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Ruggeri's Amleto
© Luke McKernan 2004 RUGGERO RUGGERI’S AMLETO Notre Dame Shakespeare Festival, University of Notre Dame, South Bend, USA 4 November 2004 Luke McKernan Of all the products of the first thirty years of cinema, when films were silent, perhaps none were so peculiar, so intriguing, and in their way so revealing of the temper of the medium in its formative years, as silent Shakespeare films. Shakespeare in the cinema is enough of a challenge for some people; what about Shakespeare on film when you can’t hear any of the words? The film you are to see this evening is one of two hundred or more Shakespeare films that were made in the silent period of cinema. You are seeing it because it has survived (when so many films from this time have not), because it is a rarity scarcely known even by those who are expert in this area, and because it is a good and interesting film. Not a great film, but arguably the best silent Shakespeare film that exists. It is certainly a film that needs to be much better known. To those who may never have seen a silent film before, be assured that even if you can’t hear the words you will be able to read them, as such films commonly have on-screen titles throughout, and in performance they were never silent as such in any case – for you had music. Silent Shakespeare I said that more than two hundred silent Shakespeare films were made, and that is true, but few of these were feature-length, that is, an hour or more, such as this evening’s attraction. -
Oscar Asche, 1871-1936
AUSTRALIAN EPHEMERA COLLECTION FINDING AID OSCAR ASCHE, 1871-1936 PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 John Stange(r) Heiss Oscar Asche, better known as Oscar Asche, was an Australian actor, director and writer, best known for having written, directed, and acted in the record-breaking musical Chu Chin Chow, both on stage and film, and for acting in, directing, or producing many Shakespeare plays and successful musicals. Asche was born in Geelong, Victoria on 26 January 1871 to a Norwegian father, Thomas Asche and an Australian mother, Harriet Emma (Lily) née Trear. He was educated at Laurel Lodge, Dandenong, and from 1884 at Melbourne Grammar School before leaving at the age of 16. From 1887 to 1890 Asche worked and travelled until he decided to enter the theatre/ He then trained in Christiana under Bjorn-Bjornson and London, making his London debut in March 1893 in Man and Woman, at the Opera Comique under the management of Arthur Dacre. In the same year he joined the Benson Repertory Company and for eight years acted in every kind of part, from Biondello in The Taming of the Shrew and Pistol in Henry V to the King in Hamlet. While with Benson he married Lily Brayton in 1898 or 1899. In 1902 they both worked for Herbert Beerbohn Tree, Asche playing Antinous in Phillips’s Ulysses. In 1904 when they joined up with Otho Stuart, an old Bensonian, in the management of the Adelphi Theatre, putting on productions such as The Prayer of the Sword, A Midsummer Night’s Dream, The Taming of the Shrew and Rudolf Besier’s The Virgin Goddess. -
FM Alexander Vs. Robert Loraine
F. M. Alexander vs. Robert Loraine 1909 1 F. M. Alexander vs. Robert Loraine – 1909 newspaper reports In July 1909 F. M. Alexander successfully sued the actor Rob- ert Loraine for non-payment of lessons. Alexander stated that Loraine had committed himself to a course of 35 lessons with Alexander in March 1909, had had 15 lessons, and did not pay for the remaining 20 lessons. These six newspaper reports also illuminate the fees Alexander – and voice specialists – charged, and contain reports of some of the actors he taught at the time. The appendix contains three almost identical reports from a 1908 court case in which F.M. Alexander was summoned for refusing to pay a cab fare as he believed he was overcharged. Daily Telegraph & Courier 31 July 1909, p. 4 Actor’s Lost Voice Successful Action for Fees An interesting theatrical case was heard by his Honour Judge Woodfall, at Westminster, yesterday, when Mr. Frederick Matthias Alexander, an expert in voice production, practising at Army and Navy Mansions, Vic- toria-street, sued Mr. Robert Loraine, an actor for fifty guineas, fees for lessons and treatment given to him. Mr. Fletcher, in opening the case, said that the plaintiff came to this country from Australia five years ago, and his profession was giving les- sons in voice production to people and showing them how to use their voice properly. He was also a consulting voice surgeon in cases where people had lost their voices. His usual fee was one guinea for an hour’s lessons at his rooms, but where a long course of fifty lessons or more was 2 F. -
? Stop! Dazeifr and (Enuititat Latlij INCORPORATING the ROYAL GAZETTE (Established 1828) and the BERMUDA COLONIST (Established 1866)
TODAY'S LIGHTING-UP TIME Sunrise: 6.15 a.m.—Sunset: 6.00 p.m. TODAY'S WEATHER FORECAST Lighting-up time 6.30 p.m. RuleTof the Road KEEP LEFT—PASS ON THE RIGHT Showery IK- ? stop! dazeifr and (EnUititat latlij INCORPORATING THE ROYAL GAZETTE (Established 1828) and THE BERMUDA COLONIST (Established 1866) VOL. 19—NO. 241 HAMILTON, BERMUDA, FRIDAY, OCTOBER 5, 1934 3D PER COPY—40/- PER ANNUM SOPWITH LEAVES THE U.S.A. KIDNAP CASE DATA FILL BUSHMASTER GRABS NATIVE BY PANTS DOUMERGUEPLANSREFORM THEY SA Y "WITH MIXED FEELINGS" 300 FOLDERS Wants Early Parliament Session That there is a great deal of activity 35-Foot Mythical Monster Killed in Brazilian Jungle in the hotel world just now. British Challenger May Race Investigator's Reports Take up —Opposition Apparent * * * Again Next Year 15 Feet of Space on Shelf i That the prospective opening of the PARIS, Oct. 4 (CP)—Premier Hamilton is the chief feature. GEORGETOWN, B.G., Oct. 4. that if he did so the gun would The data on the Lindbergh kid Doumergue's plans for a revision * * * CLAIMS "RAINBOW" DID NOT (CP)—The Bushmaster snake, never again shoot straight, he of the Constitution have boon napping case in the files of the That a noted financier who resided j dubbed the "King of the Jungle," prefers tc kill the reptile with a stick talked over with the Cabinet, but COMPLY WITH CONDITIONS Bureau of Investigation, United here for some time and Who left is no myth, though mon who have or let it go. If he sees a Bush no information has been made States Department of Justice, fill recently has returned. -
I: THEATRICAL BEGINNINGS, 1878-1905 I Sat Entranced. a New
I: THEATRICAL BEGINNINGS, 1878-1905 I sat entranced. A new world had opened to me, a world of poetic illusion and hitherto unimagined beauty. In that week, my decision was made: ... the free, spacious, romantic life of the Shakespearean actor was henceforth my sole ambition, and though I had to wait some years for the fulfilment of that ambition my resolution never wavered. [1] Allan Wilkie was sixteen when he saw Hamlet and Othello, his first Shakespeare plays. He had always had a strong interest in Shakespeare,and claimed that by the time he reached his teens he had read all of his works.[2] The performances which inspired him to transform this love of Shakespeare into an acting career were given in Liverpool in 1894. They were the work of a touring company headed by Osmond Tearle, an independent actor-manager whose career flourished in the provinces at that time. Brought up in a Presbyterian household, Wilkie felt that actors were still tainted by the designation "rogues and vagabonds", and this was an image which attracted him to the theatre: It was [the] romantic side of the stage that appealed to me from the first. It was a revolt against the narrow, ultraconventional surroundings of my boyhood, from which my only escape at that time was in the realms of books and occasional lonely jaunts with a knapsack . .[3] Wilkie's family background offered little encouragement to one intent on a career in the theatre. The family was chiefly connected with shipping, its members becoming shipbuilders, engineers, seamen and pilots, while at least one was reputed to have been a smuggler. -
The Story of My Life by Ellen Terry</H1>
The Story of My Life by Ellen Terry The Story of My Life by Ellen Terry Produced by Suzanne Shell, Linda Cantoni and PG Distributed Proofreaders [Illustration: Ellen Terry drawn from photographs by Albert Sterner] THE STORY OF MY LIFE RECOLLECTIONS AND REFLECTIONS BY ELLEN TERRY [Illustration] page 1 / 522 ILLUSTRATED NEW YORK DOUBLEDAY, PAGE & CO. MCMIX _1908, The McClure Company_ 1907, 1908, The S.S. McClure Company 1907, 1908, Ellen Terry TO EDY CONTENTS INTRODUCTION page 2 / 522 I. A CHILD OF THE STAGE, 1848-56 The Charles Keans, 1856 Training in Shakespeare, 1856-59 II. ON THE ROAD, 1859-61 Life in a Stock Company, 1862-63 1864 III. ROSSETTI, BERNHARDT, IRVING, 1865-67 My First Impressions of Henry Irving IV. A SIX-YEAR VACATION, 1868-74 V. THE ACTRESS AND THE PLAYWRIGHT, 1874. Portia, 1875 Tom Taylor and Lavender Sweep VI. A YEAR WITH THE BANCROFTS VII. EARLY DAYS AT THE LYCEUM VIII. WORK AT THE LYCEUM IX. LYCEUM PRODUCTIONS page 3 / 522 X. LYCEUM PRODUCTIONS (_continued_) XI. AMERICA: THE FIRST OF EIGHT TOURS What Constitutes Charm XII. SOME LIKES AND DISLIKES XIII. THE MACBETH PERIOD XIV. LAST DAYS AT THE LYCEUM My Stage Jubilee Apologia The Death of Henry Irving Alfred Gilbert and others "Beefsteak" Guests at the Lyceum Bits From My Diary INDEX LIST OF ILLUSTRATIONS Ellen Terry page 4 / 522 Mr. and Mrs. Benjamin Terry Charles Kean and Ellen Terry in 1856 Ellen Terry in 1856 Ellen Terry at Sixteen "The Sisters" (Kate and Ellen Terry) Ellen Terry at Seventeen George Frederick Watts, R.A. -
MS Coll 00359
MS Gardner (David) Coll. Papers 359 Collection of material relating to Canadian theatre history and to Gardner’s acting and directing career. It includes theatre programmes, articles and press clippings concerning the history of theatre in Canada, especially for the Toronto area (1974 to 1999); audio tapes of Association for Canadian Theatre Research conferences; videotapes of ten television productions directed by him, and more than fifty production photographs; tapes of his television and film performances; scrapbooks, 1935-1955, that document his career on stage (Hart House Theatre, Straw Hat Players, Crest Theatre, New Play Society, Jupiter Theatre, Stratford Festival) and in radio and television; other papers and photographs; other directors’ prompt books; diaries; correspondence; playbills and broadsides. John Holden’s collection of 19th and 20th century playscripts as well as Holden’s production scripts for Canadian theatres, mainly in the 1950s and early 1960s, are also in the collection. Extent: 48 metres (88 cartons and items) Dates: 500-1999, bulk 1950-1999 Note: Located at Downsview Offsite Storage. DAVID GABD~ER CANADIAN THEATRE HISTORY ijESEARCH COLLECJJ.QN (approximately 30 file drawers and 1826 vertical files: prehistory to 1999) PRE-HISTORY 1. Origins: TVO Series to 1867 (1988-89) 2. Formation of the Universe; Beginnings of Life-forms 3. Primal and Prehistorical Speculation; Beginnings of Mankind 4. Canadian and North I South American Archaeology 4a. World Archeology 5. Evolution (includes Bigfoot I Sasquatch) 6. Dinosaurs - Early Animal Life 7. The Brain 8. Development of the Various Senses (Starting of Music, Dance, Speech and Mimesis) Spirituality in Theatre; Spiritual Philosophy of the Native Peoples Rites, Rituals and Petroglyphs Shamanism Healing (Shamanistic,etc.) Masks and Costumes Trances, Dreams, Magic, Supernatural (Shamanistic) Indian I Eskimo Games and Special Activities Indian I Eskimo Make-Up . -
Reference Box Collection
Collection Description Ephemera Collection 1. Ray Mander personal 2. Joe Mitchenson personal 3. Mander and Mitchenson Theatre Collection 4. Mander and Mitchenson Theatre Collection 5. M&M theatre book info Ephemera Collection 1. Apollo Society 2. Gallery 1st Nighters 3. Unions 4. TMA Ephemera Collection 1. Restaurants/Cabarets 2. Theatre Guides 3. Tours A-M 4. Tours N-Z Ephemera Collection 1. Drama Schools A-K 2. Drama Schools L-Z 3. Central School of Speech and Drama 4. Guildhall School of Music and Drama 5. L.A.M.D.A. Ephemera Collection 1. RADA 2. SWET BTA & Awards 3. SWET awards & Olivier awards 1984 4. Laurence Olivier Awards 88-89 5. SWET June 89 Ephemera Collection 1. Critics A-S 2. Critics T-Z 3. Eric Johns- press books 4. Eric Johns- press books Ephemera Collection 1. J C Trewin 2. Royalty 3. War 4. World War II only Ephemera Collection 1. America Drama Schools 2. America Playbills 3. America Theatre Radio 4. America A-D 5. America E-K Ephemera Collection 1. America L-P 2. America R-Z 3. Australia 4. Austria Belgium 5. Canada Shaw Festival 1988 Ephemera Collection 1. Canada 1989 2. Canada 3. Bulgaria, Ceylon, China 4. French theatre 1800-1900 5. France Variety Cabaret Ephemera Collection 1. France Comedie Francais 2. France A-E 3. France Folies Bergere 4. France F-M 5. France Paris Opera Ephemera Collection 1. France N-Z 2. Germany A-L 3. Germany M-Z 4. Holland, Hong Kong, Hungary 5. Italy Ephemera Collection 1. Kenya 1966 2. -
10 Ellen Terry the Art of Performance and Her Work in Film
10 Ellen Terry The art of performance and her work in film Katharine Cockin The reputation of Ellen Terry (1847–1928) as an actor is associated with her stage performances at the Lyceum Theatre, London from 1878 to 1902, and in Shakespearean roles, notably Beatrice, Portia and Lady Macbeth. However, in 1916 she ventured into popular cultural perfor- mances in film and music hall. It is her film acting at the time of the rise of the film industry in the 1920s in particular which is considered here as a new dimension to the historiography of Terry’s career. Nina Auerbach’s portrayal of Terry as a ‘player in her time’ (1987) is further complicated because that ‘time’ coincided with the new era of film. Terry was more than the sum of her stage roles and she was fully aware of the value of her reputation in the commercial international market of theatrical tours and related merchandising. She privately mocked the publicity photograph depicting her as feminine subordinate under Henry Irving’s dominant leadership by annotating it ‘Naughty girl!’ and her amusement was justified, given her discrete financial involvement in Irving’s Lyceum Theatre and the power this vested in her.1 Ellen Terry’s film appearances offer new insights into her perfor- mance work. They demonstrate her motivation to diversify from theatre into film, her willingness to adapt creatively and explore a new medium and reach a new audience. This chapter explores some of the contacts Terry made in the new film industry and how that industry used the Ellen Terry brand and its associated cultural prestige to enhance the potential circulation of films in a post-war period of reconstruction in which Englishness had a transatlantic value. -
The Prince's of Park Row the University, Bristol
BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION THE PRINCE'S OF PARK ROW THE UNIVERSITY, BRISTOL Price 90p. 1983 Don Carleton BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION LOCAL HISTORY PAMPHLETS Hon. General Editor: PATRICK McGRATH Assistant General Editor: PETER HARRIS The Prince's Theatre, Bristol is the fifty-fifth pamphlet to be published by the Bristol Branch of the Historical Association. THE PRINCE'S THEATRE The author, Don Carleton, is Information Officer in the University of Bristol and West of England correspondent for Drama and for Plays and Players. His great interest in the history of the theatre in general and of the Prince's Theatre in particular Sunday 24 November 1940 was a typical late autumn day in has enabled him to paint a fascinating picture of a theatre which Bristol. All day there were dull leaden skies with a light mist for many years was very dear to the hearts of Bristolians. towards sunset. As darkness came there was an air-raid. Showers The author wishes to acknowledge the help he has received of incendiary and high explosive bombs fell upon the city. During from many Bristolians who gave him personal recollections in the first hour 20 fires were reported and rescue services were writing or on the telephone and who showed him memorabilia of called to 86 separate occurrences. For many hours the fires raged, their visits to the Prince's Theatre. He owes particular debts of their fury such that they gave the intensity of daylight to the city gratitude to Adrian Varcoe, the distinguished Bristol variety centre. -
Theatre in the Archive
THEATRE IN THE ARCHIVE: PROCESSING THE LARSON COLLECTION A Project Presented to the faculty of the Department of History California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in History (Public History) by Elena Suzanne Smith SPRING 2013 © 2013 Elena Suzanne Smith ALL RIGHTS RESERVED ii THEATRE IN THE ARCHIVE: PROCESSING THE LARSON COLLECTION A Project by Elena Suzanne Smith Approved by: __________________________________, Committee Chair Dr. Lee Simpson ____________________________ Date __________________________________, Committee Member Dr. Patrick Ettinger ____________________________ Date iii Student: Elena Suzanne Smith I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. __________________________, Graduate Coordinator ___________________ Dr. Patrick Ettinger Date Department of History iv Abstract of THEATRE IN THE ARCHIVE: PROCESSING THE LARSON COLLECTION by Elena Suzanne Smith Statement of Problem In 2010, Georgia Larson donated a collection of nineteenth-century theatre memorabilia to Special Collections and Archives at California State University, Sacramento. These consisted mainly of autographs that her husband Dr. Gerard Larson had collected while working as a professor at CSUS. This memorabilia came to the archive with little original order, in need of arrangement, processing and description. Sources of Data To complete the project not only did the candidate rely on her training, she also relied on historical studies of nineteenth-century theatre and works related to archival arrangement, processing and description. By arranging, processing and describing this collection, the candidate was not only able to build upon her learning, she was also able to contribute to the study of theatre history by helping to make this collection available to the public. -
Globalizing Nature on the Shakespearean Stage
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses March 2019 Globalizing Nature on the Shakespearean Stage William Steffen University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Dramatic Literature, Criticism and Theory Commons, Literature in English, British Isles Commons, and the Theatre History Commons Recommended Citation Steffen, William, "Globalizing Nature on the Shakespearean Stage" (2019). Doctoral Dissertations. 1532. https://doi.org/10.7275/12844672 https://scholarworks.umass.edu/dissertations_2/1532 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Globalizing Nature on the Shakespearean Stage A Dissertation Presented by WILLIAM H. STEFFEN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2019 English © Copyright by William H. Steffen 2019 All Rights Reserved Globalizing Nature on the Shakespearean Stage A Dissertation Presented by WILLIAM H. STEFFEN Approved as to style and content by: Jane Degenhardt, Chair Malcolm Sen, Member Brian Ogilvie, Member Adam Zucker, Member Randall Knoper, Department Head English Department DEDICATION To Anna-Claire, Oscar, and Calliope, my muses, who never let me down. ACKNOWLEDGMENTS I would like to thank my advisor, Jane Degenhardt, for her years of dedicated and unwavering support. Jane’s generous feedback, helpful guidance, professional advice, and commitment to my project has been invaluable to me, and I am grateful to have had such an admirable mentor and model instructor steering my dissertation.