Kenneth Tynan's List of Plays
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Xx:2 Dr. Mabuse 1933
January 19, 2010: XX:2 DAS TESTAMENT DES DR. MABUSE/THE TESTAMENT OF DR. MABUSE 1933 (122 minutes) Directed by Fritz Lang Written by Fritz Lang and Thea von Harbou Produced by Fritz Lanz and Seymour Nebenzal Original music by Hans Erdmann Cinematography by Karl Vash and Fritz Arno Wagner Edited by Conrad von Molo and Lothar Wolff Art direction by Emil Hasler and Karll Vollbrecht Rudolf Klein-Rogge...Dr. Mabuse Gustav Diessl...Thomas Kent Rudolf Schündler...Hardy Oskar Höcker...Bredow Theo Lingen...Karetzky Camilla Spira...Juwelen-Anna Paul Henckels...Lithographraoger Otto Wernicke...Kriminalkomissar Lohmann / Commissioner Lohmann Theodor Loos...Dr. Kramm Hadrian Maria Netto...Nicolai Griforiew Paul Bernd...Erpresser / Blackmailer Henry Pleß...Bulle Adolf E. Licho...Dr. Hauser Oscar Beregi Sr....Prof. Dr. Baum (as Oscar Beregi) Wera Liessem...Lilli FRITZ LANG (5 December 1890, Vienna, Austria—2 August 1976,Beverly Hills, Los Angeles) directed 47 films, from Halbblut (Half-caste) in 1919 to Die Tausend Augen des Dr. Mabuse (The Thousand Eye of Dr. Mabuse) in 1960. Some of the others were Beyond a Reasonable Doubt (1956), The Big Heat (1953), Clash by Night (1952), Rancho Notorious (1952), Cloak and Dagger (1946), Scarlet Street (1945). The Woman in the Window (1944), Ministry of Fear (1944), Western Union (1941), The Return of Frank James (1940), Das Testament des Dr. Mabuse (The Crimes of Dr. Mabuse, Dr. Mabuse's Testament, There's a good deal of Lang material on line at the British Film The Last Will of Dr. Mabuse, 1933), M (1931), Metropolis Institute web site: http://www.bfi.org.uk/features/lang/. -
John Dryden and the Late 17Th Century Dramatic Experience Lecture 16 (C) by Asher Ashkar Gohar 1 Credit Hr
JOHN DRYDEN AND THE LATE 17TH CENTURY DRAMATIC EXPERIENCE LECTURE 16 (C) BY ASHER ASHKAR GOHAR 1 CREDIT HR. JOHN DRYDEN (1631 – 1700) HIS LIFE: John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the “Age of Dryden”. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire. -
Players Conjures up Blithe Spirit
Inside this Issue Hairspray Auditions ..........................2 Mystery Photo ..................................2 Lab Show Preview ............................3 Historian’s Corner .............................3 Lab Show Rehearsal Pictures ............4 Vol. 7.6 March, 2012 Players Conjures Up Blithe Spirit by Bob McLaughlin Noël Coward’s Blithe Spirit is possibly the best and Coward wrote this certainly the funniest example of its genre: the drama very funny comedy of paranormal bigamy. It tells the story of writer Charles in the midst of tragic Condomine, who, in order to research the supernatural, circumstances. invites his friends Dr. and Mrs. Bradman along with a His apartment and local medium, Madame Arcati, to a dinner-party-cum- office having been séance. The proceedings appear to be a bust until, after destroyed in the the guests have left, Charles is confronted with the ghost German bombing of his late wife, Elvira. He is also confronted with the of London, he problem of how to explain this to his second and very took a holiday in much alive wife, Ruth. The play goes on to explore Portmeirion, Wales such questions as: Does love survive past the grave? (the eccentric town Do wedding vows lapse after the funeral? Can one be where the classic TV jealous of ectoplasm? Can Madame Arcati un-conjure series The Prisoner spirits? How will the maid clean up after all this? was filmed), and was inspired to write an escapist play that might entertain his countrymen in wartime. He claimed to have written the script in five days and to have changed barely a line before its premiere in London on July 21, 1941. -
Online Versions of the Handouts Have Color Images & Hot Urls September
Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B. -
How to Quote Voltaire: the Edition to Use1 February 2021
How to quote Voltaire: the edition to use1 February 2021 A complete alphabetical list of Voltaire texts and in which edition and volume to find them. The Voltaire Foundation’s Œuvres complètes de Voltaire (OCV) edition includes most texts, but for those not yet published in OCV, the 1877-1885 Moland edition (M) is mostly given. Abbreviations used AP Ajouts posthumes Best., followed by a a letter printed in Voltaire’s correspondence, ed. Th. Besterman, number 107 vol. (Geneva, 1953-1965, 1st edition) BnC Bibliothèque nationale de France: Catalogue général des livres imprimés, 213-214 (1978) BnF, ms.fr. Bibliothèque nationale de France: Manuscrits français BnF, n.a.fr. Bibliothèque nationale de France: Nouvelles acquisitions françaises D, followed by a number a letter printed in Voltaire, Correspondence and related documents, ed. Th. Besterman, in OCV, vol.85-135 DP Dictionnaire philosophique Lizé Voltaire, Grimm et la Correspondence littéraire, SVEC 180 (1979) M Œuvres complètes de Voltaire, éd. Louis Moland, 52 vol. (Paris, Garnier, 1877-1885) NM Nouveaux Mélanges philosophiques, historiques, critiques ([Genève], 1768) OA Œuvres alphabétiques (Articles pour l’Encyclopédie, Articles pour le Dictionnaire de l’Académie) OCV Œuvres complètes de Voltaire (Voltaire Foundation, Oxford, 1968- ) QE Questions sur l’Encyclopédie RC Romans et Contes, ed. Frédéric Deloffre et Jacques van den Heuvel (Paris, Gallimard [Pléiade], 1979) RHLF Revue d’histoire littéraire de la France (Presses universitaire de France) SVEC Studies on Voltaire and the Eighteenth Century (Voltaire Foundation) Vauger ‘Vauger’s lists of Voltaire’s writings, 1757-1785’ (D.app.161, OCV, vol.102, p.509-10) W72P Œuvres de M. -
Hay Fever by Noel Coward
Central Washington University Theatre Arts Department presents Hay Fever By Noel Coward Prepared by Maureen Eller, assistant director and dramaturg 1 Central Washington University Theatre Arts Department Hay Fever Study Guide v Synopsis of Hay Fever v Noël Coward, playwright v The Taylor Family § Laurette Taylor v The Period § Timeline of Events v Glossary of Terms v Comments on Hay Fever v Sources Student matinee Nov. 22 at 11 a.m. TOWER THEATRE Produced by special arrangement with SAMUEL FRENCH, INC. Synopsis A luminous and entertaining comedy, Hay Fever introduces you to the Bliss family: a retired actress mother, a novelist father, and two children for whom all the world, literally, is a stage. Their outrageous antics alternately infuriate and astound their hapless weekend guests, all of whom have been individually invited up for a weekend tete-a-tete. Rousing fights, surprise engagements, and fevered declarations of love drive the poor guests from the house, leaving the 2 family happily bickering and playing amongst themselves as this stylish comedy bounces to its inevitable and intoxicating end. Noel Coward Life of Noël Coward: Actor, Composer, Playwright, Director, Author, Celebrity *(Classic Magazine) 1899 Born in Teddington, Middlesex 16th December. 1907 First public stage appearances. 1922 Spends winter in New York on a subsistence income, and becomes frequent guest at the home of Laurette Taylor and Hartley Manners. 1923 Composes London Calling; writes The Vortex (produced 1924); writes Fallen Angels (produced 1925); Weatherwise (produced 1932). 1924 Appears in The Vortex; writes Hay Fever; produced Easy Virtue. 1925 Directs Hay Fever at the Ambassadors and Criterion Theatres. -
Brecht's Antigone in Performance
PERFORMANCE PHILOSOPHY RHYTHM AND STRUCTURE: BRECHT’S ANTIGONE IN PERFORMANCE BRUNO C. DUARTE FCSH UNIVERSIDADE NOVA DE LISBOA Brecht’s adaptation of Sophocles’ Antigone in 1948 was openly a political gesture that aspired to the complete rationalization of Greek Tragedy. From the beginning, Brecht made it his task to wrench ancient tragic poetry out of its ‘ideological haze’, and proceeded to dismantle and eliminate what he named the ‘element of fate’, the crucial substance of tragic myth itself. However, his encounter with Hölderlin's unorthodox translation of Antigone, the main source for his appropriation and rewriting of the play, led him to engage in a radical experiment in theatrical practice. From the isolated first performance of Antigone, a model was created—the Antigonemodell —that demanded a direct confrontation with the many obstacles brought about by the foreign structure of Greek tragedy as a whole. In turn, such difficulties brought to light the problem of rhythm in its relation to Brecht’s own ideas of how to perform ancient poetry in a modern setting, as exemplified by the originally alienating figure of the tragic chorus. More importantly, such obstacles put into question his ideas of performance in general, as well as the way they can still resonate in our own understanding of what performance is or might be in a broader sense. 1947–1948: Swabian inflections It is known that upon returning from his American exile, at the end of 1947, Bertolt Brecht began to work on Antigone, the tragic poem by Sophocles. Brecht’s own Antigone premiered in the Swiss city of Chur on February 1948. -
"With His Blood He Wrote"
:LWK+LV%ORRG+H:URWH )XQFWLRQVRIWKH3DFW0RWLILQ)DXVWLDQ/LWHUDWXUH 2OH-RKDQ+ROJHUQHV Thesis for the degree of philosophiae doctor (PhD) at the University of Bergen 'DWHRIGHIHQFH0D\ © Copyright Ole Johan Holgernes The material in this publication is protected by copyright law. Year: 2017 Title: “With his Blood he Wrote”. Functions of the Pact Motif in Faustian Literature. Author: Ole Johan Holgernes Print: AiT Bjerch AS / University of Bergen 3 Acknowledgements I would like to thank the following for their respective roles in the creation of this doctoral dissertation: Professor Anders Kristian Strand, my supervisor, who has guided this study from its initial stages to final product with a combination of encouraging friendliness, uncompromising severity and dedicated thoroughness. Professor Emeritus Frank Baron from the University of Kansas, who encouraged me and engaged in inspiring discussion regarding his own extensive Faustbook research. Eve Rosenhaft and Helga Muellneritsch from the University of Liverpool, who have provided erudite insights on recent theories of materiality of writing, sign and indexicality. Doctor Julian Reidy from the Mann archives in Zürich, with apologies for my criticism of some of his work, for sharing his insights into the overall structure of Thomas Mann’s Doktor Faustus, and for providing me with some sources that have been valuable to my work. Professor Erik Bjerck Hagen for help with updated Ibsen research, and for organizing the research group “History, Reception, Rhetoric”, which has provided a platform for presentations of works in progress. Professor Lars Sætre for his role in organizing the research school TBLR, for arranging a master class during the final phase of my work, and for friendly words of encouragement. -
Herman Melville and Christian Grabbe: a Source for ''The Godhead Is Broken"
Connotations Vo!. 4.3 (1994/95) Herman Melville and Christian Grabbe: A Source for ''The Godhead is Broken" ELEANOR COOK The correspondence between Melville and Hawthome includes a number of remarkable letters, written at the time of the publication of Moby-Dick. One of them contains the following sentences: Whence come you, Hawthorne? By what right do you drink from my flagon of life? And when I put it to my lips-Io, they are yours and not mine. I feel that the Godhead is broken up like the bread at the Supper, and that we are the pieces. Hence this infinite fraternity of feeling. ([17?] November 1851)1 Words like these are not easily forgotten, so that when I read in Edgar Wind's Art and Anarchy, "There was a god, but he was dismembered-we are the pieces," I seemed to hear Melville's own voice. But no: this was Christian Grabbe's Faust speaking, in Grabbe's play of 1829, Don Juan und Faust. Here is the passage: Faust: ... es gab einst einen Gott, der ward Zerschlagen-Wir sind seine Stiicke- Sprache Und Wehmut-Lieb' und Religion und Schmerz Sind Traume nur von ihm. Der Ritter: Du Gottestraumer! Faust: Der bin ich! (Don Juan und Faust, IV.iii)2 [There was Once a God, he was dismembered-we are his pieces- speech and sadness-love and religion and pain are only dreams of him. You God-dreamer! That's what I am.] _______________ ConnotationsFor debates inspired - A Journal by this for article, Critical please Debate check by the the Connotations Connotations website Society at is licensed<http://www.connotations.de/debcook00403.htm>. -
Fritz Lang © 2008 AGI-Information Management Consultants May Be Used for Personal Purporses Only Or by Reihe Filmlibraries 7 Associated to Dandelon.Com Network
Fritz Lang © 2008 AGI-Information Management Consultants May be used for personal purporses only or by Reihe Filmlibraries 7 associated to dandelon.com network. Mit Beiträgen von Frieda Grafe Enno Patalas Hans Helmut Prinzler Peter Syr (Fotos) Carl Hanser Verlag Inhalt Für Fritz Lang Einen Platz, kein Denkmal Von Frieda Grafe 7 Kommentierte Filmografie Von Enno Patalas 83 Halbblut 83 Der Herr der Liebe 83 Der goldene See. (Die Spinnen, Teil 1) 83 Harakiri 84 Das Brillantenschiff. (Die Spinnen, Teil 2) 84 Das wandernde Bild 86 Kämpfende Herzen (Die Vier um die Frau) 86 Der müde Tod 87 Dr. Mabuse, der Spieler 88 Die Nibelungen 91 Metropolis 94 Spione 96 Frau im Mond 98 M 100 Das Testament des Dr. Mabuse 102 Liliom 104 Fury 105 You Only Live Once. Gehetzt 106 You and Me [Du und ich] 108 The Return of Frank James. Rache für Jesse James 110 Western Union. Überfall der Ogalalla 111 Man Hunt. Menschenjagd 112 Hangmen Also Die. Auch Henker sterben 113 Ministry of Fear. Ministerium der Angst 115 The Woman in the Window. Gefährliche Begegnung 117 Scarlet Street. Straße der Versuchung 118 Cloak and Dagger. Im Geheimdienst 120 Secret Beyond the Door. Geheimnis hinter der Tür 121 House by the River [Haus am Fluß] 123 American Guerrilla in the Philippines. Der Held von Mindanao 124 Rancho Notorious. Engel der Gejagten 125 Clash by Night. Vor dem neuen Tag 126 The Blue Gardenia. Gardenia - Eine Frau will vergessen 128 The Big Heat. Heißes Eisen 130 Human Desire. Lebensgier 133 Moonfleet. Das Schloß im Schatten 134 While the City Sleeps. -
Rondo Oral History Project Minnesota Historical Society
Transcript of an oral history interview with Bernice Wilson with comments by daughter PATRICIA WILSON CRUTCHFIELD Thursday, March 20, 2003 at Crutchfield Residence Saint Paul, Minnesota Interviewed By Kateleen Hope Cavett Project as part of Society HAND in HAND's RONDO ORAL HISTORY PROJECT Saint Paul,History Minnesota Bernice Wilson did this interview at the age of eighty-two years. Mrs. Wilson discusses her disgust over the lack of respectable employment opportunities and frustration over theHistorical conservative laws that existed in Minnesota when she movedOral to Saint Paul from Chicago in 1949. Mrs. Wilson advised that she was a mother first, but at our request she details the social clubs the existed in the Black community. These clubs were created because Blacks were not welcome at many White owned establishments. She states, ''It was a fantastic social life, a fantastic social life." She describes the community support when her husbandRondo and son died, and her love for traveling. Pat Wilson Crutchfield, at age fifty-seven years, shares her mother's memory of the community support when her father passed away, and also discusses her involvementMinnesota in the church, and her experiences being raised as a "village child," as in the old African proverb, ''It takes a village to raise a child." This is a verbatim transcript of a taped interview, edited for clarity. Signed releases are on file from Mrs. Wilson and Mrs. Crutchfield. 3 BW: Bernice Wilson KC: Kate Cavett BW: I'm Bernice Wilson,1 mother of Patricia Wilson. Do you want to know where I live? KC: I'd love to know where you live. -
View A&M University
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