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The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Elliott, Patricia Ann, "The Dramaturgy of Edmond Rostand." (1968). LSU Historical Dissertations and Theses. 1483. https://digitalcommons.lsu.edu/gradschool_disstheses/1483 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microiilmed exactly as received 69-4466 ELLIOTT, Patricia Ann, 1937- THE DRAMATURGY OF EDMOND ROSTAND. [Portions of Text in French]. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE DRAMATURGY OF EDMOND ROSTAND A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy m The Department of Foreign Languages by Patricia Ann Elliott B.A., Catawba College, 1958 M.A., University of North Carolina at Chapel Hill, 1962 August, 1968 ACKNOWLEDGMENTS I wish to express my deep personal appreciation to Professor Elliott Dow Healy for his inspiration to me and guidance of my studies at Louisiana State University, and particularly for his direction of this dissertation. I am especially grateful to my parents for their encouragement throughout my studies. -
1 Education Resource Pack Adapted by Deborah Mcandrew from The
Northern Broadsides Education Resource Pack Adapted by Deborah McAndrew From the original play Cyrano de Bergerac by Edmond Rostand Directed by Conrad Nelson Designer - Lis Evans Lighting Designer - Daniella Beattie Musical Director – Rebekah Hughes Presented in partnership with The New Vic Theatre, Newcastle-u-Lyme 1 About this pack We hope that teachers and students will enjoy our production and use this learning resource pack. It may be used in advance of seeing the performance – to prepare and inform students about the play; and afterwards – to respond to the play and explore in more depth. Teachers may select, from the broad range of material, which is most suitable for their students. The first section of this document is a detailed companion to our production: plot synopsis, who’s who in the play, and interviews with cast and creatives. It reveals the ways in which our company met with the many challenges of bringing CYRANO to the stage. The second section examines the background to the play. The original work by Edmond Rostand, and the real life Cyrano and his world; and the poetic content and context of the play. At the end of the second section are exercises and suggestions for study in the subjects of History, English and Drama. CYRANO by Deborah McAndrew, is published by Methuen and available to purchase from http://www.northern- broadsides.co.uk 2 CONTENTS PAGE INTRODUCTION 4 SECTION ONE Our play Characters 5 Plot synopsis Production Meet the team: In rehearsal – o Nose to nose with Christian Edwards o Eye to Eye with Francesca Mills A Stitch In Time – with the New Vic ‘Wardrobe’ Let there be light – with Daniella Beattie SECTION TWO Backstory Edmond Rostand The Real Cyrano Poet’s corner Verse and Cyrano SECTION THREE STUDY History, Literacy, Drama Credits and Links 40 3 INTRODUCTION The play CYRANO is a new English language adaptation of a French classic play by Edmond Rostand entitled Cyrano de Bergerac. -
Musical Theater Sheet
FACT MUSICAL THEATER SHEET Established by Congress in 1965, the National Endowment for the Arts is the independent federal agency whose funding and support gives Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities. Through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector, the Arts Endowment supports arts learning, affirms and celebrates America’s rich and diverse cultural heritage, and extends its work to promote equal access to the arts in every community across America. The National Endowment for the Arts is the only funder, public or private, to support the arts in all 50 states, U.S. territories, and the District of Columbia. The agency awards more than $120 million annually with each grant dollar matched by up to nine dollars from other funding sources. Economic Impact of the Arts The arts generate more money to local and state economies than several other industries. According to data released by the National Endowment for the Arts and the U.S. Bureau of Economic Analysis, the arts and cultural industries contributed $804.2 billion to the U.S. economy in 2016, more than agriculture or transportation, and employed 5 million Americans. FUNDING THROUGH THE NATIONAL ENDOWMENT FOR THE ARTS MUSICAL THEATER PROGRAM: Fiscal Year 2018 marked the return of musical theater as its own discipline for grant award purposes. From 2014-2017, grants for musical theater were included in the theater discipline and prior to 1997, were awarded with opera as the opera/musical theater discipline. The numbers below, reflect musical theater grants awarded only when there was a distinct musical theater program. -
Cyrano De Bergerac
Cyrano de Bergerac by Edmond Rostand All new material ©2010 Enotes.com Inc. or its Licensors. All Rights Reserved. No portion may be reproduced without permission in writing from the publisher. For complete copyright information please see the online version of this text at http://www.enotes.com/cyrano-de-text Table of Contents Notes.....................................................................................................................................................................1 Reading Pointers for Sharper Insights.............................................................................................................2 Dedication............................................................................................................................................................5 Dramatis Personae..............................................................................................................................................6 Act I......................................................................................................................................................................7 A Performance at the Hotel de Bourgogne..............................................................................................7 Scene I......................................................................................................................................................7 Scene II..................................................................................................................................................11 -
Cyrano De Bergerac PERSONAJES
https://TheVirtualLibrary.org Edmond Rostand Cyrano de Bergerac PERSONAJES CYRANO DE BERGERAC. CRISTIÁN DE NEUVILLETTE. CONDE DE GUICHE. RAGUENEAU. LE BRET. CARBON DE CASTEL-JALOUX. LIGNIÈRE. DE VALVERT. MONTFLEURY. BELLEROSE. JODELET. CUIGY. D’ ARTAGNAN. BRISSAILLE. Un importuno. Un mosquetero. Un oficial español. EL PORTERO. Un burgués. Su hijo. Un ratero. Un guardia. Un capuchino. Dos laudistas. ROXANA. SOR MARTA. LISA. La cantinera. SOR MARGARITA DE JESÚS. La dueña. SOR CLARA. La florista. La multitud, ciudadanos, marqueses, mosqueteros, burgueses, rateros, pasteleros, poetas, cadetes, comediantes, músicos, pajes, niños, soldados españoles, espectadores y espectadoras, damas, monjas, etc. (Los cuatro primeros actos en 1640; el quinto, en 1655.) ACTO PRIMERO Una representación en el teatro de Borgoña Sala del teatro de Borgoña, en 1640. Especie de cobertizo del juego de pelota, dispuesto y adornado para dar representaciones teatrales. La sala es rectangular; la vemos oblicuamente, de forma que uno de sus lados es el fondo que, partiendo del primer término de la izquierda, llega hasta el último de la derecha para formar ángulo con el escenario que aparece cortado. A cada uno de los lados de este escenario y a lo largo de los bastidores hay bancos. Forman el telón dos tapices corredizos. Encima de las bambalinas, las armas reales. Del estrado al patio se desciende por una ancha gradería; a ambos lados de ésta, el lugar destinado a los músicos. Batería de candilejas. Dos pisos superpuestos de galerías laterales: el superior dividido en palcos. El patio, que en realidad no es más que la escena del teatro, está vacío: sin embargo, al fondo del mismo, o sea, a derecha y en primer término, hay algunos bancos formando graderíos: debajo de una escalera de la que sólo vemos el principio y que sube hacia las localidades superiores, se halla un pequeño mostrador, adornado con candelabros, vasos de cristal, platos con pasteles, jarrones de flores, etcétera. -
The Romancers Offstage
Volume 41 Issue 5 April 2021 WHAT THE CRITICS SAY Most critics have concluded that The Romancers is a comedic satire on love. American literary and theatre critic Alba della Fazia Amoia asserted that it ‘‘contains a moral: we must have faith in what we are doing and we must remain faithful to love.’’ Novelist Henry James commented that in The Romancers, the ‘‘action takes place in that happy land of nowhere— the land of poetry, comedy, drollery, delicacy, profuse literary association Directed by Kevin Trudeau ... and if the whole thing is the frankest of fantasies ...it is the work of a man already conscious of all the values April 16-18 involved.’’ April 22-25 Similarly, in the Fortnightly Review, G. Jean-Aubry saw The Romancers as Philip Lynch Theatre Box Office: ‘‘the germ of all that is best and least good in Rostand; a very great technical Wednesday – Friday, 1 – 4:30 pm cleverness, a facility for making his personages live and move, a tendency Phone: (815) 836-5500 to complicate the simplest situations Email: [email protected] by play of words, and a real charm ...in making his rhymes ‘sing.’... Already he Website: www.lewisu.edu/plt writes verses that are supple, natural, Twitter & Facebook: unforced, and others that are tortured @pltlewisu and wrung out with difficulty.’’ Best way to contact us is email or Sources: Amoia, Alba della Fazia. Edmond Rostand. through our social media sites. Boston: Twayne, 1978. We are not checking voicemails on Haugmard, Louis. Edmond Rostand. Paris: E. Mondays and Tuesdays. Sansot, 1910. -
Cyrano De Bergerac Como Ejercicio Y De Cómo La Siento, La He Vivido En Mi Tiempo Y En Mis Descubrí Un Personaje Con Un Mundo Interior Tan Frustraciones
José Luis Gil Edmond Rostand Cyrano dBe ergerac estreno 2017 yrano de CBergerac Podría decir que Cyrano ha estado en mi cabeza ¿Por qué no? A la gente que creyó en ti, a tu siempre, al menos desde que empecé a dar mis gente, les gustaría ver o saber que has intentado primeros pasos como actor cuando era un niño de echar fuera “tu Cyrano”, ese Cyrano que has 12 años que interpretaba pequeños papeles en TV imaginado un millón de veces con tu voz, con tu y teatro y renunciaba a horas de juego con los cara y en el que crees. amigos para estudiar Arte Dramático. Recuerdo bien cómo nos montaron algunas escenas de Reconozco una gran parte de Cyrano en mí, Cyrano de Bergerac como ejercicio y de cómo la siento, la he vivido en mi tiempo y en mis descubrí un personaje con un mundo interior tan frustraciones. lleno de ternura, valentía, frustración y melancolía -es decir, de vida- que me imaginaba dentro Afortunadamente nos hemos encontrado las de su vestimenta dispuesto a vivir la aventura personas adecuadas para hacerlo realidad, de su sufrimiento y la felicidad prestada que le conscientes de que es un magnífico momento proporcionaba vivir su amor a través de otro para compartirlo con todos los que aman el personaje. teatro de verdad. Años después, tras haber representado en Decir como imagino yo a Cyrano es sencillo, público, a pesar de mi juventud, clásicos como lo siento en cada verso, en cada situación, Segismundo, Romeo, Crispín, Hamlet y unos me recorre cuerpo y mente. -
Camoenae Hungaricae 7(2010)
Camoenae Hungaricae 7(2010) GÁBOR PETNEHÁZI TIRADE DU NEZ, OR NASOLOGICAL REMARKS ON THE HISTORY OF A FRIENDSHIP “Tirade du nez”, the famous nose tirade in Rostand’s Cyrano de Bergerac staged in 1879 is one of the widest-known monologues in world-literature. Despite—or because of—this popularity, the tradition in which it is rooted and which is traced back to Antiq- uity is hardly researched. This is so at least if we try to map the route from the nose- mocking Greek epigram to Rostand or if we wish to investigate the effect of two promi- th nent figures of 16 -century humanism, Erasmus and Thomas More on literary tradition. Hopefully we will show below that they cooperated closely. We have to observe sadly that—as far as this can be assessed in a Hungarian environment—comparatistics had nothing new to present in this field since the article of Otto Weinreich from 1941.1 How- ever—staying in style—the solution has been right before our noses all along. The late professor of classical philology in Tübingen investigated in his afore-mentioned piece the afterlife of Emperor Trajan’s two-line poem in the Greek Anthology2 (AP XI, 418, and APl II, 13, 17) in the 16th century and later. The epigram goes as follows: ᾿Αντίον ἠελίου στήσας ¼ίνα καr στόµα χάσχων δείξεις τάς ὥρας πOσι παρεσχόµενας. Thomas More translated it to Latin the following way based on Planudea printed in Florence in 1494 or on hand-written excerpts from it:3 Si tuus ad solem statuatur nasus hiante ore, bene ostendas dentibus, hora quota est. -
ABSTRACT the Ideal World of Edmond Rostand's Cyrano De
ABSTRACT The Ideal World of Edmond Rostand’s Cyrano de Bergerac: A Director’s Approach Traci Elizabeth Ledford, M.F.A. Thesis Chairperson: Marion D. Castleberry, Ph.D. Edmond Rostand wrote Cyrano de Bergerac during a time when realism was beginning to assert its dominance over French theatre. Rostand’s masterpiece, with its neo-Romantic attributes, is often perceived as a reaction against the new theatrical movement as well as a celebration of France’s history. The play’s enduring popularity can be attributed to its emphasis on the ideal exemplified in the dynamic and heroic title character. This director’s approach to Cyrano de Bergerac examines the history behind the play including the playwright’s life, work, sources for the play, and its importance in fin- de-siècle France. A thorough analysis of the script and genre helps to initiate dialogues with designers about directorial concepts and helps to guide actors through a production style that supports the text. This study also includes the artistic challenges, concepts, and decisions that shaped choices for the play before concluding with a critical examination of the final product. The Ideal World of Edmond Rostand’s Cyrano de Bergerac: A Director’s Approach by Traci Elizabeth Ledford, B.F.A. A Thesis Approved by the Department of Theater Arts ___________________________________ Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee _________________________________ _____________________________ Marion D. Castleberry, Ph.D., Chairperson Stan C. -
TITLE Reading Materials in Large Type. Reference Circular No. 87-4. INSTITUTION Library of Congress, Washington, DC National Library Service for the Blind and Physically Handicapped
DOCUMENT RESUME ED 288 539 IR 052 206 TITLE Reading Materials in Large Type. Reference Circular No. 87-4. INSTITUTION Library of Congress, Washington, D.C. National Library Service for the Blind and Physically Handicapped. PUB DATE Jul 87 NOTE 75p. AVAILABLE FROM Reference Section, National Library Service for the Blind and Physically Handicapped, Library of Congress, Washington, DC 20542 (free while the supply lasts). PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01/PC03 Plus Postage, DESCRIPTORS Biblical Literature; Fiction; Hymns; Information Services; *Information Sources; *Large Type Materials; Music; Periodicals; *Publishing Industry; *Reference Materials; *Visual Impairments IDENTIFIERS Cook Books; Crossword Puzzles; Prayer Books; Shakespeare (William); United States Constitution ABSTRACT This circular provides information about reading materials in large type, i.e., materials set in type that is a minimum size of 14-point and, most commonly, 16- to 18-point size. Most of the materials listed are typeset, but a few are photographically enlarged conventionally printed books or typewritten materials prepared using a large-print typewriter or a computer with large-font software. All the sources listed may be contacted directly. The first section of the circular lists 68 producers and distributors of large-type materials, including addresses, telephone numbers, type of materials produced or distributed, type point size(s), and price range. The second section lists selected large-type materials for reference and special needs under the following headings: (1) Adjustment to Visual Loss; (2) Bibles and Portions; (3) Classics; (4) Cookbooks; (5) Crossword and Word Maze Puzzles; (6) Dictionaries and Encyclopedias; (7) Hymnals and Prayer Books; (8) Magazines; (9) Music; (10) Shakespeare's Works; and (11) the United States Constitution. -
The Bridge Project Produced by BAM, the Old Vic, & Neal Street
2010 Spring Season Bank of America presents The Bridge Project Produced by BAM, The Old Vic, & Neal Street Approximate As You Like It running time: three hours, by William Shakespeare including one intermission Directed by Sam Mendes Jan 12—17, 19—23, 26—30, Feb 2—6, Mar 2—5, 2009 at 7:30pm Jan 24, 31, Feb 7 at 3pm; Mar 6, 7, 13 at 2pm BAM Harvey Theater Set design by Tom Piper Costume design by Catherine Zuber Lighting design by Paul Pyant Sound design by Simon Baker for Autograph Composed by Mark Bennett Hair & Wig design by Tom Watson Fight direction by Rick Sordelet Casting by Nancy Piccione and Maggie Lunn Music coordinator Curtis Moore Music direction by Stephen Bentley-Klein Choreography by Josh Prince International tour producer Claire Béjanin Co-commissioned by and produced in association with Holland Festival, Hong Kong Arts Festival, Singapore Repertory Theatre, and Théâtre Marigny-Paris Bank of America is the Proud Presenting Sponsor of The Bridge Project. BAM 2010 Spring Season is sponsored by Bloomberg. Bridge Project Production Partners: Celia Atkin, Donald R. Mullen Jr., Tony Randall Theatrical Fund, Jon & NoraLee Sedmak, Carol Sellars, Scott & Kathleen Simpson, and Barbara & David Zalaznick with additional support from Sharon E. Karmazin and Peregrine Whittlesey. Additional support for The Bridge Project provided by the David L. Klein Foundation and The Laura Pels Foundation. Major support for BAM Theater is provided by The Fan Fox & Leslie R. Samuels Foundation, Inc., The Shubert Foundation, Inc., The SHS Foundation, and The Gladys Krieble Delmas Foundation, with additional support from the Harold and Mimi Steinberg Charitable Trust and Rose M. -
Captain Eva S
Criminal record refo o move ahead .· ommunity Newspaper Company Vol. 11, No. 3 3 Sections 75¢ St eking up TO ER Goodbye, Captain Eva s By Meghann Ackerman STAFF WRITER or nine years, Police Cap "I'm very tain William Evans has sad that F fought liquor licenses, I I worked to hold area colleges re I'm leaving sponsible for their off-campus students and championed sub Brighton." stance abuse prevention. Last week, while he was on vacation, it Captain William Evans was announced that he would be leaving Allston-Brighton. "I'm very sad that I'm leaving came the captain of District 4, Brighton," said Evans. ''I spent which includes Fehway, the the last nine years there in com South End, and the Back Bay. ,mand, and the people treated me Evans sa1u he wants to continue to :very well. We worked in partner- work w11h community groups in hip on a lot of things, especially those neighborhoods like he did ·quality of life issues." in Allston and Brighton. · Starting Monday, Evans be- . "Some great people that have EVENS, page 30 But since June 1, hen he eroin found the baby while cl1 aning re Brigh n ·gh custodian Kevin strooms after school, h1 anger at the baby's mother ha!! ·ub ided By Meghann Ackerm victim's infant daughter was at Mojave · about that baby STAFF WRITER into a sympathy he w • slow to the site. ~very sin le day of his life, how understand. Police and paramedics were When police arrived at the fragile d efenseless the tiny "God knows what was going called to a Larose Place re · nee house, a 24-year-old woman who thing was di carded like trash in last week for a report of a g lived there was being treated by side a toil t · a girls' bathroom.