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AWAR of INDIVIDUALS: Bloomsbury Attitudes to the Great
2 Bloomsbury What were the anti-war feelings chiefly expressed outside ‘organised’ protest and not under political or religious banners – those attitudes which form the raison d’être for this study? As the Great War becomes more distant in time, certain actions and individuals become greyer and more obscure whilst others seem to become clearer and imbued with a dash of colour amid the sepia. One thinks particularly of the so-called Bloomsbury Group.1 Any overview of ‘alter- native’ attitudes to the war must consider the responses of Bloomsbury to the shadows of doubt and uncertainty thrown across page and canvas by the con- flict. Despite their notoriety, the reactions of the Bloomsbury individuals are important both in their own right and as a mirror to the similar reactions of obscurer individuals from differing circumstances and backgrounds. In the origins of Bloomsbury – well known as one of the foremost cultural groups of the late Victorian and Edwardian periods – is to be found the moral and aesthetic core for some of the most significant humanistic reactions to the war. The small circle of Cambridge undergraduates whose mutual appreciation of the thoughts and teachings of the academic and philosopher G.E. Moore led them to form lasting friendships, became the kernel of what would become labelled ‘the Bloomsbury Group’. It was, as one academic described, ‘a nucleus from which civilisation has spread outwards’.2 This rippling effect, though tem- porarily dammed by the keenly-felt constrictions of the war, would continue to flow outwards through the twentieth century, inspiring, as is well known, much analysis and interpretation along the way. -
The Importance of Being Earnest on Talking Pictures TV Stars: Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood, Dorothy Tutin, Margaret Rutherford
Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 21st September 2020 FREESAT 306 | VIRGIN 445 The Importance of Being Earnest on Talking Pictures TV Stars: Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood, Dorothy Tutin, Margaret Rutherford. Directed by Anthony Asquith in 1952. Algernon discovers that his friend Ernest has a fictional brother and poses as the brother. Film adaptation of the 1895 Oscar Wilde play. Prepare to join in with Edith Evans as she makes her immortal delivery of the legendary words: “A handbag?” Airs: Monday Sunday 27th September 7:10pm. Monday 21st September 8:35am Wednesday 23rd September 8:45am Spring Meeting (1941) Trouble Brewing (1939) Comedy. Directors: Norman Lee, Comedy. Director: Anthony Kimmins. Walter C. Mycroft. Stars: George Formby, Stars: Enid Stamp-Taylor, Googie Withers & Gus McNaughton. Michael Wilding, Basil Sydney, George wins a lot of money at Sarah Churchill, Nova Pilbeam, the races, but he’s paid with Margaret Rutherford. An adventuress counterfeit money. and her son seek financial and romantic success in an Irish manor. Wednesday 23rd September 11:50am Monday 21st September 6:55pm 80,000 Suspects (1963) Mr Denning Drives North (1951) Drama. Director: Val Guest. Crime. Director: Anthony Kimmins. Stars: Claire Bloom, Richard Johnson Stars: John Mills, Phyllis Calvert and and Yolande Donlan. A doctor’s Eileen Moore. A British aircraft engineer already shaky marriage is tested accidentally kills his daughter’s when he has to contend with a boyfriend and tries to it cover up... smallpox epidemic. Tuesday 22nd September 12:15pm Wednesday 23rd September The Holly and the Ivy (1952) 6:50pm Drama. -
Index of Concepts in Eugenio Barba's Writings
NORDISK TEATERLABORATORIUM – ODIN TEATRET - WWW.ODINTEATRET.DK INDEX OF CONCEPTS IN EUGENIO BARBA’S WRITINGS LLUÍS MASGRAU CRITERIA . Eugenio Barba’s written work is a laboratory of concepts. Beyond the numerous texts and the apparent variety of subjects dealt with, there exists in his work a series of inner lines of strength that structure and amalgamate it in a coherent whole. These lines of strength are composed of a range of concepts that Barba takes up and elaborates from one text to another. These concepts move through his writings via innumerable intellectual peripetia. This document is an index of concepts with the respective bibliographical indications corresponding to Barba’s written work. The bibliographical indications don't refer to the places where he quotes the concepts in question, but to the fragments where he formulates and elaborates them. The document includes all the concepts that have a precise and concrete formulation in Barba’s writings, even if they have only one bibliographical reference. The document, however, does not include a whole series of very important concepts in his work which do not possess a precise formulation: "exile", "ethics", "ethos", "journey", "transcendence". This deliberate vagueness constitutes a kind of music or background throughout Barba’s written work. The title is always in English. If the text doesn't exist in English, it is given in the language of its first publication. Article titles are written in lower case letters, book titles in capitals. The references included in every concept are in chronological order, from the most recent to the oldest. Barba’s text, in which the most elaborate formulation of every concept appears, is in bold. -
Iwas Lucky to Be in London in May and Catch
The Scream REBECCA NEMSER I was lucky to be in London in May and catch Fram , Tony Harrison’s latest play,* in its short but spectacu - lar run at the Olivier Theatre at London’s National Theatre. The play, all in rhyming verse, begins in Westminster Abbey, with moonlight shining through the stained glass of the great Rose Window, casting a reflection of Aeschylus on the cold stone floor. In walks the ghost of Gilbert Murray (Jeff Rawle), rising up from his grave and carrying a tragic mask. Murray, the early-twentieth-century Oxford professor and classicist, was also a humanitarian, deeply involved in the League of Nations and the United Nations and co-founder of Oxfam. But since his death fifty years ago, his once-admired verse translations of Aeschylus and Euripides have been scorned, and the world he tried to save has been ravaged by even more unimaginable horrors. So instead of decomposing in his urn, he has spent his afterlife composing this play. He calls up the spirit of Sybil Thorndike (Sian Thomas, as splendid as the character she plays), the actress who tri - umphed on the London stage as Clytemnestra, Hecuba, and Medea in Murray’s once wildly popular versions, and whisks her off to the Olivier stalls of the National Theatre—for Fram is not just a play within a play, but a theater within a theater. Most of all, it is a poem about poetry. The hero of the play is Fridtjof Nansen (Jasper Britton), Murray’s long-ago friend (and admirer of his translations)— the dashing Norwegian scientist, artist, and Arctic explorer *Tony Harrison, Fram . -
Michael West
Theater of Enigma in Shakespeare’s England Michael West Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2017 Michael West All rights reserved ABSTRACT Theater of Enigma in Shakespeare’s England Michael West Theater of Enigma in Shakespeare’s England demonstrates the cognitive, affective, and social import of enigmatic theatrical moments. While the presence of other playgoers obviously shapes the experience of attending a play, I argue that deliberately induced moments of audience ignorance are occasions for audience members to be especially aware of their relations to others who may or may not share their bafflement. I explore the character of states of knowing and not-knowing among audience members and the relations that obtain among playgoers who inhabit these states. Further, I trace the range of performance techniques whereby playgoers are positioned in a cognitive no-man's land, lying somewhere between full understanding and utter ignorance—techniques that I collectively term “enigmatic theater.” I argue that moments of enigmatic theater were a dynamic agent in the formation of collectives in early modern playhouses. I use here the term “collective” to denote the temporary, occasional, and fleeting quality of these groupings, which occur during performance but are dissipated afterwards. Sometimes, this collective resembles what Victor Turner terms communitas, in which the normal societal divisions are suspended and the playgoers become a unified collectivity. At other times, however, plays solicit the formation of multiple collectives defined by their differing degrees of knowledge about a seeming enigma. -
Lytton Strachey
Lytton Strachey: An Inventory of His Collection at the Harry Ransom Humanities Research Center Descriptive Summary Creator Strachey, Lytton, 1880-1932 Title Lytton Strachey Collection Dates: 1885-1957 Extent 5 boxes (2.08 linear feet) Abstract This collection documents the life and works of the English Bloomsbury group writer. The collection consists of manuscripts of Strachey's major biographical works Portraits in Miniature (1931) and Queen Victoria (1921), and drafts of essays, notes, and correspondence. RLIN record # TCRC98-A26 Language English. Access Open for research Administrative Information Acquisition Purchases, 1960-1970 (R919, R1452, R2848, R3849, R3948, R4152, R5174) Processed by Chelsea S. Jones, 1998 Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Strachey, Lytton, 1880-1932 Biographical Sketch Giles Lytton Strachey was born in 1880, the eleventh of thirteen children, to General Sir Richard Strachey and his wife Jane Grant. Though he spent some years at boarding schools, including Abbotsholme and Leamington College, he received much of his education at home. His mother enjoyed strong interests in literature and politics and Strachey met many of the leading writers and thinkers of the day when they came to visit Lady Strachey. Strachey's secondary education was completed at University College in Liverpool where he studied Latin, Greek, mathematics, and English literature and history. It was at University College that he met and was influenced by Walter Raleigh, a professor of English literature and well known biographer. After failing to receive a scholarship to Oxford in 1899, Strachey decided to attend Cambridge where he developed many friendships which lasted the rest of his life. -
SPC Members: Tim Merrill & Mark Gensheimer Working During Our
Sewickley Presbyterian Church Newsletter | July/August 2018 SPC Members: Tim Merrill & Mark Gensheimer working during our Spring Clean-Up Day Hours Monday - Friday 9 AM - 4 PM Phone Fax 412.741.4550 412.741.1210 The SPC newsletter, Interpreta- Address tion, is published six times a year. 414 Grant Street Please make submissions to, or if Sewickley, PA 15143 you have any questions contact, If you or a member of your family Jennifer Johnson at jjohnson@se- are in the hospital and would like Web Address wickleypresby.org. a visit, please call the church office www.sewickleypresby.org to let us know. REV. KEVIN J. LONG SHARON BARBER JENNY HAY STEPHANIE SMITH Pastor Assistant to the Pastor Director of FriendShip Preschool Administrative Assistant home: 412.741.2075 [email protected] [email protected] [email protected] [email protected] DAVE BREIT JENNIFER JOHNSON ELIZABETH SZUBA REV. SARAH BIRD Media Engineer Director of Communications Youth Program Coordinator Associate Pastor [email protected] [email protected] [email protected] [email protected] MIKE CREAMER BRIAN MACK CHARLIE BARNHART REV. STEWART LAWRENCE Director of Youth Ministries Director of Children’s Ministries WILL BETTS Volunteer Parish Associate [email protected] [email protected] JOEY TOMALES [email protected] Custodial Staff R. CRAIG DOBBINS, CCM LAURA MIKUSH, CCA Director of Music Ministries Business Administrator [email protected] [email protected] JEREMY FISHER BETH ROM Worship Leader Volunteer Coordinator [email protected] [email protected] TO-BE LIST by Rev. Sarah Bird As I am writing this, I am in the throes of preparing for our church mission trip to the Czech Republic. -
Shakespeare in Production
Cambridge University Press 978-0-521-77338-6 — The Merchant of Venice William Shakespeare , Edited by Charles Edelman Frontmatter More Information SHAKESPEARE IN PRODUCTION THE MERCHANT OF VENICE For over four hundred years, in every country where Shakespeare’s plays have been performed, The Merchant of Venice has aroused controversy and excitement. This edition is the first to offer a comprehensive account of the Merchant in performance. Charles Edelman’s introduction challenges many of the myths and preconceptions associated with the play, and shows how historical events and cultural attitudes have shaped actors’ interpretations and audi- ence responses. The commentary, printed alongside the text, describes how different actors, directors and designers have approached each character and episode on stage, film and television, from the first performances in the s down to the present day. The extraordinary variety of The Merchant of Venice in production, from England to the United States, from Germany to Israel, from Canada to Aus- tralia to China, presented here in a clear and original way, will give every reader new and different insights into one of Shakespeare’s most powerful but troubling plays. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-77338-6 — The Merchant of Venice William Shakespeare , Edited by Charles Edelman Frontmatter More Information SHAKESPEARE IN PRODUCTION : . This series offers students and researchers the fullest possible staging of individual Shakespearean texts. In each volume a substantial introduction presents a conceptual overview of the play, marking out the major stages of its representation and reception. The commentary, presented alongside the New Cambridge edition of the text itself, offers detailed, line-by-line evi- dence for the overview presented in the introduction, making the volume a flexible tool for further research. -
Love Between the Lines: Paradigmatic Readings of the Relationship Between Dora Carrington and Lytton Strachey Janine Loedolff Th
Love Between The Lines: Paradigmatic Readings of the Relationship between Dora Carrington and Lytton Strachey Janine Loedolff Thesis presented in fulfilment of the requirements for the degree of Master of Arts at the University of Stellenbosch Department of English Faculty of Arts and Social Sciences Supervisor: Dr S.C. Viljoen Co-supervisor: Prof. E.P.H. Hees November 2007 Declaration I, the undersigned, hereby declare that the work contained in this thesis is my own original work and has not previously in its entirety or in part been submitted at any university for a degree. Signature: Date: Copyright ©2008 Stellenbosch University All rights reserved ii Acknowledgements Dr Shaun Viljoen, for teaching me about uncommon lives; My co-supervisor, Prof. Edwin Hees; Mathilda Slabbert, for telling me the story for the first time, and for her inspirational enthusiasm; Roshan Cader, for her encouragement and willingness to debate the finer points of performativity with me; Sarah Duff, for continuously demanding clarity, and for allowing me to stay at Goodenough College; Dawid de Villers, for translations; Evelyn Wiehahn, Neil Micklewood, Daniela Marsicano, Simon Pequeno and Alexia Cox for their many years of love and friendship; Larry Ferguson, who always tells me I have something to say; My father, Johan, and his extended family, for their continual love and support and providing me with a comforting refuge; My family in England – Chicky for taking me to Charleston, and Melanie for making her home mine while I was researching at the British Library; and Joe Loedolff, for eternal optimism, words of wisdom, and most importantly, his kinship. -
Sota Per Copy STANDARD Inside This Edition – U.S
PRESORTED Sota Per Copy STANDARD Inside this Edition – U.S. POSTAGE Message from SWO Meth Prevention Specialist Crystal Owen: “Always Walk in Hope” (see PAID WILMOT, SD feature on page ten) PERMIT NO. 1 Tribal Law Enforcement holds sobriety checkpoints Postmaster: Change service requested From SWO THPO: Remembering Dakota History, UM-Morris weeklong activities Sota Iya Ye Yapi, P.O. Box 5, Wilmot, SD 57279 ¢ Women’s Circle holds annual Silent Auction Contents – Time-Dated News/Do Not Delay History of Dakotah Pride Sobriety Dances Mailed at Wilmot, SD Tuesday, March 27, 2012 Johnson staffer to come to Lake Traverse Reservation 75 Sota Iya Ye Yapi distributed Tuesday mornings Publication of the Sisseton-Wahpeton Oyate Tribe of the Lake Traverse Reservation since 1968 Vol. 43 March - Ista Wicayazan Wi - “Moon of Snow Blind Eyes” - Anpetug de Iyamni, March 28, 2012 No. 13 nemy Swim Day School and Tiospa Zina culture clubs provided the singing and dancing. Here are photo highlights of the event (courtesy Eof Dustina Gill). Young Sisseton-Wahpeton Dakota around the drum at the State capitol. Dancers from the Tribal schools pictured at the Capitol. Gov. Daugaard speaks during Tribal-State Relations Day at the Capitol. the IRS.gov, Expanded Work Opportunity Tax Credit and insure your name is on our roster if you’re a tribal Available for Hiring Qualified Veterans (http://www. member as we do not want to leave anyone off the roster. irs.gov/businesses/small/article/0,,id=253949,00.html) Thank you. There are extensive employment resources available for * NOTICE: If you request an honor guard at Veterans provided by the Federal Government. -
Los Bares Del Metro Y Del Tren Dejan Fumar Pese a Estar Prohibido
Los bares del Metro y del tren dejan fumar El primer diario que no se vende pese a estar prohibido Dilluns 10 OCTUBRE DEL 2005. ANY VI. NÚMERO 1336 En las instalaciones del transporte no se puede fumar por razones de seguridad, pero las cafeterías se saltan la norma. Renfe admite la situación y afirma que ya ha Ciutat Vella reinstal·larà els lavabos portàtils que van posar per la Mercè advertido a los establecimientos. Éstos se amparan en la norma de hostelería. 2 Dins d’un pla de xoc contra l’incivisme que inclou més Guàrdia Urbana, 20 al matí i 20 a la nit. 4 Siguen los atropellos en el cruce del Larevista Carmel donde reclaman un semáforo La semana pasada hubo dos peatones atropella- dos. Pasa en la calle Llobregós junto al colegio. 2 Catalunya importa capellans i monges d’altres països per la falta d’autòctons I els d’aquí van sobrecarregats de feina i pa- rròquies. No els deixen jubilar a l’edat establerta.6 minuto Títol pel Joventut Els de Badalona van proclamar-se ahir cam- pions de la Lliga Catalana de bàsquet en vén- cer el Barça d’un punt (79-78) i a la pròrroga. 17 F-1: SIGUE EL PIQUE de constructores. Ayer ganó Raikkonen y Alonso fue tercero. 16 Marruecos abandona sin agua ni comida a cientos de inmigrantes, según una ONG Ha repatriado a los de Senegal y Malí, y condu- Don Vito Corleone, a la play cido esposados a otros subsaharianos al sur del país, según denuncia Médicos sin Fronteras. -
New Words for Ancient Paths1
ARTISTS' TEXTS E-ISSN 2237-2660 New Words for Ancient Paths1 Eugenio BarbaI IOdin Teatret - Holstebro, Denmark Every age dreams of the previous one, said Jules Michelet. While day- dreaming about past theatre ages, we invent our own technique moving along ancient paths. We feel the need to forge words which belong to us and may evoke our mirages and presumed conquests. It is good to ponder over the names of ancient ways but, equally, it is useful to re-baptise regularly the terms of our working language. Today actors apply a technique which doesn’t aim at fixed forms and patterns nor does it respect well-defined ‘rules of the game’, as in the case of performances with a pre-arranged codification like ballet, kabuki or kathakali. I speak of the actors in those theatres which lack or refuse a codified tradition, and have no specific stylisation or recognisable manner. These are theatres with a particular destiny or vocation: they live as if they were always in a statu nascendi, in an emerging state or in the constant condition of the new beginner even if they have many years of experience. Such theatres are generally qualified as experimental, laboratories or simply group theatres. They correspond to an important independent tradition. A tradition of the new sounds like a poetic oxymoron, and it is indeed a contradiction. But this incongruity is an essential part of the history of modern theatre. It is obvious that the tradition of the new cannot employ repeatable procedures which ensure a result within a reasonable margin of error.