DOCSLIB.ORG

STUDY GUIDE WRITERS Jane Marcher Foundation T Aylor Barfield Y Ale School of Drama, MFA ’16 Production Dramaturg

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
STUDY GUIDE WRITERS Jane Marcher Foundation T Aylor Barfield Y Ale School of Drama, MFA ’16 Production Dramaturg 2016 STUDY GU IDE YALE REPERTORY THEATRE WILL POWER! 2015–16 IS SUPPORTED BY JAMES BUNDY Artistic Director E sme Usdan VICTORIA NOLAN Allegra Print and Imaging M anaging Director New Alliance Foundation STUDY GUIDE WRITERS Jane Marcher Foundation T AYLOR BARFIELD Y ale School of Drama, MFA ’16 Production Dramaturg L YNDA A.H. PAUL Y ale School of Drama, MFA ’17 Production Dramaturg EDITORS AMY BORATKO Literary Manager RACHEL CARPMAN Literary Associate GRAPHIC desigNER MARGUERITE ELLIOTT Publications Manager SPECIAL THANKS For more information on Yale Repertory Theatre Nancy Herman, Jennifer Kiger, Kay Perdue and Cymbeline, please visit: Meadows, Steven Padla, Catherine Sheehy, Evan Yionoulis Cymbeline cover artwork by Paul Evan Jeffrey. YALEREP.ORG WILLPOWER! welcome to SYNOPSIS Imogen, daughter of Britain’s King Cymbeline, has Imogen finds a cave, which belongs toB elarius and his married Posthumus Leonatus, even though he is not adopted sons Guiderius and Arviragus. Imogen tells of royal blood. (Imogen is the king’s only child; he once them her name is Fidele, and they welcome her as a had two sons, but they were kidnapped long ago.) Upon brother. The next day, “Fidele” feels ill and takes the WILLPOWER! discovering Imogen’s unsanctioned marriage, the king sleeping potion thinking it is medicine. Cloten arrives banishes Posthumus. Before he departs for Italy, the at the cave and gets in a fight with Guiderius, who cuts lovers exchange tokens: she gives him a ring, he gives off his head. Arviragus finds “Fidele” in the cave and As part of Yale Repertory Theatre’s WILL POWER! educational initiative, we are pleased to her a bracelet. Meanwhile, the Queen is plotting to thinks him dead. The three mourn “Fidele” and lay him offer this Study Guide to accompany our 2016 production of Cymbeline. have her son by a previous marriage, Cloten, married with Cloten’s body. Imogen, still dressed as “Fidele,” to Imogen. Cloten tries to awkwardly woo Imogen, but then awakens and sees Cloten’s headless body wearing Quotes from Cymbeline are taken from Arden Shakespeare, reprinted in 2007. Imogen rejects him. Posthumus’s clothing. She thinks her husband is dead and weeps for him. “Fidele” is found by Lucius and In Italy, Posthumus meets the scheming Iachimo, agrees to join the Roman Army. who bets that he can prove that Imogen is unfaithful. Posthumus takes the bet and gives Iachimo his ring as At court, Cymbeline and Pisanio prepare to fight the collateral. Romans. Guiderius, Arviragus, and Belarius fight for Britain, while Posthumus joins the Romans, along S ynopsis ...................................................................................................................... 1 Back in England, the Queen plots to poison both the with Lucius and Iachimo. The two sides clash, and the King and Imogen. The doctor, Cornelius, suspects Britons win the day. The Romans, including Posthumus, the Queen’s plot, and instead of poison, gives her a are thrown in jail. While awaiting execution, Posthumus Cymbeline: Characters .................................................................................................. 2 sleeping potion. The Queen passes the potion along has a dream in which his long-dead family and Jupiter to Imogen and Posthumus’s loyal servant Pisanio. himself appear to him. In the morning, the Romans are Shakespeare’s Staged History ......................................................................................4 Newly arrived Iachimo convinces Imogen that he is brought before Cymbeline. “Fidele,” seeing Posthumus’s Posthumus’s friend and asks her to keep his trunk in ring on Iachimo’s finger, demands to know where it Director’s Cut: Evan Yionoulis on Cymbeline ..................................................................5 her room. Iachimo hides in the trunk, and while Imogen came from. Iachimo admits he got it from Posthumus by is sleeping, he creeps out, memorizes the details lying about Imogen’s virtue. Pisanio reveals that “Fidele” of her room, and steals her bracelet: “proof” of her What is Love? The Romance of Cymbeline ...................................................................... 9 is Imogen and explains her disguise. Guiderius admits infidelity. Iachimo returns to Italy to tell Posthumus he to killing Cloten, and Belarius explains that Guiderius won Imogen and shows him the bracelet. Posthumus and Arviragus are Cymbeline’s lost sons. Cymbeline, Evil Queens, Loyal Servants, and Royals in Disguise: bemoans the unfaithfulness of women. He writes two overjoyed, recognizes Imogen’s marriage, pardons the From Snow White to Imogen ....................................................................................... 10 letters: one telling Imogen to meet him at Milford Haven, Romans, agrees to pay his tribute, and declares a feast. and one telling Pisanio to kill Imogen for adultery once Actor’s Notebook .......................................................................................................14 they arrive. —RACHEL CARPMAN Caius Lucius, an ambassador from Italy, arrives at Cymbeline: Shakespeare’s Treasure Chest .................................................................. 16 Cymbeline’s court. Cymbeline refuses to pay his yearly tribute, and Lucius warns him of the wrath of Rome. Playing Spaces: Pisanio and Imogen receive their letters and set off REM for Milford Haven. On the journey Pisanio reveals the IX IT How Theatre Buildings Shaped Shakepeare’s Plays ..................................................... 18 The above synopsis follows contents of his letter. He disguises Imogen as a boy, the Bard wrote it. However, it’s quite common for gives her the Queen’s potion for protection, and tells S directors to cut lines—or even hakespeare’srestructure scenes— play as Before and After: Discussion Questions ...................................................................... 20 her to run away. Pisanio returns to court, where he finds in productions. Cloten in a rage because Imogen has disappeared. a certain theme,T highlighthis can help a particular frame the character’s play around Pisanio sends Cloten, who puts on Posthumus’s clothes, Resources .................................................................................................................. 21 journey, or emphasize a particular element of to Milford Haven and writes a letter to Posthumus, the plot. telling him Imogen is dead. After seeing the play, do you think that director Evan to the text? Yionoulis made any cuts or changes 1 married to Queen Belarius Cymbeline Wife of Cymbeline a.k.a. “Morgan” King of Britain Banished Lord adopted father of father adopted doctor to visits father of father mother of Caius Lucius Cornelius General of the Roman Forces C ourt Physician lost sons of hires Cloten Imogen A young courtier; Arviragus Guiderius tries to woo the Queen’s son by a a.k.a. “Cadwal” a.k.a. “Polydore” a.k.a. “Fidele” previous marriage is married to married is Pisanio servant to Loyal servant of Imogen and Posthumus Posthumus Leonatus A young gentleman; husband of Imogen friends with CYMBELINE: tricks CHARACTERS Iachimo friends with Philario Prideful Italian Lord Idtalian Lor Fights for Rome Fights for Britain Not in the war 2 3 Shakespeare’s DIRECTOR’S CUT: Staged History Evan Yionoulis on Cymbeline When the first collection of Shakespeare’s work was British ruler at the time, to pay an annual tribute to EVAN YIONOULIS is As a director embarks on a new production of published in 1623, the editors split his plays into three Rome. Shakespeare briefly delves into the backstory of Resident Director at genres: comedy, tragedy, and history. The histories Cassibelan’s struggle against Julius Caesar when Caius one of Shakespeare’s plays, she often spends a are all named for English kings: Henry V; Richard III; Lucius visits to retrieve Britain’s “untender’d” tribute in Yale Rep where her year—or more—making choices about what will King Henry VIII; Richard II; King John; Henry IV Parts Act III. productions include be on stage. The text is often cut. Actors are cast 1 and 2; and Henry VI Parts 1, 2, and 3. Cymbeline, Owners, Stones in His Shakespeare’s Cymbeline refuses to pay the tribute, to play the roles, and designers have to plot out first produced sometime between 1609 and 1611, is Pockets, Bossa Nova, also named after a real British king—Kymbeline—but which precipitates a war between the two nations. The what the set, costumes, and lights will look like. historical record varies slightly from this version of The Master Builder, defies the history label; in fact, it was first categorized At the helm, the director makes many choices as a tragedy. This play features a tumultuous love events. Holinshed’s Chronicles, one of Shakespeare’s Richard II, Black Snow, story, a duplicitous Queen straight out of a fairy tale, primary source texts, states that, “after Julius Cesar’s The People Next Door, along the way to ensure that a vibrant story is and material too fantastical to have come from any death when Augustus had taken upon him the rule of The King Stag, Heaven, told when the audience comes to the theatre. the Empire, the Britaynes refused to pay tribute” but history book, including ghosts and a god descending and Galileo. New York from the heavens. In Cymbeline, Shakespeare draws also that “Kymbeline being brought up in Rome, and credits include Howard upon historical fact, but he takes major liberties in his made a knight in the Court of Augustus” was, therefore, Yale Rep’s Literary Manager Amy Boratko
Load more

Recommended publications
  • Shakespeare Oxford Fellowship Conference
    Shakespeare Oxford Fellowship Conference Oakland Marriott City Center Hotel October 11–14, 2018 Table of Contents Schedule of Events ....................................................... 2 Biographies/Titles/Abstracts .............................. 6 —In order of presentation Dark Lady Essays .......................................................23 Dark Lady Sonnets ....................................................29 Page 1 SOF Conference—Schedule of Events THURSDAY: October 11, 2018 10:00—1:00 Conference Registration 1:00—1:15 Welcome, Introductions and Orientation. 1:15—2:00 Wally Hurst: Blame It on the Bard: Why the Author ‘Shakespeare’ is Responsible for World War I and World War II. 2:00—2:45 David Rains Wallace: Shakespeare, Beowulf, and Wilderness. 2:45—3:15 Coffee/Tea Break 3:15—4:00 Theresa Lauricella: “I Took Thee for thy Better”: The Prestige of Polonius. 4:00—4:45 Robert Detobel (Read by Don Rubin): The Soul of Nero. 4:45—5:30 Steven Sabel: Not to Modernize: Why the ‘translating’ of the Bard’s texts to modern language corrupts performance of the works and further conceals the true author. 5:30—7:00 Hosted Wine and Cheese reception. FRIDAY: October 12, 2018 8:30—9:15 Julie Bianchi: Twins Separated at Birth? A Cultural and Genealogical Investigation of Two Identities Set in Stone. 9:15—9:30 John Hamill: Shakespeare Oxford Fellowship Research Grants Report 9:30—10:15 Michael Delahoyde and Coleen Moriarty: De Veres di Venezia 10:15—10:45 Coffee/Tea Break 10:45—12:30 Panel: An Oxfordian Timeline for Dating Shakespeare’s Plays: Ramon Jiménez, Katherine Chiljan, and Kevin Gilvary 12:30—1:30 Lunch (on own). 1:30—2:15 W.
    [Show full text]
  • School of Drama 2020–2021
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Drama 2020–2021 School of Drama 2020–2021 BULLETIN OF YALE UNIVERSITY Series 116 Number 13 August 30, 2020 BULLETIN OF YALE UNIVERSITY Series 116 Number 13 August 30, 2020 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in October; three times in September; four and employment of individuals upon their qualifications and abilities and a∞rmatively times in June and July; five times in August) by Yale University, 2 Whitney Avenue, New seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Senior Direc- tor of the O∞ce of Institutional Equity and Access, 221 Whitney Avenue, 4th Floor, The closing date for material in this bulletin was July 30, 2020.
    [Show full text]
  • A Noise Within Study Guide Shakespeare Supplement
    A Noise Within Study Guide Shakespeare Supplement California’s Home for the Classics California’s Home for the Classics California’s Home for the Classics Table of Contents Dating Shakespeare’s Plays 3 Life in Shakespeare’s England 4 Elizabethan Theatre 8 Working in Elizabethan England 14 This Sceptered Isle 16 One Big Happy Family Tree 20 Sir John Falstaff and Tavern Culture 21 Battle of the Henries 24 Playing Nine Men’s Morris 30 FUNDING FOR A NOISE WITHIN’S EDUCATIONAL PROGRAMS IS PROVIDED IN paRT BY: The Ahmanson Foundation, Alliance for the Advancement of Arts Education, Supervisor Michael D. Antonovich, Employees Community Fund of Boeing California, The Capital Group Companies, Citigroup Foundation, Disney Worldwide Outreach, Doukas Family Foundation, Ellingsen Family Foundation, The Herb Alpert Foundation, The Green Foundation, Kiwanis Club of Glendale, Lockheed Federal Credit Union, Los Angeles County Arts Commission, B.C. McCabe Foundation, Metropolitan Associates, National Endowment for the Arts, The Kenneth T. and Eileen L. Norris Foundation, The Steinmetz Foundation, Dwight Stuart Youth Foundation, Waterman Foundation, Zeigler Family Foundation. 2 A Noise Within Study Guide Shakespeare Supplement Dating Shakespeare’s Plays Establishing an exact date for the Plays of Shakespeare. She theorized that authorship of Shakespeare’s plays is a very Shakespeare (a “stupid, ignorant, third- difficult task. It is impossible to pin down rate play actor”) could not have written the exact order, because there are no the plays attributed to him. The Victorians records giving details of the first production. were suspicious that a middle-class actor Many of the plays were performed years could ever be England’s greatest poet as before they were first published.
    [Show full text]
  • Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION a Project Of
    Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION A project of edited by Rochelle G. Saidel and Karen Shulman Remember the Women Institute, a 501(c)(3) not-for-profit corporation founded in 1997 and based in New York City, conducts and encourages research and cultural activities that contribute to including women in history. Dr. Rochelle G. Saidel is the founder and executive director. Special emphasis is on women in the context of the Holocaust and its aftermath. Through research and related activities, including this project, the stories of women—from the point of view of women—are made available to be integrated into history and collective memory. This handbook is intended to provide readers with resources for using theatre to memorialize the experiences of women during the Holocaust. Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION A Project of Remember the Women Institute By Rochelle G. Saidel and Karen Shulman This resource handbook is dedicated to the women whose Holocaust-related stories are known and unknown, told and untold—to those who perished and those who survived. This edition is dedicated to the memory of Nava Semel. ©2019 Remember the Women Institute First digital edition: April 2015 Second digital edition: May 2016 Third digital edition: April 2017 Fourth digital edition: May 2019 Remember the Women Institute 11 Riverside Drive Suite 3RE New York,NY 10023 rememberwomen.org Cover design: Bonnie Greenfield Table of Contents Introduction to the Fourth Edition ............................................................................... 4 By Dr. Rochelle G. Saidel, Founder and Director, Remember the Women Institute 1. Annotated Bibliographies ....................................................................................... 15 1.1.
    [Show full text]
  • Sebastian Arboleda Aea
    SEBASTIAN ARBOLEDA AEA THEATRE Leopard Play: or sad song for lost boys Other Uncle aka Tasmanian Devil Louisa Alcala Baker/Steep Theatre December Benjamin Denise Yvette Serna/The Goodman Theatre Adventures of Augie March Talavera/Ensemble (u/s Georgie, Fraser, Iggy) Charlie Newell/Court Theatre Curve of Departure Jackson Mike Donahue/Studio Theatre Ubu Roi Ubu Christopher Bayes/Yale Repertory Theatre Cymbeline u/s Pisanio, Caius Lucius, Scillius Leonatus Evan Yionoulis/Yale Repertory Theatre Caucasian Chalk Circle u/s Fat Prince Liz Diamond/Yale Repertory Theatre Imogen Says Nothing u/s Ned Hummings Laurie Woolery/Yale Repertory Theatre Amy and the Orphans Bobby Leora Morris/Yale Repertory Theatre Blood Wedding Groom Kevin Hourigan Midsummer Night’s Dream Bottom The Company Love’s Labours Lost Ferdinand Nelson Eusebio/Oregon Shakespeare Festival TELEVISION Chicago P.D. Ep. 709 & 710 Luis Silva Paul McCrane/NBC COMMERCIAL Mike’s Hard(er) Lemonade Guy MABI TRAINING Education Yale school of Drama - Acting MFA Cal State, Long Beach - Theatrical Performance B.A. minor in Comm. Studies/ Speech and Writing Pina Bausch Movement Workshop - Adventures of Augie March - Merighi/Mercy Productions On Camera Training Bob Krakower Gregory Berger-Sobeck Shakespeare Training Barbara Gaines - First Folio Shakespeare Santa Monica - John Farmenesh- Becca, Louis Scheeder, Jean-Louise Rodrigue, (in Association with Not Man Apart) SPECIAL SKILLS Singing: Tenor Languages: Spanish, English Dialects: French, Western Irish, Colombian, Mexican/Chicano, Southern, Australia, English (R.P., Cockney, etc.) Movement: Swimming, American Boxing, Escrima, Kali, Basic Hand-to-Hand, Sword, Mountain Biking, Basic Salsa, Basic Waltz Misc: Physical Theatre, Bubble Magic, Gondola Rowing, Tarot Card Reading, Operatic Singing.
    [Show full text]
  • Little Black Shadows Program
    SC 54th Season • 518th Production JULIANNE ARGYROS STAGE / APRIL 8-29, 2018 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents the world premiere of LITTLE BLACK SHADOWS by Kemp Powers David M. Barber Sara Ryung Clement Elizabeth Harper SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Charles Coes AND Nathan A. Roberts Hana S. Kim SOUND DESIGN & ORIGINAL MUSIC PROJECTION & PUPPET DESIGN Kimberly Colburn Joshua Marchesi Joanne DeNaut, CSa Nikki Hyde DRAMATURG PRODUCTION MANAGER CASTING STAGE MANAGER Directed by May Adrales The Playwrights Circle Sandy Segerstrom Daniels • Dr. Robert F. & Julie A. Davey • Patricia Ellis • Janet & Michael Hards Yvonne & Damien Jordan • Jim & Pam Muzzy • Carl Neisser • Michael Oppenheim • Barbara Roberts Peter & Joy Sloan • Julia Voce • Marci Maietta Weinberg & Bill Weinberg Honorary Producer LITTLE BLACK SHADOWS was workshopped and developed in South Coast Repertory’s 2016 Pacific Playwrights Festival. This play is a recipient of an Edgerton Foundation New American Play Award. Little Black Shadows • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Colis ................................................................................................... Giovanni Adams Toy ....................................................................................................... Chauntae Pink Daniel ................................................................................................... Daniel Bellusci Mittie
    [Show full text]
  • Masaryk University Faculty of Education Department of English Language and Literature
    MASARYK UNIVERSITY FACULTY OF EDUCATION DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE Renaissance theatre in England and its comparison with the theatre in the Czech Lands in the Renaissance period Bachelor Thesis Brno 2016 Supervisor: Author: Mgr. Lucie Podroužková, Ph.D. Lucie Pupalová Prohlášení Prohlašuji, že jsem bakalářskou práci vypracovala samostatně, s využitím pouze citovaných literárních pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů. Brno, 25. března 2016 …….………………… Lucie Pupalová Acknowledgement In the first place, I would like to thank my supervisor Mgr. Lucie Podroužková, Ph.D. for her valued help, patience and kind advice. Secondly, I would like to thank my parents as well as my dear classmates and friends for motivation and support, namely Magdalena Kyzlinková and Kateřina Zadinová. Abstract This Bachelor thesis focuses on the development of theatre in the period of Renaissance in England and in the Czech Lands as well as on their comparison. The thesis is divided into four main chapters. The first chapter briefly describes the theatre development in Europe prior to the Renaissance period. The following two chapters outline the theatre development of Renaissance theatre in both compared countries. The last chapter provides a comparison of these two theatre developments and seeks for similarities and differences between them. Key words theatre, drama, Renaissance, development, history, England, Czech Lands Anotace Tato bakalářská práce se zabývá vývojem renesančního divadla v Anglii a v Českých zemích a jejich porovnáním.
    [Show full text]
  • Boyd-Quinson Mainstage July 18–August 3, 2019
    AND Sydelle and Lee Blatt PRESENT BY Mark St. Germain BASED ON THE NOVEL BY John Updike FEATURING Elijah Alexander Nick LaMedica Kate MacCluggage Douglas Rees Rocco Sisto Mary Stout Greg Thornton SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER COMPOSER SOUND DESIGNER Lee Savage Sara Jean Tosetti David Lander Jenny Giering Lindsay Jones WIG DESIGNER PUPPET DESIGNER CHOREOGRAPHY PRODUCTION STAGE MANAGER Anne Ford-Coates Brandon Hardy Barbara Allen Geoff Boronda CASTING PRESS REPRESENTATIVE DIGITAL ADVERTISING Pat McCorkle, Katja Zarolinski, CSA Charlie Siedenburg The Pekoe Group DIRECTED BY Julianne Boyd SPONSORED IN PART BY Hildi and Walter Black & Susan and David Lombard World premiere commissioned and produced by Orlando Shakespeare Theater in Partnership with UCF Artistic Director Jim Helsinger, Managing Director PJ Albert Funding generously provided by Rita and John Lowndes Gertrude and Claudius was workshopped at the Utah Shakespeare Festival in August 2018, as part of its Words Cubed new play development series. BOYD-QUINSON MAINSTAGE JULY 18–AUGUST 3, 2019 TIME ACT I: Late Medieval, spanning a period of 18 years ACT II: Early Renaissance, 12 years later PLACE Elsinore, Denmark CAST IN ORDER OF APPEARANCE Gertrude ...................................................................................... Kate MacCluggage* King Rorik ........................................................................................... Greg Thornton* King Amleth .........................................................................................Douglas
    [Show full text]
  • 1 Shakespeare and Film
    Shakespeare and Film: A Bibliographic Index (from Film to Book) Jordi Sala-Lleal University of Girona [email protected] Research into film adaptation has increased very considerably over recent decades, a development that coincides with postmodern interest in cultural cross-overs, artistic hybrids or heterogeneous discourses about our world. Film adaptation of Shakespearian drama is at the forefront of this research: there are numerous general works and partial studies on the cinema that have grown out of the works of William Shakespeare. Many of these are very valuable and of great interest and, in effect, form a body of work that is hybrid and heterogeneous. It seems important, therefore, to be able to consult a detailed and extensive bibliography in this field, and this is the contribution that we offer here. This work aims to be of help to all researchers into Shakespearian film by providing a useful tool for ordering and clarifying the field. It is in the form of an index that relates the bibliographic items with the films of the Shakespearian corpus, going from the film to each of the citations and works that study it. Researchers in this field should find this of particular use since they will be able to see immediately where to find information on every one of the films relating to Shakespeare. Though this is the most important aspect, this work can be of use in other ways since it includes an ordered list of the most important contributions to research on the subject, and a second, extensive, list of films related to Shakespeare in order of their links to the various works of the canon.
    [Show full text]
  • BOYD-QUINSON MAINSTAGE OCTOBER 3-21, 2018 SETTING an Alley in St
    JULIANNE BOYD, ARTISTIC DIRECTOR AND Carla and Edward Slomin PRESENT BY Tennessee Williams FEATURING Mark H. Dold Angela Janas Caitlin O'Connell Tyler Lansing Weaks SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER Brian Prather Elivia Bovenzi Matthew Richards SOUND DESIGNER COMPOSER VIOLIST Joel Abbott Alexander Sovronsky Susan French HAIR & WIG DESIGNER PRODUCTION STAGE MANAGER CASTING Caitie Martin Patrick David Egan Pat McCorkle, Katja Zarolinski, CSA BERKSHIRE PRESS REPRESENTATIVE DIGITAL MARKETING NATIONAL PRESS REPRESENTATIVE Charlie Siedenburg The Pekoe Group Matt Ross Public Relations DIRECTED BY Julianne Boyd SPONSORED IN PART BY Hildi and Walter Black & Arnold Kotlen and Stephanie Fleckner Student matinees sponsored in part by the Dobbins Foundation & The Alpern-Rosenthal Foundation THE GLASS MENAGERIE is presented by special arrangement with DRAMATISTS PLAY SERVICE, INC. BOYD-QUINSON MAINSTAGE OCTOBER 3-21, 2018 SETTING An alley in St. Louis, now and the past. CAST IN ORDER OF APPEARANCE Tom Wingfield ...................................................................................... Mark H. Dold* Amanda Wingfield ........................................................................... Caitlin O'Connell* Laura Wingfield ....................................................................................Angela Janas* Jim O'Connor ............................................................................ Tyler Lansing Weaks* Violist ..................................................................................................
    [Show full text]
  • PYGMALION Kommt Auch Das Problem: Was Jetzt? Uber Ihre Zukunft Hat Der Selbstsüchtige Higgins Nie Nachgedacht
    33. internationale filmfestspiele berlin 13. internationales berlin forum 19.2.-1.3. des jungen films 1983 PYGMALION kommt auch das Problem: was jetzt? Uber ihre Zukunft hat der selbstsüchtige Higgins nie nachgedacht. In ihr altes Milieu kann Liesje nicht zurück — dem ist sie entwachsen. Im neuen Milieu Land Niederlande 1936-37 ist sie eine Außensciterin — bis Higgins seine Schwäche für sie erkennt und es doch noch zum Happy-End kommt. Produktion N.V. Filmex Amsterdam Regie Ludwig Berger Kritik Buch Ludwig Bcrger, Johan de Meester, PYGMALION Wim Kan, Corrie Vonk; nach dem Besonders geglückter niederländischer Spielfilm nach dem Stück gleichnamigen Stück von George von Shaw. Lily Bouwmeester, die große Entdeckung von Ludwig Bernard Shaw Berger. Dieser Füm beweist ein für allemal, daß es möglich ist, in den Nie• derlanden gute Spielfüme zu machen, die auch ein Publikumser• Akos Farkas Kamera folg werden und der Industrie die notwendige finanzielle Basis Musik Max Tak geben, sorgfältig gute Drehbücher auszuwählen und die Leitung an begabte Regissseure mit Kunstverstand zu übertragen. Natür• Bauten A.H. Wegcrif lich ist die niederländische Spielfilmindustrie mit diesem einen, Ton I.J. Citroen außergewöhnlich guten FUm noch nicht aus dem Boden gestampft. Schnitt GJ. Teunissen Der Regisseur Ludwig Berger, dem besonders großes Verdienst Produktionsleitung Rudolf Meyer zukommt, ist kein Niederländer. Jetzt, da er unser Land wieder verläßt, bleibt sein Platz vorläufig offen. Niederländer dieser Be• Darsteller gabung, nicht aber dieser Erfahrung, gibt es vielleicht. Immerhin sind die anderen Mitarbeiter bei diesem Film Niederländer (nur Liesje Doeluttel Lily Bouwmeester ein ausländischer Kameramann wurde einem niederländischen Professor Higgins Johan de Meester vorgezogen), und sie haben dieses Mal sicher mehr denn je von Colonel Pickering Eduard Verkadc der ausländischen Leitung lernen können.
    [Show full text]
  • Mabou Minesâ•Ž Dead End Kids and Performing Artists for Nuclear
    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 Mabou Mines’ Dead End Kids and Performing Artists for Nuclear Disarmament Hillary Miller Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/451 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] Side by Side: Collaborative Artistic Practices in 1. THOMAS J. LAX 2. GWYNETH SHANKS 3. ROSS ELFLINE 4. ALLIE TEPPER 5. WENDY PERRON the United States, 1960s–1980s Preface Introduction: Being With, Thoughts on the Common Ground: Haus-Rucker-Co’s Food Individual Collective: A Conversation with How Grand Union Found a Home Outside of Collective City I and Collaborative Design Practice Senga Nengudi SoHo at the Walker LIVING COLLECTIONS CATALOGUE VOLUME III. SIDE BY SIDE Mabou Mines’ Dead End Kids & Performing Artists for Nuclear Disarmament By Hillary Miller Mabou Mines performers in Dead End Kids: A History of Nuclear Power presented by the Walker Art Center at the University of Minnesota’s Coffman Union Great Hall, Minneapolis, March 1982. Walker Art Center Archives. ABSTRACT CITATION Performance studies scholar and theater historian Hillary Miller offers a new study of the 1980 production of Dead End Kids: A History of Nuclear Power by the New York-based avant-garde theater collective, Mabou Mines. Through a close reading of the play, Miller explores the relationship between this production and the little researched organization, Performing Artists for Nuclear Disarmament (PAND), revealing the correlations between collaboratively-generated theater practices and concurrent protest movements.
    [Show full text]