The Puppet Master Index 1946 – 2018
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Regency Actors and the Inspiration Behind Romantic Drama
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama James Armstrong The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2317 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FIT FOR THE STAGE: REGENCY ACTORS AND THE INSPIRATION BEHIND ROMANTIC DRAMA by JAMES ARMSTRONG A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 ii © 2017 JAMES ARMSTRONG All Rights Reserved iii Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. May 12, 2017 ______________________________ Date Chair of Examining Committee Marvin Carlson Distinguished Professor May 12, 2017 ______________________________ Date Executive Officer Peter Eckersall Professor ______________________________ Jean Graham-Jones Professor ______________________________ Annette J. Saddik Professor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong Adviser: Distinguished Professor Marvin Carlson In this dissertation, I argue that British verse tragedies of the Romantic era must be looked at not as "closet dramas" divorced from the stage, but as performance texts written with specific actors in mind. -
The Editors of Puppetry International Hope You Enjoy Reading Greg Pellone's Full
The editors of Puppetry International hope you enjoy reading Greg Pellone’s full account of the life and work of Joe Parsonage. MEET JOE PARSONAGE About one year ago, I read an obituary for Mr. Robert Gregg written by Fred Putz in the Winter/Spring 2016/17 Puppeteers of America Puppetry Journal.1 For some reason unknown to me at the time, I had an overwhelming compulsion to try to find out more about Robert. I was eventually put in touch with his widow Christine, who coincidentally lives nearby, and she agreed to meet and tell me more about her husband. Sadly I never had a chance to meet Robert personally, but wish I had. Like me, he was a lifelong puppetry enthusiast. Our paths did cross by strange circumstance in August 2015 when he and Christine visited a large exhibition of our world puppet collection which was sponsored by The Florida CraftArt Gallery in downtown St. Petersburg (see the Fall 2015 POA Puppetry Journal2). While they were there, Robert had asked to meet me, but for some reason I was never informed and unfortunately we never met. Also like me, Robert was a Punch and Judy fan, and an old set of Punch and Judy puppets that he had purchased some years ago from “Uncle Ted” Raub, a television personality in Pennsylvania, were among his favorites. Those puppets are now a permanent part of the Pellone/Barrett Puppet Collection with much gratitude to both Robert and his wife and to Mr. David Wilde, notable British Punch and Judy collector and historian who positively identified them as Joe Parsonage’s work.3 All puppets in the collection are photographed, archived and cataloged with pertinent information. -
PERFORMING the LABORING CLASS: the EVOLUTION of PUNCH and JUDY PERFORMANCE by Kathryn Meehan, BA a Thesis Submitted to The
PERFORMING THE LABORING CLASS: THE EVOLUTION OF PUNCH AND JUDY PERFORMANCE by Kathryn Meehan, BA A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Theatre August 2014 Committee Members: John Fleming Sandra Mayo Margaret Eleanor Menninger 1 COPYRIGHT by Kate Meehan 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Kate Meehan, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I would first like to thank Dr. Margaret Eleanor Menninger, whose support for my work in theatre as an historical tool has been unwavering, and Dr. John Fleming and Dr. Sandra Mayo, who also served as readers for this thesis. I would be remiss if I didn’t thank Adam Rodriguez, La Fenice’s most popular Pulcinella, for providing invaluable insight into the character’s modern interpretation and serving as a sounding board for much of this thesis. Also due recognition is Olly Crick, whose decade-long support of my work as both a performer and academic is much appreciated. Special thanks also to my husband, Stephen Brent Jenkins, and our children, who were both encouraging and understanding throughout the writing of this document. -
Book Reviews
Fall 1992 191 Book Reviews Fall 1992 193 Shakespeare's Caliban: A Cultural History. By Alden T. Vaughan and Virginia Mason Vaughan. New York: Cambridge University Press, 1992. 290 pages. This text—well-written, thoroughly researched and eminently readable—is an intriguing entry in a relatively new subgenre of theoretical studies: the 'cultural history/ based upon analysis of the protracted recycling of a play, character or set of tropes over an extended period of time. Such studies often posit that the incarnations of consistently reutilized texts or tropes reveal shifts in social attitudes in the process of intracultural transformation. Other texts of this type—such as Paul Davies' The Lives and Times of Ebeneezer Scrooge, Stephen Forres Hideous Progenies, and Lucy Hughes-Hallett's Cleopatra— achieved their aims to varying degrees of success, and the Vaughans' text is among the more successful. Shakespeare's Caliban is a useful and often fascinating text, although it focuses more of its attention upon things literary than theatrical. Nonetheless, scholars will find it valuable for any course on or investigation into the later Shakespeare, the theatre of the 17th and 18th centuries, or contemporary modes of analysis and their relationship to cultural ideology, and directors, designers, et. al., will find in the text an immensely valuable research tool. Shakespeare's Caliban focuses upon the evolution of perceptions revolving about that single character from Shakespeare's day to the 1990s, tracing the presentation of Caliban from biological mongrel in the 17th and 18th centuries, through Darwinian symbol in the mid- to late 19th century, to carrier, in our own time, of questions about imperialism, colonialism and their attendant racist attitudes. -
The Grimaldian Clown in the Work of Charles Dickens Jonathan
1 “Clowns that beat Grimaldi all to nothing turn up every day!”: The Grimaldian clown in the work of Charles Dickens Jonathan James Buckmaster PhD thesis Royal Holloway, University of London September 2012 2 Contents Contents ................................................................................................................................... 2 Table of Figures ........................................................................................................................ 3 Thesis Abstract ......................................................................................................................... 5 Acknowledgements .................................................................................................................. 6 Declaration ............................................................................................................................... 7 CHAPTER 1 - Introduction ........................................................................................................ 8 CHAPTER 2 - Literature Review .............................................................................................. 18 CHAPTER 3 - The Memoirs of Joseph Grimaldi – A Reassessment ......................................... 57 CHAPTER 4 - The Gluttonous Clown .................................................................................... 134 CHAPTER 5 - The Clothed Clown .......................................................................................... 192 CHAPTER 6 - The Slapstick Clown........................................................................................ -
The Corsican Brothers: Its History, and Technical Problems Related to the Pro Duction of the Play
This dissertation has been 64-1266 microfilmed exactly as received HUNTER, Jack Worth, 1928- THE CORSICAN BROTHERS: ITS HISTORY, AND TECHNICAL PROBLEMS RELATED TO THE PRO DUCTION OF THE PLAY. The Ohio State University, Ph.D., 1963 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE CORSICAN BROTHERS: rrs HISTORY, AND TECHNICAL PROBLEMS RELATED TO THE PRODUCTION OF THE PLAY DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jack Worth Hunter, B.A., M.A. The Ohio State University 1903 Approved by Department of Speech 11 ACKNOWLEDGMENTS To Anne for encouragement, perseverance, understanding; and to John McDowell for his vision and energy which created the unique research facility which has made such studies as this possible. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS................................................................ iii LIST OF ILLUSTRATIONS........................................................... vi Chapter I. INTRODUCTION...................................................... 1 Scope and purpose of the study Nature of the materials consulted Organization of the study Definition of terms I I . A HALF CENTURY OF THE CORSICAN BROTHERS........................................................... 9 The Play in F ra n c e ............................................. 9 Origin of the play Charles Fechter The Productions in England................................ 14 Charles Kean and the original English production Fechter in England The revivals of Sir Henry Irving Sir John Martin-Harvey The Productions in A m erica.............................. 46 New York productions Productions outside of New York Toy Theatre Productions ................................... 60 III. THE PLAY................................................................ 66 Critical reaction A note on Boucicault's contribution Structure of the play iv Page The plot The sub-plot Variations from BoucicauLt!s version IV . -
SPRING and SUMMER 2011 Issue #29 P UPPET' Y
SPRING and SUMMER 2011 Issue #29 P UPPET' Y $5 95 US $7 95 CAN 0 74470 87511 6 MPeteeRS of AMe:ka v U ENX°NeRs#RY .NB~toNaIP@Pelk¥fesllVal.ORB ,/1 / 1 11 k . 1 bli PUPPETRY INTERNATIONAL issue no. 29 The Editor's Page 2 TOY THEATRE Toy Theatre Then and Now by Ann Szalic, Neff . 4 Preetz Festival /n' Michael Netson 12 Great Small Works br Trudi Cohen _ 20 Terror as Usual br Clare Dolan ... 11 Little Blue Moon bv Kat/ir Foler . 16 Basement Puppet Theatre by Joe Mc·Cormack 29 Playing with Toys by Mai-k Fussman 30 SPECIAL COLOR SECTION! Toy Theatre at the Bruce Museum /n· Eric G. Bernard C \ PEER REVIEWED ARTICLES Robert Poulter br Far Tsitc,it .- 8 The Example of Germany by John Rouse 16 PERFORMANCE REVIEW Or You Could Kiss Me (D.T. Bran(les) . 32 BOOK REVIEW Leo's Heroes (Trish Lewis) .34 ©2011- UNIMA-USA Puppetry International is a publication of UNIMA-USA, Inc. American Center of the UNION INTERNATIONALE de la MARIONNETTE Proinoting international friendship and zinderstanding thi·origh the art of plippetry c/o Center for Puppetry Arts 1404 Spring Street, NW Atlanta, GA 30309 USA 404-873-3089 www.unima-usa.org On the COVER .. from r=7 A Cltild's View: NATIONAL 19111-Century Paper Theaters ENDOWMENT FOR THE ARTS Bruce Museum. Greeliwich. CT (see center pages) This project is supported, in part, by an award from the National Endowment for the Arts. PUPPETRY INTERNATIONAL . I. t r , ,/ if l 4 Famfy lf'*,rwk . -
CHARLES DIBDIN and LATE GEORGIAN CULTURE Comp
Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 1 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi CHARLES DIBDIN AND LATE GEORGIAN CULTURE Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 2 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 3 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi Charles Dibdin and Late Georgian Culture Edited by OSKAR COX JENSEN DAVID KENNERLEY and IAN NEWMAN 1 Comp. by: SatchitananthaSivam Stage : Revises1 ChapterID: 0003304476 Date:20/10/17 Time:19:08:25 Filepath:d:/womat-filecopy/0003304476.3D Dictionary : OUP_UKdictionary 4 OUP UNCORRECTED PROOF – REVISES, 20/10/2017, SPi 3 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © the several contributors 2018 The moral rights of the authors have been asserted First Edition published in 2018 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. -
Puppets, Gods, and Brands
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Contemporary Punch and Judy in Performance: an Ethnography of Traditional British Glove Puppet Theatre
Contemporary Punch and Judy in performance: an ethnography of traditional British glove puppet theatre. Martin John Reeve Royal Holloway College University of London Submitted for the degree of Doctor of Philosophy 1 I declare that the work presented in this thesis is all my own. Martin John Reeve 2 Abstract No sustained research has been done into the traditional British glove puppet form Punch and Judy since the 1980s; no ethnographic research has ever been done on it. The research addresses the gaps in this knowledge and seeks to discover how production and reception of the form has changed in the last 25 years and how it is currently constituted. The research is particularly concerned to discover who is now performing the show, how it is performed and where it is performed. It is also concerned with how its reception is mediated by current preoccupations with nostalgia and the commodification of the historical. The research relies on close comparison with previous studies; it also investigates the approaches of earlier commentators. More centrally, it is an ethnographic study of current practice undertaken in close association with many of the performers themselves, especially members of the Punch and Judy College of Professors who are collaborative partners in the project. Through participant-observation, the research seeks to get closer to understanding the dramaturgy, the material culture and the motivations of the performers themselves than previous studies have attempted to. The research has discovered that significant changes have occurred in Punch and Judy in the past 25 years, in two principal areas. Firstly, in the control of the tradition by performers themselves. -
Why Circus Works
WHY CIRCUS WORKS How the values and structures of circus make it a significant developmental experience for young people. Reginald Bolton, B.A. (hons.), Cert. Ed. This thesis is presented for the degree of Doctor of Philosophy, Murdoch University, Perth, in 2004 I declare that this thesis is my own account of my research and contains, as its main content, work which has not previously been submitted for a degree at any tertiary education institution. ....................……………............... (Reginald Bolton) Acknowledgements Sincere thanks go to my excellent supervisor, Dr. Jennifer de Reuck, and to the Murdoch University librarian, Grant Stone, both of whom cheerfully and provocatively urged me on throughout this three and a half year project. My colleagues in corridor TP3, Georgina Wright and Cheryl Miller in the Division of Arts administration and the helpful staff at the Murdoch library and cafeteria have made this a pleasurable experience – not the wearisome journey that is often associated with PhD research. Cherree Innes has been the fearless and efficient interface between me and the computer, and without her, you would not be able to read this now. Twenty-two institutions and two hundred and nineteen individuals are acknowledged in appendix 1 for their interviews. I wish to thank them and many others who have spared time to help my enquiry. Ho Wing Wah (Loretta) has been pursuing a course parallel with mine, and besides her kind translating of some Chinese texts, her friendship and encouragement have been inspirational. Abstract Why Circus Works How the values and structures of circus make it a significant developmental experience for young people Circus is increasingly being used as a developmental and remedial activity for children.