Hughie Begins New Year As Playwrights' Theatre Offering
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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
O'neill Society News
Boston International Conference June 17-20, 2020 @ Suffolk University Fall 2019 O’Neill Society News The official newsletter of the Eugene O’Neill International Society Contents • EON Society at ALA 2019 .................2 • A Tribute to Kurt Eisen ......................2 • Society Annual Business Mtg .........3 • ALA Conference May 2019 in Boston and 2020 Conference Update....................................................3 • Peter Quinn wins O’Neill Award ....3 • O’Neill Festivals in Danville, CA and New Ross, Ireland ...............................4 • Eisel Reflections on Long Day’s ......5 • Babson Students to Tao House ......5 • Dowling on NPR Radio Show .........5 • Grad Student Paper Competition .5 • New Film on Charles Gilpin ............5 • 2020 Conferences for O’Neillians .6 • Garvey Comes Full Circle .................6 • Photos from Recent Productions of O’Neill plays .........................................7 O’Neill Conferences, Festivals and • Opportunity for ePublishing ..........8 • Review celebrates 5th Decade .......8 Performances Around the Globe The summer and fall were filled with multiple conferences, festivals and regional performances of plays by Eugene O’Neill. The activities took place in the hills of Danville, CA, at Tao House; at the American Literature Association Conference in Boston, MA; in New Ross, Ireland at the Eugene O’Neill Theatre Festival, and many stops in between. We’ll highlight these events in this edition of the newsletter! Word came just as we were going to press that O’Neill Society member, celebrated scholar and poet George Monteiro died suddenly from a heart attack on Tuesday, November 5. His wife Brenda Murphy reported that he had been dealing with debilitating neurological problems for several years, a “Parkinsonism” not unlike Eugene O’Neill’s. -
Biography of Eugene O'neill
Biography of Eugene O’Neill Trevor M. Wise Eugene Gladstone O’Neill was born on October 16, 1888, at the Barrett hotel in New York city, New York, son of James o’Neill, a well-known matinee idol, and Mary Ellen (Ella) Quinlan. Much of O’Neill’s youth was spent in the wings of the theater as he toured the country with his parents and older brother Jamie, watching his father perform his most famous role—the Count of Monte Cristo. When not touring the country with his family, O’Neill attended Catholic boarding school at St. Aloysius Academy at Mount Saint Vincent in the Bronx borough of New York. he then spent four years at Betts Academy, a non-sectarian prep school in Stamford, Connecticut. O’Neill spent the summers with his family at the Monte Cristo Cottage in New London, Connecticut, the only permanent home O’Neill knew as a child. in 1903, at the age of fifteen, o’Neill became aware of his mother’s morphine addiction and was introduced to alcohol by his brother Jamie, setting him on a path of heavy drinking and alcohol abuse. in the fall of 1906, o’Neill enrolled in princeton University, only to be expelled in the following spring for his poor academic per- formance. in october 1909, o’Neill secretly married Kathleen Jenkins, his first of three wives. Shortly after the wedding, o’Neill set sail for honduras to prospect for gold, but found none. While abroad, O’Neill lived the life of a waterfront derelict, working odd jobs and drinking heavily, until he contracted malaria and was forced to return to the United States. -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
Through the Looking-Glass. the Wooster Group's the Emperor Jones
Revista de Estudios Norteamericanos, nº 17 (2013) Seville, Spain. ISSN 1133-309-X, pp.61-80 THROUGH THE LOOKING-GLASS. THE WOOSTER GROUP’S THE EMPEROR JONES (1993; 2006; 2009): REPRESENTATION AND TRANSGRESSION EMELINE JOUVE Toulouse II University; Champollion University. [email protected] Received April 26th, 2013 Accepted July 18th , 2013 KEYWORDS The Wooster Group; theatrical and social representation; boundaries of illusions; race and gender crossing; spectatorial empowerment. PALABRAS CLAVE The Wooster Group; representación teatral y social; fronteras de las ilusiones; cruzamiento racial y genérico; empoderamiento del espectador ABSTRACT In 1993, the iconoclastic American troupe, The Wooster Group, set out to explore the social issues inherent in O’Neill’s work and to shed light on their mechanisms by employing varying metatheatrical strategies. Starring Kate Valk as a blackfaced Brutus, The Wooster Group’s production transgresses all traditional artistic and social norms—including those of race and gender—in order to heighten the audience’s awareness of the artificiality both of the esthetic experience and of the actual social conventions it mimics. Transgression is closely linked to the notion of emancipation in The Wooster Group’s work. By crossing the boundaries of theatrical illusion, they display their eagerness to take over the playwright’s work in order to make it their own. This process of interpretative emancipation on the part of the troupe appears in its turn to be a source of empowerment for the members of the audience, who, because the distancing effects break the theatrical illusion, are invited to adopt an active writerly part in the creative process and thus to take on the responsibility of interpreting the work for themselves. -
6. Emperor Jones As Expressionist Drama
EMPEROR JONES AS AN EXPRESSONIST DRAMA Vijayalakshmi Srinivas The Emperor Jones (written in 1920 and a great theatrical success) is about an American Negro, a Pullman porter who escapes to an island in the West Indies 'not self-determined by White Marines'. In two years, Jones makes himself 'Emperor' of the place. Luck has played a part and he has been quick to take advantage of it. A native tried to shoot Jones at point-blank range once, but the gun missed fire; thereupon Jones announced that he was protected by a charm and that only silver bullets could harm him. When the play begins, he has been Emperor long enough to amass a fortune by imposing heavy taxes on the islanders and carrying on all sorts of large-scale graft. Rebellion is brewing. The islanders are whipping up their courage to the fighting point by calling on the local gods and demons of the forest. From the deep of the jungle, the steady beat of a big drum sounded by them is heard, increasing its tempo towards the end of the play and showing the rebels' presence dreaded by the Emperor. It is the equivalent of the heart-beat which assumes a higher and higher pitch; while coming closer it denotes the premonition of approaching punishment and the climactic recoil of internal guilt of the black hero; he wanders and falters in the jungle, present throughout the play with its primeval terror and blackness. The play consists of a total of eight scenes arranged in hierarchical succession. The first and the last scenes are realistic in the manner of O'Neill's early plays. -
Adventure Playground: Essentially, to a Place of Pleasure—That Today It Surrounds Us, Everywhere, Having Quietly John V
The city’s onscreen prominence is so taken for granted today that it is hard to imagine that as late as 1965, the last year of Robert F. Wagner’s mayoralty, New York hardly appeared in films at all. That year, only two features were shot substantially in the city: The Pawnbroker, an early landmark in the career of veteran New York director Sidney Lumet, and A Thousand Clowns, directed by Fred Coe, which used extensive location work to “open up” a Broadway stage hit of a few years earlier by the playwright Herb Gardner. The big change came with Wagner’s successor, John V. Lindsay—who, soon after taking office in 1966, made New York the first city in history to encourage location filmmaking: establishing a simple, one-stop permit process through a newly created agency (now called the Mayor’s Office of Film, Theatre and Broadcasting), creating a special unit of the Police Department to assist filmmakers, and ordering all city agencies and departments to cooperate with producers and directors (1). The founding of the Mayor’s Film Office—the first agency of its kind in the world—remains to this day one of the Lindsay administration’s signal achievements, an innovation in governance which has been replicated by agencies or commissions in almost every city and state in the Union, and scores of countries and provinces around the world. In New York, it helped to usher in a new industry, now generating over five billion dollars a year in economic activity and bringing work to more than 100,000 New Yorkers: renowned directors and stars, working actors and technicians, and tens of thousands of men and women employed by supporting businesses—from equipment rental houses, to scenery shops, to major studio complexes that now rival those of Southern California. -
The Emperor Jones
1 l1111•n" \J 11,•ill•ru1.Jeni• o'nrUJ•t>ugenr O•neUl•eugP.ne o'nrUl•r.ugene o'neUl•eugene o'nelll*eugene o'nolll*eugene •014,•� •l'nnlll•c>uqen,• o'm�Ul•Pugen<1 o'nelll•eugene o'nC!Ul•eugene o'neiU•eugene o'ne11l•eugena o'nellt•eugene •rugC'nC! o'neLU•eugC!ne o'neill•eugene o'nelll•eugene o'nelll•eugene o'nelll•e·u9ene •eugt"ne o'neUJ•eugene o'nelU•eugene o'neUl•eugene o'nelll*C!ugene o'nelll•eugene 1•iM1qon(' o'nelll*eugene o'n@tll• rine o'ne\U•eugene o•.,9 nlfl o'nell)•C!ugenia ·, �111•0'\l<Qo •n f'\O o· •111•,tllQ(tr) t•m19 servant - MARGIE M. DEAN DWYER harry smithers - LAURENCE O' ABOUT THE AUTOOR brutus jones - WILLIAM McGHEE haints or phantoms Often called America's foremost dramatist, Eugene O'Neill was the winner of three Pulitzer Prizes and the Nobel jeff - THEODORE (TED) MITCHELL P�ize for literature. Son of a famous actor, prison guard and auctioneer Eugene left - SOL JACKSON formal studies for the life of a coDDDOn seaman. After - TITUS ANDREWS five desperate and health-wrecking convicts, years of sailoring he slave - JIMMY L. ALLEN entered a TB sanatorium to regain his health. At enforced - MICHAEL TOLDEN 1:f!St, he turned to the literature of the stage for read - MISS DEAN ing. His brilliant t.n:iting career began upon his discharge - MR. TOLDEN witch doctor £rom the sanatorium. Although never in vigorous health , O'Neill wrote extensively. -
A Rhetorical Analysis of Eugene O'neill's Strange Interlude
This dissertation has been 61-4507 microfilmed exactly as received WINCHESTER, Otis William, 1933- A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE. The University of Oklahoma, Ph.D., 1961 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE A DISSERTATION SUBMITTED TO THE ŒADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY OTIS WILLIAM WINCHESTER Tulsa, Oklahoma 1961 A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE APPROVEDB^ DISSERTATION COMMITTEE PREFACE Rhetoric, a philosophy of discourse and a body of theory for the management of special types of discourse, has been variously defined. Basic to any valid definition is the concept of persuasion. The descrip tion of persuasive techniques and evaluation of their effectiveness is the province of rhetorical criticism. Drama is, in part at least, a rhe torical enterprise. Chapter I of this study establishes a theoretical basis for the rhetorical analysis of drama. The central chapters con sider Eugene O'Neill's Strange Interlude in light of the rhetorical im plications of intent, content, and form. Chapter II deals principally with O'Neill's status as a rhetor. It asks, what are the evidences of a rhetorical purpose in his life and plays? Why is Strange Interlude an especially significant example of O'Neill's rhetoric? The intellectual content of Strange Interlude is the matter of Chapter III. What ideas does the play contain? To what extent is the play a transcript of con temporary thought? Could it have potentially influenced the times? Chapter IV is concerned with the specific manner in which Strange Interlude was used as a vehicle for the ideas. -
The Emperor Jones
The Emperor Jones Eugene O'Neill The Emperor Jones Table of Contents The Emperor Jones...................................................................................................................................................1 Eugene O'Neill...............................................................................................................................................1 SCENE ONE..................................................................................................................................................2 SCENE TWO...............................................................................................................................................10 SCENE THREE...........................................................................................................................................12 SCENE FOUR.............................................................................................................................................12 SCENE FIVE...............................................................................................................................................14 SCENE SIX..................................................................................................................................................15 SCENE SEVEN...........................................................................................................................................16 SCENE EIGHT............................................................................................................................................17 -
Ah, Wilderness! by Eugene O’Neill
By Eugene O’Neill Directed by Douglas C. Wager Spring 2002 Guthrie on Tour Study Guides are made possible by STUDY GUIDE T H E G U T H R I E T H E A T E R J O E D O W L I N G Artistic Director The Guthrie Theater receives support from the National Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from the National Endowment for the Arts. ============================================================================================================ Ah, Wilderness! by Eugene O’Neill With this production, the Guthrie honors the generosity of Target, Marshall Field's Project Imagine and the National Endowment for the Arts with support from the Heartland Arts Fund. =============================================================================================================== A S T U D Y G U I D E published by The Guthrie Theater Senior Editor: Michael Lupu Editor: Belinda Westmaas Jones Research: Dramaturg: Michael Maletic Kate Bredeson Jason Brown Sam Chase Produced with the support of: Jo Holcomb Jo Holcomb Belinda Westmaas Jones Sheila Livingston Michael Lupu Catherine McGuire Michael Maletic Julie McMerty Shane R. Mueller Carla Steen Patricia Vaillancourt Website Layout and Maintenance: Patricia Vaillancourt All rights reserved. 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. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers. -
An Analysis of Boogie Nights and Magnolia Andrew C
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2009 "New" Hollywood Narratives: an Analysis of Boogie Nights and Magnolia Andrew C. Cate Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the American Film Studies Commons, and the Film and Media Studies Commons Recommended Citation Cate, Andrew C., ""New" Hollywood Narratives: an Analysis of Boogie Nights and Magnolia" (2009). Honors Projects Overview. 23. https://digitalcommons.ric.edu/honors_projects/23 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. “NEW” HOLLYWOOD NARRATIVES: AN ANALYSIS OF BOOGIE NIGHTS AND MAGNOLIA By Andrew C. Cate An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of Film Studies The School of Arts and Sciences Rhode Island College 2009 Cate 1 “New” Hollywood Narratives: An Analysis of Boogie Nights and Magnolia Introduction To discuss Paul Thomas Anderson the filmmaker is to consider the current age of Hollywood filmmaking and the idea of the “new” Hollywood narrative. As writer- director of such acclaimed films as Magnolia (1999) and There Will Be Blood (2007), Anderson was praised for appearing to have “arrived at his mastery virtually overnight” with his first major release, the 1997 ensemble film Boogie Nights (Gleiberman). Anderson has long been compared to veteran filmmaker Robert Altman, whose take on the typical Hollywood narrative format has clearly influenced Anderson’s films.