DOCSLIB.ORG

Felicia Londre Collection Finding Aid (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Felicia Londre Collection Finding Aid (PDF) University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch ………………………………………………………………………… 2 Scope and Content ………………………………………………………………………… 3 Series Notes ………………………………………………………………………………… 3 Container List ………………………………………………………………………………… 4 Series I: Plays ………………………………………………………………………… 4 A: American ………………………………………………………………… 4 B: Danish ………………………………………………………………… 4 C: Finnish ………………………………………………………………… 5 D: French ………………………………………………………………… 5 E: German ………………………………………………………………… 5 F: Hungarian ………………………………………………………………… 6 G: Icelandic ………………………………………………………………… 6 H: Norwegian ………………………………………………………………… 6 I: Polish ………………………………………………………………… 7 J: Russian ………………………………………………………………… 7 K: Swedish ………………………………………………………………… 8 Series II: Other Documents ………………………………………………………… 9 A: Correspondence ………………………………………………………… 9 B: Newspaper Clippings ………………………………………………… 10 C: Articles ………………………………………………………………… 10 D: Miscellaneous ………………………………………………………… 10 Appendix: Biographical Information and Play Descriptions ………………………… 11 A: American ………………………………………………………………… 11 B: Danish ………………………………………………………………… 12 C: Finnish ………………………………………………………………… 14 D: French ………………………………………………………………… 17 E: German ………………………………………………………………… 17 F: Hungarian ………………………………………………………………… 18 G: Icelandic ………………………………………………………………… 19 H: Norwegian ………………………………………………………………… 21 I: Polish ………………………………………………………………… 24 J: Russian ………………………………………………………………… 27 K: Swedish ………………………………………………………………… 33 MS221-Felicia Londré Manuscripts Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION BIOGRAPHICAL SKETCH Dr. Felicia Hardison Londré is a theatre historian specializing in American, French, and Russian theatre plus Shakespeare. She is honorary co-founder of the Heart of America Shakespeare Festival and dramaturg for Nebraska Shakespeare Festival. In 2006 she received the Inspirational UMKC Faculty award. In 1998 she received a University of Montana Distinguished Alumna Award, having earned her B.A. in French there. She earned her M.A. at the University of Washington, and her Ph.D. at the University of Wisconsin. In 1999, she was inducted into the College of Fellows of the American Theatre at the Kennedy Center in Washington D.C., and has served as secretary of the board. In 2001, she was elected to the National Theatre Conference. That year she also received the Association for Theatre in Higher Education's national award for 2001 as Outstanding Teacher of Theatre in Higher Education. She was the founding secretary of the Shakespeare Theatre Association of America, and has served as president of the American Theatre and Drama Society. Dr. Londré has held visiting professorships at Hosei University in Tokyo and at Marquette University in Milwaukee. She has lectured internationally, including Beijing, Nanjing, Tokyo, Osaka, Venice, Rouen, Caen, Paris (Sorbonne), Brussels, Moscow, and a lecture tour of Hungary. For 22 years (1978-2000), she was dramaturg for Missouri Repertory Theatre. Of her fourteen books, her favorite is the twelfth one, The Enchanted Years of the Stage: Kansas City at the Crossroads of American Theatre, 1870-1930, which won the George Freedley Memorial Book Award presented by the Theatre Library Association in 2008. Source: “Dr. Felicia Hardison Londré” [Faculty Bios]. UMKC Theatre. University of Missouri-Kansas City, 2012. Web. 8 Dec. 2012. http://www.umkctheatre.org/faculty_bios.html#londre MS221-Felicia Londré Manuscripts Collection 2 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION SCOPE AND CONTENT The Felicia Londré Manuscripts Collection was a gift of Felicia Londré in Fall 2012. Contained within is a large collection of scripts, in typed, printed, and published (photocopied) manuscript form, almost all in either English or in English translation. American, Danish, Finnish, French, German, Hungarian, Icelandic, Norwegian, Polish, Russian, and Swedish playwrights are represented, offering a wide range of styles and aesthetics. Also contained in the collection is an assortment of correspondence, articles, and other documents relating to the acquisition of these manuscripts and matters concerning the theatre. SERIES NOTES SERIES I: Plays Located in box 1, folders 1-37, and box 2, folders 1-38; contains typed, photocopied, and printed scripts of plays by a variety of American, Danish, Finnish, French, German, Hungarian, Icelandic, Norwegian, Polish, Russian, and Swedish playwrights. All of the non-American works in this collection are here in English translations, apart from one of the Russian plays, which is in the original Russian. The Danish, Finnish, Icelandic, Norwegian, and Swedish collections are notable for being largely contemporary works, rarely if ever performed in the United States. SERIES II: Other Documents Located in box 2, folders 39-41; contains some correspondence to Londré regarding the acquisition of these manuscripts, as well as some articles and other documents related to the theatre. MS221-Felicia Londré Manuscripts Collection 3 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION Box Folder Description CONTAINER LIST SERIES I: PLAYS Box Folder Description A: American 1 1 - Maxwell Anderson: Night Over Taos, typed manuscript, 71 pp. w/ inserts. 2 - Robert Anderson: The Days Between, typed manuscript, 89 pp. 3 - James Costin: Harry, typed manuscript, 34 pp. 4 - Robert Dean: Ivan the Terrible (A Chronicle Tragedy in Three Acts), typed manuscript, 153 pp. 5 - Cena Christopher Draper and Maurice Nugent: Summer Flight, adapted from the novel Papa Says by Cena Christopher Draper, typed manuscript, 140 pp. 6 - Kevin O’Morrison: Ladyhouse Blues, typed manuscript (American Playwrights Theatre Edition), 91 pp. 7 - Josephine Peabody: The Piper (A Play in 4 Acts), typed manuscript, 53 pp. 8 - Louise Saunders: The Knave of Hearts, typed manuscript, 21 pp. B: Danish 9 Contemporary Danish Drama: Four Danish Playwrights (205 pp.): - Astrid Saalbach: Blessed Child (A Comedy), translated from the Danish by Michael Evans. - Erling Jepsen: The Man Who Asked for Permission to Exist (A Stage Play in Three Pictures), translated from the Danish by Claes Johansen. - Line Knutzon: First You’re Born, translated from the Danish by Charlotte Barslund & Kim Dambaek. - Peter Asmussen: A Sunny Room, translated from the Danish by Russel Dees. 10 - Erling Jespen: The Cure (Kuren), translator unknown, Nordiska Strakosch Teaterforlaget Edition, 77 pp. 11 - Erling Jepsen: The Man Who Asked for Permission to Exist (A Stage Play in Three Pictures) (Manden Som Bad Om Lov Til At Vaere Her Pa), translated from the Danish by Claes Johansen, Nordiska Strakosch Teaterforlaget Edition, 96 pp. 12 - Line Knutzon: First You’re Born (Forst Bli’r Man Jo Fodt), translated by Charlotte Barslund & Kin Dambaek, Nordiska Strakosch Teaterforlaget Edition, 43 pp. MS221-Felicia Londré Manuscripts Collection 4 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION Box Folder Description 1 13 - Line Knutzon: The Time is Coming (Snart Kommer Tidem), translated by Gaye Kynoch, Nordiska Strakosch Teaterforlaget Edition, 93 pp. 14 - Astrid Saalbach: Ashes to Ashes, Dust to Dust (Aske Til Aske Stov Til Stov), translated by Gaye Kynoch, Nordiska Strakosch Teaterforlaget Edition, 61 pp. 15 - Astrid Saalbach: Blessed Child (A Comedy) (Det Velsignede Barn), translated from the Danish by Michael Evans, Nordiska Strakosch Teaterforlaget Edition, 114 pp. 16 - Thomas Vinterberg & Mogens Rukov: The Celebration, Theatre Play Version, Adaptation from the film screenplay by Bo hr. Hansen, Nordiska Strakosch Teaterforlaget Edition, 76 pp. C: Finnish 17 Contemporary Finnish Drama: Five Finnish Playwrights (390 pp.): - Michael Baran: You Don’t Know What Love Is, translated by Eva Buchwald. - Anne Koski: Best Loved Songs and Melodies, translated from the Finnish by Ritva Poom. - Juha Lehtola: Mind Speak, translated from the Finnish by Eva Buchwald. - Juha Siltanen: Foxtrot, or The White Shadows, translated from the Finnish by Anselm Hollo. - Laura Ruohonen: Olga, translated from the Finnish by Anselm Hollo. D: French 18 - Jean Racine: Andromache, verse translation by William L. Crain, Professor of French Language and Literature, University of Missouri at Kansas City, typed manuscript, 84 pp. E: German 19 - Bertolt Brecht: Puntila and His Hired Man, new adaptation by Gerhard Nellhaus, typed manuscript, 65 pp. 20 - Christopher Hein: The Knights of the Round Table (A Comedy) (Die Ritter der Tafelrunde: Eine Komodie), translated by David W. Robinson, typed manuscript, 54 pp. 21 - Carl Orff: Agnes Bernauer, authorized English adaptation by Fritz Andre Kracht, typed manuscript w/ rehearsal schedule, 42 pp. MS221-Felicia Londré Manuscripts Collection 5 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION Box Folder Description F: Hungarian 1 22 - Iren Kiss: I Dreamed a City (A Drama), translated from the Hungarian by Philip Balla and Laszlo Tabori, typed manuscript, 63 pp. 23 - Peter Nadas: Encounter (Talalkozeis), translated by Judith E. Sollosy, Artisjus Agence Litteraire, Theatrale et de Musique Edition, 93 pp. 24 - Peter Nadas: Housecleaning (Comedy Without a Break), translated
Load more

Recommended publications
  • Synesthetic Landscapes in Harold Pinter's Theatre
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique.
    [Show full text]
  • Timeline: Royal Court International (1989–2013) Compiled by Elaine Aston and Elyse Dodgson
    Timeline: Royal Court International (1989–2013) Compiled by Elaine Aston and Elyse Dodgson The Timeline charts the Royal Court’s London-based presentations of international plays and related events from 1989–2013. It also records the years in which fi rst research trips overseas were made and exchanges begun. Writers are listed alphabetically within recorded events; translators for the Court are named throughout; directors are listed for full productions and major events. Full productions are marked with an asterisk (*) – other play listings are staged readings. 1989: First international Summer School hosted by the Royal Court 1992: Court inaugurates exchange with Germany 1993: Summer School gains support from the British Council Austrian & German Play Readings (plays selected and commissioned by the Goethe-Institut; presented in October) Rabenthal Jorg Graser; Soliman Ludwig Fels; In den Augen eines Fremdung Wolfgang Maria Bauer; Tatowierung Dea Loher; A Liebs Kind Harald Kislinger; Alpenglühen Peter Turrini 1994: First UK writers exchange at the Baracke, Deutsches Theater, Berlin, coordinated by Michael Eberth. British writers were Martin Crimp, David Greig, Kevin Elyot, Meredith Oakes and David Spencer. Elyse Dodgson, Stephen Daldry and Robin Hooper took part in panel discussions 1995: Daldry and Dodgson make initial contacts in Palestine Plays from a Changing Country – Germany (3–6 October) Sugar Dollies Klaus Chatten, trans. Anthony Vivis; The Table Laid Anna Langhoff, trans. David Spencer; Stranger’s House Dea Loher, trans. David Tushingham; Waiting Room Germany Klaus Pohl, trans. David Tushingham; Jennifer Klemm or Comfort and Misery of the Last Germans D. Rust, trans. Rosee Riggs Waiting Room Germany Klaus Pohl, Downstairs, director Mary Peate, 1 to 18 November* 1996: Founding of the International Department by Daldry; Dodgson appointed Head.
    [Show full text]
  • The Strange Afterlife of Stalinist Musical Films
    THE STRANGE AFTERLIFE OF STALINIST MUSICA L FILM S Rimgaila Salys University of Colorado — Boulder The National Council for Eurasian and East European Research 910 17 th Street, N .W . Suite 300 Washington, D .C. 20006 TITLE VIII PROGRAM Project Information* Principal Investigator: Rimgaila Salys Council Contract Number : 817-08 Date : March 12, 2003 Copyright Information Individual researchers retain the copyright on their work products derived from research funde d through a contract or grant from the National Council for Eurasian and East European Research (NCEEER). However, the NCEEER and the United States Government have the right to duplicat e and disseminate, in written and electronic form, reports submitted to NCEEER to fulfill Contract o r Grant Agreements either (a) for NCEEER's own internal use, or (b) for use by the United State s Government, and as follows: (1) for further dissemination to domestic, international, and foreig n governments, entities and/or individuals to serve official United States Government purposes or (2 ) for dissemination in accordance with the Freedom of Information Act or other law or policy of th e United States Government granting the public access to documents held by the United State s Government. Neither NCEEER nor the United States Government nor any recipient of thi s Report may use it for commercial sale . The work leading to this report was supported in part by contract or grant funds provided by th e National Council for Eurasian and East European Research, funds which were made available b y the U.S. Department of State under Title VIII (The Soviet-East European Research and Trainin g Act of 1983, as amended) .
    [Show full text]
  • 1 / Isaak Babelʹ: a Brief Life
    1 / Isaak Babelʹ: A Brief Life Beginnings Neither Babelʹ’s “Autobiography,” written in 1924 to gain ideological credentials as a “Soviet” writer, nor the so-called autobiographical stories, which Babelʹ intended to collect under the title Story of My Dovecote (История моей голубятни) strictly relate to the facts, but they are illuminating for the construction of the writer’s identity as someone who hid his highly individual personality behind the mask of a Soviet writer who had broken with his bourgeois Jewish past. Babelʹ’s father, for example, was not an impoverished shopkeeper, but a dealer in agricultural machinery, though not a particularly successful businessman. Emmanuel Itskovich, born in Belaia Tserkovʹ, was a typical merchant who had worked his way up and set up his own business.1 Babelʹ’s mother, Fenia (neé Shvekhvelʹ), as Nathalie Babel has testified, was quite unlike the Rachel of the Childhood stories. About his book of Childhood stories, Story of My Dovecote, Babelʹ wrote his family: “The subjects of the stories are all taken from my childhood, but, of course, there is much that has been made up and changed. When the book is finished, it will be clear why I had to do all that.”2 But then the fantasies of the untruthful boy in the story “In the Basement” (“В подвале”) do inject a kind of poetic truth into the real lives of his crazy grandfather, a disgraced rabbi from Belaia Tserkovʹ, and his drunken uncle Simon-Wolf. Despite the necessary post-revolutionary revision of biography carried out by many writers, nothing could be more natural than Hebrew, the Bible, and Talmud being taught at home by a melamed, or part-time tutor.
    [Show full text]
  • The Spectator and Dialogues of Power in Early Soviet Theater By
    Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater By Howard Douglas Allen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria E. Bonnell, Chair Professor Ann Swidler Professor Yuri Slezkine Fall 2013 Abstract Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater by Howard Douglas Allen Doctor of Philosophy in Sociology University of California, Berkeley Professor Victoria E. Bonnell, Chair The theater played an essential role in the making of the Soviet system. Its sociological interest not only lies in how it reflected contemporary society and politics: the theater was an integral part of society and politics. As a preeminent institution in the social and cultural life of Moscow, the theater was central to transforming public consciousness from the time of 1905 Revolution. The analysis of a selected set of theatrical premieres from the Bolshevik Revolution in 1917 to the end of Cultural Revolution in 1932 examines the values, beliefs, and attitudes that defined Soviet culture and the revolutionary ethos. The stage contributed to creating, reproducing, and transforming the institutions of Soviet power by bearing on contemporary experience. The power of the dramatic theater issued from artistic conventions, the emotional impact of theatrical productions, and the extensive intertextuality between theatrical performances, the press, propaganda, politics, and social life. Reception studies of the theatrical premieres address the complex issue of the spectator’s experience of meaning—and his role in the construction of meaning.
    [Show full text]
  • Kurt Weill Newsletter FALL 2016
    VOLUME 34 NUMBER 2 Kurt Weill Newsletter FALL 2016 FEATURES Adapting Dreigroschenoper: A New Threepenny Opera Featured Review: Critical Edition of Mahagonny: Ein Songspiel IN THIS ISSUE VOLUME 34 Kurt Weill Newsletter NUMBER 2 2 Correction FALL 2016 3 Editor’s Note World Premiere Recording of The Road of Promise © 2016 Kurt Weill Foundation for Music ISSN 0899-6407 25th Annual Kurt Weill Fest 7 East 20th Street tel (212) 505-5240 FEATURE New York, NY 10003-1106 fax (212) 353-9663 [email protected] [email protected] Adapting Dreigroschenoper: A New Threepenny Opera 4 Excerpts from A Working Diary Published twice a year, the Kurt Weill Newsletter features articles and reviews Simon Stephens (books, performances, recordings) that center on Kurt Weill but take a broader 5 An Interview with Simon Stephens look at issues of twentieth-century music and theater. With a print run of 5,000 copies, the Newsletter is distributed worldwide. Subscriptions are free. The editor 6 Recycling The Threepenny Opera welcomes the submission of articles, reviews, and news items for inclusion in Anja Hartl future issues. 8 Proofing the Pudding: Threepenny in English A variety of opinions are expressed in the Newsletter; they do not necessarily Michael Morley represent the publisher’s official viewpoint. Letters to the editor are welcome. 10 3 Pennies in English Staff Kim H. Kowalke Dave Stein, Editor REVIEWS Elizabeth Blaufox, Associate Editor Veronica Chaffin, Production Score Natasha Nelson, Editorial Assistant; Production and Circulation 12 Mahagonny: Ein Songspiel (Kurt Weill Edition) Philip Headlam Kurt Weill Foundation Officers Kim H. Kowalke, President and CEO Performances Ed Harsh, Chair of the Board of Trustees 14 Aufstieg und Fall der Stadt Mahagonny Philip Getter, Executive Vice Chair Municipal de Santiago Guy Stern, Vice Chair Juan Antonio Muñoz Susan Feder, Secretary 15 Der Lindberghflug/Der Ozeanflug Trustees: André Bishop, Victoria Clark, Joanne Hubbard Cossa, Corey Field, James St.
    [Show full text]
  • On Behalf of the Federal Agency of Culture and Cinematography I
    ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı On behalf of the Ministry of Culture and Mass ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰‡ˆËË Communications of the Russian Federation I ÔË‚ÂÚÒÚ‚Û˛ ‚ÒÂı Û˜‡ÒÚÌËÍÓ‚ Ë „ÓÒÚÂÈ XVIII welcome all participants and visitors of the 18th ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ Open Russian Film Festival ´Kinotavrª! ´üËÌÓÚ‡‚ª! This annual event is an integral part of our ≈„Ó ÂÊ„ӉÌÓ Ôӂ‰ÂÌË ˇ‚ΡÂÚÒˇ ÌÂÓÚ˙ÂÏÎÂÏÓÈ State policy on the support of the national ˜‡ÒÚ¸˛ „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÓÎËÚËÍË ÔÓ ÔÓ‰‰ÂÊÍ cinema. ´Kinotavrª can, without exaggeration, ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ´üËÌÓÚ‡‚ª be called the most anticipated event in the ÏÓÊÌÓ ·ÂÁ ÔÂÛ‚Â΢ÂÌˡ ̇Á‚‡Ú¸ Ò‡Ï˚Ï Russian film-season. For the 17 years of its ÓÊˉ‡ÂÏ˚Ï ÒÓ·˚ÚËÂÏ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÒÂÁÓ̇. «‡ existence this main national cinema event has ÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ Ò‚ÓÂ„Ó ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ „·‚Ì˚È gained a strong position, both in the Russian ̇ˆËÓ̇θÌ˚È ÍËÌÓÒÏÓÚ Á‡‚Ó‚‡Î ÔÓ˜Ì˚È film world and abroad. ‡‚ÚÓËÚÂÚ, Í‡Í ‚ ÓÒÒËÈÒÍÓÈ The festival is developing fast, becoming more ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓÈ Ò‰Â, Ú‡Í Ë ‚ Á‡Û·ÂÊÌÓÈ. dynamic and alive, saturated and informative. ‘ÂÒÚË‚‡Î¸ ÒÚÂÏËÚÂθÌÓ ‡Á‚Ë‚‡ÂÚÒˇ, ÒÚ‡ÌÓ‚ˇÒ¸ The success of festival films among Russian ·ÓΠ‰Ë̇Ï˘Ì˚Ï Ë ÊË‚˚Ï, ̇Ò˚˘ÂÌÌ˚Ï Ë audiences once again confirms that there is a ËÌÙÓχÚË‚Ì˚Ï.
    [Show full text]
  • The Mold of Writing for Emelie and Alice Örebro Studies in Literary History and Criticism 10
    The Mold of Writing For Emelie and Alice Örebro Studies in Literary History and Criticism 10 Erik van Ooijen The Mold of Writing Style and Structure in Strindberg’s Chamber Plays For Emelie and Alice Örebro Studies in Literary History and Criticism 10 Erik van Ooijen The Mold of Writing Style and Structure in Strindberg’s Chamber Plays Abstract Erik van Ooijen (2010): The Mold of Writing. Style and Structure in Strindberg’s Chamber Plays. Örebro Studies in Literary History and Criticism 10, 216 pp. The thesis examines the five plays published by August Strindberg under the label of Chamber Plays: Stormy Weather, The Burned Lot, The Ghost Sonata, The Pelican (all 1907), and The Black Glove (1909). It takes its point of departure in a particular aspect of Strindberg’s way of writing as he actually describes it him- self: during the act of deliberate composing, a productive fever tends to emerge bringing an element of chance to the work. The thesis defines the effect produced by this “fever” as the tension generated between, on the one hand, structure or form, and, on the other hand, style or writing. These concepts are associated with a tradition, primarily in French literary theory, which pays attention to what is described as a friction between the general linguistic aspect of literature (genres, recurring and recognizable patterns) and the individual aspect (the peculiar and idiosyncratic style of an author embodied in his material habitus). Thus the ambi- guity found in the thesis’ title: the “mold” alludes partly to the stereotypes or ma- trices of language, partly to the “fungi” that, according to Strindberg, could be considered an adequate image for writing; the poetic work, says Strindberg, grows like mold from the author’s brain.
    [Show full text]
  • I from KAMCHATKA to GEORGIA the BLUE BLOUSE MOVEMENT
    FROM KAMCHATKA TO GEORGIA THE BLUE BLOUSE MOVEMENT AND EARLY SOVIET SPATIAL PRACTICE by Robert F. Crane B.A., Georgia State University, 2001 M.A., University of Pittsburgh, 2005 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 i UNIVERSITY OF PITTSBURGH DEITRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Robert F. Crane It was defended on March 27, 2013 and approved by Atillio Favorini, PhD, Professor, Theatre Arts Kathleen George, PhD, Professor, Theatre Arts Vladimir Padunov, PhD, Professor, Slavic Languages and Literature Dissertation Advisor: Bruce McConachie, PhD, Professor, Theatre Arts ii Copyright © by Robert Crane 2013 iii FROM KAMCHATKA TO GEORGIA THE BLUE BLOUSE MOVEMENT AND EARLY SOVIET SPATIAL PRACTICE Robert Crane, PhD University of Pittsburgh, 2013 The Blue Blouse movement (1923-1933) organized thousands of workers into do-it-yourself variety theatre troupes performing “living newspapers” that consisted of topical sketches, songs, and dances at workers’ clubs across the Soviet Union. At its peak the group claimed more than 7,000 troupes and 100,000 members. At the same time that the movement was active, the Soviet state and its citizens were engaged in the massive project of building a new society reflecting the aims of the Revolution. As Vladimir Paperny has argued, part of this new society was a new spatial organization, one that stressed the horizontal over the
    [Show full text]
  • Guide to Plays for Performance
    Guide to Plays for Performance Welcome to our Guide to Plays for Performance! I hope this Guide will not only be a useful tool for you in helping to choose next season’s play, but also a valuable companion throughout your career in the theatre. The Guide will give you a good overview of our list with detailed information on our most- performed plays as well as new releases and acquisitions. A more comprehensive version of the Guide is available online, and you are welcome to print off any sheets that are of particular interest to you there. Towards the end of this guide you will find a detailed listing of all our plays for performance, including cast details. If you find a play there that you would like a closer look at, just let me know and I will be happy to send you an approval copy of the script. If you wish to receive our quarterly supplements, with information about the most recent acquisitions, you must let me have an email address (send to: [email protected]) so that I can add you to our electronic mailing list. Check before rehearsals May I remind you that it is essential that before rehearsals begin, you check availability with me, as inclusion in the Guide does not necessarily indicate that amateur rights have been released, and some plays may be withdrawn later on without notice. I hope you will find an exciting and inspiring play for a future production in this Guide and look forward to hearing from you.
    [Show full text]
  • Nikolai Erdman Tbe Suicide University of British Columbia Frederic Wood Theatre Presents Nikolai Erdman
    Nikolai Erdman Tbe Suicide University of British Columbia Frederic Wood Theatre Presents Nikolai Erdman The Suicide Directed By Klaus Strassmann March 7 17,1984 The Suicide is produced by special arrangement with SAMUEL FRENCH (Canada) Ltd. Volume 1, Number 4, Spring 1984 Published by University Productions Inc. "Onto my back the age, like a wolfhound leaps.. ." from Osip Mandelstam's March 17-28, 1931 It seems like a cliche to us that a dramatic writer, a champion of the individual, might be suppressed in Russia. But when Nikolai Erdman (born 1902) wrote his two famous plays, The Mandate (1925) and The Suicide (1932), no-one questioned a person's right to speak freely in the USSR. In fact it seems that Erdman, whose famous older brother, Boris, was a poet and set designer, started his career as a satirist, writing parodies of Soviet agitprop theatre with his brother, and a comic revue for the debut of the Moscow Theatre of Satire which opened in 1924 . He must have felt that he lived in a very exciting age. After the October Revolution of 1917, there was a general tendency towards artistic and political freedom in the country. In Moscow, new cabarets opened, and in an atmosphere of gaiety and relaxation, a vigorous young society gathered to discuss current issues of the day. Mingling with some of the most famous theatre people of the 20th century, Erdman met Vladimir Mayakovsky, the great director, who agreed to produce The Mandate in the coming season. The Mandate, a brilliant satire on the malcontents in Soviet society, gained immediate success.
    [Show full text]
  • Sami in Paradise
    SAMI IN PARADISE 1 - 29 APRIL 2018 LEARNING RESOURCES Belvoir presents SAMI IN PARADISE Based on The Suicide by NIKOLAI ERDMAN Adapted by EAMON FLACK & THE COMPANY Directed by EAMON FLACK This production of Sami in Paradise opened at Belvoir St Theatre on Thursday 5 April 2018. Set & Costume Designer DALE FERGUSON Lighting Designer VERITY HAMPSON Musical Direction, Sound Design & Composer JETHRO WOODWARD (in collaboration with MAHAN GHOBADI & HAMED SADEGHI) Movement Director NIGEL POULTON Dialect Coach AMY HUME Assistant Director CARISSA LICCIARDELLO Stage Manager LUKE McGETTIGAN Assistant Stage Manager BROOKE KISS Stage Management Secondment KATHERINE MOORE With PAULA ARUNDELL as Fima/Fairuz FAYSSAL BAZZI as Abu Walid NANCY DENIS as Adnan/Sanda CHARLIE GARBER as Charlie Gerber VICTORIA HARALABIDOU as Maria MARTA KACZMAREK as Gita MANDELA MATHIA as Owke ARKY MICHAEL as Father Arky YALIN OZUCELIK as Sami HAZEM SHAMMAS as Hazem VAISHNAVI SURYAPRAKASH as Vaish/Boy/Waiter Musicians MAHAN GHOBADI Percussion HAMED SADEGHI Strings Sami in Paradise is supported by Nelson Meers Foundation. We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the Elders past and present, and all Aboriginal and Torres Strait Islander peoples. CONTENTS About Belvoir 1 Cast and Creative Team 2 Adaptor and Director's Note 3 About Nikolai Erdman 5 Rehearsing Sami in Paradise 7 Production Elements 9 Live Foley Set Design Post Show Discussion 12 Podcast 16 Contact Education 17 Rehearsal Photos / Brett Boardman 2018 Production Photos / Clare Hawley 2018 Cover Image / Daniel Boud 2018 Learning Resources compiled by Belvoir’ Education, April 2018 ABOUT BELVOIR One building.
    [Show full text]