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The Gorilla in a Tutu Principle Or, Pecan Pie at Minnie and Earl's
The Gorilla in a Tutu Principle or, Pecan Pie at Minnie and Earl’s Adam-Troy Castro Prior Analog stories set against the backdrop of this very strange period in the history of lunar colonization were "Sunday Night Yams at Minnie and Earl's" (June 2001) and "Gunfight at Farside" (April 2009). Many years ago—and when a man as old as I am uses the phrase, “many years ago,” he means a lifetime—I told Minnie, “I’m an engineer, not a poet.” Minnie was a dear old gal of unfailing honesty, with a central role in what follows. I was in love with her eyes. I don’t mean this in a sexual way. The difference between our ages, and certainly our backgrounds, would have made that grotesque. But her eyes were rich and deep, and filled with an understanding of life’s greatest mysteries, that made them a perfect place to lose yourself when she was pointing out how silly you are. I haven’t seen her or her husband Earl in decades, but I can picture those eyes like it was yesterday. When I told her I wasn’t a poet, she said, “How dare you. It’s okay to operate under a poetry deficit, but to imply that deficit for an entire profession is dishonest. I’ve known more than my share of engineers, and any number of poets among them. Great engineering is poetry.” I suppose she was right. She was, in most things. Regardless, I can speak for myself. I’m not a poet, not even in the sense that sweet lady meant. -
Seventh 7Th (702) Worksheet 2Nd Term
1 SEVENTH 7TH (702) WORKSHEET 2ND TERM NAME________________________________________________________________ A) Complete the text with the correct form of TO BE in past: Stan Laurel and Oliver Hardy …were….. two of the most popular film comedians of all time. They were born in 1890 and 1892 respectively. Stan Laurel’s real name ………………. Arthur Jefferson. He …………….. form England. Oliver Hardy ……………… English, he was from Georgia, USA. Laurel and Hardy ……………… in their late 30s when they met. Their first film together ……………… Putting Pants on Philip (1927). They ………………. funny because they were so different. Laurel ……………… small and thin. Hardy ……………. big and fat. Their most famous films …………………. Way Out West (1937) and Blockheads (1938). They …………… in any serious films, only comedies. B) Write questions and answers. Use the past tense of BE (Was-Were): 1. A: We had a nice holiday. B: (you / with your whole family?) …….. Were you with your whole family?… A: (no / my daughter / in Montreal) …….. No, my daughter was in Montreal…. 2. A: I bought these new shoes yesterday. B: (they / on sale ?) …………………………………………….. A: (yes / they / only $25) …………………………………………….. 3. A: (you / at home / last night ?) …………………………………………….. B: (no / I / at the library) …………………………………………….. 4. A: (the guests / late for the party ?) ……………………………………………. B: (no / they / all on time) ……………………………………………. 2 C) Read the following text and answer the questions: My name is Kate O’Hara. I live on a farm with my mother and father. I like it but I work very hard. Every morning I wake up at five o’clock and feed the horses. Then I can go back to the house. Mum makes breakfast at 5:30 and I’m not late for breakfast because I don’t like cold eggs. -
Grumpy Old Humorist Tells All: Three Short Essays on Writing, Plus Random Thoughts on Same by Ed Mcclanahan
224 Ed McClanahan Grumpy Old Humorist Tells All: Three Short Essays On Writing, Plus Random Thoughts on Same by Ed McClanahan —“I can read readin’, but I can’t read writin’. The reason I can’t read writin’ is, it’s wrote too close to the paper.” —Clem Kadiddlehpopper When book reviewers deign to notice that I exist at all, they tend to refer to me as (among other lower life forms) a “humorist.” I’m always flattered, of course, to be nominated for the post, but I’m afraid I must politely decline to run, on the grounds that it would entail too much responsibility, trying to be funny all the time. The fact is, at my age, being funny ain’t really all that easy—or, to put it another way, being my age ain’t really all that funny . or, for that matter, all that easy either. We’ve all heard it said—usually of some poor, befuddled old bird like me—that “he’s taken leave of his senses.” What actually happens, though, is that our senses often pre- empt us to the punch, and take their own leave almost before we suspect they’re even contemplating a separation, much less a divorce. Corrective measures may, of course, sometimes be taken; cataract surgery is a wonder and a marvel, and I suppose there’s probably one of those “almost invisible” hearing aids circling my head at this very mo- ment, looking for an ear to build its unsightly nest in. My sense of smell has long since abandoned me (an impairment which, having its own occasional compensations, doesn’t even qualify me for disability assistance); and when it left, it took with it a disheartening measure of my sense of taste—so that, at dinnertime, I sit there grieving silently while everyone else is saying grace. -
“The Grin of the Skull Beneath the Skin:” Reassessing the Power of Comic Characters in Gothic Literature
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 12-2011 “The grin of the skull beneath the skin:” Reassessing the Power of Comic Characters in Gothic Literature Amanda D. Drake University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Drake, Amanda D., "“The grin of the skull beneath the skin:” Reassessing the Power of Comic Characters in Gothic Literature" (2011). Dissertations, Theses, and Student Research: Department of English. 57. https://digitalcommons.unl.edu/englishdiss/57 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “The grin of the skull beneath the skin:” Reassessing the Power of Comic Characters in Gothic Literature by Amanda D. Drake A Dissertation Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy English Nineteenth-Century Studies Under the Supervision of Professor Stephen Behrendt Lincoln, Nebraska December, 2011 “The grin of the skull beneath the skin:” 1 Reassessing the Power of Comic Characters in Gothic Literature Amanda D. Drake, Ph.D. University of Nebraska, 2011 Advisor: Dr. Stephen Behrendt Neither representative of aesthetic flaws or mere comic relief, comic characters within Gothic narratives challenge and redefine the genre in ways that open up, rather than confuse, critical avenues. -
January 18, 1892: Oliver Hardy Born Learn More
January 18, 1892: Oliver Hardy Born Learn More Suggested Readings Walter Kerr, The Silent Clowns (New York: Knopf, 1975). Simon Louvish, Stan and Ollie, The Roots of Comedy: The Double Life of Laurel and Hardy (New York: St. Martin's, 2002). John McCabe, Babe: The Life of Oliver Hardy (New York: Carol, 1989). Glenn Mitchell, The Laurel and Hardy Encyclopedia (London: Batsford, 1995). “Oliver Hardy (1892-1957).” New Georgia Encyclopedia. http://www.georgiaencyclopedia.org/nge/Article.jsp?id=h-1512&hl=y Oliver Hardy, Genius of Comedy Marker, Erected by Georgia Historical Society http://georgiahistory.com/markers/64 The Milledgeville Hotel and Oliver Hardy Marker, Erected by Georgia Historical Society http://georgiahistory.com/markers/100 Official Laurel and Hardy Webpage: http://www.laurel-and-hardy.com/ The Laurel and Hardy Museum, Harlem, Georgia: http://webpages.charter.net/thebrain/ The Laurel and Hardy Magazine: http://www.laurelandhardy.org/ The International Laurel and Hardy Appreciation Society: http://www.sotd.org/ Oliver Hardy Festival: http://www.harlemga.org/ohfest.htm www.todayingeorgiahistory.org January 18, 1892: Oliver Hardy Learn More Image Credits Young Oliver Hardy Courtesy of the Laurel and Hardy Museum, Harlem, Georgia Oliver Hardy as a baby Courtesy of the Laurel and Hardy Museum, Harlem, Georgia Oliver Hardy group photo Courtesy of the Laurel and Hardy Museum, Harlem, Georgia Festival crowd Courtesy of the Oliver Hardy Festival, Harlem, GA Hal Roach with Laurel and Hardy Getty Images www.todayingeorgiahistory.org -
Stan and Ollie'
'Stan and Ollie' A Screenplay By Jeff Pope Stan and Ollie - Goldenrod Revisions 20.04.17 1 BLACK. UNDER THIS this we hear a conversation. HARDY (V.O.) ... so Madelyn turned up. LAUREL (V.O.) Madelyn turned up? HARDY (V.O.) Completely out of the blue. Haven’t seen her in fifteen years... 1INT. DRESSING ROOM/ROACH LOT/STUDIO - DAY 1 Oliver HARDY leans against the door to a dressing room, worried expression, talking to his friend Stan LAUREL. Both are in their late-40s, (at the peak of their movie careers), but to begin with we have no real clue as to who they are, where they are or what they do. They are just two guys in cheap suits talking to each other. HARDY lights up a cigarette as he talks. HARDY There she was, all gussied up on the front door step. And that’s something I never thought I’d see again. LAUREL picks up a boot (the right one) with a large hole in the sole. Using a knife he levers off the heel. LAUREL What’d she want? HARDY Twenty thousand bucks. LAUREL Twenty thousand? HARDY Fifteen years of back alimony. I ** said ‘what alimony? When we broke ** up I gave you whatever money I had ** and you took the car.’ We both ** agreed that was that. LAUREL Jeez even Mae wasn’t after that much - and she wanted me to pay for a chauffeur. It’s because our faces ** are plastered all over town. ** Probably some lawyer’s bright idea. ** LAUREL levers off the other heel. -
Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3. -
Journal of the American Theatre Organ Society
JOURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY ----------------- -- ------------------- Orbir ID™e ecrronic 1yn~e1izer ~UJ ~ -~oture01pinel organ equoJ... ~e nevve1rwoy lo mo <emu1ic ~romWur i~zec Now with the Orbit III electronic synthesizer from slowly, just as the theatre organist did by opening and Wurlitzer you can create new synthesized sounds in closing the chamber louvers. stantly ... in performance . And with the built-in Orbit III synthesizer, this This new Wurlitzer instrument is also a theatre organ, instrument can play exciting combinations of synthe with a sectionalized vibrato/tremolo, toy counter, in sized, new sounds, along with traditional organ music. A dependent tibias on each keyboard and the penetrating built-in cassette player/recorder lets you play along with kinura voice that all combine to recreate the sounds of pre-recorded tapes for even more dimensions in sound. the twenty-ton Mighty Wurlitzers of silent screen days. But you 've got to play the Orbit III to believe it. And it's a cathedral/classical organ, too, with its own in Stop in at your Wurlitzer dealer and see the Wurlitzer dividually voiced diapason, reed, string and flute voices. 4037 and 4373. Play the eerie, switched-on sounds New linear accent controls permit you to increase or of synthesized music. Ask for your free Orbit III decrease the volume of selected sections suddenly, or demonstration record. Or write: Dept. T0-473 WURLilzER ® The Wurlitzer Company, DeKalb , Illinois 60115. hn.4'the "·ag cover- Photo ... The 4/18 Wurlitzer at the Oaks Park Roller Rink in Portland, will be one of the instruments heard at the National Convention July 25th. -
The Definitive Restorations
LAUREL & HARDY — THE DEFINITIVE RESTORATIONS Reported by Tracy M. Tolzmann The noted author, film conservator, historian, and Block-Heads tent Grand Sheik Emeritus Richard W. Bann has just announced the upcoming release of 19 Laurel and Hardy comedies that have been meticulously restored by Jeff Joseph/SabuCat in conjunction with the UCLA Film and Television Archive and the Library of Congress. Using careful photochemical and digital techniques, these classic films have been restored to pristine condition. In these stunning new transfers, the films look and sound as beautiful as they did when they were first released. Stan and Ollie look and sound great in the new 2K and 4K digital restorations made from the original 35mm nitrate films. Laurel and Hardy's classic comedies are presented here in the best quality since their first release over 75 years ago! The release contains two features and 17 shorts, including the legendary pie-fight silent film THE BATTLE OF THE CENTURY, making its video debut and nearly complete for the first time in over 90 years! The DVD is packed with Bonus Materials: • Commentaries by Randy Skretvedt and Richard W. Bann • Never before seen video and audio interviews with L&H co-workers • Over 2,500 rare photos, posters, scripts and studio files • Alternate Soundtracks and Music Tracks • "Ship's Reporter" Interview of Oliver Hardy (restored) • THAT’S THAT (restored/first time on video — gag reel to honor Stan’s birthday) • THE TREE IN A TEST TUBE (restored from 16mm color Kodachrome) • L&H off-screen pictures from -
Comic Vision and Comic Elements of the 18 Century Novel Moll Flanders by Daniel Defoe
Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Sayı 25/1,2016, Sayfa 230-238 COMIC VISION AND COMIC ELEMENTS OF THE 18TH CENTURY NOVEL MOLL FLANDERS BY DANIEL DEFOE Gülten SİLİNDİR∗ Abstract “It is hard to think about the art of fiction without thinking about the art of comedy, for the two have always gone together, hand in hand” says Malcolm Bradbury, because the comedy is the mode one cannot avoid in a novel. Bradbury asserts “the birth of the long prose tale was, then the birth of new vision of the human comedy and from that time it seems prose stories and comedy have never been far apart” (Bradbury, 1995: 2). The time when the novel prospers is the time of the development of the comic vision. The comic novelist Iris Murdoch in an interview in 1964 states that “in a play it is possible to limit one’s scope to pure tragedy or pure comedy, but the novel is almost inevitably an inclusive genre and breaks out of such limitations. Can one think of any great novel which is without comedy? I can’t.” According to Murdoch, the novel is the most ideal genre to adapt itself to tragicomedy. Moll Flanders is not a pure tragedy or pure comedy. On the one hand, it conveys a tragic and realistic view of life; on the other hand, tragic situations are recounted in a satirical way. Moll’s struggles to live, her subsequent marriages, her crimes for money are all expressed through parody. The aim of this study is to analyze 18th century social life, the comic scenes and especially the satire in the novel by describing the novel’s techniques of humor. -
Noel Drewe Collection Film 178D5
Noel Drewe Collection Film 178D5 178D5.1 Outlook Very Black 9.5mm, Safety Film, Pathescope Noel Drewe Brittle Noel Drewe Collection 178D5.2 Monkeyland 9.5mm Noel Drewe Brittle, perforation damage Noel Drewe Collection 178D5.3 Fun at the Circus 9.5mm, Pathescope Noel Drewe , Circusama, Yesterday Circus Today Circus Noel Drewe Collection 178D5.4 At the Circus 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus 2 Reels. Sound. Featuring "Circus Karo". Includes trapeze, whip act and 'sea lions'. Original sound commentary by Geoffrey Sumner. Supplied by C. W. Cramp Noel Drewe Collection 178D5.5 A Man-Sized Pet 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Supplied by C. W. Cramp Noel Drewe Collection 178D5.6 A Fresh Start 300 feet 12 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Brittle, box rust transfer Adams, Jimmy Noel Drewe Collection 178D5.7 Circus at the Zoo 300 feet 12 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Brittle Circus USA Silent. Includes chimps Noel Drewe Collection 178D5.8 Circus Comes to Town 400 feet Harris, Ron 16 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus Silent. Features Belle Vue circus On box ‘This film purchased from Ilkeston Cine Service Supplied by C. W. Cramp Noel Drewe Collection 178D5.9 Circus Stedman of Leeds Holdings of Blackburn Ltd Cine and photographic Suppliers 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus Bertram Mills Silent. Includes King George VI and Queen Elizabeth’s coronation, so the circus must be 1936/37. -
Comedia Cinematográfica.Pdf
Conferencia sobre comedia cinematográfica y propaganda de guerra durante la Segunda Guerra Mundial Universidad del Sagrado Corazón Biblioteca Madre María Teresa Guevara Jueves 22 de julio de 2021 Carlos M. González Morales Objetivo de esta presentación En este coloquio intentaremos acercarnos a las características generales presentes en las producciones cinematográficas hollywoodenses del género de la comedia y que cubrieron una temática alusiva a la Segunda Guerra Mundial en momentos en que ocurría dicho conflicto. Esta presentación no procura decir la última palabra sobre este asunto. Por el contrario, pretende que otras personas se interesen en esta materia y continúen indagando sobre este y otros temas similares. ¿Qué es “propaganda”? La propaganda es la persuasión masiva de la población para encaminarla a la ejecución de un comportamiento convincente y entusiasta con una finalidad política. La misma utiliza una combinación de métodos disuasivos de comunicación que sirven de control social y modo de legitimación de dicho comportamiento. Hollywood y la Segunda Guerra Mundial El impacto de la Segunda Guerra Mundial trastocó todos los aspectos políticos, económicos, religiosos y sociales del pueblo estadounidense. La industria cinematográfica, en su afán de colaborar, puso a disposición de la causa, una considerable cantidad de recursos para generar producciones que contribuyeran a exponer muchos de los aspectos del conflicto bélico. Estas, obraban un efecto positivamente estimulante y moralizante que servía, tanto de entretenimiento, como de propaganda. Cine dramático sobre la guerra Luminarias del cine dramático como Joan Crawford, Anna Lee, Ingrid Bergman, Lauren Bacall, Ann Sheridan, Clark Gable, Edward G. Robinson, Ray Milland, Humphrey Bogart, Errol Flynn, Henry Fonda, John Wayne y Ronald Reagan, entre muchos otros, estuvieron en la mejor disposición de estelarizar dramas y filmes de acción con contenidos relativos al conflicto armado y a los infortunios internacionales que al momento se desarrollaban.