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An Analysis and Evaluation of the Acting Career Of
AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD APPROVED: Major Professor m Minor Professor Directororf? DepartmenDepa t of Speech and Drama Dean of the Graduate School AN ANALYSIS AND EVALUATION OF THE ACTING CAREER OF TALLULAH BANKHEAD THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Jan Buttram Denton, Texas January, 1970 TABLE OF CONTENTS Chapter Page I. THE BEGINNING OF SUCCESS 1 II. ACTING, ACTORS AND THE THEATRE 15 III. THE ROLES SHE USUALLY SHOULD NOT HAVE ACCEPTED • 37 IV. SIX WITH MERIT 76 V. IN SUMMARY OF TALLULAH 103 APPENDIX 114 BIBLIOGRAPHY. 129 CHAPTER I THE BEGINNING OF SUCCESS Tallulah Bankhead's family tree was filled with ancestors who had served their country; but none, with the exception of Tallulah, had served in the theatre. Both her grandfather and her mother's grandfather were wealthy Alabamians. The common belief was that Tallulah received much of her acting talent from her father, but accounts of her mother1s younger days show proof that both of her parents were vivacious and talented. A stranger once told Tallulah, "Your mother was the most beautiful thing that ever lived. Many people have said you get your acting talent from your father, but I disagree. I was at school with Ada Eugenia and I knew Will well. Did you know that she could faint on 1 cue?11 Tallulahfs mother possessed grace and beauty and was quite flamboyant. She loved beautiful clothes and enjoyed creating a ruckus in her own Southern world.* Indeed, Tallulah inherited her mother's joy in turning social taboos upside down. -
Akins Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8h132ss No online items Zoë Akins Papers: Finding Aid Finding aid prepared by Gayle M. Richardson. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2008 The Huntington Library. All rights reserved. Zoë Akins Papers: Finding Aid mssZA 1-7330 1 Overview of the Collection Title: Zoë Akins Papers Dates (inclusive): 1878 - 1959 Collection Number: mssZA 1-7330 Creator: Akins, Zoë, 1886-1958. Extent: 7,354 pieces in 185 boxes + ephemera. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the personal and professional papers of American writer Zoë Akins (1886-1958). It includes correspondence with various literary, theatrical and motion picture figures of the first half of the twentieth century. There are also manuscripts of novels, plays, poems, short stories, outlines for plays, and articles. There is also correspondence related to her husband, Hugo Rumbold (d. 1932), and the Rumbold family. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. -
Gloria Swanson
Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B. -
GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I. -
1937-09-24 [P C-6]
————————1——•*•*_ *■"?_ > MJLJl JL Francis Lederer is an u) in London considering icvAibij puitauir ceu sne nax ur eo you nave to be rich to feel tha* Singer )fTer from Charles B. Cochran to ftp- i writer Claude so he can Text Awaits Schools’ Gene flven Binyon way? Offers >ear in a Alibi London Miriam meditate on the Markey play set where she is * * * * WILL BE BRIDE OF has been a bath for "DEATH Hopkins taking forking. “What will you have?” Inquired tha RAY” INVENTOR. three now—for a of * * * * days picture, genial stranger at the big Hollywood of Films As :ourse. And when a of the A mere matter of Recognition Simone’s Escort gentleman selling several party. “Some more of this terrible jress tried to crash the closed set, ] lundred dollars’ worth of tickets would champagne," said the bored guest be- Miriam sent out word if that, he were fore realizing he was lave insured work another week, mak- addressing hi* A Press Agent Drops Glamour He Must i gentleman, he would go home. host, Jack Warner. Says Get Acquainted, I'm to ng four in all, for the New York Which, glad report, he did ... Music (Copyrlsht, 1937, by the North American Hall of “The Talk to Be Practical. As Will Dld-tlmer Mae Busch says, "Old-tim- showing Prisoner of Newspaper Alliance, Inc.) They Play ers who say they want to make a Zenda.” Which would have meant About Mr. Strickland. In Picture comeback make me tired. We just enormous prestige and better theater Together. -
Ann Harding ~ 22 Films
Ann Harding ~ 22 Films Born in Texas in 1902 and forsaking commerce for the theatre in 1921, by 1929 Ann Harding was an established Broadway lead. In that year she signed with Pathé (soon part of RKO) and through the mid-'30s starred in a series of soap operas, most typically as suffering heroines forced to make noble sacrifices for the men they love. With her ash-blonde hair usually swept back into a bun, classical makeup-free good looks and deep, beautifully modulated voice, the patrician Harding brought a gentle, serene strength to such worthy star vehicles as When Ladies Meet (1933) and The Life Of Vergie Winters (1934) but fared less well in more faltering efforts such as Devotion (1931) and Enchanted April (1935). Ideal for the philosophical sophistication of playwright Phillip Barry, Harding shone in fine adaptations of two of his most successful comedy- drama talkfests: Holiday (1930), for which she received a Best Actress Oscar nomination and The Animal Kingdom (1932). She made two of her strongest films late in her reign as a star: the haunting almost surreal love story Peter Ibbetson (1935, opposite Gary Cooper) and the taut suspense melodrama Love From A Stranger (1937, with Basil Rathbone). She continued to appear on film, stage and television until 1965 and died in 1981, aged 79. With her favourite leading man, Leslie Howard Moira Finnie talks to Ann Harding biographer Scott O'Brien "Looking at Harding," wrote film historian Mick LaSalle in his book Complicated Women "is like looking into clear, deep water. Nothing stands in the way. -
Myrna Loy ~ 46 Films and More
Myrna Loy ~ 46 Films and more Myrna Loy was born Myrna Adele Williams on 2 August 1905 in Radersburg, Montana to parents of Welsh, Scottish and Swedish descent. After her rancher father David became, at just 21, the youngest man ever elected to the Montana State Legislature, the family moved 35 miles to Helena, the state capital, which is where Myrna grew up. Frank (later Gary) Cooper, four years her senior, was a near neighbour: We lived high off the hog on Fifth Avenue. It was just a nice middle- class neighbourhood. Most of the richer families were building on the opposite mountainside. Helena is a spacious city, climbing up Mount Ascension and Mount Helena from Last Chance Gulch, so we had wonderful, steep streets. When it snowed you could slide past Judge Cooper's house all the way to the railroad station in the valley part of town. The Coopers lived just below us in a fairly elegant house with an iron fence around it.1 In 1918 a flu pandemic swept the world, and one of its countless victims was 39 year old David Williams. This prompted his widow Ella to move with children Myrna and nine year old David to Los Angeles. There Myrna attended the Westlake School for Girls where at the age of 15 she caught the acting bug. In 1924-5, she came to the attention of silver screen big-hitters Rudolph and Natacha Valentino, following which doors of opportunity began to open. Her first film, released in 1925, was What Price Beauty? Later the same year she appeared alongside young Joan Crawford in Pretty Ladies. -
Dramatic Mirror, November 7, 1891, P. 8. 2. Helen Ten Broeck, “Rida Young—Dramatist and Garden Expert,” Theatre (April 1917): 202
NOTES INTRODUCTION 1. Ali Baba, “Mirror Interview: XXI—Martha Morton,” Dramatic Mirror, November 7, 1891, p. 8. 2. Helen Ten Broeck, “Rida Young—Dramatist and Garden Expert,” Theatre (April 1917): 202. 3. See Progressive Era at http://www.wikipedia.com. 4. Rachel Crothers (1878–1958), considered America’s first modern feminist playwright for her social comedies and woman-centered themes, is the only woman usually included within the “canon” of playwrights during the Progressive Era. Her production in 1906 of The Three of Us marked the beginning of a thirty-year career as a professional playwright and director in American theater. Her plays were well-constructed and dealt with pertinent issues of the time, such as the unfairness of the double standard and women’s conflicts between career and motherhood; her plays are still revived today. Unlike the other women in this study who are essentially “unknown,” Crothers has been extensively written about in dissertations and journals and, therefore, is not included in this study. For a recent arti- cle on Crothers, see Brenda Murphy, “Feminism and the Marketplace: The Career of Rachel Crothers,” in The Cambridge Companion to American Women Playwrights, ed. Brenda Murphy (New York: Cambridge University Press, 1999), 82–97. 5. About fifty-one women dramatists achieved two or more productions in New York between 1890 and 1920. Portions of this chapter are from Sherry Engle, “An ‘Irruption of Women Dramatists’: The Rise of America’s Woman Playwright, 1890–1920,” New England Theatre Journal 12 (2001): 27–50. 6. A prime example is Morton’s The Movers (1907), which despite being a box office failure, was defended by several prominent critics. -
In the End... All You Really Have Is Memories
I THE NEW YORK SUN, TUESDAY, MAY 23, 1933. Broadway After Dark Picture Plays and Players The New Talkie Th/ee Revivals and a Revue Next Week— James Dunn and Sally Eilers to Co-Star for . 'J Mist Thelma Todd at Both Blondes ill 'Ghosts' Tonight—Random Dramatics. the Sixth Time in 'Sally and Jimmy.' 9 i 'Cheating Blondes. j By WARD MOREHOUSE. ' By EILEEN CREELMAN. By JOHN S. COHEN Jr. Four productions—possibly five—will come to Broadway The popular co-starring team of Janet Gaynor and The new talkie at the old Roxy is called "Cheating playhouses next week. They include the Players Club Charles Farrell has apparently broken up for good in Blondes," the blondes in the case being Miss Thelma Todd revival of "Uncle Tom's Cabin," the Frank Fay-Barbara spite of protesting fans. Fox has planned often enough in a dual role of twin sisters. As far as I could tell, Stanwyck revue and an exhumation of Edward Locke's to separate James Dunn and Sally Eilers too. Each time neither one of the two went in for cheating as it is popu four-character piece "The Climax," first done on this an announcement of this brings in enough letters to make larly known. Instead, Miss Todd, as both of them, seemed island a quarter of a century ago. The line-up for the studio heads reconsider. "Bad Girl" made stars of young to be bent on overplaying or underplaying—in the wrong new week runs like this: .- Mr. Dunn, then an unknown, and of Miss Eilers who, places—and on being generally uninteresting in a role in MonJav May 29.-"Uncle Tom's cle-play, a Continental product, although she had made plenty of films, was far from Cabi!.,'1 »t the Alvin; "The Pirates calls for a tremendous cast and an which she had an opportunity to be at least twice as good •f Penzance," at the St. -
Howard Greer Album Autos Lilyan Tashman Lois Wilson Anna Q
Howard Greer Album autos Mary Duncan Lenore Konti Bushman Lilyan Tashman Esther Ralston Hedda Hopper Lois Wilson Edmund Goulding Dorothy Devore Anna Q. Nilsson Lila Lee Eleanor Boardman Kathlyn Williams Travis Banton Ann Christy Bessie Love Walter Plunkett Ray Brooks Greta Nissen Lillian Albertson Arthur Gregor Paulette Duval Edith Head Winnifred Westover Thelma A. Todd Louise Dresser Gardner Julanne Johnston Marie Dressler Kay Garrett Eve Southern Anna Q. Nilsson Daphne Pollard Dorothy Taylor [Dorothy Layton] Gilbert Clark Elsie Cillen Louise Brooks David Cox Alice Lake Thelma Salter Larry Hood [Lawrence] Nena Quartaro Gladys McConnell Anne Cornwall Reed Howes Vera Steadman Estelle Taylor Gloria Greer Marie Prevost Lilyan Tashman Via Hersholt Maude Wayne Enid Markey Catheryn Carver Johnnie Walker Madge Bellamy Adolphe Menjou Marion Dabney Edmund Lowe Bebe Daniels John Frederick Prince and Princess S’Mdivani Peggy Hamilton Minta Durfee Arbuckle Nancy Caroll Virginia Valli Alice L. Tildesley N[orma] Talmadge Charles D. Farrel Walter Pidgeon Phyllis Haver Margaret Livingston Alice White Mollie Malone Betty Bronson Doris Dawson Ruth Taylor Vivian Fay Jeanette Porter Meehan Jean Epstein Marcella Burke 1 Seana Owen Blanche Merrill Florence Johnson Roy D’Arcy Mrs. N. Thalberg [Norma Mrs. Samuel Goldwyn[Frances Shearer] Howard] W[illiam] R. Hearst Betty Blythe Ivy Shilling Marion Davies Colleen Moore Mrs. Leiland Atherton Dorothy Barrett Calhoun Irish[philanthropist] Grace Stafford[“Woody Evelyn Francisco Woodpecker”] Agnes Copelin[Agnes Cuppelin] Rose Davies Van Cleve Olive Cooper Lillian Webster[Lilian Webster] Elise Bartlett Blanche M. Sewell [OZ editor] John Grey Luke Cosgrave Mrs. Thomas Meighan[Francis Barbara Bedford Ring] Pauline Starke Gladys W. -
The American Stage Careers of Fredric March and Florence Eldridge. Vicki Jo Payne Parrish Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 The American Stage Careers of Fredric March and Florence Eldridge. Vicki Jo payne Parrish Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parrish, Vicki Jo payne, "The American Stage Careers of Fredric March and Florence Eldridge." (1995). LSU Historical Dissertations and Theses. 6042. https://digitalcommons.lsu.edu/gradschool_disstheses/6042 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough,m a substandard r gins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher. Pamela Sue Heilman Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Heilman, Pamela Sue, "The American Career of Maria Ouspenskaya (1887-1949): Actress and Teacher." (1999). LSU Historical Dissertations and Theses. 6890. https://digitalcommons.lsu.edu/gradschool_disstheses/6890 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.