DOCSLIB.ORG

2017 Panelist Biographies As of 11/13/2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

2017 Panelist Biographies As of 11/13/2017 Phil Contrino currently works as the Data and Research Manager for the National Association of Theatre Owners (NATO). In this role, Phil has conducted custom research on movie-going habits with a special focus on millennials. In August 2016, Phil started a Young Members Committee within NATO in order to help young talent in the exhibition industry prosper. Before joining NATO, Phil was the Vice President/Chief Analyst for Boxoffice.com. During his time at Boxoffice, Phil built a data/prediction business, maintained relationships with trade publications in India and China, and was quoted regularly by CNN, The New York Times, The Wall Street Journal, Vox, Wired, Variety, The Hollywood Reporter, The Wrap, and many others. Joan Darling was the first woman nominated for an Emmy® for television direction. She was nominated four times winning both the Emmy® and the DGA Award. She is considered the first woman director of the modern age. She is widely recognized for her talents as a director and actress. In the early 1970s, Joan had a recurring character role in the television series OWEN MARSHALL, COUNSELOR AT LAW. In her early directorial career, Joan directed the pilot and many other episodes in the first season of the hit TV series MARY HARTMAN, MARY HARTMAN. She also directed episodes of M*A*S*H*, RICH MAN, POOR MAN, and MAGNUM P.I., among others. She directed the “Chuckles Bites the Dust” episode of THE MARY TYLER MOORE SHOW, which was named “the number one TV episode of all time” by TV Guide. The New York Times named it “the funniest episode ever on TV”. Her first film, FIRST LOVE, was released in 1977, and was named one of the year’s ten best by CBS. Joan created the Directing the Actor workshop for the Sundance institute and has taught directing at the Sundance Lab for 20+ years. Deborah Riley Draper is an award-winning filmmaker and advertising agency veteran. Variety Magazine named Draper to their “2016 Top 10 Documakers to Watch“ list. Her 2016 documentary, OLYMPIC PRIDE, AMERICAN PREJUDICE, tells the untold story of 18 African Americans who defied Hitler and Jim Crow in 1936 and is a 2017 nominee for the NAACP Image Awards Outstanding Documentary Film, qualified for the 2017 Oscars, and had a successful festival run. Her debut film, VERSAILLES ’73: AMERICAN RUNWAY REVOLUTION, opened New York Fashion Week and Toronto Fashion Week in 2012. It is the first intimate look at the infamous Palace of Versailles fashion show fundraiser, which catapulted the American ready-to-wear designers to global prominence. The film was released theatrically and premiered on Viacom’s Logo TV in September 2015. Director Tate Taylor (THE HELP, GIRL ON THE TRAIN) optioned VERSAILLES ’73 and Draper will serve as executive producer of the upcoming feature film. Draper’s leadership in advertising can be seen in campaigns for Lamborghini, Coca-Cola classic, FedEx, and Adidas. She has earned two regional Emmy® Awards, a Gold Effie, and several Addy Awards. Otessa Marie Ghadar is a digital storyteller who uses writing, filmmaking, photography, and technology to share her narratives and build communities. As one of the web series medium’s earliest adopters, Otessa is a true forerunner of digital media. Starting in 2006, Otessa’s web series ORANGE JUICE IN THE BISHOP’S GARDEN is now the longest, continually running show online, with an audience in more than 145 countries. Otessa founded the DC Web Fest (one of the first of its kind and now in its 6th year) out of the need for digital content creators to showcase their works, inspiring creativity and innovation. A newly-initiated Google Next Generation Policy leader, Otessa works diligently to increase technology awareness and innovation among minority and marginalized communities. As an Adjunct Professor at AU, and through additional guest lecturing, Otessa uses her passions to guide the next generation of digital storytellers. Stemming from her knowledge and expertise, she published the world’s first new media textbook called The Wild West of Film. She is currently working on her next trans-media project – the Young Adult Science Fiction series, LEMMA. Bob Hone has had award-winning careers as documentary filmmaker (Peabody, Emmy®) as well as an interactive/game designer (Codie, Prix Mobius). Currently, Bob runs the Game Studio, part of American University's Game Lab, where he designs and manages collaborations with external organizations such as the NIH, ETS, WGBH, and the World Bank. Prior to AU, Bob was the Creative Director of Red Hill Studios, a boutique developer of innovative educational and health software and games. An accomplished grant-writer, Bob has received grants totaling $8M for a wide range of interactive and video projects. Diana Kerew is a producer and executive producer of films and mini-series for television, with over 50 produced projects to her credit. She is the recipient of two Emmy® Awards, the Peabody Award, a Christopher and a Humanitas, and the NAACP Image Award. In addition to this personal recognition, her films have garnered every major award in the industry: 10 Emmys®, Golden Globe nominations, 26 Emmy® nominations, and multiple nominations and wins for the DGA and WGA Awards. She produced BLIND AMBITION, a multi-Emmy- nominated 8-hour miniseries about Watergate: JOHN HERSEY’S THE WALL, about the Warsaw Ghetto Uprising (Emmys®, Peabody Award) and THE BUNKER, about Hitler’s last days, for which Anthony Hopkins won the Emmy® for Best Actor. She also developed several films for the big screen: BUFFALO BILL AND THE INDIANS, directed by Robert Altman, and OH, GOD, written by Larry Gelbart and starring George Burns. She was also involved with the oversight of ALICE DOESN’T LIVE HERE ANYMORE and FORT APACHE THE BRONX. She produced several films and miniseries for television, including a remake of NIGHT OF THE HUNTER and the film PARIS TROUT, starring Dennis Hopper. The latter screened at the Director’s Fortnight at Cannes. In addition to supervising a slate of more than 30 projects in development at all networks, she produced/executive produced several films and miniseries, including HITLER: The Rise of Evil (multiple Emmy® nominations, PGA nomination) and WHEN BILLIE BEAT BOBBY, starring Holly Hunter as Billie Jean King, written and directed by Jane Anderson. Diana now teaches The Development Process in Film and Television for the University of Texas/Austin UTLA program. Matthew Lucas, currently a writer/director for WILL Interactive, is an award-winning independent filmmaker and playwright in Washington, DC. His blithe genre short films have screened in festivals in the US and overseas, and he has won awards for his work as a director, screenwriter, and editor. He was a 2016 CINE Golden Eagle finalist, and a four-time Gold TIVA Peer Award winner. He is co-author and composer of SASQUATCH: THE MUSICAL, which appeared Off-Broadway in 2014 at the West Village Musical Theatre Festival. His award-winning short film MOONSHOT is currently streaming on Amazon. He holds a BA in Theatre Arts from Marymount Manhattan College and an MFA in Film from American University. He works as a cinematographer and writer of interactive media. Dara Marks, Ph.D. is a leading international script consultant, seminar leader, and author of one of the top selling books on creative writing, Inside Story: The Power of the Transformational Arc. She has specialized in the analysis of the modern screenplay for the past three decades, and Creative Screenwriting Magazine has consistently rated her one of the top script consultants in Hollywood. Dara has worked for most major Hollywood studios and her advice has been sought on a variety of films and television projects. Her groundbreaking work in this field continues to help writers engage more deeply and effectively in the creative writing process. Currently, Dara leads seminars world- wide and is an adjunct professor at Pacifica Graduate Institute in Santa Barbara. Marina Martins has more than 25 years "on the set" practical experience covering each film production department. She line-produced MNEMOSYNE, edited OUT OF RAIN and TERROR AT TATE MANOR, produced SPIN, and written and directed many more projects. Her passion is international co-production and she has consulted for Entertainment Business Group, specializing in development, marketing and distribution. Marina’s company Pigmental Studios, which has offices in Washington, DC and Los Angeles, is home to a corps of renowned animation artists and technologists who produce groundbreaking work in cooperation with international production partners. Derek McDaniel has started three video game companies, Black Lantern Studios, Graphite Lab, and Seamless Entertainment, during his career which combined have developed over 150 titles. Derek specialized in children and family friendly titles working with the top licensors such as Nickelodeon, Disney, and Cartoon Network through Activision, Vivendi, Tecmo, and more. In his role in business development and producing, he has worked on every aspect of development from initial game design to QA. He is best known for his work on DORA THE EXPLORER, WIZARDS OF WAVERLY PLACE, and primetime shows such as IRON CHEF and DEAL OR NO DEAL. Derek now works with WILL Interactive making immersive videos for the military, government, and commercial sectors. Carolyn McDonald is the award-winning executive producer of HBO’s AMERICA’S DREAM, the National Geographic documentary, BEARING LIGHT, TNT’s BUFFALO SOLDIERS and FREEDOM SONG. She has scripted works for 20th Century Fox, Propaganda Films, actor/director Glynn Turman, and a number of indie producers. Carolyn directed/produced the short film P.N.O.K. featuring Danny Glover and Elle Fanning, the documentary DESIGN YOUR NEIGHBORHOOD funded in part by the National Endowment for the Arts, as well as several documentaries for the Nashville Film Festival, and an array of music videos and short films.
Recommended publications
  • Available Videos for TRADE (Nothing Is for Sale!!) 1

    Available Videos for TRADE (Nothing Is for Sale!!) 1

    Available Videos For TRADE (nothing is for sale!!) 1/2022 MOSTLY GAME SHOWS AND SITCOMS - VHS or DVD - SEE MY “WANT LIST” AFTER MY “HAVE LIST.” W/ O/C means With Original Commercials NEW EMAIL ADDRESS – [email protected] For an autographed copy of my book above, order through me at [email protected]. 1966 CBS Fall Schedule Preview 1969 CBS and NBC Fall Schedule Preview 1997 CBS Fall Schedule Preview 1969 CBS Fall Schedule Preview (not for trade) Many 60's Show Promos, mostly ABC Also, lots of Rock n Roll movies-“ROCK ROCK ROCK,” “MR. ROCK AND ROLL,” “GO JOHNNY GO,” “LET’S ROCK,” “DON’T KNOCK THE TWIST,” and more. **I ALSO COLLECT OLD 45RPM RECORDS. GOT ANY FROM THE FIFTIES & SIXTIES?** TV GUIDES & TV SITCOM COMIC BOOKS. SEE LIST OF SITCOM/TV COMIC BOOKS AT END AFTER WANT LIST. Always seeking “Dick Van Dyke Show” comic books and 1950s TV Guides. Many more. “A” ABBOTT & COSTELLO SHOW (several) (Cartoons, too) ABOUT FACES (w/o/c, Tom Kennedy, no close - that’s the SHOW with no close - Tom Kennedy, thankfully has clothes. Also 1 w/ Ben Alexander w/o/c.) ACADEMY AWARDS 1974 (***not for trade***) ACCIDENTAL FAMILY (“Making of A Vegetarian” & “Halloween’s On Us”) ACE CRAWFORD PRIVATE EYE (2 eps) ACTION FAMILY (pilot) ADAM’S RIB (2 eps - short-lived Blythe Danner/Ken Howard sitcom pilot – “Illegal Aid” and rare 4th episode “Separate Vacations” – for want list items only***) ADAM-12 (Pilot) ADDAMS FAMILY (1ST Episode, others, 2 w/o/c, DVD box set) ADVENTURE ISLAND (Aussie kid’s show) ADVENTURER ADVENTURES IN PARADISE (“Castaways”) ADVENTURES OF DANNY DEE (Kid’s Show, 30 minutes) ADVENTURES OF HIRAM HOLLIDAY (8 Episodes, 4 w/o/c “Lapidary Wheel” “Gibraltar Toad,”“ Morocco,” “Homing Pigeon,” Others without commercials - “Sea Cucumber,” “Hawaiian Hamza,” “Dancing Mouse,” & “Wrong Rembrandt”) ADVENTURES OF LUCKY PUP 1950(rare kid’s show-puppets, 15 mins) ADVENTURES OF A MODEL (Joanne Dru 1956 Desilu pilot.
  • PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T

    PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T

    PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS BY G. Scott Campbell Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chairperson Committee members* _____________________________* _____________________________* _____________________________* _____________________________* Date defended ___________________ The Dissertation Committee for G. Scott Campbell certifies that this is the approved version of the following dissertation: PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS Committee: Chairperson* Date approved: ii ABSTRACT Drawing inspiration from numerous place image studies in geography and other social sciences, this dissertation examines the senses of place and regional identity shaped by more than seven hundred American television series that aired from 1947 to 2007. Each state‘s relative share of these programs is described. The geographic themes, patterns, and images from these programs are analyzed, with an emphasis on identity in five American regions: the Mid-Atlantic, New England, the Midwest, the South, and the West. The dissertation concludes with a comparison of television‘s senses of place to those described in previous studies of regional identity. iii For Sue iv CONTENTS List of Tables vi Acknowledgments vii 1. Introduction 1 2. The Mid-Atlantic 28 3. New England 137 4. The Midwest, Part 1: The Great Lakes States 226 5. The Midwest, Part 2: The Trans-Mississippi Midwest 378 6. The South 450 7. The West 527 8. Conclusion 629 Bibliography 664 v LIST OF TABLES 1. Television and Population Shares 25 2.
  • The Fellows Gazette Volume 84 Published by the College of Fellows of the American Theatre Spring 2021

    The Fellows Gazette Volume 84 Published by the College of Fellows of the American Theatre Spring 2021

    The Fellows Gazette Volume 84 Published by the College of Fellows of the American Theatre Spring 2021 Announcing The Fellows Webinar Weekend Mark Your Calendars Now! Dear Fellows, With the onset of 2021, the College of Fellows is continuing its joyous work of honoring artists and educators, like yourself, who have transformed our field through their expertise and distinguished service. This April we will not be able to gather together on site to honor new Fellows. However, we hope that you will join us by ZOOM WEBINAR, as we bring everyone together in a virtual community. Please join us to celebrate the Fellows for the Class of 2020 and the Class of 2021, to present the business of the College, to share in the Roger L. Stevens address and for the Orlin Corey toast. In two hours of virtual connection, we are combining the highlights of our normal meetings and gatherings at the annual meeting. The ZOOM WEBINAR will be recorded and available on our website. All Fellows are invited to participate. Please email administrative assistant [email protected] by April 1 to RSVP. You will be sent a link for the meeting prior to April 18, pre-sign in will begin at 11:45. Our virtual meeting with run from 12 Noon - 2 PM EST. We are in times of unprecedented change and challenges and I do hope that you can join us to celebrate the tradition and innovation of The College of Fellows. At this time, more than ever, we need to join together to rejoice in the power of the arts! Best, Gail Dr.
  • The Bibliography of the Publications by Classmates in the Yale Class Of

    The Bibliography of the Publications by Classmates in the Yale Class Of

    The Bibliography of the Publications by Classmates in the Yale Class of 1956: Includes Work by Wives of Classmates, Work in the Book Exhibit of the 50th Reunion and Listings in the ABEbook Exchange as of 02-09-2018. Introduction Here is a list of 476 publications by 95 Classmates and 10 of their wives, which is probably the first of its kind of any Yale College Class, and, if not, should compare well with any other in scope. But then again, this compilation of so many by so few might symbolize the autumn of book-binding’s age that stretched from Gutenberg’s invention till today and might suggest that publications, free of paper words and numbers, be in bytes to digitally whisk the world-wide-web. Will this new era mark the waning of the printing press as it had once replaced bespoken Latin scripts? Will knowledge be transmitted more efficiently both to and from a heaping, horizontal cloud? NB: Publication data obtained directly from authors has been verified; the data from the Exchange has not been verified. Compiled by W. H. H. Rees Index: Adebonojo, Festus O., Page 3 Helmstadter, Richard J., Page13 Tuggle, Joyce, Page 27 Alegi, Peter C., Page 3 Hodge, Paul W., Page 13 Tunney, John Varick, Page 28 Ambach, Gordon M., Page 3 Huber, Paul B., Page 14 Tveskov, Peter H., Page 28 Anderson, Jeremy H., Page 3 Hutt, Peter Barton, Page 14 Vare, Edwin C., Page 28 Andersson, Theodore M., Page 3 Jaffe, Sheldon M., Page 14 Velsey, Donald W., Page 28 Baker, F.
  • Anti-Theatrical Ideology in American Method Acting Michael L. Quinn

    Anti-Theatrical Ideology in American Method Acting Michael L. Quinn

    Fall 1995 5 Self-Reliance and Ritual Renewal: Anti-theatrical Ideology in American Method Acting Michael L. Quinn American Method acting is not only a realistic artistic technique but also an ideological formation. Almost every account of the adaptation of the Stanislavsky system by the Group Theater generation describes the new "Method" as distinctively American, yet this nationalist aspect of the project has rarely been examined from a historical standpoint that relates it to the dominant forces of American artistic culture; either the Method's arguments for its objectivity have been accepted as scientfically progressive, or its roots are traced to progressive European models (Ashby 1). On the contrary, the Method represents perhaps the most successful merging of a theoretcially conceived theatrical technique with the intellectual traditions that shape the history of American artistic culture. Most critics of the Method in America have produced explanations of the Method's dominance by taking issue either with its artistic claims for superiority or with its satisfied closure into a repressively conceived realism—both arguments that could be carried out solely on the basis of Stanislavsky's work, rather than considering that of his American epigones (Marowitz; Dolan 84-86). I view the emergence of the Method as the productive juncture of a theatrical practice and a revolutionary ideology, an imaginative intersection of innovation and energy that resulted in a remarkable body of work before its force subsided in the face of subsequent, similar cultural transformations; though American debates about the finer points of its technique still continue, the intellectual vitality of the Method revolution has been in a steady decline for about three decades (Schechner).
  • ST. GERMAIN STAGE AUGUST 1–SEPTEMBER 8, 2019 Steven

    ST. GERMAIN STAGE AUGUST 1–SEPTEMBER 8, 2019 Steven

    AND Roz and Charles Stuzin PRESENT BY Steven Levenson FEATURING J. Anthony Crane Mitch Greenberg Laura Jordan Isaac Josephthal Lena Kaminsky Kathleen Wise Robert Zukerman SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER SOUND DESIGNER John McDermott Elivia Bovenzi Scott Pinkney Palmer Hefferan PRODUCTION STAGE MANAGER CASTING Leslie Sears Pat McCorkle, Katja Zarolinski, CSA PRESS REPRESENTATIVE DIGITAL ADVERTISING Charlie Siedenburg The Pekoe Group DIRECTED BY Jennifer Chambers SPONSORED IN PART BY Arnold Kotlen and Stephanie Fleckner & Art and Terry Wasser Originally Produced in New York City by Roundabout Theatre Company (Todd Haimes, Artistic Director; Harold Wolpert, Managing Director; Julia C. Levy, Executive Director; Sydney Beers, General Manager) at the Harold and Miriam Steinberg Center for Theatre / Laura Pels Theatre on February 22, 2017. If I Forget is presented by special arrangement with Dramatists Play Service, Inc., New York. ST. GERMAIN STAGE AUGUST 1–SEPTEMBER 8, 2019 TIME & PLACE Act One: July 29, 2000 Act Two: February 18, 2001 Tenleytown, Washington D.C. CAST IN ORDER OF APPEARANCE Michael Fischer .............................................................................. J. Anthony Crane* Ellen Manning .....................................................................................Kathleen Wise* Holly Fischer ........................................................................................ Laura Jordan* Howard Kilberg ...............................................................................
  • Recommended Reading

    Recommended Reading

    C O R E Y P A R K E R Recommended Reading Books on Acting –––––––––– “The Power of The Actor” by Ivana Chubbuck “Respect for Acting” by Uta Hagen “A Challenge For The Actor” by Uta Hagen “Being And Doing” by Eric Morris “Truth” by Susan Batson “The Technique of Acting” by Stella Adler “Intent to Live” by Larry Moss “Towards A Poor Theater” by Jerzy Grotowski “The Art of Acting” by Stella Adler “Acting 2.0” by Anthony Abeson “Acting Class” by Milton Katselas “The Actor’s Eye” by Morris Carnovsky “All About Method Acting” by Ned Manderino “The Vakhtangov Sourcebook” by Andrei Malaev-Babel “Audition” by Michael Shurtleff “The Open Door” by Peter Brook “Stanislavski in Rehearsal” by Vasili Toporkov “The Presence of The Actor” by Joseph Chaikin “Strasberg At The Actors Studio” edited by Robert Hethmon “The War of Art” “On Acting” by Steven Pressfield by Sanford Meisner W W W . C O R E Y P A R K E R A C T I N G . C O M “On The Technique of Acting” by Michael Chekhov “The Existential Actor” by Jeff Zinn “The Theater And Its Double” by Antonin Artaud “An Acrobat of The Heart” by Stephen Wangh “Auditioning” by Joanna Merlin “Richard Burton in Hamlet” by Richard Sterne “Acting: The First Six Steps” by Richard Boleslavsky “The Empty Space” by Peter Brook “Advice to The Players” by Robert Lewis “On Acting” by Laurence Olivier “An Actor’s Work: Stanislavski” (An Actor Prepares) “Juilliard to Jail” retranslated and edited by Leah Joki by Jean Benedetti “On Screen Acting” “Advanced Teaching for The Actor, Teacher by Edward Dmytryk and Director” by Terry Schreiber “The Actor's Art and Craft” by William Esper & Damon DiMarco “How to Stop Acting” by Harold Guskin “Acting and Living in Discovery” by Carol Rosenfeld Books on Directing –––––––––– “On Directing” “No Tricks in My Pocket: Paul Newman Directs” by Elia Kazan by Stewart Stern “On Directing” “Cassavetes on Cassavetes” by Harold Clurman by John Cassavetes and Ray Carney “Stanislavsky Directs” “Levinson on Levinson” by Nikolai Gorchakov edited by David Thompson W W W .
  • 2010 TCG National Conference: IDEAS INTO ACTION

    2010 TCG National Conference: IDEAS INTO ACTION

    July 29, 2010 For immediate release Contact: Chris Boneau/Susanne Tighe [email protected] 2010 TCG National Conference: IDEAS INTO ACTION Field pioneers meet a new generation of visionaries as TCG awards the “Spirit of Irreverence” to funders and artists alike. The 2010 TCG Award Recipients are: Regional Funder Award: the Joyce Foundation Visionary Leadership Award: Bill Rauch, Artistic Director, Oregon Shakespeare Festival Theatre Practitioner Award: Bernard Gersten, Executive Producer, Lincoln Center Theater National Funder Award: Susan Smith Blackburn Prize Peter Zeisler Memorial Award: Jack Reuler, Artistic Director, Mixed Blood Theatre Alan Schneider Director Award: Anne Kauffman, Director Theatre Communications Group (TCG), the national organization for professional not- for-profit theatre announces the winners of the 2010 TCG Awards for excellence. The TCG Awards, presented during TCG’s National Conference in Chicago this past June, exist to salute extraordinary dedication to the American theatre community, the recipients of this honor are nominated by their peers and selected by TCG’s Board of Directors. Since 2001, TCG’s member theatres have been asked each year to nominate one person or organization for each of the five prestigious awards. On stage at the Palmer House Hilton’s Red Lacquer Room, TCG recognized a Regional Funder, a National Funder and recipients of the Peter Zeisler Memorial Award, the Alan Schneider Director Award and the Visionary Leadership Award with “Spirit of Irreverence” statues designed by Ralph Lee. “It
  • Respect for Acting Ffirs.Qxd 5/7/08 12:54 PM Page Ii

    Respect for Acting Ffirs.Qxd 5/7/08 12:54 PM Page Ii

    ffirs.qxd 5/7/08 12:54 PM Page vi ffirs.qxd 5/7/08 12:54 PM Page i respect for acting ffirs.qxd 5/7/08 12:54 PM Page ii Respect for Acting was first published in 1973 with the cover above. This edition reprints the original without alteration. ffirs.qxd 5/7/08 12:54 PM Page iii respect for acting uta hagen with haskel frankel John Wiley & Sons, Inc. ffirs.qxd 5/7/08 12:54 PM Page iv Copyright © 1973 by Uta Hagen. All rights reserved Foreword copyright © 2008 by David Hyde Pierce Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropri- ate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representa- tions or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose.
  • Hello Stanley, Good-Bye Blanche: the Brutal Asymmetries Of

    Hello Stanley, Good-Bye Blanche: the Brutal Asymmetries Of

    Cercles 10 (2004) HELLO STANLEY, GOOD-BYE BLANCHE The Brutal Asymmetries of Desire in Production ROBERT F. GROSS Hobart and William Smith Colleges Staging A Streetcar Named Desire. Staging in the theater. Staging in film. Staging in theatrical histories, literary histories, memoirs. Staged by reviewers, literary critics, teachers and students, publishers and readers. Each one of us has personally staged Streetcar in the past, and will no doubt do so again. Our various stagings will merge, collide, fragment and metamorphose. Our stagings will inevitably be partial and informed by personal experience. Let me begin with my staging, and then move on to others.’ When I received Professor Guilbert’s kind invitation by e-mail to present a paper at this conference, my first response was on a level of hysteria, that easily rivaled Blanche. “No!” I thought, my heart racing. “There must be some mistake! I can’t talk about that play! I’m the last person on earth who should talk about that play!” Yes, it seemed impossible to me, for, though I have published articles on plays by Tennessee Williams, edited a volume of essays on Williams, and directed productions of three of his plays, I have done my best to avoid any involvement with what is his most celebrated play, teaching it in the classroom only once, avoiding the Kazan film until I reached age 47, and never once having seen a live production of the play. While Philip C. Kolin has edited a fine volume of essays entitled, Confronting ‘A Streetcar Named Desire,’ I could write the book on avoiding it.
  • Announcing ALAN ALDA As the Lunt-Fontanne Fellowship Program 2013 Master Teacher N 1999 I Received a Call from Charlie Bray, Been Seen for Years

    Announcing ALAN ALDA As the Lunt-Fontanne Fellowship Program 2013 Master Teacher N 1999 I Received a Call from Charlie Bray, Been Seen for Years

    2012 newsletter Announcing ALAN ALDA as the Lunt-Fontanne Fellowship Program 2013 Master Teacher n 1999 I received a call from Charlie Bray, been seen for years. It was the early days of “Ten Ithe first chair of Ten Chimneys Foundation’s Chimneys Foundation,” and there really wasn’t a Board of Trustees. I was repatriating back to the fully formed plan at that time for what would come. US after working abroad, and was curious as to And then, I met Joe Garton. One of my most fond what Charlie wanted. He knew of my love for memories of Joe occurred during an early Board preservation, and invited me and a handful of other meeting (yes, I gladly accepted Charlie Bray’s like-minded artistic and business innovators to join offer to join the Board of Trustees), when Joe laid him for an evening at Ten Chimneys. Anyone with before us all, what he saw when he looked at Ten a modicum of interest in preservation was aware Chimneys. Of course, he was aware of the peeling that something was happening in Genesee Depot, wallpaper and the crumbling garden walls and but just what was happening had not yet been the overgrown pathways—these would be tended realized. And so I eagerly accepted the offer to join to—but what he really saw when he looked at the conversation and dream and dine in the room Ten Chimneys was what he knew Ten Chimneys where the Lunts had previously entertained Noël must be. He shared his vision of Ten Chimneys as a Coward, Katharine Hepburn, Sir Laurence Olivier, powerful resource for theatre and the art of living.
  • 2018 Biographies Words to “Action”!

    2018 Biographies Words to “Action”!

    2018 Biographies Words to “Action”! Marilyn R. Atlas is a Talent/Literary Manager and Producer. Among her credits as film producer are REAL WOMEN HAVE CURVES for HBO, which won the Audience Award at the Sundance Film Festival, A CERTAIN DESIRE starring Sam Waterston, and ECHOES, which won the Gold Award at the Texas International Film Festival. She produced THE CHOKING GAME for Lifetime, based on a YA book. She was involved in several writers' debut books for HarperCollins, Grand Central Publishing, and Source Books. Marilyn is a member of the National Association of Latino Independent Producers. She has long been committed to projects that celebrate diversity. She speaks at colleges, film festivals, and industry events on creating three-dimensional, non-stereotypical characters. She is the co-author of a relationship-based, screenwriting guide called Dating Your Character, about an organic approach to character creation for Stairway Press. She is also featured in the book Write Now! from Penguin/Tarcher. Joan Darling was the first woman nominated for an Emmy® for television direction. She was nominated four times winning both the Emmy® and the DGA Award. She is considered the first woman director of the modern age. She is widely recognized for her talents as a director and actress. In the early 1970s, Joan had a recurring character role in the television series OWEN MARSHALL, COUNSELOR AT LAW. In her early directorial career, Joan directed the pilot and many other episodes in the first season of the hit TV series MARY HARTMAN, MARY HARTMAN. She also directed episodes of M*A*S*H*, RICH MAN, POOR MAN, and MAGNUM P.I., among others.