American Players Theatre Production History
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Indecent by PAULA VOGEL Directed by WENDY C
McGuire Proscenium Stage / Feb 17 – Mar 24, 2018 Indecent by PAULA VOGEL directed by WENDY C. GOLDBERG PLAY GUIDE Inside THE PLAY Synopsis • 3 Characters and Setting • 4 Inspiration for Indecent • 5 Responses to Indecent • 6 Responses to The God of Vengeance • 7 THE PLAYWRIGHT On Paula Vogel • 8 Paula Vogel on Indecent • 9 Paula Vogel on Sholem Asch • 10-11 Glossary: Concepts, Words, Ideas • 12-15 ADDITIONAL INFORMATION For Further Reading and Understanding • 16 Play guides are made possible by Guthrie Theater Play Guide Copyright 2018 DRAMATURG Jo Holcomb GRAPHIC DESIGNER Akemi Graves CONTRIBUTORS Jo Holcomb Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this Play Guide ADMINISTRATION 612.225.6000 may be reproduced in any form or by any means, electronic BOX OFFICE 612.377.2224 or 1.877.44.STAGE TOLL-FREE or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in guthrietheater.org • Joseph Haj, artistic director writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers. The Guthrie Theater receives support from the National The Guthrie creates transformative theater experiences that ignite the imagination, stir Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation the heart, open the mind, and build community through the illumination of our common by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from humanity. -
BACKSTORY: the CREDITS an Actor
BACKSTORY Your behind-the-scenes look at TimeLine productions YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With Paradise Lost, want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance. -
Performing Othello in South Africa Natasha Distiller
Authentic Protest, Authentic Shakespeare, Authentic Africans: Performing Othello in South Africa Natasha Distiller ugh Quarshie famously declared Othello a play that black actors Hshould avoid: “If a black actor plays Othello does he not risk making racial stereotypes seem legitimate… namely that black men… are over- emotional, excitable and unstable?”1 Ben Okri, referencing the reception of Shakespeare’s tragedy by critics and audiences,2 said that if Othello were not originally a play about race (as indeed it was not in the modern sense of the term), its history has made it one.3 By now, Othello both invokes and confounds modern notions of race and racial difference, speaking powerfully to the long history of misogyny it has facilitated.4 The play also points to the ways in which race and gender are imbricated in one another and co-depend.5 The meaning of Desdemona’s whiteness and femininity depend on each other, as do Othello’s blackness and masculinity. As Celia Daileader has pointed out, Desdemona’s punishment for being an unruly woman is symbolized by and through Othello’s racial identity.6 One might say that Othello both is and is not about race and racial difference, a play that invokes a relation between gender and the range of human cultures, religions, civic belongings, and/or appearances that we now encode as “race.” Whichever ideological frame one chooses to read through (an early modern construction of Moorishness, a postmodern antiracism, a feminist awareness of domestic violence, a combination of these, or any of the other possible lenses one could apply), to understand the play one must recognize the ways it explores the experience of difference as emotionally fraught at best, potentially dangerous at worst. -
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. -
Exploring Films About Ethical Leadership: Can Lessons Be Learned?
EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging. -
English 2080 S 19 Viewing Questions on the Twoothellos
English 2080 S 19 Viewing Questions on the twoOthellos As usual, the schedule is asking you to do several things at once — to view two productions of Othello while we read and explore the play in class — and a few notes and focusing questions may help us approach the modern performances. • Here are minimal credits for the two productions (more at http://us.imdb.com/): Othello (Royal Shakespeare Company, 1989, at Stratford’s Other Place); dir. Trevor Nunn, with Willard White (Othello), Imogen Stubbs (Desdemona), Ian McKellen (Iago), Sean Baker (Cassio), Zoe Wanamaker (Emilia), and Michael Grandage (Roderigo). ☛ Virginia Vaughan's "An Othello for the 1990s" (scholium 10 on our website) comments briefly on this production. Othello (Market Theatre, Johannesburg, 1987), dir. Janet Suzman, with John Kani (Othello), Joanna Weinberg (Desdemona), Richard Haddon Haines (Iago), Neal McCarthy (Cassio), Dorothy Gold (Emilia), and Frantz Dobrowsky (Roderigo). ☛ Suzman's "South Africa in Othello" (1998), on BB, serves an extended program note for this production; it is an essay in which she explains and defends decisions made in staging the play in an unusual venue. Like those decisions, it is not uncontroversial. • Mise-en-scène, the "putting in view" of the action. Both films work chiefly in stage rather than cinema mode: what conventions prevail here, and what narrative and dramatic opportunities offered by cinema are unavailable? (In fact, each is a bit of a hybrid: is there a single indicated audience perspective in either or both? Does either use -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Acting in the Academy
Acting in the Academy There are over 150 BFA and MFA acting programs in the US today, nearly all of which claim to prepare students for theatre careers. Peter Zazzali contends that these curricula represent an ethos that is outdated and limited given today’s shrinking job market for stage actors. Acting in the Academy traces the history of actor training in universities to make the case for a move beyond standard courses in voice and speech, move- ment, or performance, to develop an entrepreneurial model that motivates and encourages students to create their own employment opportunities. This book answers questions such as: • How has the League of Professional Theatre Training Programs shaped actor training in the US? • How have training programs and the acting profession developed in relation to one another? • What impact have these developments had on American acting as an art form? Acting in the Academy calls for a reconceptualization of actor training in the US, and looks to newly empower students of performance with a fresh, original perspective on their professional development. Peter Zazzali is Assistant Professor of Theatre at the University of Kansas. John Houseman and members of Group I at Juilliard in the spring of 1972 reading positive reviews of the Acting Company’s inaugural season. Kevin Kline is seated behind Houseman. Photo by Raimondo Borea; Courtesy of the Juilliard School Archives. Acting in the Academy The history of professional actor training in US higher education Peter Zazzali First published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Peter Zazzali The right of Peter Zazzali to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. -
Some Thoughts Surrounding 2016Production of the Tempest
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Some thoughts surrounding 2016 production of The Tempest UMEMIYA Yu The following note shows the result of an on going research on the play by William Shakespeare: The Tempest. The 2016 production at the Royal Shakespeare Company (RSC), one of the leading theatre companies in England, demonstrated another innovative version of the play on their main stage in Stratford-upon-Avon, followed by its tour down to Barbican theatre in London in 2017. It did not include an extraordinary interpretation or unique casting pattern but demonstrated the extended development of technology available on stage. This note introduces the feature and the reception of the production in the latter half, with a brief summary of the play and a survey of the performance history of The Tempest in the first half. The story of The Tempest Compared to other plays by Shakespeare, The Tempest is a rare example that follows the classical idea of three unities of time, place and action, deriving from 1 Aristotle, then prescribed by Philip Sydney in Renaissance England . The similar 2 structure has already practiced in The Comedy of Errors in 1594 , but while this early comedy is often described as a simple farce, The Tempest contains various complications in terms of plots and theatrical possibilities. The story of The Tempest opens with a storm at sea, conjured by the magic of Prospero, the main character of the play. He is manipulating the tempest from the 一二七nearby island where he lives with his daughter, Miranda, and shares the land with two other fantastic creatures, Ariel and Caliban. -
Recommended Reading
C O R E Y P A R K E R Recommended Reading Books on Acting –––––––––– “The Power of The Actor” by Ivana Chubbuck “Respect for Acting” by Uta Hagen “A Challenge For The Actor” by Uta Hagen “Being And Doing” by Eric Morris “Truth” by Susan Batson “The Technique of Acting” by Stella Adler “Intent to Live” by Larry Moss “Towards A Poor Theater” by Jerzy Grotowski “The Art of Acting” by Stella Adler “Acting 2.0” by Anthony Abeson “Acting Class” by Milton Katselas “The Actor’s Eye” by Morris Carnovsky “All About Method Acting” by Ned Manderino “The Vakhtangov Sourcebook” by Andrei Malaev-Babel “Audition” by Michael Shurtleff “The Open Door” by Peter Brook “Stanislavski in Rehearsal” by Vasili Toporkov “The Presence of The Actor” by Joseph Chaikin “Strasberg At The Actors Studio” edited by Robert Hethmon “The War of Art” “On Acting” by Steven Pressfield by Sanford Meisner W W W . C O R E Y P A R K E R A C T I N G . C O M “On The Technique of Acting” by Michael Chekhov “The Existential Actor” by Jeff Zinn “The Theater And Its Double” by Antonin Artaud “An Acrobat of The Heart” by Stephen Wangh “Auditioning” by Joanna Merlin “Richard Burton in Hamlet” by Richard Sterne “Acting: The First Six Steps” by Richard Boleslavsky “The Empty Space” by Peter Brook “Advice to The Players” by Robert Lewis “On Acting” by Laurence Olivier “An Actor’s Work: Stanislavski” (An Actor Prepares) “Juilliard to Jail” retranslated and edited by Leah Joki by Jean Benedetti “On Screen Acting” “Advanced Teaching for The Actor, Teacher by Edward Dmytryk and Director” by Terry Schreiber “The Actor's Art and Craft” by William Esper & Damon DiMarco “How to Stop Acting” by Harold Guskin “Acting and Living in Discovery” by Carol Rosenfeld Books on Directing –––––––––– “On Directing” “No Tricks in My Pocket: Paul Newman Directs” by Elia Kazan by Stewart Stern “On Directing” “Cassavetes on Cassavetes” by Harold Clurman by John Cassavetes and Ray Carney “Stanislavsky Directs” “Levinson on Levinson” by Nikolai Gorchakov edited by David Thompson W W W . -
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. -
The Inventory of the Morris Carnovsky Collection #1470
The Inventory of the Morris Carnovsky Collection #1470 Howard Gotlieb Archival Research Center Camovsky, Morris 8/12/99 Preliminary Listing I. Personal Memorabilia. Box 1 A. Wooden makeup kit. Box2 B. Scrapbooks number 7,8,9,10 ofM.C. and his theater work. Contain news clippings and play bills. Box 3 C. Scrapbook number 11. D. Metal container of stage props. Contains a flask and eye glasses. Box4 E. Wooden makeup kit. F. Silver box from A.S.F.T.A. to M.C. G. 1 gray haired costume wig. H. Gold honorary medal from Hofstra University to M.C. Box 5 I. 37 playbills from various performances. Box 8 1. 5 playbills. Box 10 2. Over 20 playbills. Box 5 J. Costume wig. K. Blue plastic scrapbook of news clippings regarding M.C. and his career. Box6 L. Scrapbook number 1,4,5,6. Contains news clippings on M.C. and his career. M. Multi-colored scrapbook. Contains news clippings on M.C. and his career. Box 7 N. 4 scrapbooks on M.C. and his career. 0. Green scrapbook containing news clippings on the play "The Master Race" starring M.C. Box 8 P. Invitation and map to lawn party of Bob Schnitzer. Q. Program for funeral of Leon Camovsky March 12, 1976. R. 1982-1983 Catalogue for the National Theater Institute. S. Typed list of characters for King Lear. T. Unsigned Christmas card from Bobby Lewis. U. Journal of Ellen Rothstein on Shakespeare. V. Pamphlet on Mount Holyoke Theater department. W. 3 copies of an outline of the Morris Camovsky theater program at Brandeis University 1963.