Theatre History II

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Mid Twentieth-Century Euro-American Innovations Cultural Developments Theatrical Trends Persons Persons (cont.) unemployment theatre of cruelty Artaud Adler HUAC (& McCarthy Era) New Objectivity Piscator Strasberg with blacklisting epic theater Brecht Meisner German invasion of Poland theatre of the absurd Weigel Mielziner Holocaust, Pearl Harbor, & American realism Neher & Weill Miller Battle of Stalingrad book musicals with new Brecht collective Williams Japanese- and German- views of women Sartre Leigh & Brando American internments Federal Theatre Project & Camus Kazan end of World War II with the “Living Newspaper” Esslin Hellman atom bombs dropped “theatre games,” satirical Beckett La Gallienne First Indochina War revues, & “improv” Ionesco Waters Europe divided comedians Genet McCandless Berlin Airlift Negro Theatre Unit Pinter Rosenthal communist China formed radio dramas (such as “The Mrożek Molnár Korean Civil War & split War of the Worlds”) Różewicz Rodgers & Hammerstein films influenced by various Odets Spolin & Sils theatre styles & genres Clurman Poitier & Belafonte censorship & ratings system Boleslavsky Welles Play Types & Titles Play Types/Titles (cont.) Performance Performance Practices Spurt of Blood & The Cenci Death of a Salesman Companies return to ritual (& Asian styles) The Threepenny Opera & tragedies of the common man & Training no more masterpieces Rise and Fall of the City of poetic, romantic tragicomedy Théâtre Alfred “violence of the thought” Mahagonny The Glass Menagerie Jarry found spaces agitprop learning plays & A Streetcar Named Desire Berliner audience at the center, parable plays (influenced The Crucible Ensemble hypnotized by Chinese Opera) The Children’s Hour Group Theatre plague & delirium Mother Courage and Her Africana, As Thousands Dramatic actor as martyr Children & Life of Galileo Cheer, & Mamba’s Workshop alienation effects No Exit Daughter Studio of Acting documentary material absurdist drama Liliom Actors Studio songs & multi-media Waiting for Godot, Endgame, Oklahoma!, Carousel, Neighborhood musicals with irony, separate Krapp’s Last Tape, Happy South Pacific, The King Playhouse elements, signs, & narrator Days, Not I, Footfalls, & and I, & The Sound of Civic Repertory literarization & historification Rockaby Music Theatre gestic acting & demonstrating The Bald Soprano, The Annie Get Your Gun Negro Theatre spectators as critical observers Lesson, & Rhinoceros Kiss Me, Kate Unit exposed lighting instruments Deathwatch, The Maids, The Guys and Dolls American circular structure with sparse, Balcony, The Blacks, & The My Fair Lady Negro telegraphic, or whimsical dialog Screens West Side Story Theater confusing location that appears comedies of menace Fiddler on the Roof realistic yet has unreal or The Birthday Party & The “Voodoo Macbeth” exaggerated events Homecoming Caesar “spine” & “active verbs” to unify The Police The Mercury Theatre on imagination & physicality The Card Index the Air through “given circumstances” Waiting for Lefty Native Son emotional recall & Method acting agitprop Citizen Kane improvisation & repetition with Awake and Sing! & Golden attention to other actors Boy selective realism flashback & fantasy scenes lighting uniform acting areas & various moods .

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James Baldwin As a Writer of Short Fiction: an Evaluation
JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction.
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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
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How Bigger Was Born Anew
Fall 2020 29 ow Bier as Born new datation Reuration and Double Consciousness in Nambi E elle’s Native Son Isaiah Matthew Wooden This essay analyzes Nambi E. Kelley’s stage adaptation of Native Son to consider the ways tt Aicn Aeicn is itlie by n constitte to cts o etion t sharpens particular focus on how Kelley reinvigorates Wright’s novel’s searing social and cil cities by ctiely ein te oisin etpo o oble consciosness n iin ne o, enin, n se to te etpo, elleys Native Son extends the debates about “the problem of the color line” that Du Bois’s writing helped engender at te beinnin o te tentiet centy into te tentyst n, in so oin, opens citicl space to reckon with the persistent and pernicious problem of anti-Black racism. ewords adaptation, refguration, double consciousness, Native Son, Nambi E. Kelley This essay takes as a central point of departure the claim that African American drama is vitalized by and, indeed, constituted through acts of refguration. It is such acts that endow the remarkably capacious genre with any sense or semblance of coherence. Retion is notably a word with multiple signifcations. It calls to mind processes of representation and recalculation. It also points to matters of meaning-making and modifcation. The pref re does important work here, suggesting change, alteration, or even improvement. For the purposes of this essay, I use etion to refer to the strategies, practices, methods, and techniques that African American dramatists deploy to transform or give new meaning to certain ideas, concepts, artifacts, and histories, thereby opening up fresh interpretive and defnitional possibilities and, when appropriate, prompting much-needed reckonings.
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Simply Folk Sing-Along 2018 If I Had a Hammer If I Had a Hammer, I'd Hammer in the Morning, I'd Hammer in the Evening, All Over
Simply Folk Sing-Along 2018 If I Had a Hammer If I had a hammer, I'd hammer in the morning, I'd hammer in the evening, all over this land I'd hammer out danger, I'd hammer out a warning I'd hammer out love between my brothers and my sisters, all over this land If I had a bell, I'd ring it in the morning, I'd ring it in the evening, all over this land I'd ring out danger, I'd ring out a warning I'd ring out love between my brothers and my sisters, all over this land If I had a song, I'd sing it in the morning, I'd sing it in the evening, all over this land I'd sing out danger, I'd sing out a warning I'd sing out love between my brothers and my sisters, all over this land Well I've got a hammer, and I've got a bell, and I've got a song to sing, all over this land It's the hammer of justice, it's the bell of freedom It's the song about love between my brothers and my sisters, all over this land You Are My Sunshine The other night dear as I lay sleeping, I dreamed I held you in my arms, But when I woke dear I was mistaken, and I hung my head and I cried You are my sunshine, my only sunshine, you make me happy when skies are gray, You'll never know dear, how much I love you, please don't take my sunshine away I'll always love you and make you happy, if you will only say the same, But if you leave me and love another, you’ll regret it all someday You told me once dear, you really loved me, and no one could come between, But now you've left me to love another, you have shattered all of my dreams In all my dreams, dear, you seem to leave me; when I awake my poor heart pains So won’t you come back and make me happy, I’ll forgive, dear, I’ll take all the blame City of New Orleans Riding on the City of New Orleans, Illinois Central Monday morning rail Fifteen cars and fifteen restless riders, three conductors and twenty-five sacks of mail.
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Paul Green Foundation
Paul Green Foundation NEWS – October 2017 Native Son’s New Adaptation PAUL GREEN ANNUAL MEETING Playwright Nambi Kelley NOVEMBER 4, 2017 has written plays for NC BOTANICAL GARDEN Steppenwolf, Goodman Theatre and Lincoln Center CHAPEL HILL, NC and most recently was named playwright-in-residence at The 2017 the National Black Theatre in New York. Kelley’s adaptation of Native Son was National Theatre Conference presented to critical acclaim for the premiere December 1-3 in New York City production at the Court Theatre/American Blues Each year the National Theatre Conference Festival. Since that first production it has been Person of the Year names the Paul Green produced in New York, California, Georgia and Award winner. This year’s Person of the Year – Arizona, and published by Samuel French in 2016. Molly Smith selected June Schreiner, a highly The Green Foundation joined with the Wright acclaimed young actor. Since 1989, the Paul Estate to sanction these productions. Green Foundation has honored a “young theatre professional” with this Paul Green Award. A bit of history: Paul Green and Richard Wright’s Native Son that opened on March 24, Founded in 1925, the National Theatre 1941, at the St. James Theatre in New York City, Conference is a not-for-profit organization made was produced by Orson Welles and John up of distinguished members of the American Houseman. Of the very serious disagreement that Theatre Community; Green was instrumental in ensued between Green and Wright, Dr. Laurence the founding the organization and served as Avery, Professor Emeritus, UNC-Chapel Hill president in the early years.
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{Dоwnlоаd/Rеаd PDF Bооk} Citizen Kane Ebook, Epub
CITIZEN KANE PDF, EPUB, EBOOK Harlan Lebo | 368 pages | 01 May 2016 | Thomas Dunne Books | 9781250077530 | English | United States Citizen Kane () - IMDb Mankiewicz , who had been writing Mercury radio scripts. One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. In February Welles supplied Mankiewicz with pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman , Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles.
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STUDY GUIDE SEASON FOUR Introduction
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Native Sons Or Invisible Men?
NATIVE SONS OR INVISIBLE MEN? The Afro-American Search for Identity in 20th-Century America as portrayed in Richard Wright’s Native Son and Ralph Ellison’s Invisible Man and an Adaptation of the Topic for the English Classroom Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Philologisch-Kulturwissenschaftlichen Fakultät der Leopold-Franzens-Universität Innsbruck Eingereicht bei Univ.-Prof. Mag. Dr. Gudrun M. Grabher Institut für Amerikastudien von Mag. Martin Alexander Delucca, BA Innsbruck, im Februar 2020 Native Sons or Invisible Men? 2 To Be Great Is to Be Misunderstood Ralph Waldo Emerson In lieber Errinnerung an meine außergewöhnliche Mami Danke, Sonja, Marco und Nadia. Und Dir, Fabian. Native Sons or Invisible Men? 3 TABLE OF CONTENTS Preface……………………………………………… 5 Introduction……………………………….............. 5 1. The White World Is the Right World…………. 11 1.1.White Supremacy………………………………. 16 1.1.1. Institutions and Their Whitewashing 19 1.1.2. White Status Symbols ………………. 26 1.1.3. Meeting the Daltons…………………….. 31 1.2. Black Microcosms: “A Nation Within the Nation” 39 1.2.1. The Southern World in Invisible Man 40 1.2.2. Black Metropolis…………………….. 44 1.2.3. Meeting the Thomases………………….. 50 2. “Running Nigger Boys”………………………. 53 2.1 Motion in a Static World………………………. 55 2.1.1. Conformity: “I’m Nowhere” ………. 58 2.1.2. Escapism: “Going Nowhere” ………. 63 2.1.3. Supremacist Tendencies: “You Are Nowhere”……………….. 69 2.2. “Machines Inside the Machine”……………… 74 2.3. Communism: Black and Red Brothers?……… 79 Native Sons or Invisible Men? 4 3. Acts of Emancipation and Reconstruction……… 88 3.1.
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Native Son Thesis
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TEMPERATURE RANGE Highs: Mid 70'S Lows
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Spain + Portugal Private Tour
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A Bogus Hero: Welles's Othello and the Construction of Race
A Bogus Hero: Welles’s Othello and the Construction of Race Nicholas Jones Oberlin College “. his Lears and Othellos all seemed a little bogus . .” (Thomson 355) Welles’s 1952 film of Othello is as much Welles as it is Othello.1 It is stamped with the persona of its prime mover, who raised the money, wrote the script, directed the film, and acted the lead role. As director, Welles dominates the film with his personality and his style. As principal actor, Welles is by far the strongest presence in the film: his prominent body dominates the screen, his voice is the most memorable and often the only understandable part of the flawed soundtrack, and he far out-acts the doll-like Suzanne Cloutier (Desdemona) and the wasted Micheál MacLiammóir (Iago). The persona of Orson Welles has predictably determined much of the history of interpretation of the film. Now seen largely as a part of the Welles oeuvre, it is seen to participate in, variously, the mystery–biography genre (Citizen Kane); the interrogation of modernist progress (The Magnificent Ambersons); or the introduction of Shakespearean culture into modern popular genres (Everybody’s Shakespeare and the “voodoo” Macbeth).2 Welles has so clearly stamped his personality on this film that the filmmaker and his main character seem intertwined. Jones 2 Welles not only played Othello with enormous relish in this film (about which he cared deeply) but seemed to bring Shakespeare’s hero into his own very public life, which sometimes reads like Othello’s "traveler’s history"–a restless wandering among grand projects, illuminated by flashes of genius, and destined for self-destruction and exile.3 Like the Ronald Colman character in George Cukor’s A Double Life, Welles might seem to have identified with Shakespeare’s tragic hero.
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