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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Before-The-Act-Programme.Pdf
Dea F ·e s. Than o · g here tonight and for your Since Clause 14 (later 27, 28 and 29) was an contribution o e Organisation for Lesbian and Gay nounced, OLGA members throughout the country Action (OLGA) in our fight against Section 28 of the have worked non-stop on action against it. We raised Local Govern en Ac . its public profile by organising the first national Stop OLGA is a a · ~ rganisa ·o ic campaigns The Clause Rally in January and by organising and on iss es~ · g lesbians and gay e . e ber- speaking at meetings all over Britain. We have s ;>e o anyone who shares o r cancer , lobbied Lords and MPs repeatedly and prepared a e e eir sexuality, and our cons i u ion en- briefings for them , for councils, for trade unions, for s es a no one political group can take power. journalists and for the general public. Our tiny make C rre ly. apart from our direct work on Section 28, shift office, staffed entirely by volunteers, has been e ave th ree campaigns - on education , on lesbian inundated with calls and letters requ esting informa cus ody and on violence against lesbians and gay ion and help. More recently, we have also begun to men. offer support to groups prematurely penalised by We are a new organisation, formed in 1987 only local authorities only too anxious to implement the days before backbench MPs proposed what was new law. then Clause 14, outlawing 'promotion' of homosexu The money raised by Before The Act will go into ality by local authorities. -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
The Routledge Companion to Directors' Shakespeare Glen Byam
This article was downloaded by: 10.3.98.104 On: 26 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion to Directors’ Shakespeare John Russell Brown Glen Byam Shaw Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203932520.ch3 Nick Walton Published online on: 26 Apr 2010 How to cite :- Nick Walton. 26 Apr 2010, Glen Byam Shaw from: The Routledge Companion to Directors’ Shakespeare Routledge Accessed on: 26 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203932520.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 GLEN BYAM SHAW Nick Walton Glen Byam Shaw’s direction was commonly perceived as being ‘assured and unobtrusive’, ‘blessedly straightforward’, ‘a model of sensitive presentation’, and above all ‘sympathetic to the players and the play’. His direction was also said to possess a ‘Mozartian quality’, ‘a radiance’ and an ‘unobtrusive charm’. -
The Taming of the Shrew 360°
THEATRE FOR A NEW AUDIENCE Milton Glaser THE TAMING OF THE SHREW 360° A VIEWFINDER: Facts and Perspectives on the Play, Playwright, and Production 154 Christopher Street, Suite 3D, New York, NY 10014 • Ph: (212) 229-2819 • F: (212) 229-2911 • www.tfana.org tableTABLE OFOF CONTENTSCONTENTS The Play 3 Synopsis and Characters 4 Sources 7 The Induction 9 Sexual Politics and The Taming of the Shrew 13 Perspectives 16 Selected Performance History The Playwright 18 Biography 19 Timeline of the Life of the Playwright 22 Shakespeare and the American Frontier The Production 24 From the Director 25 Scenic Design 26 Building a Sustainable Set 28 Costume Design 31 Cast and Creative Team Further Exploration 35 Glossary 38 Bibliography About Theatre for a New Audience 40 Mission and Programs 41 Major Institutional Supporters Theatre for a New Audience’s production of The Taming of the Shrew is sponsored by Theatre for a New Audience’s production is part of Shakespeare for a New Generation, a national initiative sponsored by the National Endowment for the Arts in cooperation with Arts Midwest. Milton Glaser Notes This Viewfinder will be periodically updated with additional information. Last updated March 2012. Credits Compiled and written by: Carie Donnelson, with contributions from Jonathan Kalb | Edited by: Carie Donnelson and Katie Miller, with assistance from Abigail Unger | Literary Advisor: Jonathan Kalb | Designed by: Milton Glaser, Inc. | Copyright 2012 by Theatre for a New Audience. All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this study guide may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers. -
Chapter 1: the Seventeenth Century Actresses
Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. -
The Routledge Companion to Actors' Shakespeare Judi Dench
This article was downloaded by: 10.3.98.104 On: 26 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion to Actors’ Shakespeare John Russell Brown, Kevin Ewert Judi Dench Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203816196.ch3 Stanley Wells Published online on: 30 Jun 2011 How to cite :- Stanley Wells. 30 Jun 2011, Judi Dench from: The Routledge Companion to Actors’ Shakespeare Routledge Accessed on: 26 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203816196.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 Judi Dench Stanley Wells Judi Dench stands along with three other great Dames – Ellen Terry, Edith Evans and Peggy Ashcroft – in the line of women performers of Shakespeare over the past century. As an older contemporary of Dame Judi, I have been able to see many of her performances, some of them several times, and have reviewed some for the press. -
Stages of Emotion: Shakespeare, Performance, and Affect in Modern Anglo-American Film and Theatre
Stages of Emotion: Shakespeare, Performance, and Affect in Modern Anglo-American Film and Theatre Emily Lang Madison Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2020 © 2019 Emily Lang Madison All Rights Reserved Abstract Stages of Emotion: Shakespeare, Performance, and Affect in Modern Anglo-American Film and Theatre Emily Lang Madison This dissertation makes a case for the Shakespearean stage in the modern Anglo- American tradition as a distinctive laboratory for producing and navigating theories of emotion. The dissertation brings together Shakespeare performance studies and the newer fields of the history of emotions and cultural emotion studies, arguing that Shakespeare’s enduring status as the playwright of human emotion makes the plays in performance critical sites of discourse about human emotion. More specifically, the dissertation charts how, since the late nineteenth century, Shakespeare performance has been implicated in an effort to understand emotion as it defines and relates to the “human” subject. The advent of scientific materialism and Darwinism involved a dethroning of emotion and its expression as a specially endowed human faculty, best evidenced by Charles Darwin’s 1871 The Expression of Emotion in Man and Animals. Shakespeare’s poetic, formal expression of the passions was seen as proof of this faculty, and nowhere better exemplified than in the tragedies and in the passionate displays of the great tragic heroes. The controversy surrounding the tragic roles of the famous Victorian actor-manager Henry Irving illustrates how the embodied, human medium of the Shakespearean stage served as valuable leverage in contemporary debates about emotion. -
Shakespeare and the Festivals
Shakespeare and the Festivals Alice Griffin This year, the 400th anniversary of Shakespeare's beth? In more recent years, under a number of new birth, promises to set a worldwide record for Shake directors like Peter H all , young companies have enacted speare festivals. Hundreds of schoolchildren in West the comedies creditably. Attempts by English directors chester are piping the Bard's blank verse for a mammoth to give individuality to their productions have been celebration; more than a hundred amateur productions both praised and deplored. are scheduled in England; schoolboys in the Philippines The Canadian Shakespeare Festival was founded ten are rehearsing the roles of Shakespearean heroines, and years ago, with Tyrone Guthrie, a veteran of the the replica E lizabethan stage at Waseda University in Stratford-on-Avon festival, as its artistic director. Alec Tokyo will ring to Shakespeare in Japanese translation. Guinness and Irene Worth were the stars in the first Why should there be so much activity in the summer season, but the real star, then and ever since, has been when, to the best of this writer's recollection, there has the stage, generating excitement to the production and been no independent Broadway production of the Bard bringing the actor into close rapport with the audience, between the Olivia de Havilland Romeo and Juliet and who surrounds him on three sides, as he stands on a the Burton Hamlet this spring? One reason, of course, bare platform. Such features of the Elizabethan stage is financial. The large cast of Shakespeare and the as the inner and upper stages are reproduced in a grace large number of stagehands required make for the high ful , columned structure at the back. -
"Enhanced Filmography." Hitchcock's Appetites
McKittrick, Casey. "Enhanced Filmography." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 176–192. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 17:41 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Enhanced Filmography 1) The Pleasure Garden (1925) Screenplay : Eliot Stannard, based on the novel The Pleasure Garden by Oliver Sandys Producer : Michael Balcon, Erich Pommer, Bavaria Film, Gainsborough Pictures, M ü nchner Lichtspielkunst AG (Emelka) Runtime : 75 minutes Cast : Virginia Valli, Carmelita Geraghty, Miles Mander, John Stuart, Ferdinand Martini, Florence Helminger During two intercut dinner table sequences, two couples sit with tea sets and small plates in front of them; the couple that is eating and drinking end up falling in love. 2) The Lodger (also titled The Lodger: A Story of the London Fog ) (1927) Screenplay : Eliot Stannard, Alfred Hitchcock (uncredited), based on the novel The Lodger and the play Who Is He? , both by Marie Belloc Lowndes Producer : Gainsborough Pictures, Carlyle Blackwell Productions, Michael Balcon, Carlyle Blackwell Runtime : 68 minutes Cast : Marie Ault, Arthur Chesney, June, Malcolm Keen, Ivor Novello When the Lodger (Ivor Novello) arrives at the Buntings ’ boardinghouse, he immediately requests some bread, butter, and a glass of milk. Hitchcock wanted to suggest that he was preserving his waifi sh fi gure. 3) Downhill ( When Boys Leave Home ) (1927) Screenplay : Constance Collier (play), Ivor Novello (play), Eliot Stannard (adaptation) Producer : Gainsborough Pictures, Michael Balcon, C. -
NT Education Workpack the Duchess of Malfi
NT Education Workpack The Duchess of Malfi Contents The What happens in the play 2 The Duchess 2 The text 3 The style of the production 3 Being watched 4 The opening 5 The ‘Mad’ Scene 5 The deaths 6 of Malfi The language 6 Duchess Finding a through line 7 Practical Questions 9 Questions for Discussion 11 Other Resources 12 The Duchess of Malfi Director NT Education Workpack written by by John Webster Phyllida Lloyd National Theatre Carl Miller South Bank Carl Miller was Textual Advisor Further production details: Designer London SE1 9PX on this production www.nationaltheatre.org.uk Mark Thompson T 020 7452 3388 Editor Lighting Designer F 020 7452 3380 Dinah Wood Mark Henderson E education@ Design Music nationaltheatre.org.uk Alexis Bailey Gary Yershon Patrick Eley The play The Duchess of Malfi by John Webster is one of the Ferdinand bursts in to his sister’s bedroom and best-known tragedies from the early 17th-century confronts her, before fleeing in distress. The English theatre – and one of the few plays from the Duchess pretends to fire Antonio, but privately period which has a woman as its central character. arranges to meet him in the town of Ancona. She Although acclaimed at its first performances, its admits to Bosola that Antonio is her husband, and reputation has fluctuated since then. After a long he passes her plans to the Cardinal and Ferdinand. period when the play was thought too gory, sexual Banished from Ancona, the Duchess and Antonio and immoral for the stage, it came back into favour separate – Antonio taking their oldest child with in the second half of the last century, during which him. -
Shakespeare's Romantic Comedies on Film
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 "Not for an age, but for all time": Shakespeare's Romantic Comedies on Film Kelly A. Rivers University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Film and Media Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Rivers, Kelly A., ""Not for an age, but for all time": Shakespeare's Romantic Comedies on Film. " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/744 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelly A. Rivers entitled ""Not for an age, but for all time": Shakespeare's Romantic Comedies on Film." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Robert E. Stillman, Major Professor We have read this dissertation and recommend its acceptance: Charles J. Maland, Heather A. Hirschfeld, H. Phillip Hamlin Accepted