Thomas Becket As Portrayed by Eliot and Anouilh Donna Faye Wenger Lehigh University
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The Reign of King Henry II of England, 1170-74: Three Minor Revisions
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1-1-2001 The reign of King Henry II of England, 1170-74: Three minor revisions John Donald Hosler Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Recommended Citation Hosler, John Donald, "The reign of King Henry II of England, 1170-74: Three minor revisions" (2001). Retrospective Theses and Dissertations. 21277. https://lib.dr.iastate.edu/rtd/21277 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The reign of King Henry II of England, 1170-74: Three minor revisions by John Donald Hosler A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: History Major Professor: Kenneth G. Madison Iowa State University Ames~Iowa 2001 11 Graduate College Iowa State University This is to certify that the Master's thesis of John Donald Hosler has met the thesis requirements of Iowa State University Signatures have been redacted for privacy 111 The liberal arts had not disappeared, but the honours which ought to attend them were withheld Gerald ofWales, Topograhpia Cambria! (c.1187) IV TABLE OF CONTENTS CHAPTER ONE. INTRODUCTION 1 Overview: the Reign of Henry II of England 1 Henry's Conflict with Thomas Becket CHAPTER TWO. -
Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
JEAN ANOUILH the Australian Elizabethan Theatre Tru St
, .. ., ...I I I 1 • ,,~- • i' JEAN ANOUILH The Australian Elizabethan Theatre Tru st when you fly with Trans-AustraliaAirlines PAT RON : H ER MAJESTY T H E QUEE N P RE SIDE T The Rt. H on . Sir John Latham, G.C.M.G., Q .C. CH AIRM A1 Dr. H . C. Coombs EXECUTIVE Dffi ECTOR Hu gh Hunt HO . SECRETARY :l,faurire Parker STATE REPRESE , TAT JVES: , ew South \,Vales Mr. C. J. A. lvloscs, C.B .E. Qu eensland Prof esso r F. J . Schone II Western Australia Pr ofessor F. Alexander Victoria Mr . A . H. L. Gibson Sou tit Australia Mr. L. C. Waterm an Tasmania Mr . G. F. Davies In presenting TIME REMEMBERED , we are paying tribute to a dramatist whose contribution to the contemporary theatre scene is a11 outstanding one and whose influence has been most strongly felt during the post-war years in Europe. The J1lays of Jean An ouilh have not been widely produced in Cao raln and First Officer at the co mrol s of a TA A Viscount . Australia , and his masterly qualities as a playwright are not TAA pilots are well experi years of flying the length and sufficiently k11011·n. enced and maintain a high breadth of Australia. standard of efficiency in flying TAA 's Airmanship is the total TIME REME1vlBERED htippily contains some of the the nation's finest fleet of skill of many people-in the most typical aspects of his work . .. a sense of the comic, modern aircraft. air and on the ground-w ork ing toward s a common goal: almost biza1'1'e,and tl haunting nostalgia which together pro When you and your family fly your safety, satisfaction and T AA, you get with your ticket peace of mind. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses 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 ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
Sophocles' Elektra
DATE: August 12, 2010 FOR IMMEDIATE RELEASE ABOUT THE COMPANY Sophocles' Elektra Thursdays, Fridays, Saturdays, September 9—October 2, 2010 Carey Perloff (Director) Carey Perloff is celebrating her nineteenth season as artistic director of Tony Award-winning American Conservatory Theater (A.C.T.) in San Francisco, where she is known for directing innovative productions of classics, championing new writing for the theater, and creating international collaborations with such artists as Robert Wilson and Tom Stoppard. Before joining A.C.T., Perloff was artistic director of Classic Stage Company (CSC) in New York. She is a recipient of France’s Chevalier de l’Ordre des Arts et des Lettres and the National Corporate Theatre Fund’s 2007 Artistic Achievement Award. Perloff received a B.A. Phi Beta Kappa in classics and comparative literature from Stanford University and was a Fulbright fellow at the University of Oxford. She has taught at the Tisch School of the Arts at New York University and in the Master of Fine Arts Program in Acting at A.C.T., in addition to authoring numerous plays. This is Perloff’s second encounter with Sophocles’ Elektra, having directed the world premiere of Ezra Pound’s version of the play at CSC in 1988. Timberlake Wertenbaker (Translator/Adaptor) Timberlake Wertenbaker is an acclaimed playwright who grew up in the Basque Country in southwest France. Plays include The Grace of Mary Traverse (Royal Court Theatre); Our Country's Good (Royal Court Theatre and Broadway), which won the Laurence Olivier Play of the Year -
Lavender Hill "Serious Competition for 'GUYS AND
On Wifely Constancy The Passing Show Miss Cornell Poetic Speaks Playwrights Of Those She Go on Plays Right Writing Star of Maugham Revival Sees Lesson in Classic Hits Way Is Hard and Rewards Fewer, By Mark Barron But, Like Anouilh, They Work On NEW YORK. [sake, just because it was a great A veteran from in the * By Jay Carmody trouper coast play past. to coast, Miss Katharine Cornell “It is just as Maugham writes The is that so sensitive surprise many humans go on writing in ‘The Constant Wife’ when I for the theater. was still traveling the other eve- am fighting to hold my husband The insensitive ones, no. are ning after her They gamblers, betting that their Broadway premiere from a beautiful blond who is al- literal reports on life or their broad jokes about will catch the it, in W. Somerset Maugham’s artful most stealing him from me.’’ she public fancy and make them rich. They know the odds and the comedy, "The Constant Wife.” said. consequences involved in failure and nature armed them with the This “As the wife in Maugham’s toughness to both. These are time, however, Miss Cor- play, accept the addicts and there is I am faced with nell took only a hop-skip-and- the realization little need to give them a second thought. that Jump from National every marriage needs a great It is different with the other, smaller group. They are crea- Broadway’s Theater to her deal more thought than most tive, artistic and idealistic. They write plays because they want long-established home on Manhattan’s East wives devote to it. -
Murder of Thomas Becket
Murder of Thomas Becket Thomas Becket, the Archbishop of Canterbury, is having issues with his good friend, Britain’s King Henry II. It is the 12th century, and Becket is proving he is not a push-over. He takes his role as Archbishop very seriously, doing all he can to protect the Church’s interests whenever disagreements erupt between the Church and the King. This causes the King great displeasure, and it is straining their friendship. Among other issues, Becket refuses to sign a document known as the “Constitutions of Clarendon.” Why does he refuse to sign this document? Because he believes this new law would—among other things—end- up punishing clerics twice for the same crime. Becket is adamant in his refusal to agree to such a thing. In 1164, Becket is found guilty of treason at the Great Council held in Northampton. Avoiding whatever adverse consequences might flow from this verdict, Becket flees to France. Becket has the sitting Pope (Alexander III) on his side, however. The Pope threatens the King with excommunication from the Catholic Church, so Henry lets Becket come home to England. At this stage of their quarrels, it seems that Becket has bested the King (who views Becket as a “troublesome priest”). In the presence of English Barons, Henry II—who is now utterly vexed by Becket's actions—cries out: Will no one rid me of this troublesome priest? Believing the King meant for Becket to be murdered, four knights ride to Canterbury Cathedral and kill Becket on December 29, 1170. That scene is recreated in this film clip, starring Richard Burton (as Becket) and Peter O'Toole (as Henry II). -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
Colleague, Critic, and Sometime Counselor to Thomas Becket
JOHN OF SALISBURY: COLLEAGUE, CRITIC, AND SOMETIME COUNSELOR TO THOMAS BECKET By L. Susan Carter A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History–Doctor of Philosophy 2021 ABSTRACT JOHN OF SALISBURY: COLLEAGUE, CRITIC, AND SOMETIME COUNSELOR TO THOMAS BECKET By L. Susan Carter John of Salisbury was one of the best educated men in the mid-twelfth century. The beneficiary of twelve years of study in Paris under the tutelage of Peter Abelard and other scholars, John flourished alongside Thomas Becket in the Canterbury curia of Archbishop Theobald. There, his skills as a writer were of great value. Having lived through the Anarchy of King Stephen, he was a fierce advocate for the liberty of the English Church. Not surprisingly, John became caught up in the controversy between King Henry II and Thomas Becket, Henry’s former chancellor and successor to Theobald as archbishop of Canterbury. Prior to their shared time in exile, from 1164-1170, John had written three treatises with concern for royal court follies, royal pressures on the Church, and the danger of tyrants at the core of the Entheticus de dogmate philosophorum , the Metalogicon , and the Policraticus. John dedicated these works to Becket. The question emerges: how effective was John through dedicated treatises and his letters to Becket in guiding Becket’s attitudes and behavior regarding Church liberty? By means of contemporary communication theory an examination of John’s writings and letters directed to Becket creates a new vista on the relationship between John and Becket—and the impact of John on this martyred archbishop. -
Lehigh Preserve Institutional Repository
Lehigh Preserve Institutional Repository Drama and history: Thomas Becket as portrayed by Eliot and Anouilh Wenger, Donna Faye 1969 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. .... DRAMA AND HISTORY: THOMAS BECKET AS PORTRAYED BY ELIOT AND ANOUILH by Donna Faye Wenger A THESIS Presented to the Graduate Committee of Lehigh University in candidacy for the Degree of Master of Arts in• English / Lehigh University .. 1969 If!.", I 1•1.1.1.1111L•1___ .. _ ...111 •-- ------•-•-- --~-~·-""""""'..._µ .O";,;:;;,,~'"""",'-= .. 'f;;,:;,-,r,;"i+~~:·=- ~=,=-~--~-~-~--.. '!'!'!'!'!'_-~-- ~---·~-.... ~.--~-~lll!llllllll....... ____ ~----!l!ll!-,.- ..~.--l!ll!l!!l!-----~,.--•,,, .. _l!!l!!!!! ____ !Jl!l!!!______._L1122-•z-a•s..,ll!IIL.t•.111•1 ·1 - { ii . I ~-- ~: This thesis is accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. Professor in charge of the Department -· --.:....;.;:, . : ... {· c•, ,.•) • • o ' / • 1 1 • 1 ' " 0 ... iii CONTENTS ... Chapter I The Historical Becket 2 Chapter II The Man Becket 27 Chapter III The Cleric Becket 43 Chapter IV The Martyr Becket 59 Chapter V Evaluation 76 .... Footnotes 86 .. ·' I :J ! : ' 1 ., Abstract The story of Thomas Becket has long captivated men's imaginations: two dramatists, T. s. Eliot and Jean Anouilh, have utilized that history as a basis for dramaso Through ' ! O caindiscussable -Becket s s·tory O Eliot and Ano,iilh presen~c 00 of truths : for Eliot 0 -it is that Becket is the epitome Christian freedom which comes only through total submission to a Divine will; for Anouilh, it is that each man must determine his own salvation in an isolated universeo The criterion for evaluating the success of the two dramatists is their degree of adherence to historical fact. -
Memory and Uncertainty in Michael Frayn's Copenhagen
Charles University in Prague Faculty of Education Department of English Language and Literature Memory and Uncertainty in Michael Frayn’s Copenhagen Diploma thesis Tereza Lesáková Secondary School Teacher Education (En – Cz) Supervisor: PhDr. Petr Chalupský, Ph.D. Prague 2014 I declare that I have worked on this final thesis independently using only the primary and secondary sources listed in the works cited section. I would like to thank my supervisor, PhDr. Petr Chalupský, Ph.D, for his kind help and valuable advice and Mgr. Jindřich Soukup for his suggestions concerning physics. Abstract The thesis is an attempt to explore various ways in which Michael Frayn employs the philosophical implications of Werner Heisenberg’s uncertainty principle and Niels Bohr’s complementarity principle in his play Copenhagen and to find out how he works with the theme of memory in the text. The theoretical part puts the play into the frame of the science theatre genre and offers a brief overview of depiction of memory in literature. The practical part then analyses the theme of memory in connection with quantum physics in the text and covers the development of our perception of the characters. Key words: Frayn, Copenhagen, uncertainty, memory, science theatre Abstrakt Diplomová práce je pokusem prozkoumat, jakými způsoby Michael Frayn ve své divadelní hře Kodaň aplikoval filosofické důsledky Heisenbergova principu neurčitosti a Bohrovy komplementarity a jak pracuje s tématem paměti. Teoretická část hru zasazuje do kontextu žánru science theatre a nabízí stručný přehled zobrazování paměti v literatuře. Praktická část analyzuje spojení paměti a kvantové fyziky v textu a popisuje, jak se mění naše hodnocení postav.