Stratford-Upon-Avoh Festival
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Programmes, Visiting Artists and Companies Ephemera PR8492/1950-1959 to View Items in the Ephemera Collection, Contact the State Library of Western Australia
Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D 1950 January Marquee Puss in Boots Bruce Carroll Bruce Carroll Eric Maxon 0 Theatre Edgar Rogers Noreen Rogers ____________________________________________________________________________________________________________________ April 10 His Majesty's "Annie Get Leo Packer Carl Randall J.C.Williamson Victor Carell 1 Theatre Your Gun" Theatres Ltd Wendy Selover Irving Berlin Wilfred Stevens ____________________________________________________________________________________________________________________ May 25 His Majesty's The Mikado Leo Packer Anna Bethell J.C.Williamson Jon Dean 1 Theatre Gilbert & Theatres Ltd Richard Walker Sullivan Leslie Rands Ivan Menzies Bernard Manning Muriel Howard Marjorie Eyre Nancy Rasmussen Evelyn Gardiner Richard Bengar ____________________________________________________________________________________________________________________ June 3 His Majesty's Pirates of Leo Packer Anna Bethell J.C.Williamson John Dean 2 Theatre Penzance & Theatres Ltd Helen Roberts Trial by Jury Evelyn Gardiner PR8492/1950-1959 Page 1 of 40 Copyright SLWA ©2011 Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D Gilbert & Sullivan Leslie Rands Richard -
Memories of Pitsford a 100 Years Ago
49 MEMORIES OF PITSFORD A HUNDRED YEARS AGO T. G. TUCKER Introduction by the late Joan Wake* All my life I had heard of the clever Pitsford boy, Tom Tucker-whose name was a legend in the Wake family. I knew he had emigrated to Australia a.s a young man and I had therefore never expected to see him in the flesh-when all of a sudden in the middle of my third war-he turned up! This was in 1941. He got into touch with my aunt, Miss Lucy Wake, who had known him as a boy, and through her I invited him to come and stay with me for a few days in my little house at Cosgrove. He was then a good-looking, white haired old gentleman, of marked refinement, and of course highly cultivated, and over eighty years of age. He was very communicative, and I much enjoyed his visit. Tom's father was coachman, first to my great-great-aunt Louisa, Lady Sitwell, at Hunter- combe near Maidenhead in Berkshire, and then to her sister, my great-grandmother, Charlotte, Lady Wake, at Pitsford. Tom described to me the two days' journey in the furniture van from one place to the other-stopping the night at Newport Pagnell, and the struggle of the horses up Boughton hill, slippery with ice, as they neared the end of their journey. That must have been in 1868 or 1869. He was then about eight years of age. My great-grandmother took a great interest in him after discovering that he was the cleverest boy in the village, and he told me that he owed everything to her. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
INTRODUCTION Xl Othello a 'Black Devil' and Desdemona's 'Most Filthy
INTRODUCTION xl Othello a 'black devil' and Desdemona's 'most filthy bargain' ^ we cannot doubt that she speaks the mind of many an Englishwoman in the seventeenth-century audience. If anyone imagines that England at that date was unconscious of the 'colour-bar' they cannot have read Othello with any care? And only those who have not read the play at all could suppose that Shake speare shared the prejudice, inasmuch as Othello is his noblest soldier and he obviously exerted himself to represent him as a spirit of the rarest quality. How significant too is the entry he gives him! After listening for 180 lines of the opening scene to the obscene suggestions of Roderigo and lago and the cries of the outraged Brabantio we find ourselves in the presence of one, not only rich in honours won in the service of Venice, and fetching his 'life and being from men of royal siege',3 but personally a prince among men. Before such dignity, self-possession and serene sense of power, racial prejudice dwindles to a petty stupidity; and when Othello has told the lovely story of his courtshipj and Desdemona has in the Duke's Council- chamber, simply and without a moment's hesitation, preferred her black husband to her white father, we have to admit that the union of these two grand persons, * 5. 2.134, 160. The Devil, now for some reason become red, was black in the medieval and post-medievcil world. Thus 'Moors' had 'the complexion of a devil' {Merchant of Venice, i. 2. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Survey on the Way of Representing the Ambiguous Three Weird Sisters in Macbeth Through the Style of Japanese Adaptation
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Survey on the Way of Representing the Ambiguous Three Weird Sisters in Macbeth through the Style of Japanese Adaptation UMEMIYA Yu (Assistant Professor at Waseda University) In 1623, seven years after the death of William Shakespeare, the book called First Folio was published. The incomparable value of this collective book is not only due to the fact that it contains 36 of Shakespeare’s works, but also because it holds several plays that have never been published in other format. Without the Folio, 18 plays could not have reached the present time, including some of the well-known ones such as Twelfth Night, Macbeth, or Antony and Cleopatra to name but a few. An Indian scholar Ranjee Shanani once wrote in his book Shakespeare Through Eastern Eyes as follows. His creations are not ideas but characters – real men and women, fellow humans with ourselves. We can follow their feelings and thoughts like those of our most intimate acquaintances. (177) Shanani’s recognition tells us that Shakespeare is no longer restricted even within the diverse space where Ben Jonson describes in the preface of the Folio, ‘He was not of an age, but for all time’ (Norton 10), but more so Shakespeare is now for all the world. On the contrary, some may still claim that Elizabethan senses are required to fully embrace the significance of Shakespeare’s art (Smith 一五三 17). The bard is widely understood to be a playwright who created his works for his contemporary audiences, and therefore we cannot totally deny the harsh remarks by rather conservative critics. -
Dd Shrewstudyguide.Pdf
HOFSTRA UNIVERSITY DEPARTMENT OF DRAMA AND DANCE THE TAMING OF THE SHREW William Shakespeare STUDY GUIDE Written and compiled by James J. Kolb, Professor of Drama HOFSTRA/DRAMA 1997 A Study Guide to Hofstra University’s Department of Drama and Dance Production of The Taming of the Shrew by William Shakespeare March 1997 Table of Contents The New Cambridge Shakespeare version of The Taming of the Shrew, edited by Ann Thompson, is the text used in the About Shakespeare 2 current production. It is published in paperback by Cambridge University Press, 40 West 20th Street, New York, Title Page of the First Folio Edition New York 10011-4211 of Shakespeare’s Plays 2 ISBN # 0 521 29388 X ($10.95) Shakespeare’s Coat of Arms 3 Shakespeare’s Plays 3 Shakespeare’s Theatre 4 HOFSTRA/DRAMA Department of Drama and Dance Summary of the Story 5 Hofstra University (516) 463-5444 The Sources of the Story 5 The Date of Composition and Special Problems With the Text of The Taming of the Shrew As Related to The Taming of a Shrew 6 A Few Critical Comments 7 The cover engraving is taken from James Edmund Harting’s About the Play on Stage 10 The Birds of Shakespeare (1871). It depicts hawks in training being carried to the field in “the cadge,” carried by “the Notable Lines 15 cadger.” See page 8 of the Study Guide for some additional comments about falconry. About the Play in Other Forms 16 The idea and format of this study guide is by Peter Sander. -
Every Saturday Seattle
•eriodical Department Seattle ruuiic Ulan rier Every Seattle, Saturday U.S. A. Roy Byford as Falstaff Dorothy Massingham as Mistress Pago Mary Holder as Mistress Ford t In the Stratford-upon-Avon Festival Company's production of Shakespeare's comedy, "The Merry Wives of Windsor." The com pany is to be the attraction at the Metropolitan next week. VOL. XXIII., NO. 48 DECEMBER 1, 1928 PRICE TEN CENTS aiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiw JUST AS FRESH AS WHEN YOU WENT AWAY! . that's the story when you open the doora of your Copeland ELECTRIC REFRIGERATOR . after three, four, five or six days' absence— butter, milk, vegetables and fruits just as sweet and fresh . just as wholesomely appetizing ... as when you first entrusted them to The Copeland's care! It really is a joy to have at one's beck and call a servant as faithful as The Copeland— it is no longer necessary to buy perishables in expensively small quantities . for Copeland keeps the larger quantities cold and sweet until you use them to the last bit. % Ice cubes . for table service . the & Copeland delivers them in ample quantities. Trays for cooling salads and for freezing delicious desserts . are an essential part of Copeland equipment. Pictured is Copeland Electric Refrigerator, Model N-5 ... as good to look at as it is invaluable in service. Price, installed in your home . $220.00. Convenient terms . you can pay for it with your ice money . and you'll never need the ice man any more! HARPER-MEGGEE, Inc. Copeland Display Room Fourth Avenue and Blanchard fr.. featt\e THE TOWN CRIER VOL. -
Northamptonshire Past & Present
~nqirnt and MODERN .... large or small. Fine building is synonymous with Robert Marriott Ltd., a member of the Robert Marriott Group, famous for quality building since 1890. In the past 80 years Marriotts have established a reputation for meticulous craftsmanship on the largest and small est scales. Whether it is a £7,000,000 housing contract near Bletchley, a new head quarters for Buckinghamshire County Council at Aylesbury (right) or restor ation and alterations to Easton Maudit Church (left) Marriotts have the experi ence, the expertise and the men to carry out work of the most exacting standards and to a strict schedule. In the last century Marriotts made a name for itself by the skill of its crafts men employed on restoring buildings of great historical importance. A re markable tribute to the firm's founder, the late Mr. Robert Marriott was paid in 1948 by Sir Albert Richardson, later President of the Royal Academy, when he said: "He was a master builder of the calibre of the Grimbolds and other famous country men. He spared no pains and placed ultimate good before financial gain. No mean craftsman him self, he demanded similar excellence from his helpers." Three-quarters of a century later Marriotts' highly specialised Special Projects Division displays the same inherent skills in the same delicate work on buildings throughout the Midlands. To date Hatfield House, Long Melford Hall in Suffolk, the Branch Library at Earls Barton, the restoration of Castle Cottage at Higham Ferrers, Fisons Ltd., Cambridge, Greens Norton School, Woburn Abbey restorations and the Falcon Inn, Castle Ashby, all bear witness to the craftsmanship of Marriotts. -
Oscar Asche, 1871-1936
AUSTRALIAN EPHEMERA COLLECTION FINDING AID OSCAR ASCHE, 1871-1936 PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 John Stange(r) Heiss Oscar Asche, better known as Oscar Asche, was an Australian actor, director and writer, best known for having written, directed, and acted in the record-breaking musical Chu Chin Chow, both on stage and film, and for acting in, directing, or producing many Shakespeare plays and successful musicals. Asche was born in Geelong, Victoria on 26 January 1871 to a Norwegian father, Thomas Asche and an Australian mother, Harriet Emma (Lily) née Trear. He was educated at Laurel Lodge, Dandenong, and from 1884 at Melbourne Grammar School before leaving at the age of 16. From 1887 to 1890 Asche worked and travelled until he decided to enter the theatre/ He then trained in Christiana under Bjorn-Bjornson and London, making his London debut in March 1893 in Man and Woman, at the Opera Comique under the management of Arthur Dacre. In the same year he joined the Benson Repertory Company and for eight years acted in every kind of part, from Biondello in The Taming of the Shrew and Pistol in Henry V to the King in Hamlet. While with Benson he married Lily Brayton in 1898 or 1899. In 1902 they both worked for Herbert Beerbohn Tree, Asche playing Antinous in Phillips’s Ulysses. In 1904 when they joined up with Otho Stuart, an old Bensonian, in the management of the Adelphi Theatre, putting on productions such as The Prayer of the Sword, A Midsummer Night’s Dream, The Taming of the Shrew and Rudolf Besier’s The Virgin Goddess. -
Xerox University Microfilms 300 North Zm (> Road Ann Arbor, Michigan 48106 75-3059
INFORMATION TO USERS This material was produoad from a microfilm copy of the original document. While the molt advanced technological meant to photograph and reproduce this document have been used, the quality it heavily dependent upon the quality of the original lubmitted. The following explanation of techniques it provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Pags(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Teaching Hamlet Folger Bundle
MASTER CLASS: TEACHING HAMLET Thursday, December 10, 2015 7:00-8:00 pm EST Folger Education Alabama Public Television Folger Shakespeare Library Washington, DC MASTER CLASS: TEACHING HAMLET Live from the Folger Shakespeare Library Thursday, December 10, 2015 7:00-8:00 pm AGENDA Part One: Expand Your Own Knowledge of Hamlet: Two scholars and many lenses —Dr. Gail Kern Paster, Director emerita, Folger Shakespeare Library —Dr. Michael Witmore, Director, Folger Shakespeare Library Part Two: Getting Students To Live Inside That Language —Mark Miazga, Teacher of English, City College High School, Baltimore Part Three: Hamlet With Your Students, In Your Classroom —Jill Burdick-Zupancic, Teacher of English, Thomas Jefferson High School for Science and Technology, Fairfax, VA —Amber Phelps, Teacher of English, City College High School, Baltimore **To submit questions before the live stream, please email [email protected] . On December 10th you will receive an email with a link to access the live stream from [email protected] . During the Master Class, if you are experiencing technical difficulties, please email [email protected] Master Class: Teaching Hamlet Faculty 1. Greta Brasgalla El Dorado High School, El Paso, TX: Greta Brasgalla is an English Instructional Coach at El Dorado High School in El Paso, Texas. She teaches Dual Credit English on her campus and teaches English online for El Paso Community College. In her 24 years of teaching, she has taught everything from 7th graders to AP English Literature. Greta is TSI 2012 alum. She is also a member of the Folger National Teacher Corps and will be a mentor teacher this summer at TSI 2016.