Madame Butterfly Source Material
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Comunicat Intern
LICEU A LA FRESCA - LA TRAVIATA Giuseppe Verdi Òpera en tres actes. Llibret de Francesco Maria Piave basat en La dame aux camélias d’Alexandre Dumas fill . Gran Teatre del Liceu. Temporada 2014/15 Dissabte 18 de juliol Inici espectacle a les 20h Inici retransmissió Liceu a la Fresca: 21:30h Òpera en texans. Programa sobre La traviata 22h Inici de la retransmissió de l’òpera Durada aproximada: 3h Violetta Valéry Anita Hartig Flora Bervoix Gemma Coma-Alabert Annina Miren Urbieta Vega Alfredo Germont Ismael Jordi Giorgio Germont, el seu pare Leo Nucci Gastone, vescomte de Letorières Jorge Rodríguez-Norton Baró Douphol Toni Marsol Marquès d’Obigny Marc Canturri Doctor Grenvil Fernando Radó Giuseppe, servent de Violetta José Luis Casanova Criat de Flora Miquel Rosales Comissionat Mariano Viñuales Direcció musical Evelino Pidò Direcció d’escena David McVicar Escenografia i vestuari Tanya McCallin Il·luminació Jennifer Tipton Coreografia Andrew George Assistents de la direcció d’escena Marie Lambert i Leo Castaldi Nova coproducció Gran Teatre del Liceu / Scottish Opera (Glasgow) Welsh National Opera (Cardiff) / Teatro Real (Madrid) Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Municipis participants Arenys de Mar, Barcelona, Cervera, Girona, Igualada, Lleida, Martorell, Puigcerdà, Tordera, Tortosa, Valls, Vielha 1 ARGUMENT Per David McVicar, director d’escena de La traviata L’acció té lloc a París al segle XIX. ACTE I. A l’apartament de Violetta Violetta Valéry, una coneguda cortesana, ha organitzat una festa per celebrar la seva recuperació d’una greu malaltia. Gastone de Letorières presenta Alfredo Germont a la seva jove i tímida amiga, i assabenta Violetta que ha trucat cada dia interessant-se per la seva salut. -
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R. -
The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play. -
Index of Authors
Index of Authors Abel, Richard 19, 20, 134, 135, 136, Alexander, David 441 Andre, Marle 92 Aros (= Alfred Rosenthal) 196, 225, 173 Alexander, lohn 274 Andres, Eduard P. 81 244, 249, 250 Abel, Viktor 400 Alexander, Scott 242, 325 Andrew, Geoff 4, 12, 176, 261,292 Aros, Andrew A. 9 Abercrombie, Nicholas 446 Alexander, William 73 Andrew, 1. Dudley 136, 246, 280, Aroseff, A. 155 Aberdeen, l.A. 183 Alexowitz, Myriam 292 330, 337, 367, 368 Arpe, Verner 4 Aberly, Rache! 233 Alfonsi, Laurence 315 Andrew, Paul 280 Arrabal, Fernando 202 About, Claude 318 Alkin, Glyn 393 Andrews, Bart 438 Arriens, Klaus 76 Abramson, Albert 436 Allan, Angela 6 Andrews, Nigel 306 Arrowsmith, William 201 Abusch, Alexander 121 Allan, Elkan 6 Andreychuk, Ed 38 Arroyo, lose 55 Achard, Maurice 245 Allan, Robin 227 Andriopoulos, Stefan 18 Arvidson, Linda 14 Achenbach, Michael 131 Allan, Sean 122 Andritzky, Christoph 429 Arzooni, Ora G. 165 Achternbusch, Herbert 195 Allardt-Nostitz, Felicitas 311 Anfang, Günther 414 Ascher, Steven 375 Ackbar, Abbas 325 Allen, Don 314 Ang, Ien 441, 446 Ash, Rene 1. 387 Acker, Ally 340 Allen, Jeanne Thomas 291 Angelopoulos, Theodoros 200 Ashbrook, lohn 220 Ackerknecht, Erwin 10, 415, 420 Allen, lerry C. 316 Angelucci, Gianfranco 238 Ashbury, Roy 193 Ackerman, Forrest }. 40, 42 Allen, Michael 249 Anger, Cedric 137 Ashby, lustine 144 Acre, Hector 279 Allen, Miriam Marx 277 Anger, Kenneth 169 Ashley, Leonard R.N. 46 Adair, Gilbert 5, 50, 328 Allen, Richard 254, 348, 370, 372 Angst-Nowik, Doris ll8 Asmus, Hans-Werner 7 Adam, Gerhard 58, 352 Allen, Robert C. -
The Project Gutenberg Ebook of Six Short Plays, Complete, by John Galsworthy SCENE II
The Project Gutenberg EBook of Six Short Plays, Complete, by John Galsworthy SCENE II. WANDA's Room. This eBook is for the use of anyone anywhere at no cost SCENE III. The Same. and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Between SCENE I. and SCENE II.--Thirty hours. Project Gutenberg License included with this eBook or Between SCENE II. and SCENE III.--Two months. online at www.gutenberg.net Title: Six Short Plays, Complete SCENE I Author: John Galsworthy It is six o'clock of a November evening, in KEITH Release Date: October 27, 2006 [EBook #5060] DARRANT'S study. A large, dark-curtained room where the light from a single reading-lamp falling on Turkey Language: English carpet, on books beside a large armchair, on the deep blue-and-gold coffee service, makes a sort of oasis before *** START OF THIS PROJECT GUTENBERG a log fire. In red Turkish slippers and an old brown velvet EBOOK SIX SHORT PLAYS, COMPLETE *** coat, KEITH DARRANT sits asleep. He has a dark, clean-cut, clean-shaven face, dark grizzling hair, dark twisting eyebrows. Produced by David Widger [The curtained door away out in the dim part of the room behind him is opened so softly that he does not wake. LARRY DARRANT enters and stands half lost in the curtain over the door. A thin figure, with a worn, high SIX SHORT PLAYS OF GALSWORTHY cheek-boned face, deep-sunk blue eyes and wavy hair all ruffled--a face which still has a certain beauty. -
STANDING ROOM ONLY by Thomas Hischak
STANDING ROOM ONLY by Thomas Hischak Copyright © 2018 by Thomas Hischak, All rights reserved. ISBN: 978-1-64479-010-6 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilat- eral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or elec- tronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock perfor- mance rights to this Work are controlled exclusively by Brooklyn Publishers LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers LLC. Questions concerning other rights should be addressed to Brooklyn Publishers LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged. -
M. Butterfly As Total Theatre
M. Butterfly as Total Theatre Mª Isabel Seguro Gómez Universitat de Barcelona [email protected] Abstract The aim of this article is to analyse David Henry Hwang’s M. Butterfly from the perspective of a semiotics on theatre, following the work of Elaine Aston and George Savona (1991). The reason for such an approach is that Hwang’s play has mostly been analysed as a critique of the interconnections between imperialism and sexism, neglecting its theatricality. My argument is that the theatrical techniques used by the playwright are also a fundamental aspect to be considered in the deconstruction of the Orient and the Other. In a 1988 interview, David Henry Hwang expressed what could be considered as his manifest on theatre whilst M. Butterfly was still being performed with great commercial success on Broadway:1 I am generally interested in ways to create total theatre, theatre which utilizes whatever the medium has to offer to create an effect—just to keep an audience interested—whether there’s dance or music or opera or comedy. All these things are very theatrical, even makeup changes and costumes—possibly because I grew up in a generation which isn’t that acquainted with theatre. For theatre to hold my interest, it needs to pull out all its stops and take advantage of everything it has— what it can do better than film and television. So it’s very important for me to exploit those elements.… (1989a: 152-53) From this perspective, I would like to analyse the theatricality of M. Butterfly as an aspect of the play to which, traditionally, not much attention has been paid to as to its content and plot. -
MADAMA BUTTERFLY GIACOMO PUCCINI ¿Por Qué La Música Abre Nuestro Corazón?
TEMPORADA 2016-2017 Breguet, creador. Classique Phase de Lune Dame 9088 MADAMA BUTTERFLY GIACOMO PUCCINI ALICANTE: SUÁREZ BARCELONA: RABAT, SUÁREZ, UNIÓN SUIZA CEUTA: CHOCRÓN GIRONA: PERE QUERA MADRID: RABAT, SUÁREZ PUERTO BANÚS: BOUTIQUE TOURBILLON TENERIFE: IDEAL, PAGODA VALENCIA: RABAT T9088-MadButterProg_150x210.indd 1 03.05.17 09:27 ¿Por qué la música abre nuestro corazón? Porque la música es energía. La energía que transmite el artista cuando sus emociones conectan con las nuestras manteniendo activa la cultura. Por eso, patrocinamos desde hace más de una década el Teatro Real. Porque, cuando abrimos nuestra energía, el progreso es posible para todos. endesa.com Página_15x21_S&S_Endesa2017_BAILARINA_TR_P_M_ES_v6.indd 1 9/5/17 11:39 MÁS DE HOY MÁS DE TODOS MÁS TEATRO REAL 1 PATROCINADORES DEL BICENTENARIO MECENAS PRINCIPAL MECENAS ENERGÉTICO TEMPORADA 2016-2017 PATROCINADORES DEL BICENTENARIO MADAMA BUTTERFLY GIACOMOPUCCINI (1858-1924) Tragedia giapponese en tres actos Libreto de Giuseppe Giacosa y Luigi Illica, basado en la obra de teatro Madame Butterfly, de David Belasco, inspirada en un relato de John Luther Long Estrenada en el Teatro alla Scala de Milán el 17 de febrero de 1904 Producción del Teatro Real Patrocina: 27, 28, 30 de junio 1, 3, 4, 6, 7, 9, 12, 13, 15, 16, 19, 20, 21 de julio ADMINISTRACIONES PÚBLICAS ADMINISTRACIÓN PÚBLICA FUNDADORAS COLABORADORA 3 «Son casi países conquistados, que tienen que adaptar su cultura a las formas de vida occidental. La civilización occidental tiene recursos, sucursales, soldados y misioneros -
Homage to Two Glories of Italian Music: Arturo Toscanini and Magda Olivero
HOMAGE TO TWO GLORIES OF ITALIAN MUSIC: ARTURO TOSCANINI AND MAGDA OLIVERO Emilio Spedicato University of Bergamo December 2007 [email protected] Dedicated to: Giuseppe Valdengo, baritone chosen by Toscanini, who returned to the Maestro October 2007 This paper produced for the magazine Liberal, here given with marginal changes. My thanks to Countess Emanuela Castelbarco, granddaughter of Toscanini, for checking the part about her grandfather and for suggestions, and to Signora della Lirica, Magda Olivero Busch, for checking the part relevant to her. 1 RECALLING TOSCANINI, ITALIAN GLORY IN THE TWENTIETH CENTURY As I have previously stated in my article on Andrea Luchesi and Mozart (the new book by Taboga on Mozart death is due soon, containing material discovered in the last ten years) I am no musicologist, just a person interested in classical music and, in more recent years, in opera and folk music. I have had the chance of meeting personally great people in music, such as the pianist Badura-Skoda, and opera stars such as Taddei, Valdengo, Di Stefano (or should I say his wife Monika, since Pippo has not yet recovered from a violent attack by robbers in Kenya; they hit him on the head when he tried to protect the medal Toscanini had given him; though no more in a coma, he is still paralyzed), Bergonzi, Prandelli, Anita Cerquetti and especially Magda Olivero. A I have read numerous books about these figures, eight about Toscanini alone, and I was also able to communicate with Harvey Sachs, widely considered the main biographer of Toscanini, telling him why Toscanini broke with Alberto Erede and informing him that, contrary to what he stated in his book on Toscanini’s letters, there exists one letter by one of his lovers, Rosina Storchio. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
The Miss Saigon Controversy
The Miss Saigon Controversy In 1990, theatre producer Cameron Mackintosh brought the musical Miss Saigon to Broadway following a highly successful run in London. Based on the opera Madame Butterfly, Miss Saigon takes place during the Vietnam War and focuses on a romance between an American soldier and a Vietnamese orphan named Kim. In the musical, Kim is forced to work at ‘Dreamland,’ a seedy bar owned by the half-French, half-Vietnamese character ‘the Engineer.’ The production was highly anticipated, generating millions of dollars in ticket sales before it had even opened. Controversy erupted, however, when producers revealed that Jonathan Pryce, a white British actor, would reprise his role as the Eurasian ‘Engineer.’ Asian American actor B.D. Wong argued that by casting a white actor in a role written for an Asian actor, the production supported the practice of “yellow-face.” Similar to “blackface” minstrel shows of the 19th and 20th centuries, “yellow-face” productions cast non-Asians in roles written for Asians, often relying on physical and cultural stereotypes to make broad comments about identity. Wong asked his union, Actors’ Equity Association, to “force Cameron Mackintosh and future producers to cast their productions with racial authenticity.” Actors’ Equity Association initially agreed and refused to let Pryce perform: “Equity believes the casting of Mr. Pryce as a Eurasian to be especially insensitive and an affront to the Asian community.” Moreover, many argued that the casting of Pryce further limited already scarce professional opportunities for Asian American actors. Frank Rich of The New York Times disagreed, sharply criticizing the union for prioritizing politics over talent: “A producer's job is to present the best show he can, and Mr.