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Horton Foote
38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis ....................................................................................................... -
MIMESIS / CINEMA N
MIMESIS / CINEMA n. 50 Comitato Scientifico: Raffaele De Berti, Università degli Studi di Milano Massimo Donà, Università Vita-Salute San Raffaele Roy Menarini, Alma Mater Studiorum Università di Bologna Pietro Montani, Università “La Sapienza” di Roma Elena Mosconi, Università Cattolica di Milano Pierre Sorlin, Università Paris-Sorbonne Franco Prono, Università degli studi di Torino Andrea Mariani GLI ANNI DEL CINEGUF Il cinema sperimentale italiano dai cine-club al Neorealismo MIMESIS Dipartimento di Studi umanistici e del patrimonio culturale - DIUM dell’U- niversità degli Studi di Udine. MIMESIS EDIZIONI (Milano – Udine) www.mimesisedizioni.it [email protected] Collana: Cinema, n. 50 Issn 2420-9570 Isbn: 9788857540443 © 2017 – MIM EDIZIONI SRL Via Monfalcone, 17/19 – 20099 Sesto San Giovanni (MI) Phone: +39 02 24861657 / 24416383 INDICE Introduzione 9 Paralipomeni a Cinema Sperimentale (1937) 23 La Politicizzazione del cinema sperimentale 67 L’estetica del cinema sperimentale 139 Mappare il cinema sperimentale: Circuiti, littoriali, mostre ed esposizioni 199 I film individuati e recuperati 223 Cinema sperimentale 1930-1943 229 Indice degli articoli citati (per anno) 247 Bibliografia di riferimento 255 A mio padre, instancabile sperimentatore INTRODUZIONE Questo libro è dedicato a una pratica cinematografica giovanile che emerge e si definisce nel corso di poco più di un decennio, in Ita- lia durante il fascismo: il cosiddetto “cinema sperimentale”. Tuttavia quella che seguirà non sarà semplicemente, né esclusivamente, una storia del cinema sperimentale italiano “dai cine-club al Neorea- lismo”, piuttosto una proposta metodologica, teorica e critica, che prenderà le mosse dagli oggetti sopravvissuti di tale esperienza: ov- verossia i film sperimentali. Parlando cautamente di un “cosiddetto” cinema sperimentale, riconosciamo implicitamente un imbarazzo legato a una definizione che in termini storico-critici può creare fraintendimenti o confusione. -
Valeria Golino
Valeria Golino Esperienze lavorative: Cinema: 2017:“Figlia mia” di Laura Bispuri 2016:“Il colore nascosto delle cose” di Silvio Soldini “Il ragazzo invisibile 2", di Gabriele Salvatores “The Swimmer, now” di Rä di Martino ”La vita possibile” regia di Ivano De Matteo 2015:“Per amor vostro” regia di Giuseppe Gaudino 2014:“Il nome del figlio” regia di Francesca Archibugi “Il ragazzo invisibile” regia di Gabriele Salvatores “Il capitale umano” regia di Paolo Virzì 2013:“Come il vento” di Marco Simon Puccioni 2011: “Un baiser papillon” regia di karine Silla 2010: “La scuola è finita” di Valerio Jalongo “L’Amore buio” di Antonio Capuano “Armandino e il madre” (cortometraggio) di Valeria Golino 2009: “L’Uomo nero” di Sergio Rubini 2008: “Giulia non esce la sera” di Giuseppe Piccioni 2007: “Cash” di Eric Besnéard “Caos calmo” di Antonello Grimaldi 2006: “Lascia perdere Johnny!” di Fabrizio Bentivoglio “La ragazza del lago” di Andrea Molaioli “Il sole nero” di Krzysztof Zanussi “A casa nostra” di Francesca Comencini 2005: “Ole” di Florence Fuentin 2004: “Texas” di Fausto Paravidino “La guerra di Mario” di Antonio Capuano “36, Quai des Orfevres” di Olivier Marchal 2003: “Alive” di Fred Berthe “San Antonio” di Frédéric Auburtin “Prendimi” di Tonino Zangardi 2001: “Frida” di Julie Taymor BLUE VELVET srl Via Antonio Cantore 5 - 00195 Roma tel + fax: +39 06 3231481 p.iva / cf 14297191000 [email protected] - www.blu3velvet.it 2001: “Respiro” di Emanuele Crialese “Inverno” di Nina di Majo “Hotel” di Michael Figgis 2000: “Things you can tell…” di Rodrigo Garcia “World of honour” di A. Pantsis 1999: “Controvento” di Peter Del Monte “Harem Suare” di Ferzan Ozpetek 1997: “L’Albero delle pere” di Francesca Archibugi “Side street” di Tony Gerber “Le acrobate” di Silvio Soldini “Escoriandoli” di Antonio Rezza 1996: “Via da Las Vegas” di Michael Figgis “Escape from Los Angeles” di John Carpenter 1995: “An occasional hell” di Salomè Bressiner “Four rooms” di A. -
As You Like It
A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S AS YOU LIKE IT By JEANNE M. McGLINN, Ph.D., AND JAMES E. McGLINN, Ed.D. SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s As You Like It 2 INTRODUCTION Shakespeare seems to be everywhere these days. Romeo and Juliet and Midsummer Night's Dream, starring contemporary movie stars, have been box office hits. The film Shakespeare in Love, depicting how the playwright's experiences inspired him to write Romeo and Juliet, won multiple Oscars at the 1999 Academy Awards. These popular films have made the plays more accessible to students by exposing them to Elizabethan language and the action that brings the words to life. So teachers can expect a certain amount of positive interest among students when they begin to read a Shakespearean play. As You Like It, although not well known by students, will certainly delight and build on students' positive expectations. As You Like It, like Twelfth Night and A Midsummer Night's Dream, is one of Shakespeare's "marriage" comedies in which love's complications end in recognition of the true identity of the lovers and celebration in marriage. This is a pattern still followed in today's romantic comedies. This play can lead to discussions of the nature of true love versus romantic love. Other themes, which spin off from the duality between the real and unreal, include appearance versus reality, nature ver- sus fortune, and court life of sophisticated manners contrasted with the natural life. -
2017 Producers Book Finalists
PRODUCERS BOOK & PRINT SOURCE LIST Pre-Festival Edition THE 2017 PRODUCERS BOOK A LETTER FROM THE SCREENPLAY & FILM COMPETITION DIRECTORS Hello! Each year, we prepare our annual Producers Book which contains loglines and contact information for the year’s top scripts in our various Script Competitions. Please feel free to reach out to any of the writers listed here to request a copy of their scripts. Also included is our Print Source List containing information for all films selected for the 2017 Festival. This year’s Semifinalists and Finalists were chosen from a field of 9,487 scripts entered in our Screenplay, Digital Series, Playwriting, and Fiction Podcast Competitions. Each year we are amazed by the professional quality and talent that we receive and this year wasn’t any different. The Competition is open to feature-length scripts in the genres of drama, comedy, sci-fi, and horror; teleplay pilots and specs, short scripts, stage plays, fiction podcast scripts, and digital series scripts. Year after year, our strive in programming the Austin Film Festival film slate is to discover and champion the writers and those who can translate amazing stories to the screen. We received over 5,000 film submissions this year and had the task of whittling it down to 182 films that embody our mission and passion for storytelling. It was a harrowing task, but it led to our strongest year of film yet. We’re so proud of this year’s diverse group of filmmakers and unique voices and can’t wait for these works to be seen, shared, and loved. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
2016 Study Guide 2016 Study Guide
2016 STUDY GUIDE 2016 STUDY GUIDE EDUCATION PROGRAM PARTNER AS YOU LIKE IT BY WILLIAM SHAKESPEARE DIRECTOR JILLIAN KEILEY TOOLS FOR TEACHERS sponsored by PRODUCTION SUPPORT is generously provided by M. Fainer and by The Harkins/Manning Families In Memory of James & Susan Harkins INDIVIDUAL THEATRE SPONSORS Support for the 2016 Support for the 2016 Support for the 2016 Support for the 2016 season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously provided by provided by the generously provided by provided by Claire & Daniel Birmingham family Richard Rooney & Sandra & Jim Pitblado Bernstein Laura Dinner CORPORATE THEATRE PARTNER Sponsor for the 2016 season of the Tom Patterson Theatre Cover: Cyrus Lane, Petrina Bromley. Photography by Don Dixon. Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Plot Synopsis ............................................................................................................... 6 Cast of Characters ...................................................................................................... 7 Sources, Origins and Production History .................................................................. -
Consensus for Mussolini? Popular Opinion in the Province of Venice (1922-1943)
UNIVERSITY OF BIRMINGHAM SCHOOL OF HISTORY AND CULTURES Department of History PhD in Modern History Consensus for Mussolini? Popular opinion in the Province of Venice (1922-1943) Supervisor: Prof. Sabine Lee Student: Marco Tiozzo Fasiolo ACADEMIC YEAR 2016-2017 2 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Declaration I certify that the thesis I have presented for examination for the PhD degree of the University of Birmingham is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of my words. 3 Abstract The thesis focuses on the response of Venice province population to the rise of Fascism and to the regime’s attempts to fascistise Italian society. -
'Tracks' Director John Curran and Photographer Rick Smolan Discuss
SUBSCRIBE MENU ‘Tracks’ Director John Curran and Photographer Rick Smolan Discuss Bringing Robyn Davidson’s Journey to the Big Screen Emily Manthei good film is a journey: a story that takes the viewer from beginning to end on a movement through space, A time, and emotion. Tracks is also a “journey” film in the literal sense. It’s the true story of an Australian woman’s solitary walk across nearly 1,700 miles of Australian desert from Alice Springs to the Indian Ocean and the photos of an intrepid National Geographic photographer who dropped in on her along the way. But, more importantly, it’s a journey film in the philosophical sense, as it invites viewers to take their own journey: from curiosity to discovery; self-doubt to confidence; adolescence to adulthood. It’s the journey so many of have experienced in the open-handed, non-destination-based travels of youth. John Curran’s new film starring Mia Wasikowska is this mesmerizing, filmic journey, adapted from the real-life traveler Robyn Davidson’s 1980 memoir of the same name. It was written after the overwhelming response to her National Geographic article and the photos by Rick Smolan, which accompanied it in 1977. Adam Driver co-stars as Smolan. The story of the film began in 1984, when director John Curran was 24 years old, a native New Yorker on his way to Australia to escape the hectic, ambitious world he knew. He was handed some reading material for his journey: “A Day in the Life of Australia,” a giant coffee table book filled with lush, gorgeous photos of places he had never been, photographed by a man whose name he did not then know: Rick Smolan. -
Lemeraviglie-Pressbook.Pdf (1.3 Mib)
Maria Alexandra Lungu Sam Louwyck Alba Rohrwacher Sabine Timoteo and Monica Bellucci LE MERAVIGLIE (THE WONDERS) written and directed by Alice Rohrwacher Gelsomina’s family functions according to very the swarms from the trees, who organizes to expand the bee colonies, and get the lab up particular rules. First of all, Gelsomina, at twelve the honey extraction, and she is the one that to standard. In his desperate search for cheap years of age, practically runs the family. Her carries the hives. labor, Wolfgang agrees to take on a delinquent three younger sisters obey her and work under German boy, Martin, who comes from a youth her watchful eye. But the outside world mustn’t Whilst all around them the countryside is being rehabilitation exchange program. know anything about their lifestyle, and they burnt up by pesticides, rural life is falling apart should be kept away from it, well-protected in and becoming something different, a TV show The tension mounts: between a silent evasive their isolated countryside home. competition arrives from the city offering a cash boy onto whom Wolfgang projects his desire prize and a luxury cruise for the Most Traditional for a son, and, counteracting this, the outward Gelsomina’s father, Wolfgang, is a foreigner Family. “Countryside Wonders” is presented by reaching force of Gelsomina that will stop at and Gelsomina is the future queen of this the good fairy, Milly Catena. nothing just in order to see the good fairy TV strange and improbable kingdom he has show hostess again. constructed for them. A male heir would Gelsomina wants to participate in the contest, have been better, of course, but Gelsomina but Wolfgang won’t even consider it. -
Separate and Consolidated Interim Financial Statements As at 30 June 2019
Separate Financial Consolidated Financial Introduction Statements Statements I Separate and Consolidated Interim Financial Statements as at 30 June 2019 Separate and Consolidated Interim Financial Statements as at 30 June 2019 Contents Introduction 5 Interim Separate Financial Statements as at 30 June 2019 13 Interim Consolidated Financial Statements as at 30 June 2019 215 Corporate Directory 288 Introduction Corporate Officers 6 Organisational Structure 7 Introduction from the Chairman of the Board of Directors 8 Financial Highlights 10 Separate Financial Consolidated Financial Introduction 6 Statements Statements Corporate Officers Corporate Officers BOARD OF DIRECTORS Chairman Marcello Foa Chief Executive Fabrizio Salini Officer Directors Rita Borioni Beatrice Coletti Igor De Biasio Riccardo Laganà Giampaolo Rossi Board Secretary Anna Rita Fortuna BOARD OF STATUTORY AUDITORS Chairman until 4 July 2019 as of 5 July 2019 Biagio Mazzotta Carmine di Nuzzo Statutory auditors Roberto De Martino Giovanni Ciuffarella Anna Maria Magro Maria Teresa Mazzitelli Alternative auditors M.M. Assunta Protopapa Pietro Contaldi Pietro Floriddia Antonella Damiotti EXTERNAL AUDITOR PricewaterhouseCoopers Separate Financial Consolidated Financial Introduction Statements Statements 7 Organisational Structure Organisational Structure (short form) Board Chairperson of Directors of the Board Board of Statutory Auditors Internal Supervisory Audit Board Chief Executive Officer(1) General Management Corporate Mastheads TV channels Corporate CFO - Finance and genres and Support and Planning Radio COO - TV production CFO - Technological Property and Infrastructure local sites Rai Cinema Rai Com Rai Pubblicità Rai Way (1) Among others, the Staff Departments of the Chief Executive Officer and Corporate General Manager, International Relations (functionally reporting to the Chairman of the Board), Institutional Relations, Communication, Marketing and Research report to the Chief Executive Officer. -
C R I T I C a • C U L T U R a • C I N E
CRITICA•CULTURA•CINEMA Conoscerete la verità E la verità vi farà liberi Giovanni 8,32 Questa pubblicazione è stata curata dal Cinecircolo Romano - Roma - Via Nomentana 333/c - tel 068547151 - fax 0685833883 E-mail: [email protected] Sito internet: www.cinecircoloromano.it Auditorio San Leone Magno tel. 068543216 (in giornate di cinema la segreteria presso l’Auditorio è attiva dalle 17.00 alle 21.30) 5 per MILLE: senza alcun onere aggiunto, al momento della denuncia dei redditi è possibile devolvere il contributo del 5 per mille al Cinecircolo Romano - codice 80258690587 Assistente editoriale Alessandra Imbastaro Amministrazione Carla Porta con Valentina Ferlazzo Collaborazione edizione “Dossier” Catello Masullo, Alessandro Jannetti, Maria Teresa Raffaele Coordinamento schede filmografiche Giuseppe Rizzo e Rossella Pozza Coordinamento realizzazione “Progetto Educazione al Cinema d’Autore” Luciana Burlin con Fiorenza Irace Collaborazione operativa Maria Teresa Raffaele Direzione e coordinamento generale Pietro Murchio Per la stagione 2014/2015 sono operanti due Comitati Consultivi Selezione Cinematografica: Promozione e Cultura: Alessandro Jannetti, Maurizio Lacorte, Luciana Burlin, Giampaolo D’Arpino, Catello Masullo, Giuseppe Rizzo, Cinzia Di Giovanni, Fiorenza Irace, Vincenzo Carbotta Rossella Pozza, Maria Teresa Raffaele Le fotografie sono state fornite da Centro Studi Cinematografici, Archivio del Cinecircolo Romano, siti internet - Annotazioni del Cinecircolo includenti alcune valutazione della Commissione Nazionale per la valutazione dei film della C.E.I - Recensioni cinematografiche da “Rassegna Stampa Cinematografica” Editore S.A.S. Bergamo, data base del Cinecircolo, siti internet IN COPERTINA: in senso orario scene dal film “In grazia di Dio”, “Saving Mr Banks”, “Le meravi- glie”, “Il capitale umano”, “Gran Budapest Hotel”, “Grace di Monaco” (foto fornite dal Centro Studi Cinematografici).