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Guide to Women's History Collections
GUIDE TO WOMEN'S HISTORY RESOURCES AT THE AMERICAN HERITAGE CENTER "'You know out in Wyoming we have had woman suffrage for fifty years and there is no such thing as an anti-suffrage man in our state -- much less a woman.'" Grace Raymond Hebard, quoted in the New York Tribune, May 2, 1920. Compiled By Jennifer King, Mark L. Shelstad, Carol Bowers, and D. C. Thompson 2006 Edited By Robyn Goforth (2009), Tyler Eastman (2012) PREFACE The American Heritage Center holdings include a wealth of material on women's issues as well as numerous collections from women who gained prominence in national and regional affairs. The AHC, part of the University of Wyoming (the only university in the "Equality State") continues a long tradition of collecting significant materials in these areas. The first great collector of materials at the University, Dr. Grace Raymond Hebard, was herself an important figure in the national suffrage movement, as materials in her collection indicate. Hebard's successors continued such accessions, even at times when many other repositories were focusing their attentions on "the great men." For instance, they collected diaries of Oregon Trail travelers and accounts of life when Wyoming was even more of a frontier than it is today. Another woman, Lola Homsher, was the first formally designated University archivist and her efforts to gain materials from and about women accelerated during the service of Dean Krakel, Dr. Gene Gressley, and present director Dr. Michael Devine. As a result of this work, the AHC collections now contain the papers of pioneering women in the fields of journalism, film, environmental activism, literature, and politics, among other endeavors. -
Cat on a Hot Tin Roof Tenessee Williams
John Carroll University Carroll Collected Theatre Productions Communication & Theatre Arts 12-5-1991 Cat on a Hot Tin Roof Tenessee Williams Follow this and additional works at: http://collected.jcu.edu/plays Recommended Citation Williams, Tenessee, "Cat on a Hot Tin Roof" (1991). Theatre Productions. 22. http://collected.jcu.edu/plays/22 This Book is brought to you for free and open access by the Communication & Theatre Arts at Carroll Collected. It has been accepted for inclusion in Theatre Productions by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. • JOHN CARROLL UNIVERSITY DEPARTMENT OF COMMUNICATIONS presents The Misery Loves Company PRODUCTION of Tennessee Williams' modem adult classic Cat on a Hot Tin Roof Directed by James Allen Ealy Performances are on December 5, 6, 7, 8, 12, 13, 14, 15, 1991 all at 8:00 p.m. at the Marinello Little Theatre at John Carroll University -----_________ ___________) PRODUCTION STAFF DIRECTOR ..............•....•....... James Allen Ealy PRODUCER ...••...................... Bob Snider PRODUCTION DESIGN ...........••..•.. James F. Beck ASSISTANT DIRECTOR .•.........•..... Denise Leslie PRODUCTION SUPERVISOR •..••..•.....• Kathy James PRODUCTION SUPERVISOR/STANDBY .•..•. Keg Parish STAGE KAMAGER ..•.•.......•..•.•.••. Alison C. Hulsinger COSTUME DESIGN ........•..•......... Susan Bakula PROPERTY PROCUREMENT •.•..•.•......• Jayn Wells LIGHT OPERATOR ..................... Kathleen Filiatraut SOUND OPERATOR ..•.•................ Edward J. Mularz -
Death of a Salesman
Belvoir presents DEATH OF A SALESMAN Photo: Michael Corridore By Arthur Miller Director Simon Stone RESOURCES for Teachers Death of a Salesman – Belvoir Teacher’s Resources – p 1 DEATH OF A SALESMAN By ARTHUR MILLER Director SIMON STONE Set Designer RALPH MYERS Costume Designer ALICE BABIDGE Lighting Designer NICK SCHLIEPER Composer & Sound Designer STEFAN GREGORY Assistant Director JENNIFER MEDWAY Fight Choreographer SCOTT WITT Stage Managers LUKE McGETTIGAN, MEL DYER (from 31 July) Assistant Stage Managers MEL DYER, CHANTELLE FOSTER (from 31 July) Stage Management Secondment GRACE NYE-BUTLER With: The Woman / Jenny / Miss Forsythe BLAZEY BEST Biff PATRICK BRAMMALL Willy Loman COLIN FRIELS Ben STEVE LE MARQUAND Linda / Letta GENEVIEVE LEMON Happy HAMISH MICHAEL Charley / Stanley PIP MILLER Bernard / Howard LUKE MULLINS Belvoir’s production of Death of a Salesman opened at Belvoir St Theatre on Wednesday 27 June 2012. Colin Friels Photo: Heidrun Löhr Death of a Salesman – Belvoir Teacher’s Resources – p 2 INTRODUCTION Arthur Miller and Death of a Salesman . Arthur Miller is widely regarded as one of the greatest twentieth century dramatists. Over the course of his career, he wrote around 35 stage plays, the best known of which include Death of a Salesman (1949), All My Sons (1947), The Crucible (1953), A View from the Bridge (1955) and The Price (1968). He is also known for his many screenplays, radio plays and essays. Death of a Salesman premiered on Broadway on the 10th February 1949. Initial reviews praised the play for its emotional intensity and dramatic impact, along with the innovatively fluid approach to time and space that its narrative takes. -
Death of a Salesman Thomas Mitchell As Willy Loman and Arthur Kennedy As Biff CLASSIC Directed by Elia Kazan (New York, 1950) DRAMA
Arthur Miller Death of a Salesman Thomas Mitchell as Willy Loman and Arthur Kennedy as Biff CLASSIC Directed by Elia Kazan (New York, 1950) DRAMA NA199712D Kermit Bloomgarden and Walter Fried present Elia Kazan’s production of Death of a Salesman CAST Willy Loman Thomas Mitchell Biff Arthur Kennedy Linda Mildred Dunnock Charley Howard Smith Uncle Ben Thomas Chalmers Happy Cameron Mitchell Howard Wagner Alan Hewitt Bernard Don Keefer Stanley Tom Pedi The Woman Winifred Cushing Miss Forsythe Constance Ford Letta Hope Cameron Jenny Ann Driscoll Director Elia Kazan – All Members of the Original Cast Production 2 The action of the play takes place in Willy Loman’s house – its bedrooms, kitchen, basement, backyard – and in various offices and places he visits in New York City and Boston. Act 1: Willy and Linda’s bedroom – the boys’ bedroom – the kitchen – the backyard in the past – a Boston hotel as remembered by Willy – the backyard in the past – the kitchen – the backyard in Willy’s imagination – the kitchen – Willy and Linda’s bedroom Act 2: The kitchen – Howard Wagner’s office – the backyard in Willy’s imagination – Charley’s office – a small restaurant – a scene in Willy’s mind – the small restaurant – a Boston hotel as remembered by Willy – the small restaurant – the kitchen – the garden – the kitchen – the cemetery 3 Act 1 1 ‘Willy!’ 4:27 2 ‘Hey Biff, Biff wake up, I think Pop’s back...’ 4:50 3 ‘Just wanna be careful with those girls, Biff...’ 4:35 4 ‘Hello dear!’ 4:33 5 ‘Why didn’t I go to Alaska with my brother Ben that time?’ 6:40 6 ‘Was rich. -
Marlon Brando and James Dean
Universidade de Lisboa Faculdade de Letras The Kazan Method: Marlon Brando and James Dean Mariana Araújo Vagos Tese orientada pelo Prof. Doutor José Duarte e co-orientada pela Prof. Doutora Teresa Cid, especialmente elaborada para a obtenção do grau de mestre em Estudos Ingleses e Americanos 2020 2 For my grandfather, who gave me my first book 3 4 Acknowledgements I would first like to thank and acknowledge the strong women in my family who have taught me the meaning of perseverance and are a continuous source of inspiration. I am deeply grateful to my grandfather José, the head of our family, for giving us the tools and encouragement that allowed us to become who we are. He might no longer be among us, but he continues to be our strength and motivation every day. I would like to extend my gratitude to my thesis advisor, Professor Doutor José Duarte, for his patience and understanding throughout the years, until I was finally able to close this chapter of my life. My gratitude also goes to my co-advisor, Professora Doutora Teresa Cid, for her contribute and for accepting be a part of this work. 5 Resumo O objeto principal desta dissertação é o trabalho do realizador Elia Kazan e a sua contribuição para o “Method Acting”. Como tal, o foco será no trabalho desenvolvido pelo realizador com o ator Marlon Brando no filme On the Waterfront (Há Lodo no Cais, 1954), e com o ator James Dean em East of Eden (A Leste do Paraíso, 1955). De modo a explorar o conceito de “Method Acting” como uma abordagem à formação de atores, foi primeiro necessário conhecer o seu predecessor o “System”. -
My Life in Art: a 21 Century Riff on Stanislavsky
st My Life in Art: A 21 Century Riff on Stanislavsky Gerald Freedman [Gerald Freedman’s address was presented at the John F. Kennedy Center for the Performing Arts in Washington DC on April 20, 2008.] I’m honored and flattered to be asked to speak to this assembly of my distinguished peers. What can I say to you that you don’t know or haven’t experienced? Not much, I expect, except the story of my own journey. Yet I don’t like talking about myself. I find other people so much more interesting. I don’t want to preach about the state of the theatre or about its future. I don’t want to play either Il Dottore or Pantelone. All I really know is my journey. Then I think of what a remarkable journey I’ve had; the great mentors I’ve encountered, and the choices I’ve made, mostly by accident or coincidence, that have shaped my life. By the way, I like “mentor” rather than teacher, for myself as well as those I’ve worked with and worked under. In the dictionary, “teacher” has a dozen definitions. “Mentor” has two. One who shares and one who guides. But I like that. One who shares and one who guides. I want to think of mentoring as a collaboration, a master and journeyman relationship rather than a superior and a subordinate. Which one of us doesn’t feel that with each production we are again at zero—starting another learning project—and that’s the condition we share with our younger journeyman or apprentices. -
Willy Loman and the Method
Spring 1987 151 Willy Loman and the Method Steve Vineberg* A great new performance in a famous role illuminates corners of a dramatic work previously hidden in the shadows, and thus it always implies an annex to the body of critical material focused on the play. When Dustin Hoffman took on the role of Willy Loman, the protagonist of Arthur Miller's Death of a Salesman, in Michael Rudman's Broadway revival in 1984, he suggested a way of looking at the character and the play that challenged Lee J. Cobb's justly famous portrayal in the original production, in 1949. Jux• taposed, the two performances demonstrate the distance between a classical reading of Miller's play, which he advocated strongly in his own critical writings within the decade of its unveiling, and a more contemporary, naturalistic approach—what we might call a revisionist Salesman. And since Hoffman is the first major Method actor since Cobb to make a stab at Willy, a consideration of the two performances also underscores the connections between the play and the history of American Method acting. In this essay I would like to discuss those connections and then compare the two interpreta• tions, drawing on a viewing of Hoffman's work in September 1984 and on Cobb's 1966 television recreation of his stage performance. We are denied, unfortunately, a record of Cobb's original appearance in the role, in 1949, but his splendid recreation of the role in 1966 is, I think, a fair indication of one actor's interpretation; moreover, it represents a sufficient distance from Hoffman's, eighteen years later, to make a strong argument for the difference between the readings. -
The Group Theatre: an Evaluation
The Group Theatre: an evaluation Item Type text; Thesis-Reproduction (electronic) Authors James, Barry Lee, 1945- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 02:29:25 Link to Item http://hdl.handle.net/10150/554486 THE GROUP THEATRE:. AN EVALUATION Barry Lee James A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 3 STATEMENT BY.AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: niL WILLIAM A. LAN( Assistant Professor <£f Drama COPYRIGHTED BY BARRY LEE JAMES 1973 iii ACKNOWLEDGMENTS Gratitude is expressed to Professor Peter R e Marroney, Head of the Department of Drama, for his inspiration in the writing of this thesis. -
The Vera Mowry Roberts Papers Finding Aid
The Vera Mowry Roberts Papers Finding Aid AArrcchhiivveess aanndd SSppeecciiaall CCoolllleeccttiioonnss TABLE OF CONTENTS General Information 3 Biographical Sketch 4 - 7 Scope and Content Note 8 Series Description 9 - 11 Container List 12 - 34 2 GENERAL INFORMATION Accession Number: 06-01 Size: 13.5687 cu. ft. Location: Range 1 Section 7 Shelves 38 - 42 Provenance: Vera Mowry Roberts Restrictions: None. Archivist: Prof. Julio L. Hernandez-Delgado Associate: Mr. Eli Arthur Schwartz Volunteer: Ms. Toby Schwartz Date: November, 2006 Revised: December, 2012 3 BIOGRAPHICAL SKETCH Vera Mowry (Roberts) was born in Pittsburgh, Pennsylvania on October 21, 1913, the second daughter of Joseph E. and Emma C. Mowry. Her elementary and high school education was in the Pittsburgh public Schools. Early identified as “gifted,” she entered school six months before her sixth birthday, being placed in the second grade, since she was already reading fluently. She subsequently “skipped” another full grade finishing the eighth year at the age of twelve. She attended South High School, graduating as valedictorian of a class of sixty. She was active in extra- curricular affairs, particularly the honorary Literary Society and the Dramatic Club, playing featured roles in their annual productions. She wrote a column for the school newspaper and edited the senior yearbook. Through the Exceptionally Able Youths’ Committee of the Civic Club of Allegheny County, she was offered a college scholarship to the University of Pittsburgh. In 1932, she was a speaking extra in famed actress Ethel Barrymore’s The Kingdom of God at the Nixon Theatre in Pittsburgh. She was awarded the bachelor’s degree in June, 1934—in the midst of the Great Depression. -
Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses March 2016 Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family Amy Brooks University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Dramatic Literature, Criticism and Theory Commons, Fine Arts Commons, History of Gender Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Modern Literature Commons, Other Feminist, Gender, and Sexuality Studies Commons, Theatre History Commons, United States History Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Brooks, Amy, "Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family" (2016). Masters Theses. 316. https://doi.org/10.7275/7942130 https://scholarworks.umass.edu/masters_theses_2/316 This Open Access Thesis 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 Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. CAT ON A HOT TIN ROOF: 60 YEARS OF AMERICAN DIALOGUE ON SEX, GENDER, AND THE NUCLEAR FAMILY A Thesis Presented By AMY BROOKS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS February 2016 Department -
Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses March 2016 Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family Amy Brooks University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Dramatic Literature, Criticism and Theory Commons, Fine Arts Commons, History of Gender Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Modern Literature Commons, Other Feminist, Gender, and Sexuality Studies Commons, Theatre History Commons, United States History Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Brooks, Amy, "Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family" (2016). Masters Theses. 316. https://scholarworks.umass.edu/masters_theses_2/316 This Open Access Thesis 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 Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. CAT ON A HOT TIN ROOF: 60 YEARS OF AMERICAN DIALOGUE ON SEX, GENDER, AND THE NUCLEAR FAMILY A Thesis Presented By AMY BROOKS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS February 2016 Department of Theater Dramaturgy © Copyright -
“Making Willy Loman”
“Making Willy Loman” Fifty years ago, Arthur Miller took American theatre into new territory. A look at his personal notebook reveals how he did it. By John Lahr On a crisp April weekend in 1948, Arthur Miller, then only thirty-three and enjoying the first flush of fame after the Broadway success the previous year of All My Sons, waved goodbye to his first wife, Mary, and their two young kids in Brooklyn, and set off for Roxbury, Connecticut, where he intended to build a cabin on a hillock just behind a Colonial house he had recently purchased for the family, which stood at the aptly named crossroads of Tophet (another name for Hell) and Gold Mine. “It was a purely instinctive act,” Miller, who long ago traded up from that first forty-four-acre property to a four-hundred-acre spread on Painter Hill, a few miles down the road, told me recently. “I had never built a building in my life.” Miller had a play in mind, too; his impulse for the cabin was “to sit in the middle of it, and shut the door, and let things happen.” All Miller knew about his new play was that it would be centered on a travelling salesman who would die at the end and that two of the lines were “Willy?” “It’s all right. I came back”—words that to Miller spoke “the whole disaster in a nutshell.” He says, “I mean, imagine a salesman who can’t get past Yonkers. It’s the end of the world.