DOCSLIB.ORG

THEORY and TECHNIQUE of PLAYWRITING by John Howard Lawson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THEORY and TECHNIQUE of PLAYWRITING by John Howard Lawson fIHIEOII AMP with a new introductory essay OF on the contemporary theatre by JOHN HOWARD LAWSON A DRAMABOQK $1.9X Digitized by the Internet Archive in 2011 with funding from LYRASIS IVIembers and Sloan Foundation http://www.archive.org/details/theorytechniqueoOOinlaws THEORY AND TECHNIQUE OF PLAYWRITING By John Howard Lawson Books Theory and Technique of Playwritinc The Hidden Heritage Film in the Battle of Ideas Film: The Creative Process Plays Roger Bloomer The International Processional Success Story Nirvana Gentlewoman Loudspeaker The Pure in Heart Marching Song Motion Pictures Blockade Four Sons Algiers Sahara They Shall Have Music cou nterattack Earthbound Smashup Action in the North Atlantic THEORY AND TECHNIQUE OF PLAYWRITING WITH A NEW INTRODUCTION BY JOHN HOWARD LAWSON A DRAMABOOK |g{| HILL AND WANG - New York ; Copyright 1936, 1949, © i960 by John Howard Lawson ISBN 0-8090-0525-5 Library of Congress Catalog Card Number: 60-14493 Reprinted by permission of G. P. Putnam's Sons All rights reserved. This book, or parts thereof, must not be reproduced in any form without permission. Acknowledgment of permission to quote from Brunetiere's The Laiv of the Drama is herewith made with thanks to the Brander Matthews Dramatic Museum of Columbia University; from Maxwell Anderson's Both Your Houses to Maxwell Anderson through Samuel French, Inc. from Barrett H. Clark's European Theories of the Drama and A Study of the Modern Drama to Barrett H. Clark. Manufactured in the United States of America FIRST DRAMABOOK EDITION AUGUST 1960 789 10 II 12 CONTENTS Introduction vii PART r HISTORY OF DRAMATIC THOUGHT I. Aristotle 3 II. The Renaissance 10 III. The Eighteenth Century 21 IV. The Nineteenth Century 31 V. Ibsen 63 PART 2 THE THEATRE TODAY I. Conscious Will and Social Necessity 87 II. Dualism of Modern Thought 98 III. George Bernard Shaw 107 IV. Critical and Technical Trends 1 14 V. Eugene O'Neill 129 VI. The Technique of the Modern Play 142 PART 3 DRAMATIC STRUCTURE I. The Law of Conflict 163 II. Dramatic Action 168 III. Unity in Terms of Climax 174 IV. The Process of Selection 187 V^. The Social Framework 200 vi Contents PART 4 DRAMATIC COMPOSITION I. Continuity 221 II. Exposition 233 III. Progression 244 IV. The Obligatory Scene 262 V. Climax 267 VI. Characterization 279 VII. Dialogue 287 VIII. The Audience 298 Index 303 — INTRODUCTION The Changing Years THIS study of dramatic theory and technique was first published in 1936, in the midst of the social and theatrical upheaval that Harold Clurman calls "The Fervent Years." Today, the arts display less fervor, and far less interest in "social significance." The transition in dramatic thought from Waiting for Lefty to Waiting for Godot is almost as sweeping as the changes that have taken place among the world's peoples and powers. There are those who regard the culture of the thirties as dead and best forgotten. The question need not be debated here except insofar as this book offers testimony to the contrary. My beliefs have not changed, nor has my fervor abated. I can hope that my understanding has ripened. But I see no need to modify or revise the theory of dramatic art on which this work is based. The theory holds that the dramatic process follows certain general laws, derived from the function of drama and its historical evolution. A play is a mimed fable, an acted and spoken story. The tale is presented because it has meaning to its creator. It embodies a vision, poses an ethical or emotional problem, praises heroes or laughs at fools. The playwright may not be conscious of any purpose beyond the telling of a tale. He may be more interested in box-office receipts than in social values. Nonetheless, the events taking place on the stage embody a point of view, a judgment of human relationships. Conceptual understanding is the key to mastery of dramatic technique. The structure of a play, the design of each scene and the movement of the action to its climax, are the means by which the concept is communicated. The theatre is a difficult art form. No labor of thought can give talent to the untalented or sensitivity to the insensitive. The pattern of a play is as subtle and chromatic as the pattern of a symphony. Theatrical concepts are profoundly, and at best magi- cally, theatrical, growing out of the culture of the theatre as part of the culture and history of mankind. Therefore, dramatic crafts- manship encompasses the past from which it has evolved. The artist is not bound by traditional styles. He is more likely to be bound by ignorance, enslaving him to the parochial devices and cheap inventions of "show business." The true creator turns to the theatre's heritage in order to attain freedom, to select and vii viii Introduction develop modes of expression suited to his need, to give radiance to his vision and substance to his dream. The historj?^ of dramatic thought which constitutes the first part of this book traces the evolution of European theatre from ancient Athens to the twentieth century. I must acknowledge my regret that it deals only with European development, and does not encompass the riches of theatre culture in other parts of the world. Today we are beginning to realize that our dramatic heritage is not limited to the Greeks and Elizabethans and the English and continental drama of the last three centuries. There is a growing recognition in the United States of the power and resources of the theatre in India, China, and Japan. Yet these forms, and those of other lands, are still regarded as quaint and esoteric. Brecht is the only modern dramatist who has utilized Oriental modes as an integral part of his own creative style. The contemporary stage uses a conglomeration of techniques, ranging from the banalities of the "well-made play" to the splendors of musical comedy; but all this is done eclectically, to achieve an effect, to titillate sensibilities. Broadway uses shreds and patches of theatre experience and related forms of dance, panto- mime, and ritual, drawn from all parts of the globe. But there has been no attempt to consider the order and value of stage tradi- tions, their relation to contemporary culture, their potential use in stimulating the theatrical imagination and developing new modes of dramatic communication. Let us now turn to a more modest historical task—an appraisal of the trend of European and American dramatic thought from the middle thirties to the present. At first glance, we see a kaleidoscope of contradictory tendencies: wider public interest in the theatre is manifested in the growth of "Off-Broadway" production and the activity of community and university theatres; yet all this stir and effort have not stimulated any movement of creative writing. The Stanislavsky method has attained con- siderable prestige, but it is doubtful whether the art of acting has progressed during these decades. The posthumous presentation of O'Neill's last plays has added to his reputation; Brecht and O'Casey exert a growing influence; there is far more interest in Shakespeare and other classics than there was a quarter-century ago. Yet statistical evidence and critical judgment agree that the theatre is sick. The number of playhouses available for professional production in the United States dropped from 647 in 192 1 to 234 in 1954. The decline continues. There were sixty-five legitimate Introduction ix theatres in New York in 193 1 and only thirty in 1959.* The Off-Broadway stage is said to have lost one million dollars during the season of 1958-59. Each year, critics lament the decline of the art. Early in 1945, Mary McCarthy wrote: "In 1944, the stage presents such a spec- tacle of confusion, disintegration and despair that no generaliza- tion can cover the case." f Fifteen years later, Brooks Atkinson wrote in the New York Times of January 3, i960: "Last year was on the whole banal. This season, so far, is worse. There is nothing creative at the center of things, pushing the theatre into significant areas of thought or feeling." On May 14, 1959, President Eisenhower broke ground for the new seventy-five-million-dollar Lincoln Center for the Per- forming Arts in New York City. The Shakespeare festivals at Stratford, Ontario and Stratford, Connecticut attract enthusiastic crowds. There is apparently a need for living theatre in the United States. How does this need relate to the decline of the commercial stage? Why is there "nothing creative at the center of things?" Burden of Guilt A group of European plajr^rights—Giraudoux, Anouilh, Beckett, lonesco, Genet, Sartre, Camus, Duerrenmatt—have been honored and praised in the United States in recent years. Their collective influence goes far beyond Broadway, and is a major factor in creating the climate of thought that pervades the drama departments of our universities and the experimental work of amateur and professional groups. We must turn to these dramatists for the clearest statement, and often the most imaginative theatrical realization, of ideas which are more confusingly and less imaginatively projected in English and American plays. The turning point in the development of the modern French theatre is signalized by one play. The Madwoman of Chaillot. Its author, Jean Giraudoux, who died in 1944, belonged to the older generation of French intellectuals. His rhetoric and fantasy are derived from ancient sources, combining elements of Racine with nineteenth-century sensibility and twentieth-century wit. But underlying Giraudoux's classicism is his mordant sense of the failure of bourgeois values in the society of his own time.
Load more

Recommended publications
  • Text Fly Within
    TEXT FLY WITHIN THE BOOK ONLY 00 u<OU_1 68287 co ^ co> OSMANIA UNIVERSITY LIBRARY t*o-* 7 Alt i^- Gall No. / Accession No. Author 0ttSkts "J- . Title /v- 4he f'/* Kt^fa/iie ^rU^ r -*JU" ' This book should be returned on or before the date last marked below. THE REINTERPRETJLTION OF VICTORIAN LITERATURE THE REINTERPRETATION OF VICTORIAN LITERATURE EDITED BY JOSEPH E. BAKER FOR THE VICTORIAN LITERATURE CROUP OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA PRINCETON, NEW JERSEY PRINCETON UNIVERSITY PRESS 1950 COPYRIGHT, 1950, BY PRINCETON UNIVERSITY PRESS LONDON: GEOFFREY CUMBERLEGE, OXFORD UNIVERSITY PRESS PRINTED IN THE UNITED STATES OF AMERICA BY PRINCETON UNIVERSITY PRESS AT PRINCETON, NEW JERSEY PREFACE THE Victorian Literature Group of the Modern Language Association of America, at the 1939 meeting in New Or- leans, agreed to put out this volume to further the reinter- pretation of a literature of great significance for us today. The writers of Victorian England first tried* to salvage humane culture for a new world of science, democracy, and industrialism. We owe to them and to Pre-Victorians like the prose Coleridge a revival of Christian thought, a new Classical renaissance (this time Greek rather than Latin), an unprecedented mastery of the facts about nature and man and, indeed, the very conception of "culture" that we take for granted in our education and in our social plan- ning. In that age, a consciousness that human life is subject to constant development, a sense of historicity, first spread throughout the general public, and literature for -The first time showed that intimate integration with its sociafback- ground which marks our modern culture.
    [Show full text]
  • Nelda Reyes-Resume Ryanartists
    Nelda Reyes SAG/AFTRA Hair: Dark brown Eyes: Brown Height: 5” 3’ TV/FILM “Not one more” Isabel Heather Dominguez dir./Art Institute of Portland Grimm - Episode # 111 “Tarantella” Maid Peter Werner /NBC COMMERCIAL/INDUSTRIAL *Complete list available upon request “OCDC Spanish & English PSA” Nelda Reyes Rex-post “SEIU Orientation and Safety Video” HCA Branch Ave. Productions “Wired MD Patient Educational Videos” Health Expert Krames Video Solutions “American Red Cross EMR” Health Officer Erica Portfolio Productions “Depression Relapse”-ORCAS Carmen Moving Images VOICEOVER AND DUBBING *Complete list available upon request “Kaiser Permanente Diabetes Bilingual Campaign” Patti The Fotonovela Production Company “Abuelo -Ac tive Living” -Multnomah County Health Univision Portland Mom Department. “CISCO Online Support website ” Narrator Intersect Video THEATER *Complete list available upon request CORRIDO CALAVERA Concepcion, INC Rep, Rosario Miracle Theatre Group/Lakin Valdez dir. DANCE FOR A DOLLAR Gloria Miracle Theatre Group/Daniel Jaquez dir. BLOOD WEDDING Criada, Luna, Niña 1 Miracle Theatre Group/Olga Sanchez dir LA CARPA CALAVERA Nina Miracle Theatre Group/Philip Cuomo dir. ACTING AND MOVEMENT TRAINING Acting, Scene Work and Movement Moscow Art Theatre School and IATT, Harvard University M. Lovanov/ Alla Prokoskaya/ Oleg Topolyanskiy /N. Fedorovna Acting: Process, Classical, Experimental styles Devon Allen. Portland State University. MA. In Theatre Arts Script Analysis and Dramaturgy Karin Magaldi. Portland State University. MA. In Theatre Arts Clown Fausto Ramirez (Mexico) and Les Matapestes (France) Alexander, Decroux, Lecoq, Contact Improv. Diplomado de Teatro del Cuerpo (Mexico City) Diploma for Instructors in Kundalini Yoga IKYTA/ Yoga Alliance Empty Hand Combat and basic weaponry Anthony De Longis (USA) Shelley Lipkin Acting for the Camera (USA) Professional Training in Aerial Arts The Circus Project (US A) Pre-professional Classic Dance Program Ballet Nacional de Cuba/Gloria Campobello Co.
    [Show full text]
  • Lorine Niedecker's Personal Library of Books: A
    LORINE NIEDECKER’S PERSONAL LIBRARY OF BOOKS: A BIBLIOGRAPHY Margot Peters Adams, Brooks. The Law of Civilization and Decay. New York: Vintage Books, 1955. Adéma, Marcel. Apollinaire, trans, Denise Folliot. London: Heineman, 1954. Aldington, Hilda Doolittle (H.D.). Heliodora and Other Poems. Boston: Houghton, Mifflin, 1924. Aldington, Richard, ed. The Religion of Beauty: Selections from the Aesthetes. London: Heineman, 1950. Alighieri, Dante. The Divine Comedy. New York: Random House, 1950. Allen, Donald M., ed. The New American Poetry: 1945-1960. New York: Grove Press, 1960. Allen, Glover Morrill. Birds and Their Attributes. New York: Dover, 1962. Alvarez, A. The School of Donne. New York: Mentor, 1967. Anderson, Charles R. Emily Dickinson’s Poetry: Stairway of Surprise. New York: Holt, Rinehart & Winston, 1960. Anderson, Sherwood. Six Mid-American Chants. Photos by Art Sinsabaugh. Highlands, N.C.: Jargon Press, 1964. Arnett, Willard E. Santayana and the Sense of Beauty. Bloomington, IN: Indiana University Press, 1957. Arnold, Matthew. Passages from the Prose Writings of Matthew Arnold, ed. William E. Buckler, New York: New York University Press, 1963. Saint Augustine. The Confessions. New York: Pocket Books, n.d. Aurelius, Marcus (Marcus Aelius Aurelius Antoninus). Meditations. London: Dent, 1948. Bacon, Francis. Essays and the New Atlantis, ed. Gordon S. Haight. New York: Van Nostrand, 1942. Basho. The Narrow Road to the Deep North and Other Travel Sketches, trans. Nobuyuki Yuasa. Baltimore: Penguin, 1966. 1 Baudelaire, Charles. Flowers of Evil. New York: New Directions, 1958. Beard, Charles A. & Mary R. Beard. The Rise of American Civilization. New York: Macmillan, 1939. Bell, Margaret. Margaret Fuller: A Biography.
    [Show full text]
  • Lorne Bair :: Catalog 21
    LORNE BAIR :: CATALOG 21 1 Lorne Bair Rare Books, ABAA PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 2621 Daniel Terrace Winchester, Virginia USA 22601 (540) 665-0855 Email: [email protected] Website: www.lornebair.com TERMS All items are offered subject to prior sale. Unless prior arrangements have been made, payment is expected with order and may be made by check, money order, credit card (Visa, MasterCard, Discover, American Express), or direct transfer of funds (wire transfer or Paypal). Institutions may be billed. Returns will be accepted for any reason within ten days of receipt. ALL ITEMS are guaranteed to be as described. Any restorations, sophistications, or alterations have been noted. Autograph and manuscript material is guaranteed without conditions or restrictions, and may be returned at any time if shown not to be authentic. DOMESTIC SHIPPING is by USPS Priority Mail at the rate of $9.50 for the first item and $3 for each additional item. Overseas shipping will vary depending upon destination and weight; quotations can be supplied. Alternative carriers may be arranged. WE ARE MEMBERS of the ABAA (Antiquarian Bookseller’s Association of America) and ILAB (International League of Antiquarian Book- sellers) and adhere to those organizations’ standards of professionalism and ethics. PART ONE African American History & Literature ITEMS 1-54 PART TWO Radical, Social, & Proletarian Literature ITEMS 55-92 PART THREE Graphics, Posters & Original Art ITEMS 93-150 PART FOUR Social Movements & Radical History ITEMS 151-194 2 PART 1: AFRICAN-AMERICAN HISTORY & LITERATURE 1. CUNARD, Nancy (ed.) Negro Anthology Made by Nancy Cunard 1931-1933. London: Nancy Cunard at Wishart & Co., 1934.
    [Show full text]
  • Pynchon's Sound of Music
    Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage.
    [Show full text]
  • (“Spider-Man”) Cr
    PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership.
    [Show full text]
  • El Llegat Dels Germans Grimm En El Segle Xxi: Del Paper a La Pantalla Emili Samper Prunera Universitat Rovira I Virgili [email protected]
    El llegat dels germans Grimm en el segle xxi: del paper a la pantalla Emili Samper Prunera Universitat Rovira i Virgili [email protected] Resum Les rondalles que els germans Grimm van recollir als Kinder- und Hausmärchen han traspassat la frontera del paper amb nombroses adaptacions literàries, cinema- togràfiques o televisives. La pel·lícula The brothers Grimm (2005), de Terry Gilli- am, i la primera temporada de la sèrie Grimm (2011-2012), de la cadena NBC, són dos mostres recents d’obres audiovisuals que han agafat les rondalles dels Grimm com a base per elaborar la seva ficció. En aquest article s’analitza el tractament de les rondalles que apareixen en totes dues obres (tenint en compte un precedent de 1962, The wonderful world of the Brothers Grimm), així com el rol que adopten els mateixos germans Grimm, que passen de creadors a convertir-se ells mateixos en personatges de ficció. Es recorre, d’aquesta manera, el camí invers al que han realitzat els responsables d’aquestes adaptacions: de la pantalla (gran o petita) es torna al paper, mostrant quines són les rondalles dels Grimm que s’han adaptat i de quina manera s’ha dut a terme aquesta adaptació. Paraules clau Grimm, Kinder- und Hausmärchen, The brothers Grimm, Terry Gilliam, rondalla Summary The tales that the Grimm brothers collected in their Kinder- und Hausmärchen have gone beyond the confines of paper with numerous literary, cinematographic and TV adaptations. The film The Brothers Grimm (2005), by Terry Gilliam, and the first season of the series Grimm (2011–2012), produced by the NBC network, are two recent examples of audiovisual productions that have taken the Grimm brothers’ tales as a base on which to create their fiction.
    [Show full text]
  • John Ahouse-Upton Sinclair Collection, 1895-2014
    http://oac.cdlib.org/findaid/ark:/13030/c8cn764d No online items INVENTORY OF THE JOHN AHOUSE-UPTON SINCLAIR COLLECTION, 1895-2014, Finding aid prepared by Greg Williams California State University, Dominguez Hills Archives & Special Collections University Library, Room 5039 1000 E. Victoria Street Carson, California 90747 Phone: (310) 243-3895 URL: http://www.csudh.edu/archives/csudh/index.html ©2014 INVENTORY OF THE JOHN "Consult repository." 1 AHOUSE-UPTON SINCLAIR COLLECTION, 1895-2014, Descriptive Summary Title: John Ahouse-Upton Sinclair Collection Dates: 1895-2014 Collection Number: "Consult repository." Collector: Ahouse, John B. Extent: 12 linear feet, 400 books Repository: California State University, Dominguez Hills Archives and Special Collections Archives & Special Collection University Library, Room 5039 1000 E. Victoria Street Carson, California 90747 Phone: (310) 243-3013 URL: http://www.csudh.edu/archives/csudh/index.html Abstract: This collection consists of 400 books, 12 linear feet of archival items and resource material about Upton Sinclair collected by bibliographer John Ahouse, author of Upton Sinclair, A Descriptive Annotated Bibliography . Included are Upton Sinclair books, pamphlets, newspaper articles, publications, circular letters, manuscripts, and a few personal letters. Also included are a wide variety of subject files, scholarly or popular articles about Sinclair, videos, recordings, and manuscripts for Sinclair biographies. Included are Upton Sinclair’s A Monthly Magazine, EPIC Newspapers and the Upton Sinclair Quarterly Newsletters. Language: Collection material is primarily in English Access There are no access restrictions on this collection. Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections.
    [Show full text]
  • Little Theatre Society of Indiana
    LITTLE THEATRE SOCIETY OF INDIANA 1915-16 1919-20 1921-22 Polyxena Bernice Release A Killing Triangle Eugenically Speaking The Dragon The Glittering Gate Three Pills in a Bottle The Spring The Scheming Lieutenant Trespass A Nativity Play Dad The Angel Intrudes The Constant Lover A Christmas Miracle Play Trespass (2nd Production) Androcles & the Lion The Pretty Sabine Women The Shepherd in the Distance The Forest Ring Overtones The Star of Bethlehem Beyond the Horizon The Broken God Dierdre of the Sorrows Everyman Dad (2nd Production) The Jackdaw The Betrothal Cake At Steinberg’s Bushido Disarmament How He Lied to Her Husband A Woman’s Honor The Casino Gardens The Game of Chess Unspoken Children of the Moon The Kisses of Marjorie Moonshine Belinda Dawn Phoebe Louise Not According to Hoyle The Dark Lady of the Sonnets The Bank Robbery Mansions A Scrambled Romance Chicane The Dryad & the Deacon (silent film) The Groove Underneath A Shakespeare Revel Stingy 1922-23 Rococo The Trysting Place 1916-17 The Price of Coal A Civil War Pageant 1920-21 The Turtle Dove Night with Indiana Authors The Proposal Brothers Polly of Pogue’s Run In Hospital Two Dollars, Please! Laughing Gas Behind a Watteau Picture The Marriage Gown The Lost Silk Hat The Home of the Free Dad (3rd Production) The Farce of Pierre Patelin The Blind Sycamore Shadders Duty The Medicine Show Nocturne The Maker of Dreams Aria Da Capo Treason The Importance of Being Mary Broome Where Do We Go From Here? Earnest The Star of Bethlehem (2nd The Wish Fellow Lithuania Production) Father and the Boys Supressed Desires The Mollusc My Lady Make-Believe Cathleen Ni’Hoolihan Mary’s Lamb A Shakespeare Revel (2nd Spreading the News The Emperor Jones Production) The Rising of the Moon The Beauty Editor Sham 1923-24 1917-18 The Confession March Hares (No records survive) The Lotion of Love The Bountiful Lady The Wren 1918-19 The Doctor of Lonesome Folk A Pageant of Sunshine Why Marry? and Shadow Hidden Spirits The Murderer (a.k.a.
    [Show full text]
  • August 1940) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1940 Volume 58, Number 08 (August 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 08 (August 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/258 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. M V — — .. — — PSYCHOLOGY FOR THE MUSIC TEACHER Swisher ' By Waller Samuel Thurlow been bought than any More copies of this book have other music practical working reference book issued in recent years. A text. A real improve his hold on students and hel D to the teacher who wishes to interest and Personality Read Contents. Music Study , Peuckota, leal “Those Who and attention. Learn, The .Material with Mhtch He Work. Suggestions f Types How ITe r 3 Lieurance and bibliographies and imitation Questions, suggestions, at end of quotations. each chapter. Illustrated with musical Who Study Move Ahead wam^ScB men The American Composer FROM SONG TO SYMPHONY g PUBLISHED MONTHLY Has Revealed So Successfully By Daniel Gregory Mason By Theodore Presser Co., Philadelphia, pa. Lazy Minds Lie Asleep In Bed” in Lore While Second Year ASD ADVISORY STAFF Romance, and Tribal "A Study Course in Music Understanding’’ EDITORIAL The Beauty, Adopted by The National Federation of Music Clubs DR.
    [Show full text]
  • Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century Jae Won (Noella) Jung
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century Jae Won (Noella) Jung Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JASCHA HEIFETZ, DAVID OISTRAKH, JOSEPH SZIGETI: THEIR CONTRIBUTIONS TO THE VIOLIN REPERTOIRE OF THE TWENTIETH CENTURY By Jae Won (Noella) Jung A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Jae Won (Noella) Jung All Rights Reserved The members of the Committee approve the treatise of Jae Won (Noella) Jung on March 2, 2007. ____________________________________ Karen Clarke Professor Directing Treatise ____________________________________ Jane Piper Clendinning Outside Committee Member ____________________________________ Alexander Jiménez Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS First of all, I would like to express my sincere appreciation to my advisor, Professor Karen Clarke, for her guidance and support during my graduate study at FSU and I am deeply grateful for her advice and suggestions on this treatise. I would also like to thank the rest of my doctoral committee, Professor Jane Piper Clendinning and Professor Alexander Jiménez for their insightful comments. This treatise would not have been possible without the encouragement and support from my family. I thank my parents for their unconditional love and constant belief, my sister for her friendship, and my nephew Jin Sung for his precious smile.
    [Show full text]
  • “Can't Help Singing”: the “Modern” Opera Diva In
    “CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
    [Show full text]