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Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Charles Frohman: Manager and Man, by Isaac 1
Charles Frohman: Manager and Man, by Isaac 1 Charles Frohman: Manager and Man, by Isaac The Project Gutenberg eBook, Charles Frohman: Manager and Man, by Isaac Frederick Marcosson and Daniel Frohman, et al This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Charles Frohman: Manager and Man Author: Isaac Frederick Marcosson and Daniel Frohman Release Date: July 29, 2008 [eBook #26146] Charles Frohman: Manager and Man, by Isaac 2 Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK CHARLES FROHMAN: MANAGER AND MAN*** E-text prepared by Robert Cicconetti, Chuck Greif, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 26146-h.htm or 26146-h.zip: (http://www.gutenberg.net/dirs/2/6/1/4/26146/26146-h/26146-h.htm) or (http://www.gutenberg.net/dirs/2/6/1/4/26146/26146-h.zip) CHARLES FROHMAN: MANAGER AND MAN by ISAAC F. MARCOSSON and DANIEL FROHMAN With an Appreciation by James M. Barrie Illustrated with Portraits New York and London Harper & Brothers M.C.M.X.V.I Charles Frohman: Manager and Man Copyright, 1916, by Harper & Brothers Copyright, 1915, 1916, by International Magazine Company (Cosmopolitan Magazine) Printed in the United States of America Published October, 1916 To The Theater Charles Frohman: Manager and Man, by Isaac 3 That Charles Frohman Loved and Served Nought I did in hate but all in honor! HAMLET Contents CHARLES FROHMAN: AN APPRECIATION I. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
HIDDEN in PLAIN SIGHT Musical Subtext in Drama BRIGITTE BOGAR a DISSERTATION SUBMITTED to the FACULTY of GRADUATE STUDIES IN
HIDDEN IN PLAIN SIGHT Musical subtext in drama BRIGITTE BOGAR A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2018 © Brigitte Bogar, 2018 Abstract This dissertation explores the manner in which music (songs, instrumental underscoring, and sound cues) support, reflect, and advance dramatic action. The dramaturgical analysis, employing Freytag’s model, is applied to selected dramatic repertoire to reveal the impact and influence of music on the dramatic structure of these works. The analysis considers how the musical nature of works by William Shakespeare, August Strindberg, George Bernard Shaw, Tom Stoppard and Simon Stephens also contributes to them becoming major sources for adaptations and for musicals on the modern stage. The importance of looking at authors, function, intended effects, production, context, message, and transmission modes must be stressed, as well as how to code/decode music and how musical meanings are generated through effective stimulation or through semiotics. The argument maintains that text and music cannot be separated without causing serious damage to the author’s creative vision and that the total structure of a play exists as an expression of artistic unity similar to Wagner’s concept of Gesamtkunstwerk. The text and music exist in a symbiotic relationship, sometimes as leitmotifs, with the non-diegetic music supporting emotions to reflect the inner world of their characters. The use of musical leitmotifs or music as thematic material clearly contributes in driving forward the dramatic action. Among the main findings are how the musical references made by any of the five playwrights determines the dramaturgical interpretation of their plays. -
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998, -
Fashion Behind the Footlights: the Influence of Stage
FASHION BEHIND THE FOOTLIGHTS: THE INFLUENCE OF STAGE COSTUMES ON WOMEN'S FASHIONS IN ENGLAND FROM 1878-1914 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karen Adele Recklies, B.A., M.A. * * * * * The Ohio State University 1982 Reading Committee: Approved By Alan Woods George Crepeau Firman Brown, Jr. Advisor Department of Theatre Copyright Karen Adele Recklies 1982 I I I l I ~ ACKNOWLEDGMENTS I would like to thank the following, people for their help in preparing the dissertation: my advisor Alan Woods, George Crepeau, Firman Brown, Jr., Mary Millican, and my husband Don for his preparation of the illustrations. ii VITA 1971 ...................... B.A., Kent State University, Kent, Ohio 1971-72................... Teaching Assistant, Department of Theatre, Kent State Univer sity, Kent, Ohio 1974 ............... M.A., Kent State University, Kent, Ohio 1976-80 ................. Graduate Teaching Associate, Graduate Administrative Associ ate, Department of Theatre, The Ohio State University, Columbus, Ohio 1981-82 ................. Graduate Administrative Associ ate, Center for Medieval and Renaissance Studies, The Ohio State University, Columbus, Ohio PUBLICATIONS AND PRESENTATIONS "Lillie Langtry's Stage Costumes: Examples of Contemporary Fashions in England and America, 1895-1900." Part of the Competitive Costume Panel at the American Theatre Association National Convention, August 1981. "Lillie Langtry's Stage Costumes: Examples of Contemporary Fashions in England and America, 1895-1900." Accepted for publication in Theatre Studies. FIELDS OF STUDY Major Field; Theatre Studies in Costume Design and Costume History. Professor Michelle Guillot Studies in Literature and Criticism. Professor John Morrow Studies in History. -
Mira & Stella Disc Catalog (PDF)
Mira & Stella Tune List 7/25/2020 NOTE: Numbering is identical for all sizes of Mira & Stella discs, with some sizes of Stella discs having a prefix to these numbers. No. Title Song Type Composer 1 My Queen Waltz Waltz Coote, Jr. 2 Blue Danube Waltz Joh Strauss, Jr 3 Waves of the Danube Waltz Ivanovici 4 Faust Waltz Gounod 5 Wine Spirits Waltz (Le Petit Bleu) Lecocq 6 After the Ball Waltz Kiefert 7 Estudiantina Waltz Waldteufel 8 Wine, Women and Song Waltz Joh Strauss, Jr 9 I Am a Rover (from Chimes of Normandy or les Cloches de Corneville) Waltz Planquette 10 Nanon, valse d' Anne Genee 11 Invitation to the Dance Waltz Weber 12 Roses from the South Waltz Joh Strauss, Jr 13 The Daughter of Madame Angot Waltz Lecocq 14 The Wave Waltz Metra 15 Do I Love You? Waltz Rosenzweig 16 Jumping-Jack Waltz Foerster 17 Espana Waltz Waldteufel 18 Wiener Blut Waltz Joh Strauss, Jr 19 A Night in Venice Waltz Joh Strauss, Jr 20 Violetta Polka Joh Strauss, Jr 21 Carmen Polka Bizet 22 Polka des Fleurs Ziehrer 23 Always Gay Polka Faust 24 From Heart to Heart Mazurka Andree 25 Excelsior Mazurka Marenco 26 My Sweetheart Mazurka Komzak 27 La Czarina Mazurka L Ganne 28 A Life for the Czar Mazurka Glinka 29 Don Cesar March Dellinger 30 Boccaccio March Suppe 31 Gasparonne March Millocker 32 Under the Double Eagle March Wagner 33 Prayer (from William Tell) Rossini 34 Standchen Serenade (from Boccaccio) Suppe 35 Serenade (from Don Juan) Mozart 36 In unserer Heimat (from ll Troratore) Duet Verdi 37 The Last Rose of Summer (from Martha) Flotow 38 Bridal Chorus (from -
SETTING the SCENE: DIRECTORIAL USE of ANALOGY in TWENTIETH-CENTURY AMERICAN SHAKESPEARE PRODUCTIONS by LAWRENCE RONALD TATOM B
SETTING THE SCENE: DIRECTORIAL USE OF ANALOGY IN TWENTIETH-CENTURY AMERICAN SHAKESPEARE PRODUCTIONS by LAWRENCE RONALD TATOM B.A., California State University Sacramento, 1993 M.F.A., University of North Carolina – Greensboro, 1996 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre 2011 This thesis entitled: Setting the Scene: Directorial Use of Analogy in Twentieth-Century American Shakespeare written by Lawrence Ronald Tatom has been approved for the Department of Theatre. _________________________________ Oliver Gerland, Associate Professor __________________________________ James Symons, Professor Date___________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of the scholarly work in the above mentioned discipline. IRC protocol # 0902.28 Tatom, Lawrence Ronald (Ph.D., Theatre) Setting the Scene: Directorial Use of Analogy in Twentieth-Century American Shakespeare Productions. Thesis directed by Associate Professor Oliver Gerland This dissertation charts the historical development of the use of analogy by stage directors in twentieth-century American Shakespeare productions. Directorial analogy, the technique of resetting a play into a new time, place or culture that resembles or echoes the time, place or culture specified by the playwright, enables directors to emphasize particular themes in a play while pointing out its contemporary relevance. As the nineteenth century ended, William Poel and Harley Granville-Barker rejected the pictorial realism of the Victorian era, seeking ways to recreate the actors-audience relationship of the Elizabethan stage. -
Unruly Reproductions: the Embodied Art of Mimicry in Vaudeville
The Journal of American Drama and Theatre (JADT) https://jadt.commons.gc.cuny.edu Unruly Reproductions: The Embodied Art of Mimicry in Vaudeville by Jennifer Schmidt The Journal of American Drama and Theatre Volume 31, Number 3 (Spring 2019) ISNN 2376-4236 ©2019 by Martin E. Segal Theatre Center The Belle of Mayfair, a musical comedy composed by Leslie Stuart with book by Basil Hood, Charles Brookfield, and Cosmo Hamilton, premiered in London in 1906. The comedy was loosely based on Romeo and Juliet, which did not prevent it from including a number called “Why Do They Call Me A Gibson Girl?” commenting on the American fashion craze sparked by Charles Dana Gibson’s illustrations. The lyrics for the song instructed the listener on how to “affect” the Gibson style: Wear a blank expression, And a monumental curl, And walk with a bend in your back, Then they will call you a Gibson Girl. … The girls affect a style As they pass by With down-cast eye, And a bored and languid smile, … They do their best, for they’ve seen the pictures. [Chorus: They’ve missed the point of the Dana picture,] Which are intended, don’t you see, For all in perfect type should be.[1] For the New York production, which ran from December 1906 through March 1907, Valeska Suratt, a milliner from Indiana, used the role and her dressmaking skills to launch her acting career. Commenting on the hit song for the production’s Baltimore transfer, a review in The Sun exclaims that “Miss Surratt…looks like she had just stepped out from one of Charles Dana’s $1,000 sketches.” The reviewer also notes that the chorus featured a different look than the typical “chubby chorus girls,” stating, “Their places were well filled by tall, willowy creatures, called Gibson girls, who wore the most stunning gowns imaginable and who lifted up their chins in preference to their toes.”[2] This new, aloof physicality and the uniformity sent up by the lyrics of the song—“for all in perfect type should be”—correspond to a general trend in depictions of women in the United States. -
“Whenfirst They Listened. Ok
Bditiong Baitio Times, November 25, 1927, Gouthern PROGRAMMES YOU WILL WANT TO HEAR(Nev, 27—Dee, hee Xi 3 ae LowyDon onal : sai<rEEa," PNiene ‘Z Journa! of the ‘British Broadcasting Corporation, — Vol. Te“No. 217. os“ieri relateredotat LEth NOVEMBER{2,1927, Every Friday.Two Pence. ——— et “WhenFirst They Listened. ok Norman Edwards tells how various Famous People first reacted to Broadcasting. 35 GOON after a gular broatleasting ser- want to listen to the things | don't want S yace Wasetarted from the old 2L0. to hear, although admittedly I can refraim | mack up oy mind that. it would | from listening when the programmes don't b | inda work if logave various | appe ul to me, Still, t have often thought Well-known people an opportunity of 1/15 that. the idea of listenme to a Beethoven being In these carly days,. long before Sonata while in. my bath micht be very the ficence firures had ‘re: he a. quarter entertainime [* eta miltin,-- breac ASting Was very much Mr. Hamboure. was optinnsti shout broad = Ol fi. WiVstery. ler Tay petite, ind T remernber casting helping music. “Anything,” he said, one “EVER ohne Pha Been anvited ta ‘that brings “music to a mass of people is cine with Mr, Mark Hambourg, [took w Wh broned- eno; for when alls said and dene me what was, in those days, rather a noveity casting 5 40° reproduction ane, sooner or portable set. GEORGE BERNARD SHAW later; it will make people interested enough - = ne Vhat’s all this?” queried. my Te P= E smd "Liea] them heat theif on langFL pee poker to hear the real thine, le would b e lumped the portable on one of his by Str Jobraton Forbes Robertson, Chi another oceasiow I colic on -sir Henry a Etactlinge move ley to-wit ok them!” Lo chars, i Ji Wood and Bayt fun his 5 first opportunity ‘] after ted. -
Long Id Appraiser Approval Address Phone Fax
LONG_ID APPRAISER APPROVAL ADDRESS PHONE FAX LICENSE_EXP_DT STATE E&O_DT FHA CODE VA CODE WATCH_LIST_2 A HARRIS ZELICK GOTTLIEB; K 3/8/2002 PO BOX 220 KALAMA, WA 98625-0200 360-225-5253 360-225-3146 4/26/2003 WA N A. AMORIELLO ANGELO F. AMORIELLO; EL P 1/29/2001 4717 HONDO PASS SUITE #3AEL PASO, TX 79904 915-755-0046 915-755-0774 7/31/2008 TX 4/20/2001 N A. LIFQUIST ALAN A. LIFQUIST; BAKERSF 10/25/2000 4040 MING AVE. #A BAKERSFIELD, CA 93309 661-832-3768 1/29/2008 CA 11/9/2002 N A. OSIECKI ANTHONY A. OSIECKI; LAS V 3/21/2001 7908 MARBELLA CIR. LAS VEGAS, NV 89128 702-731-0007 702-869-4221 5/31/2001 NV 12/1/2001 N A.OHAZO ANDREW OHAZO; WATERTOWN, 3/15/2001 P.O. BOX 148 WATERTOWN, CT 06195 860-945-9779 860-945-9771 4/30/2002 CT 8/17/2001 N AAMODT.C CHARLES C. AAMODT; UPLAND 1/19/2007 1257 DOGWOOD ST. UPLAND, CA 91784 909-949-1330 909-949-7288 2/27/2007 CA N AARON.J JEFFREY W. AARON; TANEYTO 10/12/2007 146 MORNING FROST ST. TANEYTOWN, MD 21787 410-756-9211 410-756-1410 4/21/2010 MD N AARONS EDWARD S. AARONS; PALM SP 8/19/2002 1001 S. PALM CANYON #205 PALM SPRINGS, CA 92264 760-779-9004 760-322-3192 1/29/2006 CA 10/11/2002 N AARTSEN.W WILLEM A. AARTSEN; TIGARD 7/30/1998 7555 SW HERMOSO WAY #100 TIGARD, OR 97223 971-249-0074 971-249-0075 12-31-09]12-03-00 OR]WA 4/16/2006 N ABACHERLI.L LEON S. -
P. G. Wodehouse, Feminist by Elin Woodger Ne of the Most Common Misconceptions One O Hears About P
The quarterly journal of The Wodehouse Society Volume 37 Number 3 Autumn 2016 P. G. Wodehouse, Feminist by Elin Woodger ne of the most common misconceptions one O hears about P. G. Wodehouse’s books is that his humor appeals only to men. Some critics point to characters like Aunt Agatha, Madeline Bassett, and Honoria Glossop, and assume that women must feel offended by such representations of their sex. Frances Donaldson bears part of the blame for this. In the introduction to her biography of Wodehouse, she writes that his is “a world of purely masculine fantasy” which “women as a whole do not care for.” She also tells us that women have more imagination but a different sense of humor from men, and that they are “too subjective to be amused by the indiscriminate heartlessness of knockabout farce.” She caps off her argument with this: Wodehouse puts all his literary grace, his talent for dialogue and his inspired humour entirely Elin Woodger takes a moment between her international duties at the service of knockabout plots. This is his editing Wooster Sauce and proofing Plum Lines. claim to be unique and it accounts for his appeal to a wide male readership as well as an societies around the world, writing articles for their intellectually distinguished one, but, with many journals, attending conventions, and taking prominent exceptions to the rule, it puts him out of reach roles in online discussion forums if there wasn’t of the female sex. something they appreciated about Wodehouse’s so- called masculine fantasy. (By the way, folks, there are Well, my response to this is: Piffle! And I suspect more women registered for this convention than there that every female member of The Wodehouse Society are men.