. After his apprenticeship he moved to Moscow and then to Germany, where he published two books in 1922, and on their strength was able to obtain a visa to America. In New York he found work in the Yiddish experimental theater designing sets and costumes for, among other venues, the Unser Theatre and the Yiddish Art Theatre. -
God's Suicide, by Harmony Holiday
God’s Suicide by Harmony Holiday Photo credit: James Baldwin, God Is Love, New York, 1963. Courtesy of Steve Shapiro and Fahey/Klein Gallery. © 1963, Steve Shapiro. Preface to James Take Me to the Water Baldwin’s Unwritten Corsica, October, 1956, some jittering brandy. Billie Holiday is on the phonograph serenading a petit gathering of lovers and friends. Baldwin and Suicide Note his current lover, Arnold, have become taciturn and cold with one another and Arnold has announced that he plans to leave for Paris, where he wants Essay by Harmony Holiday to study music and escape the specter of an eternity with Jimmy—he feels Originally Published August 9, 2018 possessed or dispossessed or both by their languid love affair. This kind of by The Poetry Foundation. hyper-domestic intimacy followed by dysfunction and unravelling had marked Baldwin’s love life and seemed to prey upon him, turning his tenderness into a haunt, a liability. Baldwin made his way upstairs while Arnold and the others continued in the living room, and he absconded the house by way of the rooftop, leapt down, and stumbled through a briar patch to the sea, finished his brandy and tossed the glass in before he himself walked toward a final resting place, ready to let that water take him under, having amassed enough heartache to crave an alternate consciousness, a black slate. But at the last minute, hip-deep in the water, as if he had been hallucinating and a spark of differentiation separated the real from the illusion at the height of his stupor, Baldwin changed his mind, his mandate became more vivid to him. -
Biblioteques De L'hospitalet
BIBLIOTECA TECLA SALA April 16, 2020 All My Sons Arthur Miller « The success of a play, especially one's first success, is somewhat like pushing against a door which suddenly opens from the other side. One may fall on one's face or not, but certainly a new room is opened that was always securely shut until then. For myself, the experience was invigorating. It made it possible to dream of daring more and risking more. The audience sat in silence before the unwinding of All My Sons and gasped when they should have, and I tasted that power which is reserved, I imagine, for Contents: playwrights, which is to know that by one's invention Introduction 1 a mass of strangers has been publicly transfixed. Author biography 2-3 Arthur Miller All My Sons - 4 Introduction & Context All My Sons - 5-6 » Themes Notes 7 [https://en.wikipedia.org/wiki/All_My_Sons] Page 2 Author biography Arthur Miller is considered Street Crash of 1929, and had to Willy Loman, an aging Brooklyn one of the greatest American move from Manhattan to salesman whose career is in playwrights of the 20th Flatbush, Brooklyn. After decline and who finds the values century. His best-known plays graduating high school, Miller that he so doggedly pursued have include 'All My Sons,' 'The worked a few odd jobs to save become his undoing. Crucible' and the Pulitzer enough money to attend the Prize-winning 'Death of a University of Michigan. While in Salesman won Miller the highest Salesman.' college, he wrote for the student accolades in the theater world: paper and completed his first the Pulitzer Prize, the New York Who Was Arthur Miller? play, No Villain, for which he won Drama Critics' Circle Award and the school's Avery Hopwood the Tony for Best Play. -
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. -
Two Tendencies Beyond Realism in Arthur Miller's Dramatic Works
Inês Evangelista Marques 2º Ciclo de Estudos em Estudos Anglo-Americanos, variante de Literaturas e Culturas The Intimate and the Epic: Two Tendencies beyond Realism in Arthur Miller’s Dramatic Works A critical study of Death of a Salesman, A View from the Bridge, After the Fall and The American Clock 2013 Orientador: Professor Doutor Rui Carvalho Homem Coorientador: Professor Doutor Carlos Azevedo Classificação: Ciclo de estudos: Dissertação/relatório/Projeto/IPP: Versão definitiva 2 Abstract Almost 65 years after the successful Broadway run of Death of a Salesman, Arthur Miller is still deemed one of the most consistent and influential playwrights of the American dramatic canon. Even if his later plays proved less popular than the early classics, Miller’s dramatic output has received regular critical attention, while his long and eventful life keeps arousing the biographers’ curiosity. However, most of the academic works on Miller’s dramatic texts are much too anchored on a thematic perspective: they study the plays as deconstructions of the American Dream, as a rebuke of McCarthyism or any kind of political persecution, as reflections on the concepts of collective guilt and denial in relation to traumatizing events, such as the Great Depression or the Holocaust. Especially within the Anglo-American critical tradition, Miller’s plays are rarely studied as dramatic objects whose performative nature implies a certain range of formal specificities. Neither are they seen as part of the 20th century dramatic and theatrical attempts to overcome the canons of Realism. In this dissertation, I intend, first of all, to frame Miller’s dramatic output within the American dramatic tradition. -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60). -
Rupert Everett ~ 36 Screen Credits
Rupert Everett ~ 36 Screen Credits Look at that lip. Hauteur, condescension, disdain writ large. "I am a very limited actor. There's a certain amount I can do and that's it," said Everett in 2014. Maybe so, but - see My Best Friend's Wedding, An Ideal Husband, Separate Lies or Unconditional Love - how well he does it. Born in Burnham Deepdale, Norfolk on 29 May 1959 the second son of parents Anthony and Sara, RUPERT JAMES HECTOR EVERETT is of English, Scottish, Irish and more distant German and Dutch ancestry. His father, who died in 2009, was a Major in the British Army who later worked in business. When he was six, Rupert was taken into Braintree for his first trip to a cinema. There was a long queue, the child was typically fretful and the grown-ups thought about leaving, but finally decided not to: And so my mother bought the fateful tickets and unknowingly guided me through a pair of swing doors into the rest of my life ... ... Those huge curtains silently swished open and Mary Poppins sprang across the footlights and into my heart. After preliminary instruction from a governess, Everett was educated at Far- leigh House School, Andover from seven to thirteen then at Ampleforth College, Yorkshire from thirteen to sixteen, at which point he absconded to London to become an actor. After two years of living the bohemian life to the full (if not excess), he won a coveted place at the Central School of Speech and Drama, but after attending for two tempestuous and more or less unrewarding years was told not to return for a third. -
All My Sons As Precursor in Arthur Miller's Dramatic World
All My Sons as Precursor in Arthur Miller’s Dramatic World Masahiro OIKAWA※ Abstract Since its first production in 1947, Arthur Miller’s All My Sons has been performed and appreciated worldwide. In academic studies on Miller, it secures an important place as a precursor, because it has encompassed such themes as father-son conflict, pursuit of success dream in the form of a traditional tragedy as well as a family and a social play. As for techniques, to begin with, the Ibsenite method of dramatization of the present critical situation and presentation of the past “with sentimentality” are obvious. Secondly, the biblical tale of Cain and Abel from the Old Testament allows the play to disguise itself as a modern morality play on “brotherly love.” Thirdly, Oedipus’s murder of his father in Oedipus Rex is used symbolically to place the play in the Western tradition of drama. Taking all these major themes and techniques into account, the paper argues that the play is dramatizing the universal, and that by looking at the conflict between father and son, we can understand why Miller’s message in All My Sons is significant for Japanese andiences. I. Introducion Most of the reviews appearing in the major newspapers and magazines on All My Sons (1947) were rather favorable, which is quite understandable considering that the play vividly depicts the psychological aspects of the United States during and immediately after the Second World War in a realistic setting. In fact, it is impossible to understand the problems Joe and Chris Keller, the father and the son, get involved in without the background of the war. -
100 Years on the Road, 108 a Christmas Carol, 390 a Cool Million
Cambridge University Press 0521605539 - Arthur Miller: A Critical Study Christopher Bigsby Index More information INDEX 100 Years on the Road,108 Ann Arbor, 12 Anna Karenina,69 A Christmas Carol,390 Anti-Semitism, 13, 14, 66, 294, 330, A Cool Million,57 476, 485, 488 AMemoryofTwoMondays,6,129,172, Apocalypse Now,272 173, 200, 211 Arden, John, 157 A Nation of Salesmen,107 Arendt, Hannah, 267, 325 APeriodofGrace, 127 Arnold, Eve, 225 A Search for a Future,453 Aronson, Boris, 251 A Streetcar Named Desire, 98, 106, 145 Artaud, Antonin, 283 A View from the Bridge, 157, 173, 199, Arthur Miller Centre, 404 200, 202, 203, 206, 209, 211, 226, Auschwitz–Birkenau, 250, 325, 329, 351, 459 471 Abel, Lionel, 483 Awake and Sing, 13, 57, 76 Actors Studio, 212 Aymee,´ Marcel, 154, 156 Adorno, Theodore, 326 After the Fall, 5, 64, 126, 135, 166, 203, ‘Babi Yar’, 488 209, 226, 227, 228, 248, 249, 250, Barry, Phillip, 18 257, 260, 264, 267, 278, 280, 290, Barton, Bruce, 427 302, 308, 316, 322, 327, 329, 331, BBC, 32 332, 333, 334, 355, 374, 378, 382, Beckett, Samuel, 120, 175, 199, 200, 386, 406, 410, 413, 415, 478, 487, 488 204, 209, 250, 263, 267, 325, 328, Alger, Horatio Jr., 57, 113 329, 387, 388, 410, 475 All My Sons,1,13,17,42,47,64,76,77, Bel-Ami,394 98, 99, 132, 136, 137, 138, 140, 197, Belasco, David, 175 288, 351, 378, 382, 388, 421, 432, 488 Bell, Daniel, 483 Almeida Theatre, 404, 416 Bellow, Saul, 74, 236, 327, 372, 376, Almost Everybody Wins,357 436, 470, 471, 472, 473, 483 American Clock, The, 337 Belsen, 325 American Federation of Labour, 47 -
{FREE} Marilyn Monroe: the Biography Ebook, Epub
MARILYN MONROE: THE BIOGRAPHY PDF, EPUB, EBOOK Donald Spoto | 752 pages | 01 Aug 2001 | Cooper Square Publishers Inc.,U.S. | 9780815411833 | English | Lanham, United States Marilyn Monroe - Quotes, Movies & Death - Biography Monroe later noted the experience "was the best thing that ever happened to me. I never felt like a star before in my heart. As she started out in the movie industry, Monroe did submit to the casting couch. However, she also worked hard by taking lessons and giving her all to the parts that came her way. To gain experience for a role in B movie Ladies of the Chorus , she performed in a burlesque show under the name "Mona Monroe. Monroe certainly didn't experience overnight success — she cycled through a couple of movie studios, and saw film contracts expire. But she was always prepared to triumph in her career. Marilyn performing for American servicemen in Korea in February Artists who refused to reveal people who'd been involved with Communist activities could be sent to prison for contempt of Congress, but Miller refused to name names. Throughout this ordeal, Monroe remained committed to Miller — despite studio executives and acting teacher Paula Strasberg warning that her decision could expose Monroe to a public backlash that might destroy her career. Monroe also agreed to marry Miller , even after he surprised her by announcing their wedding plans in his HUAC testimony. Her public display of loyalty likely helped keep him out of prison Miller was given a suspended sentence for his contempt conviction in ; the conviction went on to be overturned in However, Monroe's actions ended up attracting further interest: Support of Miller, combined with a request she'd made to visit the Soviet Union in though she didn't make the trip , prompted the FBI to open a file on her. -
Arthur Miller's Contentious Dialogue with America
Louise Callinan Revered Abroad, Abused at Home: Arthur Miller’s contentious dialogue with America A thesis submitted in fulfilment of the requirement for the degree of Doctor of Philosophy at St Patrick’s College, Dublin City University Supervisor: Auxiliary Supervisor: Dr Brenn a Clarke Dr Noreen Doody Dept of English Dept of English St Patrick’s College St Patrick’s College Drumcondra Drumcondra May 2010 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of PhD is entirely my own work and has not been taken from the work of others save and to the extent that such work has-been cited and acknowledged within the text of my work. Signed: Qoli |i/U i/|______________ ID No.: 55103316 Date: May 2010 ACKNOWLEDGEMENTS I am forever indebted to Dr. Brenna Clarke for her ‘3-D’ vision, and all that she has so graciously taught me. A veritable fountain of knowledge, encouragement, and patient support, she- has-been a formative force to me, and will remain a true inspiration. Thank you appears paltry, yet it is deeply meant and intended as an expression of my profound gratitude. A sincere and heartfelt thank you is also extended to Dr. Noreen Doody for her significant contribution and generosity of time and spirit. Thank you also to Dr. Mary Shine Thompson, and the Research Office. A special note to Sharon, for her encyclopaedic knowledge and ‘inside track’ in negotiating the research minefield. This thesis is an acknowledgement of the efforts of my family, and in particular the constant support of my parents.