THE UNIVERSITY THEATRE Presents by August Strindberg Translated By

Total Page:16

File Type:pdf, Size:1020Kb

THE UNIVERSITY THEATRE Presents by August Strindberg Translated By THE UNIVERSITY THEATRE presents MISS dUliE by August Strindberg translated by Evert Sprinchorn Directed by Terence Knapp Setting and lights by Rex Reynolds* Costumes by Sandra Finney Technical Direction by Rex Reynolds* Music Advising by Sr. Grace Jose, OFM Assistant to the Director, John Lohr The Characters of the Play: Christine, a cook . .. ........ .. .. .. ................ .. .. .. .. Teresa Johnston Jean, a valet .. ... .. .. .. ... .. .. ................ ...... .. ........ Hal Brown Miss julie, daughter of the Count ... ...... .. .. ................. ... Margaret Shade Midsummer's Eve Revellers . .. ... .. .... .. .. .... ..... .... .. William A. Baker Phil Couch Leslie Freundschuh Sherrie Kido Robin Merriam Carla Von Weigandt Rick Williams Fiddler . ..... .. ..... ...... ... ....... .... ... .. ... ........ ... .. Celia Chun The action of the play takes place in the kitchen of the Count's manor house in Sweden on a Midsummer's Eve in the 1880's. The action of the play is continuous and there will be no intermission. Latecomers are particularly requested not to disturb the performance and to remain at the back of the auditorium. Please move to seats only at a convenient break in the stage action. * In partial fulfi llment of requirements for an MFA degree. ABOUT THE AUTHOR: August Johan Strindberg was born in Stockholm on January 22, 1849. The third of twelve children born to an overbearing and bankrupt aristocrat and his former barmaid wife, Strindberg grew up in an environment of religious fanaticism, poverty, and neglect. Bitterly resentful of his unhappy start in life, he put his hand to a variety of jobs as tutor, painter, editor, journalist, telegrapher, librarian- losing each in turn. For a while he was a lay preacher and also studied, for intermittent periods, at Uppsala University but left without his degree. Finally, he began to write. His first work, written in 1872, was a scenario on the Swedish Reformation entitled MASTER OLAF, and showed much influence by both Shakespeare and Ibsen. He produced a sensational novel in 1879 called THE RED ROOM based on his observations of Stockholm society which brought him a certain notoriety. Two years earlier he married an actress of repute, Siri von Essen, but flawed with deep despair and persistent malaise of mind he travelled alone abroad restlessly for six years and dabbled in social and political movements. The marriage ended in divorce by 1891. Two years after that he married again only to be divorced in 1896. He tried marriage for a third time in 1901 to the Norwegian actress Harriet Basse - only to escape from it within three years. Always verging on insanity, Strindberg over the years abandoned his search for an ideal socialism to embrace an anarchic, Nietzschean individualism. After a religious conversion between the years 1894 and 1896, however, he was drawn to a Sweden­ borgian mysticism. He poured his own tormented and persecuted experience of life, of spirituality, of relationships and fantasy into his writings, gradually expanding his genius through symbolic and expressionistic modes which blossomed in such works as THE DREAM PLAY (1902), THE ROAD TO DAMASCUS (three parts, 1898-1904), THE DANCE OF DEATH (1900) , THE GHOST SONATA (1907) , and a last autobiographical play, THE GREAT HIGHWAY (1909) . He died of agonizing cancer in May, 1912. MISS JULIE (1888), together with THE FATHER (1887) and THE CREDITORS (1888), was much influenced by Strindberg's unhappiness and growing persecution mania (expressed through a collection of short stories called MARRIED (1884)). It is doubtful, though, that Strindberg was the blatant misogynist he is always made out to be. Certainly time has proved Strindberg to be one of Scandanavia's greatest and most prolific artists, and it is generally acknowledged that he is the begetter of European and American playwrights such as O'Casey, O'Neill, Pirandello, lonesco, and Pinter, especially in his ruthless probing of human relationships and psychological behavior. As John Gassner puts it, Strindberg is like a sick oyster producing the beautiful pearl. He transmutes his personal experience and crystallizes autobiography into something infinitely finer. Terence Knapp PRODUCTION STAFF Stage Manager: Patrick M. Kelly. Light Crew: Vic Holliday, Chris Markiewicz. Sound: jim Cusack, Kathy Dwyer. Set Construction: Iris Asato, Thomas Boyajian, leonora Dean, Jeri Goo, Nancy Harter, Patrick Kelly, Kelvin Ma, Ralph Matsuda, Tracy Oshiro, Alison Uyeda. Properties: Mayfield Drorbaugh; Assisted by Tim Hayes and Cindy Wilburn. Costume Construction: Virginia West, Crew Head; Adelaide Beste, Ellen Boggs, Gayla Gould, Shirley In, Katherina largosa, Nina Lencioni, Frances Migueo, Kathleen Miles, Margie O ' Neil, jayme Peterson, luatasi Taii, Eden Tomboulian, Pam Young. Costume Running Crew: Francesca Dodge, Gayla Gould, Virginia West. Hairdresser: Henry B. Kukona Ill. Make-up: Barry Knapp. Photography: Diane Chong. Poster Design: Suzanne Bowen (Graphic Media Design). Program : Eric Pourchot, Billie Ikeda (University Relations Office). Publicity: Eric Pourchot, lynne Nakamura. House Managers: Dale Grocholski, Pam Robinson. Box Office: David Furumoto, Catherine Fancher, Norman Gibson, Adele Nakata. Ushers: Roosevelt High School (NHS), Waipahu High School (NHS), Rad ford High School (NHS) , lolani Drama Class,.Mililani High.School (NHS), Kalani High School (NHS ), Mililani High School Drama Club, leilehua High School (NHS). ACKNOWLEDGMENTS: Celia Chun is a student of St. Francis High School. FACULTY : Edward Langhans, Chairman; Glenn Cannon, Director of the Theatre; Carl Wolz, Director of Dance; Mark Boyd (on leave), james Brandon, Dennis Carroll, Bernard Dukore (on leave), Sandra Finney, Tamara Hunt, Terence Knapp, Richard Mason, Kathleen McClintock, Yasuki Sasa. LECTURERS : Emily Adams, Patricia Harter, James Hutchison, Jacqueline Kellett, Earll Kingston, Karen Masaki, Donna Pelle, Elizabeth W ichmann. STAFF : Arthur Caldeira, Sandie lzawa, Takeo Miji, Nancy Takei. GRADUATE ASSISTANTS: Bill Baker, Penny Bergman, Robert Bethune, james Cusack, Daniel Ettinger, Victor Holliday, Cinda Jay, Eric Pourchot, Rex Reynolds, Douglas Rosentrater, Virginia West, Peggy Wettig. Evert Sprinchorn's translation of MISS JULIE is performed by special arrangement with Thomas Y. Crowell Publishers. Notice: Smoking is not allowed in the auditorium nor may photographs or recordings be made during the performance. THE UNIVERSITY THEATRE in cooperation with THE DEPARTMENT OF MUSIC presents THf FORTY-SfUfN SAMURAI (CHUSHINGURA) by lzumo Takeda, Shoraku Miyoshi, and Senryu Namiki Script adapted by Matagoro Nakamura and James R. Brandon Translation by James R. Brandon, Junko Berberich, and Michael Feldman Kiyomoto lyrics translated by James T. Araki Directed by Matagoro Nakamura Assisted by Matazo Nakamura and Matashiro Nakamura Musical Direction by Ricardo D. Trimillos and Chie Yamada Assisted by Ayataiyu Takemoto and Sataro Tanaka Scene Design by Richard G. Mason Costuming by Sandra Finney Lighting and Technical Direction by Mark Boyd Production Consultant, Hitoshi Hamatani CAST (in order of appearance): T ADA YOSHI, younger brother of the Shogun ...... .. .. .... .... .. Catherine N. Lee KO NO MORONO, chief councilor of the Shogun and governor of Kamakura ... .... .......... ............ Norris Shimabukut Dale Ream* MOMONOI WAKASANOSUKE, a young samurai ... ... ... ..... Roseann Concannont David Reinke* ENYA HANGAN, a young provincial lord ............................. Douglas Dayt Tony Soper* KAOYO, wife of Enya Hangan ........................... ........ Junko Berbericht Susan Stuart* KAKOGAWA HONZO, chief retainer of Wakasanosuke ................ Harold Brown SAGISAKA BANNAI, retainer of Morono .. .. ...... ..... .... ..... ... .. Carol Hondat Kati Kuroda* OKARU, in love with Kampei, and later his wife . Elizabeth Wichmann KAMPE! , retainer of Enya Hangan . , ........... .. ................... Kathryn Yashiki ISHIDO, the Shogun's representative at Hangan's death . ........ ...... Michael Feldman YAKUSHIJI, envoy from the Shogun ............................ ... Yvonne Chang GOEMON, elderly retainer of Enya Hangan ......... .. ...... ... ... Tony Sopert Douglas Day* RIKIY A, son of Yuranosuke ................... ... ................ .. Penny Bergman OBOSHI YURANOSUKE, chief retainer of Enya Hangan ......... ... David Furumotot Don Kozono* KUDAYU, former retainer of Enya Hangan, now Morono's spy ........... Howard Noh HEIMON, older brother of Okaru .................................... Russell Omori MAIDS ................ ...... .. .................... .. Leigh Bergh, Laurie Leyshon PROVINCIAL LORDS, HELMET BEARERS, RETAINERS, MAIDS, ATTENDANTS, SAMURAI, SOUND EFFECTS ....... ...... .. The Company t - March 6-8 and 13-18 * - March 9-11 and 20-25 .
Recommended publications
  • "Infidelity" As an "Act of Love": Patrick Marber's After Miss Julie (1995) As a Rewrite of August Strindberg's Miss Julie (1888)
    "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). مسـرحيــة After Miss Julie للكاتب البريطاني باتريك ماربر كإعادة إبداع لمسرحية Miss Julie للكاتب السويدي أوجست ستريندبرج Dr. Reda Shehata associate professor Department of English - Zagazig University د. رضا شحاته أستاذ مساعد بقسم اللغة اﻹنجليزية كلية اﻵداب - جامعة الزقازيق "Infidelity" as an "Act of Love" Patrick Marber's After Miss Julie (1995) "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). Abstract Depending on Linda Hutcheon's notion of adaptation as "a creative and interpretative act of appropriation" and David Lane's concept of the updated "context of the story world in which the characters are placed," this paper undertakes a critical examination of Patrick Marber's After Miss Julie (1995) as a creative rewrite of August Strindberg's Miss Julie (1888). The play appears to be both a faithful adaptation and appropriation of its model, reflecting "matches" for certain features of it and "mismatches" for others. So in spite of Marber's different language, his adjustment of the "temporal and spatial dimensions" of the original, and his several additions and omissions, he retains the same theme, characters, and—to a considerable extent, plot. To some extent, he manages to stick to his master's brand of Naturalism by retaining the special form of conflict upon which the action is based. In addition to its depiction of the failure of post-war class system, it shows strong relevancy to the spirit of the 1990s, both in its implicit critique of some aspects of feminism (especially its call for gender equality) and its bold address of the masculine concerns of that period.
    [Show full text]
  • Directing an Immersive Adaptation of Strindberg's a Dream Play
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses October 2018 Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play Mary-Corinne Miller 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, Interactive Arts Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Miller, Mary-Corinne, "Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play" (2018). Masters Theses. 730. https://doi.org/10.7275/12087874 https://scholarworks.umass.edu/masters_theses_2/730 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]. INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER 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 September 2018 Department of Theater © Copyright by Mary Corinne Miller 2018 All Rights Reserved INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Approved as to style and content by: ____________________________________ Gina Kaufmann, Chair ____________________________________ Harley Erdman, Member ____________________________________ Gilbert McCauley, Member ____________________________________ Amy Altadonna, Member ____________________________ Gina Kaufmann, Department Head Department of Theater DEDICATION To my son, Everett You are my dream come true.
    [Show full text]
  • Miss Julie by August Strindberg
    MTC Education Teachers’ Notes 2016 Miss Julie by August Strindberg – PART A – 16 April – 21 May Southbank Theatre, The Sumner Notes prepared by Meg Upton 1 Teachers’ Notes for Miss Julie PART A – CONTEXTS AND CONVERSATIONS Theatre can be defined as a performative art form, culturally situated, ephemeral and temporary in nature, presented to an audience in a particular time, particular cultural context and in a particular location – Anthony Jackson (2007). Because theatre is an ephemeral art form – here in one moment, gone in the next – and contemporary theatre making has become more complex, Part A of the Miss Julie Teachers’ Notes offers teachers and students a rich and detailed introduction to the play in order to prepare for seeing the MTC production – possibly only once. Welcome to our new two-part Teachers’ Notes. In this first part of the resource we offer you ways to think about the world of the play, playwright, structure, theatrical styles, stagecraft, contexts – historical, cultural, social, philosophical, and political, characters, and previous productions. These are prompts only. We encourage you to read the play – the original translation in the first instance and then the new adaptation when it is available on the first day of rehearsal. Just before the production opens in April, Part B of the education resource will be available, providing images, interviews, and detailed analysis questions that relate to the Unit 3 performance analysis task. Why are you studying Miss Julie? The extract below from the Theatre Studies Study Design is a reminder of the Key Knowledge required and the Key Skills you need to demonstrate in your analysis of the play.
    [Show full text]
  • Preliminary Pages
    Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Signature: Leesa Haspel April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy by Leesa Haspel Adviser Donald McManus Department of Theater Studies Donald McManus Adviser Lisa Paulsen Committee Member Joseph Skibell Committee Member April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel Adviser Donald McManus An abstract of A thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Department of Theater Studies 2010 Abstract Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel This paper serves to document and reflect upon an actor’s experience using research to inform and develop a role. Theater Emory’s 2009 production of Miss Julie serves as the case study, describing the process of creating the titular role. An overview of the history of dramaturgy, a dramaturgical protocol, exploration of relevant acting styles, analysis of the Theater Emory production, and personal reflection on the experience of developing Miss Julie cohere to create a guide advocating the use of practical dramaturgy in contemporary acting.
    [Show full text]
  • A Fire in Her Mind: Medicine, Gender Identity, and Strindberg's Miss Julie
    A Fire in Her Mind: Medicine, Gender Identity, and Strindberg’s Miss Julie A Research Community Proposal for the LARC grant, Summer 2016 Jonathan Cole Monique Bourque Mary Rose Branick Will Forkin Victoria Mohtes-Chan Jesse Sanchez Community Proposal A Fire in Her Mind: Medicine, Gender Identity, and Strindberg’s Miss Julie This LARC group will examine some of the biggest questions that underlie modernity: the nature of human nature, the role of “the natural” and scientific/medical authority in dictating and defining normal behavior, particularly in regard to sexuality; and the emergence of psychiatry as one of the human sciences. These emerging scientific ideas found an immediate home in nineteenth-century experimental theatre. Theatre artists, tired of the contrived plotlines and moralist, one- dimensional characters of the Melodrama, began to turn to the emerging tenets of behaviorism, genetics, and Social Darwinism in order to bring experiments in human behavior to the stage. Led by European artists-thinkers like Emile Zola, Andre Antoine, Otto Brahm, Henrik Ibsen and August Strindberg, experimental theatre strove to create a theatre praxis that utilized the theatre as an experiment: a way to observe human behavior. This artistic movement, loosely organized under the mantle of “Naturalism,” birthed Strindberg’s greatest work, Miss Julie. While the play itself fails as a piece of Naturalist theatre, Strindberg’s obsession with the inner workings of the human mind, with behavior, with heredity, bloodline, sexuality and fealty/fidelity created in Jean and Julie two of the most fascinating characters in theatre literature. These characters are inexorably linked to Strindberg’s understanding of the science of the time.
    [Show full text]
  • After Miss Julie” by Patrick Marber, 1995, After Strindberg
    Educational material: “After Miss Julie” By Patrick Marber, 1995, after Strindberg Lektor: Birgitte Holm Halkjær Birkerød Gymnasium, HF og IB That-theatre Company spring 2017 A study of the original “Miss Julie” Task: In pairs. Search google and find out who wrote “Miss Julie, 1888”? Task: In pairs. Search google and find out what did the original “Miss Julie” deal with? Write down a brief summary of the original “Miss Julie”. 1 Task: In pairs. Translate into Danish: “Strindberg´s work in the theatre was largely written in revolt against contemporary social conventions and was startlingly modern and radical for the time”. Try and apply that statement to Strindberg´s play “Miss Julie”. A study of the author of “After Miss Julie” Task: In pairs. Comment on the title of the play that you are about to read and work with in class. Why do you think the play is called “After Miss Julie”? While reading the play find out if there is any direct reference to the title? Task: In pairs, translate the following into Danish: “Patrick Albert Crispin Marber is an English comedian, playwright, director, puppeteer, actor and screenwriter. After working for a few years as a stand-up comedian, Marber was a writer and cast member on radio shows…”. In pairs, 2 search google and find out more about Marber and his life and works. Next, write a little more about Patrick. A study of Strindberg versus Marber Task: In pairs. Compare and contrast the play “Miss Julie” with the play “After Miss Julie”. How is the “free-spirit” of Strindberg´s play, “Miss Julie”, presented in Marber´s play “After Miss Julie” ? Any similarities/ differences between Strindberg´s play and Marber´s play? Both when it comes to content and form.
    [Show full text]
  • Alexandra Dahlström Rehearsing Her Role As Alexandra/Julie at the Schoolhouse Theater, Croton Falls, New York
    Alexandra Dahlström rehearsing her role as Alexandra/Julie at The Schoolhouse Theater, Croton Falls, New York. Still from Fia-Stina Sandlund’s film She’s Staging It, 2012. Photographer: Marius Dybwad Brandrud. Copyright CC-BY-NC-ND. 8. From Here to Eternity: Miss Julie Strikes Back and Refuses to Die Arrange for the bored and possibly clueless daughter of a count to find herself in the presence of a handsome servant with social ambi- tions. Add a maid who represents order, morality, and common sense. Immerse them in the Swedish midsummer night with its atmosphere of sexuality and magic. The result is the August Strindberg classic, Miss Julie, a play that has never ceased to fascinate directors, actors, and audiences since it was first staged in Copenhagen in 1889.1 It has long been claimed that A Doll’s House was the world’s most performed play. Today Miss Julie seems about to edge Henrik Ibsen’s drama from the top position. European theatres have recent- ly presented Miss Julie in a variety of interpretations, including a British update by Patrick Marber directed by Natalie Abrahami at Young Vic in London; a multimedia version by Katie Mitchell and Leo Warner at the Schaubühne in Berlin; and a French mise-en-scène by Frédéric Fisbach, in which Juliette Binoche makes one of her rare appearances on stage. The Schaubühne’s director and CEO, Thomas Ostermeier, has set his Miss Julie in contemporary Moscow. As in the same director’s earlier productions of A Doll’s House and Hedda Gabler, Miss Julie is trapped in a claustrophobic middle-class setting from whose social patterns she is unable to break free.
    [Show full text]
  • 'I'm a Devilish Fellow Who Can Do Many Tricks'
    FACTS ABOUT SWEDEN | AUGUST STRINDBERG sweden.se P P H H O O T T O: O: S N T ORDI RIND S B K ER A MU GS MU S EE S T EE T August Strindberg: self-portrait from Gersau, Switzerland, 1886. Jealousy Night, painted by Strindberg in Berlin, Germany, 1893. AUGUST STRINDBERG: ‘I’M A DEVILISH FELLOW WHO CAN DO MANY TRICKS’ A hundred years after his death, August Strindberg (1849–1912) continues to fascinate. He was a trailblazer and innovator in his time and still manages to provoke audiences in theaters around the world. There is always an aspect of Strindberg’s everyday language, and today his texts led. His literary development largely fol- character – from the raging sociopoliti- feel remarkably modern. lowed the twists and turns of his private cal polemicist to the psychologically life, including the crises arising from his introspective writer – that fits the prevail- Man of many talents marriage break-ups and political contro- ing spirit and intellectual climate of the People are amazed by Strindberg’s ver- versies. times. His thoughts on morality, class, satility. He tackled most genres. Aside power structures and familial politics from being an innovator in drama and Upbringing and studies are still relevant today. The unflagging prose, he was a poet, a painter, a pho- Johan August Strindberg was born on struggle for free thinking and free speech tographer, even a sinologist. 22 January 1849. He would later claim that he waged throughout his life is more Strindberg’s stormy private life also that his childhood was one of poverty important than ever in a time when cen- explains his enduring appeal, especially and neglect but the family was not poor.
    [Show full text]
  • The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More Information
    Cambridge University Press 978-0-521-60852-7 - The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More information the cambridge companion to august strindberg August Strindberg is one of the most enduring of nineteenth-century dramatists, and is also an internationally recognized novelist, autobiographer and painter. This Companion presents contributions by leading international scholars on different aspects of Strindberg’s highly colourful life and work. The essays focus primarily on his most celebrated plays; these include the naturalist dramas, The Father and Miss Julie; the experimental dramas with which he created a true modernist theatre – To Damascus and A Dream Play; and the Chamber Plays of 1908 which, like so much of his work, exerted a powerful influence on later twentieth-century drama. His plays are contextualized for what they contribute both to the history of drama and developments in theatre practice, and other essays clarify the enormous importance to these dramas of his other work, most notably the autobiographical novel Inferno, and his lifelong interest in science, the occult, sexual politics and the visual arts. michael robinson is Professor Emeritus of Drama and Scandinavian Studies at the University of East Anglia, Norwich. He is the author of Strindberg and Autobiography (1986) and Studies in Strindberg (1998), and has translated a two-volume selection of Strindberg’s letters (1992), a collection of his essays (1996) and five of the plays (1998). He has edited five volumes of essays on Strindberg and Ibsen, and is also the General Editor of the Cambridge Plays in Production series. His three-volume International Annotated Bibliography of Strindberg Studies was published by the MHRA in 2008.
    [Show full text]
  • Bergman's Theatre Is the Serious Game
    [ Theatralia 22 / 2019 / 1 (115—118) ] https://doi.org/10.5817/TY2019-1-11 Bergman’s Theatre Is The Serious Game David Drozd Egil Törnqvist. The Serious Game: Ingmar Bergman as Stage Director. Amsterdam University Press, 2015. 276 pp. ] The monograph The Serious Game: Ingmar A Life in Theatre co-authored by Lise-Lone Bergman as Stage Director is the last pub- and Frederick J. Marker’s (1992) or more lished book by Egil Törnqvist (1932–2015), than 300-page survey ‘Ingmar Bergman in reviews reviews theater and film scholar, specializing on the the Theatre’ in Ingmar Bergman: A Reference [ playwright August Strindberg and the the- Guide by Birgitta Steene (2015). Following atre- and filmmaker Ingmar Bergman. He these essential contributions, Törnqvist in- dedicated many papers and several books tends to introduce only chosen productions, to both of them (e.g., Strindberg’s Miss Julie: paying attention to details, subtle drama- A Play and its Transpositions, 1988; Between turgical changes, significant moments of Stage and Screen: Ingmar Bergman Directs, actor’s performance, creating rather ana- 1995; Strindberg’s The Ghost Sonata: From lytical, in-depth book complementing these Text to Performance, 2000; Strindberg on previous extensive publications. Drama and Theatre, 2007). An actual book The structure of the book corresponds on Bergman, finished shortly before his with this choice: after a short preface, death, could be seen as his final oeuvre. there is only one chapter entitled ‘B & The book is based on his previous papers Co.’ giving very brief but condensed and essays; it consists of series of analytical contextualization of Bergman’s work in chapters on particular performances, with theatre, followed by fourteen chapters, two contextual chapters at the beginning each dedicated to one production, and and the conclusion with the eponymous then short conclusion.
    [Show full text]
  • Movie Time Descriptive Video Service
    DO NOT DISCARD THIS CATALOG. All titles may not be available at this time. Check the Illinois catalog under the subject “Descriptive Videos or DVD” for an updated list. This catalog is available in large print, e-mail and braille. If you need a different format, please let us know. Illinois State Library Talking Book & Braille Service 300 S. Second Street Springfield, IL 62701 217-782-9260 or 800-665-5576, ext. 1 (in Illinois) Illinois Talking Book Outreach Center 125 Tower Drive Burr Ridge, IL 60527 800-426-0709 A service of the Illinois State Library Talking Book & Braille Service and Illinois Talking Book Centers Jesse White • Secretary of State and State Librarian DESCRIPTIVE VIDEO SERVICE Borrow blockbuster movies from the Illinois Talking Book Centers! These movies are especially for the enjoyment of people who are blind or visually impaired. The movies carefully describe the visual elements of a movie — action, characters, locations, costumes and sets — without interfering with the movie’s dialogue or sound effects, so you can follow all the action! To enjoy these movies and hear the descriptions, all you need is a regular VCR or DVD player and a television! Listings beginning with the letters DV play on a VHS videocassette recorder (VCR). Listings beginning with the letters DVD play on a DVD Player. Mail in the order form in the back of this catalog or call your local Talking Book Center to request movies today. Guidelines 1. To borrow a video you must be a registered Talking Book patron. 2. You may borrow one or two videos at a time and put others on your request list.
    [Show full text]
  • Ballad Opera in England: Its Songs, Contributors, and Influence
    BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music.
    [Show full text]