Alfred Hitchcock's the 39 STEPS
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BOEING BOEING by Marc Camoletti Translated by Beverley Cross & Francis Evans
March 7 – April 2, 2017 on the OneAmerica Mainstage STUDY GUIDE edited by Richard J Roberts with contributions by Janet Allen • Laura Gordon Vicki Smith • Matthew LeFebvre • Charles cooper Indiana Repertory Theatre • 140 West Washington Street • Indianapolis, Indiana 46204 Janet Allen, Executive Artistic Director • Suzanne Sweeney, Managing Director www.irtlive.com SEASON SPONSOR 2016-2017 SUPPORTERS 2 INDIANA REPERTORY THEATRE BOEING BOEING by Marc Camoletti translated by Beverley Cross & Francis Evans Paris has long been known as the city of love. However, in Bernard’s case, it is the city of interlocking flight schedules, an impeccable bachelor pad, and three well-vetted flight attendants who also happen to be his fiancées! In classic farcical tradition, Bernard and his American friend, Robert, hold on by the skin of their teeth as their affair is threatened with delayed flights and mistaken identity. In the tradition of early Roman comedy, Marc Camoletti offers his audience uproarious models of the knave, the fool, and the clever servant through Bernard, Robert, and Berthe. These three, accompanied by three foreign fiancées, present a whirlwind of slamming doors and romance while challenging and, ultimately, being reined in by the authority of monogamy. Student Matinee: March 22, 2017 Estimated length: 2 hours & 30 minutes THEMES & TOPICS Love and Marriage, Physical Comedy, Genre and Farce, European Culture CONTENT ADVISORY Boeing Boeing is a fun-filled farce that contains references to infidelity and mild sexual innuendo. Recommended -
The Thirty-Nine Steps 4 5 by John Buchan 6
Penguin Readers Factsheets level E Teacher’s notes 1 2 3 The Thirty-nine Steps 4 5 by John Buchan 6 SUMMARY PRE-INTERMEDIATE ondon, May 1914. Europe is close to war. Spies are he was out of action, he began to write his first ‘shocker’, L everywhere. Richard Hannay has just arrived in as he called it: a story combining personal and political London from Rhodesia (now Zimbabwe) in Africa to dramas. This book was The Thirty-nine Steps, published start a new life. One evening a man appears at his door in 1915. The novel marked a turning point in Buchan’s and asks for help. His name is Scudder and he is a literary career and introduced his famous adventuring THE THIRTY-NINE STEPS freelance spy, working alone. He has uncovered a German hero, Richard Hannay. The story was a great success with plot to murder the Greek Prime Minister in London and to the men in the First World War trenches. One soldier wrote steal the British plans for the outbreak of war. He is on the to Buchan, ‘The story is greatly appreciated in the midst trail of a ring of German spies, called the Black Stone. of mud and rain and shells, and all that could make trench Hannay takes Scudder into his house and learns his life depressing.’ secrets. German spies are in the street outside, watching Buchan continued to work for the intelligence services the house. during and after the war and Richard Hannay continued A few days later, Hannay returns to his flat after dinner his adventures in Greenmantle and other stories. -
The Mercurian
The Mercurian : : A Theatrical Translation Review Volume 4, Number 4 Editor: Adam Versényi Editorial Assistant: Michaela Morton The Mercurian is named for Mercury who, if he had known it, was/is the patron god of theatrical translators, those intrepid souls possessed of eloquence, feats of skill, messengers not between the gods but between cultures, traders in images, nimble and dexterous linguistic thieves. Like the metal mercury, theatrical translators are capable of absorbing other metals, forming amalgams. As in ancient chemistry, the mercurian is one of the five elementary “principles” of which all material substances are compounded, otherwise known as “spirit”. The theatrical translator is sprightly, lively, potentially volatile, sometimes inconstant, witty, an ideal guide or conductor on the road. The Mercurian publishes translations of plays and performance pieces from any language into English. The Mercurian also welcomes theoretical pieces about theatrical translation, rants, manifestos, and position papers pertaining to translation for the theatre, as well as production histories of theatrical translations. Submissions should be sent to: Adam Versényi at [email protected] or by snail mail: Adam Versényi, Department of Dramatic Art, CB# 3230, The University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3230. For translations of plays or performance pieces, unless the material is in the public domain, please send proof of permission to translate from the playwright or original creator of the piece. Since one of the primary objects of The Mercurian is to move translated pieces into production, no translations of plays or performance pieces will be published unless the translator can certify that he/she has had an opportunity to hear the translation performed in either a reading or another production-oriented venue. -
La Dame De Chez Maxim De Georges Feydeau Mise En Scène Hervé Van Der Meulen
du 28 au 31 décembre 2011 du mercredi au samedi | 20h © Laurencine Lot La dame de chez Maxim de Georges Feydeau mise en scène Hervé Van der Meulen Saison 2011-2012 | Dossier de presse Benoît Frachebourg · chargé de communication | [email protected] | +41 (0) 32 717 82 05 Théâtre du Passage | 4, passage Maximilien-de-Meuron · CP 3172 · 2000 Neuchâtel | www.theatredupassage.ch Dossier de presse LA DAME DE CHEZ MAXIM de Georges Feydeau mise en scène, Hervé Van der Meulen co-production Le Studio d’Asnières, Théâtre de l’Ouest Parisien et le festival des Rendez-vous de Cormatin. Avec la participation artistique du CFA des Comédiens. Création Théâtre de l’Ouest Parisien de Boulogne-Billancourt / 6-21 mai 2010 Festival d’Anjou / 22 juin 2010 Studio-Théâtre 3 rue Edmond-Fantin 92600 Festival de Sarlat / 25 juillet 2010 Asnières-sur-Seine Les Rendez-vous de Cormatin / août 2010 Tél. 01 47 90 95 33 Fax. 01 40 86 93 41 [email protected] www.studio-asnieres.com La Dame de chez Maxim Georges Feydeau mise en scène Hervé Van der Meulen chorégraphie Jean-Marc Hoolbecq conseiller musical Jean-Pierre Gesbert décors Claire Belloc assistée d’Antoine Milian costumes Isabelle Pasquier assistée de Julie Lance lumières Pascal Sautelet maquillage Audrey Millon assistants à la mise en scène Clément Beauvoir Elisabeth de Ereño Distribution Guarani Feitosa Décors construits par les Ateliers municipaux de la Ville d’Asnières-sur-Seine avec Clémentine Claire Barrabès Marollier / Monsieur Vidauban Clément Beauvoir Le Général Petypon du Grêlé Henri Courseaux -
The Complete Richard Hannay Stories Pdf, Epub, Ebook
THE COMPLETE RICHARD HANNAY STORIES PDF, EPUB, EBOOK John Buchan,Dr. Keith Carabine | 992 pages | 05 Jul 2010 | Wordsworth Editions Ltd | 9781840226553 | English | Herts, United Kingdom The Complete Richard Hannay Stories PDF Book Valdemar Haraldsen is in trouble. Reading this was a bit like eating pancakes for lunch, they are filling, tasty with toppings, but don't give you much nutrition and you end up feeling hungry soon after, and wishing you'd eaten a BLT instead. The story suffers from exaggerated descriptions of its characters. The man appears to know of an anarchist plot to destabilise Europe, beginning with a plan to assassinate the Greek Premier, Constantine Karolides, during his forthcoming visit to London. On returning to Britain, Buchan built a successful career in publishing with Nelsons and Reuters. For instance, the kidnapper, Medina, is not just a good shot, he's the best shot in England next to the King. Sort order. Mr Standfast set in the later years of World War I. Greenmantle is the second of five novels by Buchan. The first remains the best, but the others, especially Greenmantle and Mr Standfast both war novels , are good too. This collection will go on my shelves with my complete Dashiell Hammett and Chandler. He is now best remembered for his adventure and spy thrillers, most notably The Thirty-Nine Steps. Availability: Available, ships in days. All Rights Reserved. This item has been added to your basket View basket Checkout. John Steinbeck. Remember me? Please sign in to write a review. Sebastian Faulks. Thanks for telling us about the problem. -
Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring. -
Tournée Saison 2019-2020
TOURNÉE SAISON 2019-2020 Pascal Legros Organisation, en accord avec Le Théâtre Edouard VII, présente 87 rue Taitbout 75009 Paris 01 53 20 00 60 www.plegros.com DIFFUSION Matthias LEGROS 06 78 53 05 50 [email protected] ENCORE UN INSTANT / Tournée 2019-2020 ENCORE UN INSTANT Une pièce de FABRICE ROGER-LACAN --- Mise en scène BERNARD MURAT Avec MICHELE LAROQUE FRANCOIS BERLEAND LIONEL ABELANSKI VINNIE DARGAUD --- Au Théâtre Edouard VII jusuq’au dimanche 23 Juin 2019 --- En tournée d’Octobre à Décembre 2019 Pascal Legros Organisation 87 rue Taitbout 75009 Paris 01 53 20 00 60 / www.plegros.com ENCORE UN INSTANT / Tournée 2019-2020 ENCORE UN INSTANT La pièce. En amour, il est des miracles qu’on ne peut expliquer. Même après trente ans de mariage, Suzanne (Michèle Laroque) et Julien (François Berléand) sont toujours fou amoureux l’un de l’autre. Une couple complice et heureux. Suzanne est une actrice adulée du public. Une adoration qui, parfois, va jusqu’au fétichisme de son jeune locataire Simon (Vinnie Dargaud). Pour son retour sur les planches, elle hésite à jouer dans la nouvelle pièce de Max (Lionel Abelanski), spécialement écrite pour elle. Ce que veut Suzanne, c’est être seule, encore un instant, avec Julien. Julien qu’elle aime et qui l’aime, Julien qui râle et qui rit, Julien qui vit mais que personne ne voit ni n’entend. Sauf Suzanne… Une pièce de Fabrice Roger-Laca, HUMOUR, DÉLIRES ET TENDRESSE Mise en scène Bernard Murat Avec Michèle Laroque, François Berléand, ALTERNENT POUR VOUS FAIRE RIRE Lionel Abelanski, Vinnie Dargaud -
Drake Plays 1927-2021.Xls
Drake Plays 1927-2021.xls TITLE OF PLAY 1927-8 Dulcy SEASON You and I Tragedy of Nan Twelfth Night 1928-9 The Patsy SEASON The Passing of the Third Floor Back The Circle A Midsummer Night's Dream 1929-30 The Swan SEASON John Ferguson Tartuffe Emperor Jones 1930-1 He Who Gets Slapped SEASON Miss Lulu Bett The Magistrate Hedda Gabler 1931-2 The Royal Family SEASON Children of the Moon Berkeley Square Antigone 1932-3 The Perfect Alibi SEASON Death Takes a Holiday No More Frontier Arms and the Man Twelfth Night Dulcy 1933-4 Our Children SEASON The Bohemian Girl The Black Flamingo The Importance of Being Earnest Much Ado About Nothing The Three Cornered Moon 1934-5 You Never Can Tell SEASON The Patriarch Another Language The Criminal Code 1935-6 The Tavern SEASON Cradle Song Journey's End Good Hope Elizabeth the Queen 1936-7 Squaring the Circle SEASON The Joyous Season Drake Plays 1927-2021.xls Moor Born Noah Richard of Bordeaux 1937-8 Dracula SEASON Winterset Daugthers of Atreus Ladies of the Jury As You Like It 1938-9 The Bishop Misbehaves SEASON Enter Madame Spring Dance Mrs. Moonlight Caponsacchi 1939-40 Laburnam Grove SEASON The Ghost of Yankee Doodle Wuthering Heights Shadow and Substance Saint Joan 1940-1 The Return of the Vagabond SEASON Pride and Prejudice Wingless Victory Brief Music A Winter's Tale Alison's House 1941-2 Petrified Forest SEASON Journey to Jerusalem Stage Door My Heart's in the Highlands Thunder Rock 1942-3 The Eve of St. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title "Furbish'd Remnants": Theatrical Adaptation and the Orient, 1660-1815 Permalink https://escholarship.org/uc/item/0998z0zz Author Del Balzo, Angelina Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Angelina Marie Del Balzo 2019 Ó Copyright by Angelina Marie Del Balzo 2019 ABSTRACT OF THE DISSERTATION “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 by Angelina Marie Del Balzo Doctor of Philosophy in English University of California, Los Angeles, 2019 Professor Felicity A. Nussbaum, Chair Furbish’d Remnants argues that eighteenth-century theatrical adaptations set in the Orient destabilize categories of difference, introducing Oriental characters as subjects of sympathy while at the same time defamiliarizing the people and space of London. Applying contemporary theories of emotion, I contend that in eighteenth-century theater, the actor and the character become distinct subjects for the affective transfer of sympathy, increasing the emotional potential of performance beyond the narrative onstage. Adaptation as a form heightens this alienation effect, by drawing attention to narrative’s properties as an artistic construction. A paradox at the heart of eighteenth-century theater is that while the term “adaptation” did not have a specific literary or theatrical definition until near the end of the period, in practice adaptations and translations proliferated on the English stage. -
Science Fiction/San Francisco
Science Fiction/San Francisco Issue 160 January 2015 Geek Year 2015 History San Jose Soiled Dove Gaskell Ball NorCal Cosplay WizardWorld Reno Theatre Reviews Shamrokon ...and more! SF/SF #160! 1!January 2015 Science Fiction / San Francisco Issue 160 Editor-in-Chief: Jean Martin January 6, 2015 Managing Editor: Christopher Erickson email: [email protected] Compositor: Tom Becker Contents Editorial ......................................................................................Christopher Erickson.............. Photos by Christopher Erickson and Jean Martin ..........3 Letters of Comment ...................................................................Christopher Erickson.............. ........................................................................................ 9 Upcoming Geek Year 2015 ........................................................Christopher Erickson.............. ...................................................................................... 13 History San Jose Heritage Holiday Champagne Tea ..............Christopher Erickson.............. Photos by Christopher Erickson................................... 18 “The Soiled Dove” Dinner Theater........................................... Christopher Erickson.............. Photos by Jean Martin and Christopher Erickson ........20 The Last Gaskell Ball…For Now ..............................................Christopher Erickson.............. Photos by Jean Martin.................................................. 24 Northern California Fall/Winter Cosplay Gather -
John Buchan Wrote the Thirty-Nine Steps While He Was Ill in Bed with a Duodenal Ulcer, an Illness Which Remained with Him All His Life
John Buchan wrote The Thirty-Nine Steps while he was ill in bed with a duodenal ulcer, an illness which remained with him all his life. The novel was his first ‘shocker’, as he called it — a story combining personal and political dramas. The novel marked a turning point in Buchan's literary career and introduced his famous adventuring hero, Richard Hannay. He described a ‘shocker’ as an adventure where the events in the story are unlikely and the reader is only just able to believe that they really happened. The Thirty-Nine Steps is one of the earliest examples of the 'man-on-the-run' thriller archetype subsequently adopted by Hollywood as an often-used plot device. In The Thirty-Nine Steps, Buchan holds up Richard Hannay as an example to his readers of an ordinary man who puts his country’s interests before his own safety. The story was a great success with the men in the First World War trenches. One soldier wrote to Buchan, "The story is greatly appreciated in the midst of mud and rain and shells, and all that could make trench life depressing." Richard Hannay continued his adventures in four subsequent books. Two were set during the war when Hannay continued his undercover work against the Germans and their allies The Turks in Greenmantle and Mr Standfast. The other two stories, The Three Hostages and The Island of Sheep were set in the post war period when Hannay's opponents were criminal gangs. There have been several film versions of the book; all depart substantially from the text, for example, by introducing a love interest absent from the original novel. -
39 Steps' a Madcap Evening of Fun (D&C)
Review: Geva's '39 Steps' a madcap evening of fun (D&C) Hitchcock presents: a madcap "Good evening" of farce in Geva's production based on the legendary filmmaker's 1935 thriller, The 39 Steps. In this Monty Python-like spoof adapted by Patrick Barlow from the John Buchan novel, dashing 37-year-old Richard Hannay is an everyman drawn into an elaborate web of intrigue. In London, he meets a World War II female spy with a thick German accent. She alludes to a conspiracy plot to steal vital British military secrets and invites herself to his apartment after they meet during a music hall performance of the human encyclopedia savant Mr. Memory. When she staggers to his side the next morning with a knife in her back, Hannay goes on the lam to escape being framed for her murder. With sly references to Hitch's most famous films, the unwitting hero must dodge murderous thugs, escape from a moving train, leap from a railway bridge, rove wearily across the Scottish moors, run from police, hounds, Birds and aircraft going North by Northwest and exit through a Rear Window. Along the way, he meets two femmes fatales, including one who suffers fromVertigo, who add spark to his love life. The cast of four actors, under the tight direction of Sean Daniels, manage to create more than 150 characters — from farmers, hotel owners and police officers to the maid who delivers the epic silent scream that turns into a train whistle. While the inventive rolling props and Houdini-like trunks by scenic designer Michael Raiford double as hotels, kitchens and bedrooms, the sound effects by Matt Callahan add lively momentum to augment each scene.