First Year Actors Reading List 2005-2006

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First Year Actors Reading List 2005-2006

First Year Actors Reading List The first semester of scene study will deal with the works of 20th and 21st century American writers. The second semester will focus of the works of Chekhov and Ibsen. The following list of American writers is representative of the texts you will be using, but not limited to these particular texts. Nilo Cruz Anna and the Tropics Tony Kushner Angels in America, Parts 1 and 2 Suzan-Lori Parks In the Blood Lynn Nottage Crumbs from the Table of Joy, Intimate Apparel Eugene O’Neill Anna Christie, Desire Under the Elms, Long Day’s Journey Into Night Sam Shepard Fool for Love, True West Paula Vogel How I Learned to Drive Tennessee Williams Cat on a Hot Tin Roof, A Streetcar Named Desire, Summer and Smoke August Wilson The Piano Lesson, Seven Guitars Anton Chekhov (translations by Carol Rocamora) The Sea Gull, The Cherry Orchard, Three Sisters, Uncle Vanya Henrik Ibsen (translations by Rolf Fjelde) A Doll’s House, Hedda Gabler, An Enemy of the People Required Reading for First Year Alexander Technique Michael Gelb, Body Learning Some recommendations for further reading: Jean Benedetti, Stanislavski: An Introduction Cicely Berry, Voice and the Actor Richard Boleslavsky, Acting: The First Six Lessons Peter Brook, The Empty Space Michael Chekhov, To the Actor Declan Donellan, The Actor and the Target Richard Gilman, Chekhov’s Plays: An Opening into Eternity Uta Hagen, A Challenge for the Actor Dudley Knight, “Standard Speech-The Ongoing Debate” (http://www.fitzmauricevoice.com/writings/pdfs/standards.pdf) Kristin Linklater, Freeing the Natural Voice Henri Troyat, Daily Life in Russia Under the Tsar .

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IIW°Fsy.44Ts I
STAR, 10 THE EVENING WASHINGTON, T>. C. t WEDNESDAY, JANUARY 31, 1923. Maquita Dwight, Margaret Denys and Myra Florlan. SHUBERT-GAEJLICK—“Anna AMUSEMENTS Christie.” thority on applied psychology and has Arthur Hopkins is to present at the f Josef Hofmann Concert. spoken in virtually all the large cities Shubert-Oarrlck next week Pauline | Absolute Satisfaction Guaranteed or Money Cheerfully Refunded of the country. I Josef Hofmann, the master tech- Lord as the star in Eugene O’Neill’s I of the piano and the one musi- play, “Anna Christie.” nician NEW story an can musical NATIONAL—“The Come- "Anna Christie” is the of cian who belittle the erring daughter of an old Swedish term “prestissimo” by playing faster dian.” sailor who has developed a great and quicker than apparent limit Lionel will appear at the hatred and fear of the sea. Her the Atwlll belongs endurance, presented a char- New father's hatred of all that to of human National Theater next week In the sea makes him oppose her union program at Poll's “The Comedian," a comedy tem- YOUR PAY CHECKS | acteristic Hofmann of to man she loves, and the two men I the I yesterday I Theater afternoon. peraments by Sacha Guitry, adapted have a terrible fight in which Anna Bring them here, we’ll gladly them Mr. Hofman’s program yesterday did by David Intervenes. Disgusted with both of Jp cash not measure up to the standard of the Belasco. the men she bursts forth into a hectic High by Unusual attaches JJf one given at Central School interest to Mr.
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The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
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Undergraduate Play Reading List
UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M.
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The Philosophy of Eugene O'neill
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1929 The Philosophy of Eugene O'Neill Judith Reynick Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Reynick, Judith, "The Philosophy of Eugene O'Neill" (1929). Master's Theses. 440. https://ecommons.luc.edu/luc_theses/440 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1929 Judith Reynick THE FrlILO~OPHY OF EUG~~B O'NEILL JUDITH Ri!."'YN 10K A thesis submitted in partial fulfillment of the requirements i'or the degree of Master of Arts in Loyola University 1929 Judi th Reyni ck University of Chicago, Ph.B., 1921 • . Teacher of English, Schurz High School. TABLE ·OF GON'r~ . I. INTRODUCTION . 1. ate. temen t of problem 2. Method of dealing with problem·: 3. Brief sketch of au thor GROUPING' Romantic or objective Xaturalistic and autobiographical 3. Symbolic and subjective OONOLUS,IONS IV. LIS T OF PLAYS RE.'V lEi/ED v. BIBLIOGRAPHY F'..;:;",.-o_-----------------:--------, Eugene O'Neill, the American playwrightl That these terms are almost synonymous is the conclusion one is tl forced to, if , to him, a study of contemporary dramatic criticism of the last fourteen years is any criterion.
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PHILLIP OWEN Sound Design Resume 8-24-21
Phillip Owen, Sound Designer www.phillipowen.com Plays Company Director Year Broadway A Steady Rain (assisted composer) Schoenfeld Theatre Mark Bennett (composer) 2009 Regional Camp David Alley Theatre Oskar Eustice 2020 Dancing at Lughnasa* Everyman Theatre Amber Page McGuinness 2018 Building the Wall University of Texas/TPA Brant Pope 2017 Noises Off Everyman Theatre Vincent Lancisi 2017 I and You Stages Rep Seth Gordon 2016 Syncing Ink Alley Theatre Niegel Smith 2015 Miller, Mississippi Alley Theatre Lee Sunday Evans 2015 Roz & Ray Alley Theatre Chay Yew 2015 A Streetcar Named Desire Texas State Univ. Michael Costello 2015 Outside Mullingar Everyman Theatre Donald Hicken 2014 Stupid F#$%ing Bird Stages Rep Kenn McLaughlin 2014 A Midsummer Night’s Dream Texas State Univ. Chuck Ney 2014 Common Enemy Triad Stage Preston Lane 2013 The Whipping Man Stages Rep Seth Gordon 2013 Cymbeline Stonington Opera House Julia Whitworth 2013 Anna Christie Triad Stage Preston Lane 2013 Dollhouse Stages Rep Eva La Porte 2013 Kingdom of Earth Triad Stage Preston Lane 2012 A Wrinkle in Time Main Street Theatre Troy Scheid 2012 Antony & Cleopatra Stonington Opera House Craig Baldwin 2012 Steel Magnolias Stages Rep Kenn MacLaughlin 2011 A Lie of the Mind St. Edward’s University Jared Stein 2011 Measure for Measure Stonington Opera House Jeffery Frace 2011 Notes From Underground Yale Rep, La Jolla, Barishnikov Arts Center Robert Woodruff 2010 Rough Crossing Yale Repertory Mark Rucker 2009 Waking Yale Cabaret Phillip Owen 2009 In The Cypher Yale Cabaret Patricia Macgregor 2008 Ghost Sonata Yale School of Drama Shana Cooper 2007 Vaudeville Vanya St.
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William and Mary Theatre Main Stage Productions
WILLIAM AND MARY THEATRE MAIN STAGE PRODUCTIONS 1926-1927 1934-1935 1941-1942 The Goose Hangs High The Ghosts of Windsor Park Gas Light Arms and the Man Family Portrait 1927-1928 The Romantic Age The School for Husbands You and I The Jealous Wife Hedda Gabler Outward Bound 1935-1936 1942-1943 1928-1929 The Unattainable Thunder Rock The Enemy The Lying Valet The Male Animal The Taming of the Shrew The Cradle Song *Bach to Methuselah, Part I Candida Twelfth Night *Man of Destiny Squaring the Circle 1929-1930 1936-1937 The Mollusc Squaring the Circle 1943-1944 Anna Christie Death Takes a Holiday Papa is All Twelfth Night The Gondoliers The Patriots The Royal Family A Trip to Scarborough Tartuffe Noah Candida 1930-1931 Vergilian Pageant 1937-1938 1944-1945 The Importance of Being Earnest The Night of January Sixteenth Quality Street Just Suppose First Lady Juno and the Paycock The Merchant of Venice The Mikado Volpone Enter Madame Liliom Private Lives 1931-1932 1938-1939 1945-1946 Sun-Up Post Road Pygmalion Berkeley Square RUR Murder in the Cathedral John Ferguson The Pirates of Penzance Ladies in Retirement As You Like It Dear Brutus Too Many Husbands 1932-1933 1939-1940 1946-1947 Outward Bound The Inspector General Arsenic and Old Lace Holiday Kind Lady Arms and the Man The Recruiting Officer Our Town The Comedy of Errors Much Ado About Nothing Hay Fever Joan of Lorraine 1933-1934 1940-1941 1947-1948 Quality Street You Can’t Take It with You The Skin of Our Teeth Hotel Universe Night Must Fall Blithe Spirit The Swan Mary of Scotland MacBeth
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F. Scott Fitzgerald the Stand
Fiction Songs The Great Gatsby – F. Scott Fitzgerald “Change is Gonna Come” – Sam Cooke The Stand - Stephen King “Oh Holy Night” – Adolph Adam Things Fall Apart – Chinua Achebe “Come as You Are” – Nirvana Brave New World – Aldous Huxley “Paper Tiger” – Beck The Alchemist – Paulo Coelho “Sweet Child O’ Mine” – Guns N Roses Nineteen Eighty Four – George Orwell “Amazing Grace” – John Newton Of Mice and Men – John Steinbeck “Father and Son” – Cat Stevens The Road – Cormac McCarthy “Go or Go Ahead” – Rufus Wainright The Lovely Bones – Alice Sebold “And Justice For All” – Metallica The Fountainhead – Ayn Rand “In My Life” – The Beetles Non-fiction Movies A Brief History of Time – Stephen Hawking The Godfather – Francis Ford Coppola My Life in Art – Konstantin Stanislavsky Magnolia – Paul Thomas Anderson The Singularity is Near – Ray Kurzweil It’s a Wonderful Life – Frank Capra The Tipping Point – Malcolm Gladwell Being John Malkovich – Spike Jonze Bossypants – Tina Fey Life is Beautiful – Roberto Benigni Revelation – John (The One Who Jesus Loved) Gone With the Wind – Victor Fleming The Supernatural Worldview – Cris Putnam Lost in Translation – Sophia Coppola Relativity – Albert Einstein Eternal Sunshine of the Spotless Mind – In Cold Blood – Truman Capote Michel Gondry Exodus – Moses The Sting – George Roy Hill The Little Princess – Walter Lang Children’s Books Documentaries The Giving Tree – Shel Silverstein Grey Gardens – Ellen Hoyde, Albert Maysles The Chronicles of Narnia series– C.S. Lewis The Imposter – Bart Layton Every Amelia Bedelia – Peggy/Herman Parish Hoop Dreams – Steve James Charlotte’s Web – E.B. White Fahrenheit 911 – Michael Moore The Cat in the Hat – Dr.
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English 3490G (001) American Drama: Home Sweet Home Winter 2018
Department of English & Writing Studies English 3490G (001) American Drama: Home Sweet Home Winter 2018 Dr. Alyssa MacLean Class Location: P&AB 150 Email: [email protected] Class Time: Tuesdays 11:30 am -12:30 pm, Tel: (519) 661-2111 ext. 87416 Thursdays 11:30 am-1:30 pm Office: Arts and Humanities 1G33 Office Hours: Wed 11-12:30, Thurs 1:30-3:00, and by appointment Antirequisite(s): English 2460F/G. Prerequisite(s): At least 60% in 1.0 of English 1020E or 1022E or 1024E or 1035E or 1036E or both of English 1027F/G and 1028F/G, or permission of the Department. Unless you have either the requisites for this course or written special permission from your Dean to enroll in it, you may be removed from this course and it will be deleted from your record. This decision may not be appealed. You will receive no adjustment to your fees in the event that you are dropped from a course for failing to have the necessary prerequisites. Course Description: This course will focus on the idea of home in the United States. The living room is perhaps the most ubiquitous of settings in American drama, but it is a complex space, a battleground upon which larger conflicts in American culture are staged. Derived from the eighteenth-century parlor (a room that was named after the French word parler), the living room’s purpose in the twentieth century was to receive guests and support the moral growth of the family by encouraging discussion and self-improvement.
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Tony Kushner's Angels in America Or How American History Spins Forward
Tony Kushner’s Angels in America or How American History Spins Forward Alfonso Ceballos Muñoz Universidad de Cádiz [email protected] Abstract Angels in America’s roaring success represents a real turning point in mainstream American drama. This article explores both Kushner’s treatment of history— particularly American history—and the ingredients which compound the melting pot American society had become in the 1980s. Through the specific situations the characters undergo in both Millennium Approaches and Perestroika, the playwright exposes his own Brechtian and neo-Hegelian vision of current events. Kushner deliberately recycles traditional American myths and elements of American culture and pins them all on a reconstruction of identity—whether gender, racial, or political—as the real axes of his plays. By making gay characters lead the plays, and by including obvious religious elements from an apocalyptic literary style, political discussions on Reagan’s policy on AIDS, and reminiscent historical images, Angels in America becomes a revision of the new National Period America is living as the promised land which every single individual re-creates with her/his daily efforts and capabilities. “The people look skyward seeking aid from above, and the Angel of History appears on the horizon his eyes staring, mouth open and wings spread, while human catastrophes are hurled before his feet”. Walter Benjamin, “Theses on the Philosophy of History”. “History is a ribbon, always unfurling; history is a journey. And as we continue our journey, we think of those who travelled before us”. Ronald Reagan’s Second Inaugural Address. January 21, 1985 “We won’t die secret deaths anymore.
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Eugene O'neill
ANALYSIS Anna Christie (1921) Eugene O’Neill (1888-1953) “Anna Christie…by no means reveals the greatest depth and furthest range of O’Neill’s powers and ambitions. But if it lacks the scope of several of its author’s later works, it has the merit of comparative compactness; and if it does not probe as deeply into human nature, it is also free from their more troublesome obscurities, their schematization of psychological forces, and their tragic straining. A fairly simple human drama, it provides emotions more or less readily accessible to the reader. Its pungently colloquial speech and its seedy heroine represent the early portion of O’Neill’s career, when he rooted the American theatre in naturalism. The play also suggests some of the characteristics of his later writing— namely, his poetic vein, present here in his feeling for the sea, his concern with obsessed characters, and his saturnine sense of fatality in human experience. Anna Christie grew out of an earlier written play, Chris or Christopherson, produced unsuccessfully and withdrawn during its tryout tour. As Barrett H. Clark, O’Neill’s biographer, explains, ‘In its final version Anna Christie is a play about a woman. It was in the beginning a play about the woman’s father.’ One objection that has been raised is that the play suffers from this shift in emphasis. Another is that Anna’s story bears too much resemblance to the fallen-woman drama we associate with oldfashioned sentimental plays. Critics have also questioned the ‘happy ending’ and suspected O’Neill of compromising the integrity of his play in the manner of Henry Arthur Jones and other pseudo modernists.
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The Hairy Ape, Anna Christie, the First Man
https://onemorelibrary.com The Hairy Ape, Anna Christie, The First Man Eugene O'Neill Boni and Liveright, New York, 1922 "THE HAIRY APE" A Comedy of Ancient and Modern Life In Eight Scenes By EUGENE O'NEILL CHARACTERS ROBERT SMITH, "YANK" PADDY LONG MILDRED DOUGLAS HER AUNT SECOND ENGINEER A GUARD A SECRETARY OF AN ORGANIZATION STOKERS, LADIES, GENTLEMEN, ETC. SCENE I SCENE II SCENE III SCENE IV SCENE V SCENE VI SCENE VII SCENE VIII SCENE I SCENE—The firemen's forecastle of a transatlantic liner an hour after sailing from New York for the voyage across. Tiers of narrow, steel bunks, three deep, on all sides. An entrance in rear. Benches on the floor before the bunks. The room is crowded with men, shouting, cursing, laughing, singing—a confused, inchoate uproar swelling into a sort of unity, a meaning—the bewildered, furious, baffled defiance of a beast in a cage. Nearly all the men are drunk. Many bottles are passed from hand to hand. All are dressed in dungaree pants, heavy ugly shoes. Some wear singlets, but the majority are stripped to the waist. The treatment of this scene, or of any other scene in the play, should by no means be naturalistic. The effect sought after is a cramped space in the bowels of a ship, imprisoned by white steel. The lines of bunks, the uprights supporting them, cross each other like the steel framework of a cage. The ceiling crushes down upon the men's heads. They cannot stand upright. This accentuates the natural stooping posture which shovelling coal and the resultant over-development of back and shoulder muscles have given them.
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Tony Kushner's <I>Angels in America</I>
Global Posts building CUNY Communities since 2009 http://tags.commons.gc.cuny.edu Tony Kushner’s Angels in America: Histories, Futures, and Queer Lives Vanessa Campagna/ We must strive, in the face of the here and now’s totalizing rendering of reality, to think and feel a then and there. Queerness is essentially about the rejection of a here and now and an insistence on potentiality for another world.[1] José Esteban Muñoz Two decades have passed since Tony Kushner’s opus, Angels in America: A Gay Fantasia on National Themes (1993), premiered on Broadway at the Walter Kerr Theatre, yet the questions raised by the play are no less a part of the current zeitgeist than they were when the play debuted. Through its protagonist, Prior Walter, Angels in America poses audiences with provocative and poignant questions including: Does a queer engagement with the future exist? If so, what does queer futurity entail? What are the terms and conditions of the “citizenship”[2] Prior demands for himself and his fellow queers? These questions evoke two of the play’s major themes, history and futurity, and initiate conversations about queer lives. In the twenty years since Angels in America debuted, these themes and conversations have become increasingly integrated into American public discourse. The Defense of Marriage Act[3] has been repealed, the United States Supreme Court defeated Proposition 8,[4] and marriage equality measures have passed in nineteen states. Don’t Ask Don’t Tell[5] legislation was dismantled by President Obama, and the Employment Non-Discrimination Act[6] has been presented to nearly every Congress since 1994.
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