The Inventory of the Phoebe Brand Collection #1666
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California State University, Northridge The
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE PREPARATION OF THE ROLE OF TOM MOODY IN CLIFFORD ODETS' GOLDEN BOY An essay submitted in partial satisfaction of the requirements for the degree of Master of Arts in Theatre by Robert T. Hollander June, 1981 The Essay of Robert T. Hollander is approved: Prof. c(§!g Nieuwenhuysel Dr. Georg~ Gunkle, Committee Chairman California State University, Northridge ii ABSTRACT THE PREPARATION OF THE ROLE OF TOM MOODY IN CLIFFORD ODETS' GOLDEN BOY by Robert T. Hollander Master of Arts in Theatre Golden Boy was first produced by the Group Theatre in New York in 1937. Directed by Harold Clurman, this 1937 production included in its cast names that were to become notable in the American theatre: Luther Adler, Frances Farmer, Lee J. Cobb, Jules (John) Garfield, Morris Carnovsky, Elia Kazan, Howard Da Silva and Karl Malden. Golden Boy quickly became the most successful production 1 in Group Theatre history and was followed in 1939 by the movie of the same name, starring William Holden and Barbara Stanwyck. Since then, there have been countless revivals, including a musical adaptation in 1964 which starred Sammy Davis Jr. Golden Boy certainly merits consideration as one of the classics of modern American drama. 1Harold Clurman, The Fervent Years: The Story of the Group Theatre and the Thirties. (New York: Harcourt, Brace, Jovanovich. A Harvest Book, 1975), p. 211. 1 2 The decision to prepare the character of Torn Moody as a thesis project under the direction of Dr. George Gunkle was made during the spring semester of 1980 at which time I was performing a major role in The Knight of the Burning Pestle, a seventeenth century farce written by Beaumont and Fletcher. -
John Garfield
John Garfield: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Garfield, John, 1913-1952 Title: John Garfield Papers Dates: 1932-2010, undated Extent: 4 document boxes, 2 oversize box (osb), 2 bound volumes (bv) (5.04 linear feet) Abstract: The John Garfield papers, 1932-2010, consist of production photographs and film stills, headshots, photographs, posters, sheet music, clippings, and press releases from his film and stage work; film contracts, articles, magazines, family photos, and correspondence donated by his daughter, Julie Garfield. Call Number: Film Collection No. FI-00074 Language: English Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Special Handling Special Handling Instructions: Most of the binders in this collection Instructions: have been left in an unaltered or minimally processed state to provide the reader with the look and feel of the original. When handling the binders with inserted materials, users are asked to be extremely careful in retaining the original order of the material . Most of the photographs and negatives in the collection have been sleeved, but patrons must use gloves when handling unsleeved photographic materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. -
Hollywood and American Politics: the Play's the Thing
Review Essay Hollywood and American Politics: The Play's the Thing Sam B. Girgus RONALD REAGAN IN HOLLYWOOD: Movies and Politics. By Stephen Vaughn. Cambridge: Cambridge University Press. 1994. November 1948 marked the beginning of Ronald Reagan's winter of discontent. He was in London to make a movie with Patricia Neal and Richard Todd, but he could not anticipate this overseas assignment with enthusiasm and hope. He was, in fact, in the depths of personal and professional despair. Cast as the second male lead in this movie, The Hasty Heart, he faced a dubious future as an actor who could neither reach nor sustain the pinnacle of Hollywood stardom that he sought. Equally devastating to him was the condition of his marriage to Jane Wyman. The marriage, which had been publicized as so successful that it could serve as a model for moviegoers, in reality meant a great deal to Reagan, providing him with a sense of well-being and happiness. However, it was at this point doomed, a victim of the reverse directions of Reagan's and Wyman's careers as she moved toward ever greater financial and professional ascendancy. As Stephen Vaughn writes in this important and impressive study of the melding of politics and personality, Patricia Neal, the female star of The Hasty Heart, "remembered him in tears at a New Year's Eve party. 'It was sad,' she said, 'because he did not want a divorce.'" (229) He tried in London to come to terms with what he called his " 'lonely inner world. ' " (229) 0026-3079/93/3601-115$1.50/0 115 To later critics of Reagan' s politics and influence, it might come as a surprise that he had any "inner world" at all. -
Stage Center Theatre JANUARY 2011
SEASON 2010-2011 VOLUME 5 ISSUE 3 Stage Center Theatre JANUARY 2011 UPCOMIN G EVENTS MAIN STAGE 7:30PM From the Theatre Archives Reservations: (773) 442-4274 th Early 20 Century Theatre Companies Emma’s Child The Washington Square Players February 17-19, 24-26, March 3-5 Created in 1915 by amateurs, The Washington Square Players began producing one-act plays by Chekhov, Musset, Akins, Moeller and other obscure playwrights of the time in a Bleacher Bums small theatre seating of only 40 patrons. They moved to a 600 seat theatre and produced April 14-16, 21-23, 28-30 O’Neil’s In the Zone. The group disbanded in 1918, but re-formed in 1919 as The Theatre Guild. Some of the actors that performed with The Washington Square Players were Ro- As You Like It land Young, Rollo Peters, Frank Conroy, Helen Westley, and Katherine Cornel l. June 9-11, 16-18, 23-25 You Can’t Take It With The Theatre Guild You Founded in 1919 by Theresa Helburn, Philip Moeller, and Lawrence Langer (among oth- July 21-23, 28-30, August ers), The Theatre Guild was one of the first and most influential “Off-Broadway” theatre 4-6 companies in New York City during the first half of the 20th Century. The Theatre Guild had its heyday between the World Wars (1919-1939). In its first few years the majority of STUDIO SERIES 7:30PM F109 its work was in European expressionism. Later it provided an outlet for the work of such artists as Eugene O’Neil, Robert Sherwood, Maxwell Anderson, and Sidney Howard. -
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1944-12-15, [P ]
Friday, December 15, 1944 THE TOLEDO UNION JOURNAL Fare 1 Fitoffraphff of Your Star rlnlm lloiliak By Buraya Zawodny Acv s .kkI Gossip of Silage anti Screen Hollywood seldom has wel rewarded with bit parts. At first comed a newcomer as it has John there was no salary attached, but Hodiak. Leading roles opposite he still had his daytime job to Tallulah Bankhead and Lana keep him from starving. As his Turner in his fourth and fifth roles grew larger, he received Good Scream and Aho Starring Teem Heavenly Day! pictures constitute a record in small checks to add to his in cinema circles. come. A Good Reason For It Returns In .' HOLLYWOOD, Dec. 13— The success of John Hodiak, When, sometimes later, the M-G-M Musical rugged and handsome, is no saga radio station demanded that he Katharine Hepburn’s pri Of short rations and struggle. He be available for afternoon roles, didn’t force the breaks; he just vate secretary, Emily Mas Jeanette MacDonald, heroine he was forced to choose be t - B ci “The Merry Widow,” and Nel waited until opportune moments tween his two jobs. He took the sey, has a role in “Without i Wr w arrived. son Eddy, noted American bari one with the smaller pay—in Love.” This week filmed a tone who demonstrates that he is In Chicago, when he was earn radio. It soon became apparent acene in’ which Emily is ing a fair living as a radio actor, one of the screen's great lead that he would have to make an Supposed to scream when ing men, are teamed in a delect in 1942, he was offered a screen other change. -
Eva Le Gallienne Led a Private Life Troubled by Her Personal Struggle with Les- Bianism
Harbin_Text.qxd 12/3/2004 12:50 PM Page 252 Laurents’s ability to direct is more often lauded than his writing. He regularly unites all elements of the production—music, voice, setting, movement, and picturization—to create vibrant dramatic moments. The understanding of structure and character honed in his writing assists in drawing out fully human characterizations. His ability to ‹nd new or Laurents underutilized talent—Jane Fonda in Invitation to a March, Lansbury in 252 Anyone Can Whistle, George Hearn in La Cage aux Folles—signi‹es an astute eye and ensures his lasting in›uence. A very sexual man—his ‹rst gay experience was at thirteen and he was more interested in quantity of partners than quality for many years— Laurents struggled with his homosexuality in psychotherapy, keeping it out of his play Heartsong (1946) and claiming that he would have excluded it as a subtext from Home of the Brave (Laurents, 65, 53). At the same time, he accepted his homosexuality and is proud of how “truth- fully” it was treated in his ‹rst movie, Rope (131). There are biographical aspects of his work to explore (particularly in The Enclave), as well as the- matic obsessions, such as the ‹gure of the complicated, boyish blond (i.e., the major in Home of the Brave, the disillusioned artist in Time of the Cuckoo, the characters played by Hatcher, and Robert Redford’s Hubbell in The Way We Were). Laurents has identi‹ed his own recurrent themes as discovery, acceptance, prejudice, and betrayal (4)—themes with which any homosexual can empathize. -
MICHAEL CURTIZ: from HUNGARY to HOLLYWOOD Release
The Museum of Modern Art For Immediate Release November 1992 MICHAEL CURTIZ: FROM HUNGARY TO HOLLYWOOD November 27, 1992 - January 23, 1993 A survey of more than fifty films by Michael Curtiz (1888-1962), one of cinema's most prolific directors from the studio era, opens on November 27, 1992, at The Museum of Modern Art. As Warner Bros, house director in the 1930s and 1940s, Curtiz symbolizes the crispness and energy that distinguished the Warners' style. On view through January 23, 1993, MICHAEL CURTIZ: FROM HUNGARY TO HOLLYWOOD explores the consistent quality and versatility of the filmmaker's work. The Hungarian-born Curtiz mastered virtually all genres and, during his twenty-seven-year career at Warner Bros., made every type of film from westerns and musicals to social dramas and comedies. A strong director of actors, he made stars of such disparate types as Errol Flynn, John Garfield, and Doris Day, and earned an Academy Award and a renewed career for Joan Crawford in Mildred Pierce (1945). Many of his films were popular critical and financial successes. Curtiz possessed an acute narrative sense, displayed in such remarkable films included in the exhibition as The Adventures of Robin Hood (1938), with Flynn and Olivia de Havilland; Casablanca (1942), for which Curtiz received an Academy Award for Best Director; Yankee Doodle Dandy (1942), the musical which won James Cagney an Academy Award; Mildred Pierce, the film noir portrait of an imperfect American family; Young Man with a Horn (1950), starring Kirk - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Douglas as an obsessed jazz trumpeter and inspired by Bix Beiderbecke's life; and The Breaking Point (1950), based on Ernest Hemingway's To Have and Have Not, His early successes -- Cabin in the Cotton (1932), a melodrama about sharecroppers, and The Mystery of the Max Museum (1933), an early all-color horror film -- are also included in the exhibition. -
He Ran All the Way (1951)
10 Noir City Sentinel Nov / Dec 2009 AT THE CENTER OF THE STORM: E RAN H E WAY ALL TH AND THE HOLLYWOOD BLACKLIST by Jake Hinkson Special to the Sentinel e was born Jacob Julius Communist Party, was soon to be black- Garfinkle, a poor Jewish kid listed himself. He sold some occasional H from the Lower East Side of scripts under an alias, but Endore’s New York City. He spent some time in career in American film was essentially street gangs and ended up in a Bronx ruined. Likewise, the third writer on the school for troubled youth. After win- project, Hugo Butler (who did a minor ning a state debating contest, he rewrite of the script and received attended drama school and hit the stage screenplay credit with Endore) dodged a as a member of the Group Theater. It HUAC subpoena and was forced to wasn’t long before Hollywood came leave his career behind. Both he and courting and cast him in Michael Trumbo relocated to Mexico with their Curtiz’s smash hit Four Daughters in wives. Trumbo continued turning out 1938. Overnight he became a movie high quality work like Losey’s The star. The legend of John Garfield was Prowler and Byron Haskin’s The Boss. born. Most notably, he wrote Roman Holiday Thirteen years later, it ended with which won his front, Ian McLellan a thud. Accused of being a Communist Hunter, an Oscar for best screenplay and hounded by the House Un-Ameri- (Trumbo was given posthumous credit can Activities Committee, Garfield died in 1993). -
Marlon Brando and James Dean
Universidade de Lisboa Faculdade de Letras The Kazan Method: Marlon Brando and James Dean Mariana Araújo Vagos Tese orientada pelo Prof. Doutor José Duarte e co-orientada pela Prof. Doutora Teresa Cid, especialmente elaborada para a obtenção do grau de mestre em Estudos Ingleses e Americanos 2020 2 For my grandfather, who gave me my first book 3 4 Acknowledgements I would first like to thank and acknowledge the strong women in my family who have taught me the meaning of perseverance and are a continuous source of inspiration. I am deeply grateful to my grandfather José, the head of our family, for giving us the tools and encouragement that allowed us to become who we are. He might no longer be among us, but he continues to be our strength and motivation every day. I would like to extend my gratitude to my thesis advisor, Professor Doutor José Duarte, for his patience and understanding throughout the years, until I was finally able to close this chapter of my life. My gratitude also goes to my co-advisor, Professora Doutora Teresa Cid, for her contribute and for accepting be a part of this work. 5 Resumo O objeto principal desta dissertação é o trabalho do realizador Elia Kazan e a sua contribuição para o “Method Acting”. Como tal, o foco será no trabalho desenvolvido pelo realizador com o ator Marlon Brando no filme On the Waterfront (Há Lodo no Cais, 1954), e com o ator James Dean em East of Eden (A Leste do Paraíso, 1955). De modo a explorar o conceito de “Method Acting” como uma abordagem à formação de atores, foi primeiro necessário conhecer o seu predecessor o “System”. -
Willy Loman and the Method
Spring 1987 151 Willy Loman and the Method Steve Vineberg* A great new performance in a famous role illuminates corners of a dramatic work previously hidden in the shadows, and thus it always implies an annex to the body of critical material focused on the play. When Dustin Hoffman took on the role of Willy Loman, the protagonist of Arthur Miller's Death of a Salesman, in Michael Rudman's Broadway revival in 1984, he suggested a way of looking at the character and the play that challenged Lee J. Cobb's justly famous portrayal in the original production, in 1949. Jux• taposed, the two performances demonstrate the distance between a classical reading of Miller's play, which he advocated strongly in his own critical writings within the decade of its unveiling, and a more contemporary, naturalistic approach—what we might call a revisionist Salesman. And since Hoffman is the first major Method actor since Cobb to make a stab at Willy, a consideration of the two performances also underscores the connections between the play and the history of American Method acting. In this essay I would like to discuss those connections and then compare the two interpreta• tions, drawing on a viewing of Hoffman's work in September 1984 and on Cobb's 1966 television recreation of his stage performance. We are denied, unfortunately, a record of Cobb's original appearance in the role, in 1949, but his splendid recreation of the role in 1966 is, I think, a fair indication of one actor's interpretation; moreover, it represents a sufficient distance from Hoffman's, eighteen years later, to make a strong argument for the difference between the readings. -
The Group Theatre: an Evaluation
The Group Theatre: an evaluation Item Type text; Thesis-Reproduction (electronic) Authors James, Barry Lee, 1945- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 02:29:25 Link to Item http://hdl.handle.net/10150/554486 THE GROUP THEATRE:. AN EVALUATION Barry Lee James A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 3 STATEMENT BY.AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: niL WILLIAM A. LAN( Assistant Professor <£f Drama COPYRIGHTED BY BARRY LEE JAMES 1973 iii ACKNOWLEDGMENTS Gratitude is expressed to Professor Peter R e Marroney, Head of the Department of Drama, for his inspiration in the writing of this thesis. -
The Art of Elia Kazan Geoffrey Jacques Film Director, Playwright
Promises, Trust, Betrayal: The Art of Elia Kazan Geoffrey Jacques Film director, playwright, and novelist Elia Kazan (1909-2003) led a storied, even legendary career. During his seven decades in public life he was much honored and much vilified, yet his work, particularly in film, has helped shape the stylistic, thematic, and ethical concerns of the genre. His work in the movies was in part driven by a group of ethical concerns that allowed him to explore a wide range of social issues without explicitly triggering his era’s left-right ideological discourse. His films sidestepped this discourse while simultaneously drawing from it in order to pursue concerns that seem to have interested him as much, and perhaps even more, than the significance of the social problems he used as the basis for his movies. These concerns have to do with the ethical dimensions of promising, trusting, and betrayal. J. Hoberman has remarked that betrayal is a prominent theme in the movies Kazan made after his 1952 testimony before HUAC (House Un-American Activities Committee),1 but betrayal was actually a thematic element from his earliest films, beginning with A Tree Grows in Brooklyn, his first feature, and they played a constitutive role throughout Kazan’s career. Without theorizing about how these themes “developed” over his career, we can see they have been with him always, forming a kind of scaffolding on which he built his movies. Kazan was born in Istanbul into an Anatolian Greek family that immigrated to the United States when he was four years old. He attended Montessori school and had Catholic catechism lessons, graduated from Williams College, and attended Yale Drama School before embarking on a career as an actor and was associated for several years with the Group Theater, founded by Harold Clurman, Cheryl Crawford, and Lee Strasburg.