The Railway Station That Never Was
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Sense of HUMOUR
Sense of HUMOUR STEPHEN POTTER HENRY HOLT & COMPANY NEW YORK " College Library 14 ... d1SOn ... hurD V,rglt11a l\~rr1Son 0' First published 1954 Reprinted I954 rR q-) I I . I , F>~) AG 4 '55 Set In Bembo 12 poitlt. aHd pritlted at THE STELLAR PRESS LTD UNION STREBT BARNET HBRTS GREAT BRITAIN Contents P ART I THE THEME PAGE The English Reflex 3 Funniness by Theory 6 The Irrelevance of Laughter 8 The Great Originator 12 Humour in Three Dimensions: Shakespeare 16 The Great Age 20 S.B. and G.B.S. 29 Decline 36 Reaction 40 PART II THE THEME ILLUSTRATED Personal Choice 47 1 The Raw Material , , 8 UNCONSCIOUS HUMOUR 4 Frederick Locker-Lampson. At Her Window 52 Ella Wheeler Wilcox. Answered 53 Shakespeare. From Cymbeline 54 TAKING IT SERIOUSLY From The Isthmian Book of Croquet 57 Footnote on Henry IV, Part 2 59 THE PERFECTION OF PERIOD 60 Samuel Pepys. Pepys at the Theatre 61 Samuel Johnson. A Dissertation on the Art of Flying 62 Horace Walpole. The Frustration of Manfred 63 Horace Walpole. Theodore Revealed 64 Haynes Bayly. From She Wore a Wreath of Roses 66 Charles Mackay. Only a Passing Thought 66 E. S. Turner. The Shocking .!fistory of Advertising 67 VB VUl CONTENTS PAGE CHARACTER ON THE SLEEVE 67 Samuel Johnson. On Warburton on Shakespeare 68 James Boswell. On Goldsmith 68 William Blake. Annotations to Sir Joshua Reynolds's Discourses 69 S. T. Coleridge. To his Wife 70 S. T. Coleridge. Advice to a Son 71 S. T. Coleridge. Thanks for a Loan 71 Arnold Bennett and Hugh Walpole. -
Text Pages Layout MCBEAN.Indd
Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
Sean O'casey Modern Judgements
Modern Judgements SEAN O'CASEY MODERN JUDGEMENTS General Editor: P. N. FURBANK Dickens A. E. Dyson Henry James Tony Tanner Milton Alan Rudrum Sean O'Casey Ronald Ayling Pasternak Donald David and Angela Livingstone Walter Scott D. D. Devlin Shelley R. B. Woodings Swift A. NormanJeffares IN PREPARATION Matthew Arnold P. A. W. Collins Ford Madox Ford Richard A. Cassell Freud F. Cioffi Marvell M. Wilding Pope Graham Martin Racine R. C. Knight Sean 0' Casey MODERN JUDGEMENTS edited by RONALD AYLING Macmillan Education Selection and editorial material© Ronald Ayling 1969 Softcover reprint of the hardcover rst edition 1969 978-0-333-03330-2 ISBN 978-o-333-07049-9 ISBN 978-1-349-15301-5 (eBook) DO I 10.1007I 978-1-349-15301-5 First published 1969 MACMILLAN AND CO LTD Little Essex Street London WC2 and also at Bombay Calcutta and Madras Macmillan South Africa (Publishers) Pty LtdJohannesburg The Macmillan Company ofAustralia Pty Ltd Melbourne The Macmillan Company ofCanada Ltd Toronto For Elsie and Charles Osborn to whom I owe so much Contents Acknowledgements 7 General Editor's Preface 9 Introduction II Chronology 42 Drama HERBERT COSTON Prelude to Playwriting 47 P. s. o'HEGARTY A Dramatist ofNew-born Ireland 6o A. E. MALONE O'Casey's Photographic Realism 68 JAMES AGATE Juno and the Paycock and The Plough and the Stars 76 DENIS JOHNSTON Sean O'Casey: An Appreciation 82 w. B. YEATS TheSilverTassie:ALetter 86 CHARLES MORGAN The Silver Tassie 88 GEORGE BERNARD SHAW LettertotheProducerofThe Silver Tassie 91 BONAMY DOBREE SeanO'CaseyandthelrishDrama 92 UNA ELLIS-FERMOR PoetryinRevolt 106 JOHN GASSNER TheProdigalityofSeanO'Casey IIO JACQUES BARZUN O'Casey at Your Bedside 120 A. -
Xerox University Microfilms 300 North Zm (> Road Ann Arbor, Michigan 48106 75-3059
INFORMATION TO USERS This material was produoad from a microfilm copy of the original document. While the molt advanced technological meant to photograph and reproduce this document have been used, the quality it heavily dependent upon the quality of the original lubmitted. The following explanation of techniques it provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Pags(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Talking out of Tune
Talking Out of Tune Remembering British Theatre 1944-56 Kate Lucy Harris Ph.D. School of English Literature, Language and Linguistics University of Sheffield December 2008 1 Summary of Thesis This thesis explores how British Theatre represented and reacted to cultural and social changes between 1944 and 1956. It is closely linked to the oral history strand of the AHRC University of Sheffield British Library Theatre Archive Project <http://www.bl.ukltheatrearchive>. The five chapters focus on distinct subject areas in order to explore the vibrant diversity of the period. However, they are united by an overarching narrative which seeks to consider the relationship between memory and history. The first chapter is based on the oral history strand. It explores the different ways in which the Project's methodology has shaped both the interviewee testimony and my own research. Chapter 2 focuses on the changing historical perceptions of the popular West End plays of the day. Case studies of plays are used to compare the responses of audiences and critics in the 1940s and 50s, with the critical commentaries that surround the plays and playwrights today. The third chapter explores the relationship between BBC television drama and theatre. It assesses the impact that cross fertilisation had on both media by examining plays, productions and policies. Chapters 4 and 5 focus on two of the theatre companies of the period - Theatre Workshop and the Old Vic Theatre Company. Chapter 4 explores the impact that Theatre Workshop's early years as a touring group had on the development of the company. It draws on new oral history testimonies from former company members who joined the group in the 1940s and early 50s. -
The Shakespearean Performances of Sir John Gielgud
University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. 2nd of 2 files Chapters 4-6 Appendices and Bibliography THE SHAKESPEAREAN PERFORMANCES OF SIR JOHN GIELGUD by Robert James Frost Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy of the University of Birmingham. The Shakespeare Institute October 1983 243 CHAPTER FOUR MUCH ADO ABOUT NOTHING Much Ado About Nothing is to be distinguished from the other comedies of Shakespeare that are its nearest contemporaries because of its concern with one circumscribed social unit. Unlike As You Like It,Twelfth Night, The Merchant of Venice and A Midsummer Night's Dream,which play off different kinds of worlds against each other, the problems arising in one being resolved by a retreat to the next or alternatively by a foreign visitor, the action of Much Ado About Nothing is focussed on a single, indigenous group. (That Don Pedro,strictly speaking,is an outsider from Aragon seems less important than the fact that he and the other guests freely interact with Leonato's household, making themselves at home there.) If the intervention of Dogberry and the Watch is required to restore harmony, then Dogberry, although of a different class, is quite clearly part of the civic life of Messina. -
An Introduction to the Night-Watch Constable
Cambridge University Press 978-1-107-02149-5 - Reviewing Shakespeare: Journalism and Performance from the Eighteenth Century to the Present Paul Prescott Excerpt More information chapter one An introduction to the night-watch constable Performance, print, memory: three preludes 17 May 1833: George Douchez, Esq., physician, contemplates the corpse of Edmund Kean. Setting about the melancholy task of dissecting the great actor, he notes ‘a heart excessively loaded with fat’, a ‘considerably emaciated’ face and neck, and a brain whose substance is ‘softer than usual’. Suddenly these neutral, detached observations give way to a heightened moment of appreciation: ‘Body well formed, and the external form of the thorax and the abdomen so beautifully developed as to serve as one of the finest models that could possibly be presented to the eye of the sculptor or painter’ (Hillebrand 1966: 371–2). Sixteen years earlier, on 27 October 1817, The Times had carried a review of Kean’s performance as Othello, a notice that had concluded with a comparable admiration for the detail and overall effect on the spectator of Kean’s physique: ‘The convulsed motions of the hands, and the involuntary swellings of the veins of the forehead in some of the most painful situations, should not only suggest topics of critical panegyric, but might furnish studies to the painter or anatomist’ (Hazlitt 1930–4: xviii 263). That two different but related forms of memorialisation should fasten on the pictorial quality of an actor’s body is perhaps unsurprising. Yet what may shift the relationship from coincidence to quotation is the fact that the theatre reviewer, William Hazlitt, felt so pleased with his initial review that he republished it, almost verbatim, on two further occasions. -
Television-Annual-19
THE TELEVISION ANNUAL Fditcd hr KENNETH BAILY Presenting Interesting Facts and Pictures THE ANNUAL FOR 1950/51 Edited by KENNETH BAILY Of "The People" CONTENTS TELEVISION IN BRITAIN: A Review 5 1. MAN FINDS THE TELEVISION EYE 14 2. TELEVISION COMES INTO THE HOME 19 3. INSIDE TELEVISION'S HEADQUARTERS 29 4. PLAYS FOR THE HOME SCREEN 49 5. VARIETY: SEARCH FOR TALENT 65 6. PERSONALITIES IN CAMERA 72 7. BALLET AND MUSIC 102 8. FOR THE CHILDREN 106 9. REAL LIFE IN PICTURES 110 10. THE ROAMING CAMERA 119 11. FILM IN TELEVISION 127 12. HOW AUDIENCE RESEARCH WORKS 131 13. BEHIND THE SCREEN WHO'S WHO 132 14. TELEVISION AS A CAREER 144 15. TELEVISION FOR THE NORTH AND WEST146 16. TECHNICAL ADVANCES 150 17. TELEVISION IN OTHER LANDS 157 INDEX 159 ACKNOWLEDGEMENTS 160 ODHAMS PRESS LTD. LONG ACRE, LONDON In May, 1950, Television stepped out into new and larger studios. Wilfred Pickles with the children in the .first programme to be produced in the new Shepherd's Bush studio centre. EDITOR'S NOTE (See pages 11 and 12) Since this book went to press, the BBC has in fact issued a more detailed noteon its accounts, giving the 1949/50revenue (BBC Report and Accounts, September, 1950). Even so the programmes speak plainer than figures. The best artists and writers arenot beingsufficientlyattractedto Television, and production staffistoo limited.-K.B. THE TELEVISION ANNUAL FOR 1950 SI Television shot of the year. Princess Elizabeth and the Duchess of Kent made one of many intriguing and brilliant shots caught by hidden TV cameras in the foyer of the Royal Opera House, Covent Garden, on the occasion of the French President's visit to the Gala Ballet Performance on March 9th, 1950. -
Beyond Holy Russia: the Life and Times of Stephen Graham
Beyond Holy Russia MICHAEL The Life and Times HUGHES of Stephen Graham To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/217 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. BEYOND HOLY RUSSIA The Life and Times of Stephen Graham Michael Hughes www.openbookpublishers.com © 2014 Michael Hughes This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt it and to make commercial use of it providing that attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Hughes, Michael, Beyond Holy Russia: The Life and Times of Stephen Graham. Cambridge, UK: Open Book Publishers, 2014. http://dx.doi.org/10.11647/ OBP.0040 Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0 Every effort has been made to identify and contact copyright holders; any omissions or errors will be corrected if notification is made to the publisher. Digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/isbn/9781783740123 ISBN Paperback: 978-1-78374-012-3 ISBN Hardback: 978-1-78374-013-0 ISBN Digital (PDF): 978-1-78374-014-7 ISBN Digital ebook (epub): 978-1-78374-015-4 ISBN Digital ebook (mobi): 978-1-78374-016-1 DOI: 10.11647/OBP.0040 Cover image: Mikhail Nesterov (1863-1942), Holy Russia, Russian Museum, St Petersburg. -
Year Date Name of Production Description 1917 September 27, 28, 28 Have a Heart a Musical Comedy by Guy Bolton and P. G
Year Date Name of Production Description 1917 September 27, 28, 28 Have A Heart A musical comedy by Guy Bolton and P. G. Wodehouse, music by Jerome Kern 1917 1-Oct Furs and Frills A musical with lyrics by Edward Clark, music by Silvo Hein 1919 6-Oct The Gallo Opera Co. A revival of William S. Gilbert and Sir Arthur Sullivan's The Mikado , music directed by Max Bendix 1922 May 19 and 20 Dulcy A comedy in three acts by George S. Kaufman and Marc Connelly 1924 9-Apr Anna Pavlowa A ballet featuring Hilda Butsova and Corps De Ballet; Ivan Clustine, Balletmaster and conductor Theodore Stier 1924 April 10, 11, 12 Jane Cowl Portraying Juliet in Shakespeare's Romeo and Juliet ; staged by Frank Reicher 1927 1-Sep My Princess A modern Operetta based on a play by Edward A. Sheldon and Dorothy Donnelly; music by Sigmund Romberg 1927 September 5, 6, 7 Creoles A romantic comedy drama by Samuel Shipman and Kenneth Perkins 1927 September 8, 9, 10 The Cradle Song A Comedy in two acts by Gregario and Maria Martinez Sierra translated in English by John Garrett Underhill 1928 January 26, 27, 28 Quicksand A play presented by Anna Held Jr. and written by Warren F. Lawrence 1928 January 30 Scandals A play based on the book by Williams K. Wells and George White 1928 September 17, 18, 19 Paris Bound/Little Accident A comedy by Philip Barry presented by Arthur Hopkins; featuring (1 play per side of one Madge Kennedy sheet) 1928 September 20, 21, 22 Little Accident/Paris Bound A comedy in three acts by Floyd Dell and Thomas Mitchell; staged (1 play per side of one by Arthur Hurley sheet) 1928 October 1, 2, 3, The Shanghai Gesture/The presented by A. -
The Origins and Earliest Surviving Live Tv Broadcast Recordings
Television Recording Origins: Oldest Surviving Live TV Broadcast – R. Shagawat TELEVISION RECORDING – THE ORIGINS AND EARLIEST SURVIVING LIVE TV BROADCAST RECORDINGS By Robert Shagawat E Mail: [email protected] Abstract Of Information as of October 4, 2004 updated October 2010 – April 2011 1947 DuMont RA-103 TV Set Early Kinescope Recording Machine Called the Chatham (or “Doghouse”) model Introduction - Oldest Surviving Record of Live Television Program: What is the earliest surviving live television broadcast recording? It is surprising how little definitive research and solid information is available on this topic. This article seeks to answer this question, based on what we know today. Lack of Prior Research: While there has been a significant amount of research done on the oldest surviving live radio broadcast airchecks (from 1925 or earlier), there is a scarcity of comprehensive research on the earliest live TV transmission recordings that are still in existence. This dearth of information on what remains of the formative years of television was not anticipated, given the vital importance of the TV legacy to the “baby boomers” raised on the media. It is also amazing, given the relatively recent appearance of television during the 20th century (where more documentation of its earliest records would be thought to exist). Historic Means of Capturing Live Television: First of all, we must understand how early TV broadcasts could be captured in the days before videotape and later analog and digital recording methods (as will be further elaborated below). The kinescope recording was filmed from the kinescope or cathode ray tube TV receiver, where these films of live television as taken from the kinescope device were soon themselves just called “kinescopes”. -
Radio-Year-Book-UK-1
RTÂDIO1935 INCLUDING : DAY AT BROAADCASTING HOUSE TELEVISION : ITS PRESENT AND .!e":i 2 ` FUTURE B.B.C. ARTISTES ON THE ETHER THE LATEST WAVE LENGTHS CHART TO WITH A HUGETHERN AND ONE ITEMSDRED OF INTEREST TO BaDK 1 THE LISTENER For the Veins, Arteries 'and Heart CURES VARICOSE VEINS, BAD LEG, PHLEBITIS, THROMBOSIS, PILES, ECZEMA, RHEUMATISM, AND EVERY VEIN, ARTERY AND HEART WEAKNESS. LASTO is something new to curative science ; it is based on the know- ledge that muscular weakness, varicose veins, bad leg, rheumatism, hardened arteries, heart weakness-to name but a few of the many ailments associated with bad circulation-are deficiency diseases ; that in all such conditions there is a lack of certain rital constituents of the blood. Owing to this lack the body is unable to build up the elastic tissue needed to maintain the vein and artery walls and the membranes in a healthy condition and a state of flabbiness result!. Elasto restores to the blood the vital elements which combine with albumin to form elastic tissue and thus enables Nature to restore contractility to the relaxed and devitalised fabric of veins, arteries and heart, and so to re-establish normal circulation; the real basis of sound health. Every sufferer should know of this wonderful new biological remedy which quickly brings ease and comfort, and creates within the system a new health force ; overcoming relaxed conditions, increasing vitality, and bringing into full activity, Nature's own laws of healing. Elasto is prepared in tiny tablets which dissolve instantly on the tongue, and are absorbed directly into the blood stream, thereby actually restoring the natural power of healing to the blood ! For the outlay of a few shillings you can now enjoy the tremendous advantages of this Modern Scientific Remedy which has cost thousands of pounds to perfect.