Sandspur, Vol. 47 No. 14, February 4, 1942
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BROADSIDE 5,000 Negatives; And, Over 200 Original De Hand in His Own Car to Mill Valley
NEWSLETTER OF THE THEATRE LIBRARY ASSOCIATION Volume 9, Number 4 Spring 1982 New Series SAVE AMERICA'S PERFORMING ASTRITLA IN PROVIDENCE ARTS RESOURCES! The TLA Annual Program Meeting, held The Theatre Library Association will in conjunction with the 1982 ASTR Con- present a Conference on Preservation ference to be held at Brown University, Management in Performing Arts Collec- November 19-21, is being organized by tions in Washington, D.C., April 28-May 1, Martha Mahard, Assistant Curator, The- 1982. With the assistance of the Conserva- atre Collection, Harvard University. She tion Center for Art and Historic Artifacts, FREEDLEYITLA AWARDS plans a program appropriate to the confer- the Theatre Library Association has de- ence theme, Nineteenth Century Theatre. vised a program tailored for the special Nominations have been invited for the Your suggestions are welcome. preservation problems of performing arts 1981 George Freedley Award and The The Several exhibits will be on view during collections in libraries, museums, histor- atre Library Association Award to be pre- the conference. The John Hay Library will ical societies, media centers, and perform- sented by the Association on Monday, mount an exhibit on American Drama Dur- ing arts companies. May 24, in the Vincent Astor Gallery, The ing and About the Civil War The Museum Utilizing case studies from the field, New York Public Library at Lincoln Center. of Art of the Rhode Island School of De- consultants will specify preservation tech- The George Freedley Award, established sign will mount a special exhibit on japan- niques and management options for the In 1968, in memory of the late theatre his- ese Theatre from their extensive Oriental contents of mixed-media collections: torian, critic, author, and first curator of Collection. -
P E R F O R M I N G
PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales). -
John Gassner
John Gassner: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Gassner, John, 1903-1967 Title: John Gassner Papers Dates: 1894-1983 (bulk 1950-1967), undated Extent: 151 document boxes, 3 oversize boxes (65.51 linear feet), 22 galley folders (gf), 2 oversize folders (osf) Abstract: The papers of the Hungarian-born American theatre historian, critic, educator, and anthologist John Gassner contain manuscripts for numerous works, extensive correspondence, career and personal papers, research materials, and works by others, forming a notable record of Gassner’s contributions to theatre history. Call Number: Manuscript Collection MS-54109 Language: Chiefly English, with materials also in Dutch, French, German, Greek, Hebrew, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, and Turkish Access: Open for research Administrative Information Acquisition: Purchases and gifts, 1965-1986 (R2803, R3806, R6629, G436, G1774, G2780) Processed by: Joan Sibley and Amanda Reyes, 2017 Note: The Ransom Center gratefully acknowledges the assistance of the Gladys Krieble Delmas Foundation, which provided funds to support the processing and cataloging of this collection. Repository: The University of Texas at Austin, Harry Ransom Center Gassner, John, 1903-1967 Manuscript Collection MS-54109 Biographical Sketch John Gassner was a noted theatre critic, writer, and editor, a respected anthologist, and an esteemed professor of drama. He was born Jeno Waldhorn Gassner on January 30, 1903, in Máramarossziget, Hungary, and his family emigrated to the United States in 1911. He showed an early interest in theatre, appearing in a school production of Shakespeare’s The Tempest in 1915. Gassner attended Dewitt Clinton High School in New York City and was a supporter of socialism during this era. -
Between the Covers Rare Books a Conversation Between Tom And
A short list of interesting selections from our inventory. View this email in your browser Between The Covers Rare Books illustration by Tom Bloom A conversation between Tom and Ashley: A: [holds skulls] To list or not to list…that is the question. T: This doesn’t look like work… A: I’m honing my thespian skills for my new drama e-list. T: Less honing, more working. A: The common people never understand real artists. T: [points to desk] “Act” like a bookseller. A: OK. Cocktail, please. T: [walks away] A: Alas, poor Thomas, I knew him well. -end scene- eCatalog 41: Drama 1. (Anthology) The Best Plays 1936-1937 and the Year Book of the Drama in America New York: Dodd, Mead & Company 1937 $85 First edition. Edited by Burns Mantle, and Inscribed by Mantle: "To Shannon – Stout fella – Affectionately, Burns Mantle. 1937." Read More 2. Edward ALBEE Three Tall Women New York: Dutton (1995) $100 First edition. Slip of paper laid in with an Inscription by Albee. Read More 3. Michael BENTHALL and Ralph Nelson William Shakespeare Hamlet: A Television Script [No place]: CBS Television Network, (1959): CBS Television Network (1959) $45 First edition thus. Profusely illustrated in black and white by Ben Shahn. Read More 4. Lawrence FERLINGHETTI Unfair Arguments with Existence: Seven Plays for a New Theatre (New York): New Directions (1963) $40 First edition. Paperback original. Read More 5. Graham GREENE British Dramatists London: William Collins 1942 $100 First edition. Read More 6. Oscar HAMMERSTEIN II Program for: Carmen Jones New York: Program Publishing Co. -
Acting in the Academy
Acting in the Academy There are over 150 BFA and MFA acting programs in the US today, nearly all of which claim to prepare students for theatre careers. Peter Zazzali contends that these curricula represent an ethos that is outdated and limited given today’s shrinking job market for stage actors. Acting in the Academy traces the history of actor training in universities to make the case for a move beyond standard courses in voice and speech, move- ment, or performance, to develop an entrepreneurial model that motivates and encourages students to create their own employment opportunities. This book answers questions such as: • How has the League of Professional Theatre Training Programs shaped actor training in the US? • How have training programs and the acting profession developed in relation to one another? • What impact have these developments had on American acting as an art form? Acting in the Academy calls for a reconceptualization of actor training in the US, and looks to newly empower students of performance with a fresh, original perspective on their professional development. Peter Zazzali is Assistant Professor of Theatre at the University of Kansas. John Houseman and members of Group I at Juilliard in the spring of 1972 reading positive reviews of the Acting Company’s inaugural season. Kevin Kline is seated behind Houseman. Photo by Raimondo Borea; Courtesy of the Juilliard School Archives. Acting in the Academy The history of professional actor training in US higher education Peter Zazzali First published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Peter Zazzali The right of Peter Zazzali to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
National Arena
I-. Broadway: A Critic Looks Back Lavery Drama, Hartman Revue Atkinson’s Scrapbook Recalls Dozen Years Coming Up By tht Associated Press of An Amusing Analytic Mind Emmett Lavery is the author of a new play premiering on Broad- By Jay Carmody way Tuesday evening at the Mans- One of the challenges flung to drama critics by persons who would field Theater. A revue, starring the Hartmans, much prefer flinging the critics over cliffs is: Why don’t you write fashionable comedy ballroom danc- something better? ing team, is the week's other hope- Some day in reply to this query, a modest, reticent little man in ful arrival. the drama reviewing trade will reach into his inner coat pocket and “The"Gentleman From Athens" is pull out a long list of titles which prove this already has been done. the name of Lavery’s drama, the He will start, perhaps, with Shaw’s “Critical Opinions and Essays,” action of which takes place in where the two volumes which have retained their popularity for half a century Washington, gentleman of the title is a member of Con- and which deal, in large part, with plays which otherwise would have gress. Sam Wanamaker is the di- been dead an interval. equal rector, Ralph Alswang is the de- There Are Dozens Such Books. signer, Martin Gosch is producing, He will go on from there to half a dozen titles by Max Beerbohm, in association with Eunice Healey. The cast includes a dozen and one half by George Jean Nathan, a handful by John Anthony Quinn, Edith Atwater, Alan Hewlitt, Feodor Mason Brown, Burns Mantle and a number of others. -
GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I. -
William A. Brady: Theatre Entrepreneur
WILLIAM A. BRADY: THEATRE ENTREPRENEUR By NEVIS EZELLE HAGLER, JR, A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1975 *J^-J UNIVERSITY OF FLORIDA 5185 3 1262 08552 ACKNOWLEDGEMENTS I wish to express rny appreciation to the research staff and director of the Theatre Collection at the Lincoln Center Library of the Performing Arts and to Mr. Louis Rachow, of the Players Club, for their valuable assistance and guidance. Special appreciation is extended to two of the theatre's most gracious actresses, Miss Helen Kayes and Miss Madge Kennedy, for their recollec- tions, assistance, and time. My gratitude is also ex- tended to Dr. Richard L. Green, Dr. Clyde G. Sumpter, Dr. Sidney Homan, and Dr. Norman Markel, for their aid in reading the study and offering valuable criticism, A special note of appreciation is due Dr. L. L. Zimmerman, the chairman of this work, for his encourage- ment, criticism, and, most importantly, for his friendship, PREFACE During his lifetime, William A. Brady was one of the most active and successful producers in the American theatre. Since his death, in 1950, his reputation has faded into relative obscurity. No study of his career has been made, and he is mentioned only briefly and with- out regularity in works dealing with the American theatre of the first half of the twentieth century. This study will examine his life and career as a theatrical producer in order to demonstrate the ways in which Brady's career exemplified certain aspects of the early twentieth century American theatre. -
Appendix Plays Discussed in This Book
Appendix Plays Discussed in This Book Abe Lincoln in Illinois, Robert Sherwood. 1938 Broadway run: 472 performances. 1993 Lincoln Center revival: 27 previews, 40 performances. Abraham Lincoln, John Drinkwater. 1919 Broadway run: 193 per- formances. 1929 Broadway revival: 8 performances. Abraham Lincoln’s Big Gay Dance Party, Aaron Loeb. 2008 San Francisco. 2010 off-Broadway run. American Iliad, Donald Freed. 2001 Burbank, California. As the Girls Go, William Roos (book), Jimmy McHugh (music), Harold Adamson (lyrics). 1948 Broadway run: 414 performances. Assassins, John Weidman (book), Stephen Sondheim (music and lyrics). 1990 off-Broadway run: 73 performances. 1992 London revival. 2004 Broadway revival: 26 previews, 101 performances. The Best Man, Gore Vidal. 1960 Broadway run: 520 performances. 2000 Broadway revival: 15 previews, 121 performances. Bloody, Bloody Andrew Jackson, Alex Timbers (book), Michael Friedman (music and ly73rics). 2008 Los Angeles. 2009 and 2010 off-Broadway runs. Buchanan Dying, John Updike. 1976 Franklin and Marshall College. Bully! Jerome Alden. 1977 Broadway run: 8 previews, 8 performances. 2006 off Broadway revival. The Bully Pulpit, Michael O. Smith. 2008 off-Broadway. Camping with Henry and Tom, Mark St. Germain. 1995 off- Broadway run: 105 performances. Numerous regional theater revivals since then. An Evening with Richard Nixon, Gore Vidal. Broadway run: 14 previews, 16 performances. First Lady, Katherine Dayton and George S. Kaufman. 1935 Broadway run: 246 performances. 1952 off-Broadway revival. 1980 Berkshire Theater Festival revival. 1996 Yale Repertory Theatre revival. First Lady Suite, Michael John LaChiusa. 1993 off-Broadway run: 32 performances. Revivals include Los Angeles 2002, off Broadway 2004, and London 2009. 160 Appendix Frost/Nixon, Peter Morgan. -
The Inventory of the Beatrice Lillie Collection #1566
The Inventory of the Beatrice Lillie Collection #1566 Howard Gotlieb Archival Research Center 1 Lillie, Beatrice #1566 Box 1 I. Manuscripts. Folders 1-2 A. Plays. 1. “Magdalena,” author unknown, draft of Acts I and II, TS with holo. corrections, approx. 110 p., n.d. Folder 3 2. “You’ll Get Used to It,” by M. Andersen-Kenrick, final draft, TS, 143 p., 1935. Folder 4 3. “Time Remembered,” by Jean Anouilh, final draft, TS, 83 p., 1956; includes TLS to BL from Ethel Adler (Secretary to Roger L. Stevens) re: "Time Remembered." Folder 5 4. “God Bless Our Bank,” by Max N. Benoff, final draft, TS, 145 p., n.d. Folder 6 5. “Cassandra Kelly,” by Ralph Berton and Eugene Berton, final draft, TS, 114 p., n.d. Folder 7 6. “Little Boxes,” by John Bowen, final draft, TS, n.d., includes “Trevor,” 82 p., and “The Coffee Lace,” 74 p. Folder 8 7. "Fumed Oak," by Noel Coward. a. Draft, TS with holograph corrections, 31 p., n.d. 2 Box 1 cont’d. b. Bound copy, final version, TS, 31 p., 1936. Folder 9 8. "Set to Music," by Noel Coward, final version, TS, 64 p., n.d. Folder 10 9. "Hands Across the Sea,” by Noel Coward. a. Final version, approx. 28 p., n.d. b. Final version, subtitled “A Light Comedy in One Act,” TS with holograph notes, 30 p., n.d. Folder 11 10. “A Christmas Carol,” by Charles Dickens, draft, TS with holograph notes, 24 p., n.d. Folder 12 11. “Wait the Phoenix: A Rhythmical-Comedy in Three Acts of Variant Verse,” by Clement ffuller [sic], TS, 132 p., 1963. -
1939-01-25 [P A-8]
technicolor: 12:10, 2:30, 4:50, 7:10 AMUSEMENTS._ Mr. Hitchcock Proves In a New British Where and When and 9:30 pm. Really Mystery Little—“100 Men and a Girl,” Deanna Durbin sings, Leopold Sto- Current Theater Attractions a kowski conducts the orchestra: 11 Film Director’s Medium and Time of Showing a.m., 12:45, 2:35, 4:20, 6:05, 7:45 and 'NIGHT AT 8:S0 9:40 p.m. The troly Joyous comedy hy and from Ian Hay’s nerul “The Henoemaater" ‘The National—“Bachelor Born," Ian BeUsco—“Beethoven Concerto,” Lady Vanishes’ Is Case in Point; Hay’s hit comedy of school life: new film with much of the master’s 2:30 and 8:30 music: 8:10 and 9:50 BACHELOR BORN Picture Also Introduces New p.m. 4:50, 6:20, pm. Capitol—"Stand Up and Fight,” Trans-Lux—News and shorts; con- It’s a wow!—WaHar Wlneholl Bob Taylor helps railroads battle tinuous from 10 am. Eyes.. 05c. (1.10, fl.SS, *2.20 Recruit for Wed-Sat. Mats., fide, Sl.IO. Sl.U English Hollywood stage coaches: 10:30 am., 1:20, 4:10, By JAY CARMODY. 7:05 and 9:55 p.m. Stage shows: 12:30, 3:20, 6:10 and 9:05 pm. School NATIONAL—This One of the things they insist upon in Hollywood is that the motion Play Tryouts Thursday The of picture is a director’s medium, something for which one cannot blame Earle—“Zaza," Claudette Colbert Players’ Club the Central 4 O'Clock the actor and the writer.