Richard Walton Tully's the Bird of Paradise and the Dynamics Of
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WANTED! 2.30 P
0 ■ m 00 A STRAND Pleasantville 6.45 and 8.45 THEATRE, * ZIMMERMAN, Lessee & Manager. it _CAL. 3 CO Feature Acts Vaudeville Ethel in “EASY MONEY” A Today--Two Clayton George Ovey in “Jerry's Lucky Day” A H 1 wonderful EMILY stevens in the most amazing screen at- 7 CXiraExtra Tuesdav. UCC.Dec. CD25 AH i D ■ iiTTl C!1 1 99 A uesaay, traction in the in 7 Metro Presents he tlhrlCPY* world, tremendous acts, vital-pa. 1 1 IIV UiaVXVVl TRIOTIC-SUPREME. Prices: Mat. He; Night Children 11c, Adults, 15c. Q. Christmas Day. Extra! a A 3 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY X m MARY PICKFORD IN EMILY STEVENS IN 3 MAXINE ELLIOT IN MME. PETROVA IN ETHEL BARRYMORE IN ALICE BRADY IN a, H THE SLACKER c A Romance of The Maid of A Belgium m a Odds Silence Sellers Life’s S Redwoods Fighting Whirlpool *< The The Hidden Hand VAUDEVILLE Leona Teacher—Ferdinand LAURETTE TAYLOR BE Hart, COMMUNICATED. TO its new form on any stage will be at THE AUTHORS’ CLUB. Albsecon Earl Bruckler, Dobbin, Gordon Draper, the From SEEN IN “HAPPINESS". Apollo. here it will go im- Emerson Show-ell, Esther Boice, Emily (Our columns are open to our readers for to one of the Christmas services will be held in Gaskill, Dorothy Hammell, Mary Ken- the discussion of matters of public Interest mediately playhouses on Owing to the illness of some and the and Communications are, however, the senti the M. E. Church Sunday morning derski, Anna McCarthy, Kathryn Mil- Broadway,where Messrs. -
The Relevance of Tennessee Williams for the 21St- Century Actress
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par. -
Tennessee Williams' "Plastic Theater" a Formulation of Dramaturgy for "The American Method" Theater
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2015 Tennessee Williams' "Plastic Theater" A Formulation of Dramaturgy for "The American Method" Theater Peter A. Philips Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Theatre and Performance Studies Commons Let us know how access to this document benefits ou.y Recommended Citation Philips, Peter A., "Tennessee Williams' "Plastic Theater" A Formulation of Dramaturgy for "The American Method" Theater" (2015). Graduate Student Theses, Dissertations, & Professional Papers. 4471. https://scholarworks.umt.edu/etd/4471 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Contents Acknowledgements ...............................................................................................1 Preface ....................................................................................................................2 Introduction ...........................................................................................................5 Chapter Synopsis .........................................................................................7 Chapter 1. Tennessee Williams: A -
The Glass Menagerie Teachers´Packaug
The Glass Menagerie Plot Overview The Glass Menagerie is known as a “ memory play” because it is based on the way the plays narrator, Tom, remembers events. The story is a told to us by Tom Wingfield, a merchant marine looking back on the Depression years he spent with his overbearing Southern genteel mother, Amanda, and his physically disabled, cripplingly shy sister, Laura. While Amanda strives to give her children a life beyond the decrepit St. Louis tenement they inhabit, she is herself trapped by the idealised memory of her life past . Tom, working at a shoe factory and paying the family’s rent, finds his own escape in drinking and going to the movies, while Laura pours her energy into caring for her delicate glass figurines. Tom, pressured by his mother to help find Laura a suitable husband, invites an acquaintance from the factory to the apartment, a powerful possibility that pushes Amanda deeper into her obsessions and makes Laura even more vulnerable to shattering, exposed like the glass menagerie she treasures. Williams’ intensely personal and brilliantly tender masterpiece exposes the complexity of our memories, and the ways in which we can never truly escape them. Detailed Summary Scene 1 “I give you truth in the pleasant disguise of illusion.” – Tom The narrator, Tom, explains directly to the audience that the scenes are “memory,” therefore nonrealistic. Memory omits (leaves out) details and exaggerates them according to the value of the memory. Memory, as he explains, rests mainly in the heart. We learn from the narrator that the gentleman- caller character is the most realistic because he is from the world of reality and symbolizes the “expected something that we live for.” The photograph is of the father who left the family a long time ago. -
Would You Believe L.A.? (Revisited)
WOULD YOU BELIEVE L.A.? (REVISITED) Downtown Walking Tours 35th Anniversary sponsored by: Major funding for the Los Angeles Conservancy’s programs is provided by the LaFetra Foundation and the Kenneth T. and Eileen L. Norris Foundation. Media Partners: Photos by Annie Laskey/L. A. Conservancy except as noted: Bradbury Building by Anthony Rubano, Orpheum Theatre and El Dorado Lofts by Adrian Scott Fine/L.A. Conservancy, Ace Hotel Downtown Los Angeles by Spencer Lowell, 433 Spring and Spring Arcade Building by Larry Underhill, Exchange Los Angeles from L.A. Conservancy archives. 523 West Sixth Street, Suite 826 © 2015 Los Angeles Conservancy Los Angeles, CA 90014 Based on Would You Believe L.A.? written by Paul Gleye, with assistance from John Miller, 213.623.2489 . laconservancy.org Roger Hatheway, Margaret Bach, and Lois Grillo, 1978. ince 1980, the Los Angeles Conservancy’s walking tours have introduced over 175,000 Angelenos and visitors alike to the rich history and culture of Sdowntown’s architecture. In celebration of the thirty-fifth anniversary of our walking tours, the Los Angeles Conservancy is revisiting our first-ever offering: a self-guided tour from 1978 called Would You Believe L.A.? The tour map included fifty-nine different sites in the historic core of downtown, providing the basis for the Conservancy’s first three docent-led tours. These three tours still take place regularly: Pershing Square Landmarks (now Historic Downtown), Broadway Historic Theatre District (now Broadway Theatre and Commercial District), and Palaces of Finance (now Downtown Renaissance). In the years since Would You Believe L.A.? was created and the first walking tours began, downtown Los Angeles has undergone many changes. -
United States Theatre Programs Collection O-016
http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 [email protected] URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items. -
Appendix: Famous Actors/ Actresses Who Appeared in Uncle Tom's Cabin
A p p e n d i x : F a m o u s A c t o r s / Actresses Who Appeared in Uncle Tom’s Cabin Uncle Tom Ophelia Otis Skinner Mrs. John Gilbert John Glibert Mrs. Charles Walcot Charles Walcott Louisa Eldridge Wilton Lackaye Annie Yeamans David Belasco Charles R. Thorne Sr.Cassy Louis James Lawrence Barrett Emily Rigl Frank Mayo Jennie Carroll John McCullough Howard Kyle Denman Thompson J. H. Stoddard DeWolf Hopper Gumption Cute George Harris Joseph Jefferson William Harcourt John T. Raymond Marks St. Clare John Sleeper Clarke W. J. Ferguson L. R. Stockwell Felix Morris Eva Topsy Mary McVicker Lotta Crabtree Minnie Maddern Fiske Jennie Yeamans Maude Adams Maude Raymond Mary Pickford Fred Stone Effie Shannon 1 Mrs. Charles R. Thorne Sr. Bijou Heron Annie Pixley Continued 230 Appendix Appendix Continued Effie Ellsler Mrs. John Wood Annie Russell Laurette Taylor May West Fay Bainter Eva Topsy Madge Kendall Molly Picon Billie Burke Fanny Herring Deacon Perry Marie St. Clare W. J. LeMoyne Mrs. Thomas Jefferson Little Harry George Shelby Fanny Herring F. F. Mackay Frank Drew Charles R. Thorne Jr. Rachel Booth C. Leslie Allen Simon Legree Phineas Fletcher Barton Hill William Davidge Edwin Adams Charles Wheatleigh Lewis Morrison Frank Mordaunt Frank Losee Odell Williams John L. Sullivan William A. Mestayer Eliza Chloe Agnes Booth Ida Vernon Henrietta Crosman Lucille La Verne Mrs. Frank Chanfrau Nellie Holbrook N o t e s P R E F A C E 1 . George Howard, Eva to Her Papa , Uncle Tom’s Cabin & American Culture . http://utc.iath.virginia.edu {*}. -
Respect for Acting Ffirs.Qxd 5/7/08 12:54 PM Page Ii
ffirs.qxd 5/7/08 12:54 PM Page vi ffirs.qxd 5/7/08 12:54 PM Page i respect for acting ffirs.qxd 5/7/08 12:54 PM Page ii Respect for Acting was first published in 1973 with the cover above. This edition reprints the original without alteration. ffirs.qxd 5/7/08 12:54 PM Page iii respect for acting uta hagen with haskel frankel John Wiley & Sons, Inc. ffirs.qxd 5/7/08 12:54 PM Page iv Copyright © 1973 by Uta Hagen. All rights reserved Foreword copyright © 2008 by David Hyde Pierce Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropri- ate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representa- tions or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. -
Elizabeth A. Schor Collection, 1909-1995, Undated
Archives & Special Collections UA1983.25, UA1995.20 Elizabeth A. Schor Collection Dates: 1909-1995, Undated Creator: Schor, Elizabeth Extent: 15 linear feet Level of description: Folder Processor & date: Matthew Norgard, June 2017 Administration Information Restrictions: None Copyright: Consult archivist for information Citation: Loyola University Chicago. Archives & Special Collections. Elizabeth A. Schor Collection, 1909-1995, Undated. Box #, Folder #. Provenance: The collection was donated by Elizabeth A. Schor in 1983 and 1995. Separations: None See Also: Melville Steinfels, Martin J. Svaglic, PhD, papers, Carrigan Collection, McEnany collection, Autograph Collection, Kunis Collection, Stagebill Collection, Geary Collection, Anderson Collection, Biographical Sketch Elizabeth A. Schor was a staff member at the Cudahy Library at Loyola University Chicago before retiring. Scope and Content The Elizabeth A. Schor Collection consists of 15 linear feet spanning the years 1909- 1995 and includes playbills, catalogues, newspapers, pamphlets, and an advertisement for a ticket office, art shows, and films. Playbills are from theatres from around the world but the majority of the collection comes from Chicago and New York. Other playbills are from Venice, London, Mexico City and Canada. Languages found in the collection include English, Spanish, and Italian. Series are arranged alphabetically by city and venue. The performances are then arranged within the venues chronologically and finally alphabetically if a venue hosted multiple productions within a given year. Series Series 1: Chicago and Illinois 1909-1995, Undated. Boxes 1-13 This series contains playbills and a theatre guide from musicals, plays and symphony performances from Chicago and other cities in Illinois. Cities include Evanston, Peoria, Lake Forest, Arlington Heights, and Lincolnshire. -
Incidental Music for Three Plays: LAURETTE
Incidental Music for Three Plays: LAURETTE - RASHOMON - DEATH OF A SALESMAN Incidental music in straight plays has been a regular Laurette isn’t documented, but it’s probably not much of a “Arthur Miller has written a superb drama. From every occurrence on Broadway, with many top composers stretch to assume that Robert Mulligan, with whom he had point of view Death of a Salesman, which was acted at done the film The Rat Race, may have recommended him the Morosco last evening, is rich and memorable drama. creating the scores. From the Golden Age, that to Mr. Pakula. The resulting eighteen minutes of inciden- It is so simple in style and so inevitable in theme that it would include Alex North for Death of a Salesman, tal music is pure Elmer, some of it prefiguring the delicate scarcely seems like a thing that has been written and The Innocents, and a production of Richard III, colors that he would use for his masterpiece, To Kill a acted. For Mr. Miller has looked with compassion into Vernon Duke for Time Remembered, Laurence Mockingbird. The music is scored for a small ensemble the hearts of some ordinary Americans and quietly trans- Rosenthal for Rashoman, Stephen Sondheim for that never sounds small because Bernstein knew exactly ferred their hope and anguish to the theatre. Under Elia how to write for small ensembles. This wasn’t slumming Kazan’s masterly direction, Lee J. Cobb gives a heroic Invitation to a March and The Enclave, Paul Bowles for Mr. Bernstein – he obviously took the same care that performance, and every member of the cast plays like a for The Glass Menagerie, to name only a handful. -
CORT THEATER, 138-146 West 48Th Street, Manhattan
Landmarks Preservation Commission November 17, 1987; Designation List 196 LP-1328 CORT THEATER, 138-146 West 48th Street, Manhattan. Built 1912-13; architect, Thomas Lamb . Landmark Site: Borough of Manhattan Tax Map Block 1000, Lot 49. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Cort Theater and the proposed designation of the related Landmark Site (Item No. 24). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness 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 Cort Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1912- 13, the Cort is among the oldest surviving theaters in New York. It was designed by arc hi teet Thomas Lamb to house the productions of John Cort , one of the country's major producers and theater owners. The Cort Theater represents a special aspect of the nation's theatrical history. Beyond its historical importance, it is an exceptionally handsome theater, with a facade mode l e d on the Petit Trianon in Versailles. Its triple-story, marble-faced Corinthian colonnade is very unusual among the Broadway theater s. -
M-122 Theater and Minne Milne Collection.Rtf
Collection M-122 Theater and Minne Milne Collection Series 1 Theater Subseries 1 Programs: St. Louis Box # Folder/Item # Folder/Item Description Sub Subseries 1 Aeolian Hall 1 1 1 1 1 n.d. Sub Subseries 2 American Theatre 1 1 1 2 1 1913-1929 1 1 1 2 2 1930-1949 1 1 1 2 3 1950-1959 1 1 1 2 4 1960-1983 1 1 1 2 5 n.d. Sub Subseries 3 Apollo Theater 1 1 1 3 1 1872 Sub Subseries 4 The Arthur Theatres 1 1 1 4 1 n.d. Sub Subseries 5 Artists' Guild Theatre 1 1 1 5 1 1921-1928, n.d. Sub Subseries 6 The Barn: A Dinner Playhouse 1 1 1 6 1 n.d. Sub Subseries 7 Bellefontaine Methodist Church 1 1 1 7 1 1967 Sub Subseries 8 Carrollton Elementary School 1 1 1 8 1 1962 Sub Subseries 9 Castle Square Opera Company 1 1 1 9 1 1900 Sub Subseries 10 Century Theatre 1 1 1 10 1 1897-1913, n.d. Sub Subseries 11 Church of the Holy Ghost 1 1 1 11 1 1871 Sub Subseries 12 Church of the Messiah 1 Collection M-122 Theater and Minne Milne Collection Series 1 Theater Subseries 1 Programs: St. Louis Box # Folder/Item # Folder/Item Description 1 1 1 12 1 1874 Sub Subseries 13 City Art Museum now St. Louis Art Museum 1 1 1 13 1 n.d. Sub Subseries 14 City Players 1 1 1 14 1 1977-1984 Sub Subseries 15 Coliseum 1 1 1 15 1 n.d., 1928-1929 Sub Subseries 16 St.