DOCSLIB.ORG

Amusement News and Stage Döor Chat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Amusement News and Stage Döor Chat AMUSEMENT NEWS AND STAGE DÖOR CHAT All Work and No Play What Briggs Saw at "Miss Millions 79 Houdini Is in the Movies Doesn't Make Dull Boy To Perpetuate His Wotk Of Busy Edmund Lowe As a Master Magician Harriette Underhill the Coast when I was out there work¬ If were to By Harity Houdini die tn-mor- traveled ai' over the -ore ing with (".ura Kimball Young. I like row be would out content, with .nd Edmund I.owe loves to work! He to make pictures in the day time, but, pass the magic from everj angle It '. ? "^ also I love fullness of life and with the knowledge nating bey«. b« *,r.- enjoya those other pursuits which oh, the theater at night!" of as experiences such few men have One and a ht!f '.ear' to the mortal under "Then yon like to work all the »,,. , ^rcfî'ifiry ^coni« bad. lie confessed this quite simply decided tO go into the head flesh. time?" as he sat in his motion »n-i,,,. .!"! «f mortifying the "All the time. I'm never tired. study and tinkered cause he wanted some And with the of a The ¡J?¦.* He arises at 7 o'clock in tho morn- then lie told us rbout keys typewriter. endure. The next .. the day's "sched¬ room had more of the g **'£..*. from ule, which so us that we atmosphère of skeptical and th injr, and his chamber in the impressed put the student than of the ZZt**h" it in the first paragraph. magician. magic handed down to ..«¦m tower of the T.ambs watches the " a )o Houdini, among other things, is writer gerate,] unles ,, «ft* you screen well ?" and lover of books. His sun riso over the hilltops as he shaves. Mr. with shelves are " .g "Beautifully," replied Lowe, tilled with rare «f "««SSW specimens many ror -, Then he walks to the studio.the enthusiasm. We laughed. The answer kinds. His kí»ívcíí«íIsland, he Lti"" us. collection of hooks on magic into the sea ¡n a box Norma Talmatige studio, fortunately, delighted is the most extensive in with 500 «~?ril existence. .¦ and not the Fort Lee brand-because "You know, it's strange, but we never The of dead weight, go1 r th-TL!**-**? have seen on the screen, keen, piercing eyes of the magi¬ he thinks it is good for him. Ar¬ you But. on cian were the your present 'The focussed intently on his audi¬ rived at the studio, he puts on his stage.well, play, ence as he told of his life make-up and at 9 o'clock is all ready Son-Daughter,' is the only thing we something 'naven't seen story. The knotted wrists that have visible to act, a silent monument of reproach you in. and that only be¬ defied handcuff and any m6ans of support. cause you opened while we were out. of manacle and made climbs up it. H« «Î to ail late comers. He then acts un¬ Houdini a known til 6:30 or 7 o'clock, after which he to,wn. In 'The Roads of Destiny' last universally figuie lay Houdini sails for in repose. There was concentration in England thi« ».i' removes his walks to the season we saw you six times. Did you to íiJíil! a -. ide make-up, like 'The every line of his figure. It is this \fiy ...A.t2 theater, puts on some more make-up Roads of Destiny".' he Then lie ii t« ¿1?»^* "Better than ever had quality, says, that has enabled him and 1921-22 and acts again, and he enjoys it. done." anything to do unaccountable things. during ¿"g Of course, it is nice- to be world, making a mj ,.,. '.: pretty "If T were die to-morrow I could . leading man to Norma in "And 'The Walk-OftV- well, we only thinks motion pictui Talmadgo saw not complain," said Houdini, .... the and man von in that once. Did vou like "because derfu! profession in the daytime leading to Lenore .i world*-¦'*¦,»W. Ulric in the .The Walk-Offs'?" have performed every known feat of then- lö~Ä'.;t» night. "1 ii ink 'near magic from the smallest to the large«. .i*m for the -v Some one told us a long time ago somebody calling The most that me," answered Mr. Dove. And he remarkable thing probably he intends tovoun«-^^^^,I"- .¦. "alt- work and no play made Jack really was p ur .<,; ,...,...' a dull Jack would have did. They were coing to take the scene my vanishing elephant, Jenny To^^«************************-**************1 hoy." Perhaps 10,(100 who used '«etrior been a dull hoy anyway, for it cer¬ again, and when lie returned we forgot weighing pounds, to Tower B ¡dge n a par to find ou< if he liked "The disappear in the a He V ta '. hasn't iiiade Edmund a dull Walk-Offs." systematically Hippo that fia« " boy. "¦ drome. theqry We that in the tirst half- So >¦ nr\ er shall know. My smallest "feat was swallow¬ of every mot ioi riicl .hr»c!ir gathered a of nould r hour after having talked to Mr. Lowe Mr. T.owe returned joyously. "I've ing couple packages of needles and thrown on hi ron finished," he said. do bringing them out threader!. be|¦* cenes. "What- you think Houdini - "In «*¦.- l'ij jr, it V always like that when you in- of that, and it's only 5 o'clock! li my opinion Harry Kellar, the t v r t wait I'll of the ,v«^^^^^H ,. anybody n a si udio he is you'll have my make-up off in orginator lévitation wonder, '1 nwav re a jifTy, and I'll take you crosstown." Princess Karnac, is the greatest ,:; '. be..... forever heV.p: called for a magi¬ igorouss phy-ipi j -.*" -¦- The -tndio is on Second Avenue. cian the world ever saw. This feat is one for eJ*ever take, and that was what tViis was, the one He neit ... we of ...,.. "Wait," answered. "You aren't the classics of A* .- of the last scenes wizardry. pres¬ tl" .. shooting very for thinks l g , "1!" going to walk ?" ent 1 am writing Eellar's f \V)oman (lives," Norma Tal- biography. did was ¡nventii g a d .- new "Not this time. We'll ride, and I'll There is a different ^_ suit frM madge's picture. spirit among the v.suce the di ca -. u. '.. Mif called for us at the have time to get some dinner before .magicians .More of thorn dtvt^_ cape. hV Talmadge of-""to-day. handing over I -, .;.. hotel and drove us over to the studio I go to the theatre are specializing antl do not zeal¬ to-night." they ernment. Arnoi g ot er ,-- and then departed on a shopping tour, "Do you usually dispense with din¬ ously try to keep their secrets from vented the .S i didn't do my Christmas shopping ner?" each other as they did in the old days. and <i» she said. "Hut don't need "Well, you see, sometimes I can't New York They are more intent now on double-coli^^^^^^^^^Krlbboii. fi. early," you make Girl Made Chorus Girl Prize Drunk improv¬ me. everybody else is there." it and I have to eat something Shortage jïjpon Errol, Charmed hy Our Women ing their art than they are on further¬ So we went in and got past the boy with one hand while I make up with j Her First Dramatic Hit in Short ing their interests." at the door, who is so cruel and dis-; the other. Not that it. matters." Only Girls, Of the Stage, Does Not And Their Houilini's discovery of his lock- couraging to all applicants with his¬ Oh, those healthy people who can Recognition, breakfng gift dates nack to the time walk ten a In a New trionic longings; and, although the miles, work twenty hours York Theater Assures Mr. Waybnrn Touch a Droo Himself of his mother's pies. As a boy in Ap- know we and without Eve Balfour Will boy doesn't it yet, got in the day go eating! 'liiere is no Stay pleton, Wis., he wanted to get into the And o:i the across town we Usually when a new, young actress alarming shortage of picture, too. way Leon Errol had not found time to re¬ \\4omen are the fh the cupboard where the pastry was' kept, [I I led like this: The scene was learned that. Mr. Lowe has been on the makes a hit in a chorus girls. At least Ned move generals appe big-sized Broadway Wayburn the drunken camouflage 'rom his C. S. A. So it seems to Eve Balfour, but mother had the key, so Harry sim¬ ¦¦i y one. In stage that ho started said so ¡nie ting the center of oniy eight years, production tho management dies deep last night, and Xew Wayburn nose when we reut d him out behind the well known British actress and film ply manipulated the lock. It cannot ihc studio was a in stock on the Western (,'oa = t and that be built street, and the into the mine of data and should know. «lie has hilvd more the scenes at th«' Palace Theater. He star, who arrived in New York last truthfully said he realized then that .'m r was with salt/ to look he never lias played in "East Lynne," biographical he had in this direc¬ sprinkled chorus girls than ono else on apologized for its condition, said it week and who intends to remain here.
Load more

Recommended publications
  • Into the Fire
    INTO THE FIRE Libretto Jan Kaus Editors Taago Tubin / Märt-Matis Lill Score Märt-Matis Lill Vanemuine 2016 / 2017 CHARACTERS: Hero Hero’s friend Jaan (tenor) Juhan (baritone) Soldier 1 (tenor) Soldier 2 (baritone) Company commander Supreme commander Andromache / Voice / singer at the beginning Girl 1 (letters) Girl 2 (Soprano 1) Girl 3 (Soprano 2) First woman (mezzo) Second woman (mezzo) ------------------------------------------------------------------------ Deserter (Juhan) Bearer 1 (Soldier 1) Bearer 2 (Soldier 2) Nurses (Girl 2 & Girl 3) CHORUS ACT I Cafe by the sea, piano, double-bass, singer can be heard through the murmur of voices. A large building with several storeys, women at the windows (Chorus). 1.1 Buzz of chatter. Piano playing. Enter Hero and HERO'S FRIEND at the front of the stage. Peaceful mood. HERO’S FRIEND: Can you feel something in the air? HERO: I can feel something bearing down, but it’s a long way off. I’m not sure if it’s in the air as such, or smouldering in the hearth, but there's something stirring inside the people. HERO’S FRIEND: This unease. The disquiet. The frayed tempers. Feelings that need an outlet. It means that people are waking up! HERO: What are you getting at? HERO’S FRIEND: I’m not the only one wondering if it can be long. The boundary dispute's still unresolved. They’re buying houses here and the land that goes with them. I’ve always said… HERO: Yeah, yeah, I know, attack is the best form of defence. HERO’S FRIEND: Exactly! They’ve been asking for a walloping for a while now.
    [Show full text]
  • Complaints and Disorders
    The medical system is strategic for women’s liberation. It is the guardian of reproductive technology – birth control, abortion, and the means for safe childbirth. It holds the promise of Complaints freedom from hundreds of unspoken fears and complaints that have handicapped women throughout history. When we demand AND control over our own bodies, we are making that demand above all to the medical system. It is the keeper of the keys. But the medical system is also strategic to women’s oppression. Medical science has been one of the most powerful sources of sexist ideology in our culture. Justifi cations for sexual Disorders discrimination – in education, in jobs, in public life – ultimately The Sexual Politics of Sickness rest on the one thing that differentiates women from men: their bodies. Theories of male superiority ultimately rest on biology. Medicine stands between biology and social policy, between the “mysterious” world of the laboratory and everyday life. It makes public interpretations of biological theory; it dispenses the medical fruits of scientifi c advances. Biology discovers hormones; doctors make public judgments on whether “hormonal unbalances” make women unfi t for public offi ce. More generally, biology traces the origins of disease; doctors pass judgment on who is sick and who is well. Medicine’s prime contribution to sexist ideology has been to describe women as sick, and as potentially sickening to men. Barbara Ehrenreich & Deirdre English Tacoma, WA This pamphlet was originally copyrighted in 1973. However, the distributors of this zine feel that important [email protected] information such as this should be shared freely.
    [Show full text]
  • SEAGULL Theatre QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements
    2 Acknowledgements 3 Introduction 7 ‘My kind of theatre is for the people’ KUMAR ROY 37 ‘And through the poetry we found a new direction’ SHYAMAL GHO S H 59 Minority Culture, Universal Voice RUDRAPRA S AD SEN G UPTA 81 ‘A different kind of confidence and strength’ Editor AS IT MU K HERJEE Anjum Katyal Editorial Consultant Samik Bandyopadhyay 99 Assistants Falling in Love with Theatre Paramita Banerjee ARUN MU K HERJEE Sumita Banerjee Sudeshna Banerjee Sunandini Banerjee 109 Padmini Ray Chaudhury ‘Your own language, your own style’ Vikram Iyengar BI B HA S H CHA K RA B ORTY Design Sunandini Banerjee 149 Photograph used on cover © Nemai Ghosh ‘That tiny cube of space’ MANOJ MITRA 175 ‘A theatre idiom of my own’ AS IT BO S E 197 The Totality of Theatre NIL K ANTHA SEN G UPTA 223 Conversations Published by Naveen Kishore 232 for The Seagull Foundation for the Arts, Appendix I 26 Circus Avenue, Calcutta 700017 Notes on Classic Playtexts Printed at Laurens & Co. 9 Crooked Lane, Calcutta 700 069 234 Appendix II Notes on major Bengali Productions 1944 –-2000 S T Q SEAGULL THeatRE QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements Most of the material collected for documentation in this issue of STQ, had already been gathered when work for STQ 27/28 was in progress. We would like to acknowledge with deep gratitude the cooperation we have received from all the theatre directors featured in this issue. We would especially like to thank Shyamal Ghosh and Nilkantha Sengupta for providing a very interesting and rare set of photographs; Mohit Chattopadhyay, Bibhash Chakraborty and Asit Bose for patiently answering our queries; Alok Deb of Pratikriti for providing us the production details of Kenaram Becharam; Abhijit Kar Gupta of Chokh, who has readily answered/ provided the correct sources.
    [Show full text]
  • THE CHORUS GIRL and OTHER STORIES by Anton Chekhov
    THE CHORUS GIRL AND OTHER STORIES By Anton Chekhov Translated by Constance Garnett Ref: Project Gutenberg http://www.gutenberg.org/ CONTENTS: THE CHORUS GIRL..................................................................................................3 VEROTCHKA ............................................................................................................8 MY LIFE...................................................................................................................19 I.............................................................................................................................19 II ...........................................................................................................................25 III ..........................................................................................................................30 IV..........................................................................................................................35 V ...........................................................................................................................38 VI..........................................................................................................................42 VII.........................................................................................................................46 VIII .......................................................................................................................53 IX..........................................................................................................................56
    [Show full text]
  • Mla Selective List of Materials for Use By
    REPORT RESUMES ED 020 686 FL 000 181 1LA SELECTIVE LIST OF MATERIALS FOR USE BY TEACHERS OF MODERN FOREIGN LANGUAGES IN ELEMENTARY AND SECONDARY SCHOOLS. BY- OLLMANN, MARY J., ED. MODERN LANGUAGE ASSN. OF AMERICA, NEW YORK, N.Y. PUB DATE 62 CONTRACT OEC-SAE-8342 EDRS PRICE MF.40.75 HC-$6.80 168P. DESCRIPTORS- *SECONDARY SCHOOLS, *LANGUAGE TEACHERS, *ANNOTATED BIBLIOGRAPHIES, *MODERN LANGUAGES, *INSTRUCTIONAL MATERIALS, FLES, TEXTBOOK EVALUATION, INFORMATION SOURCES, LANGUAGE LEARNING LEVELS, ROMANCE LANGUAGES, EVALUATION CRITERIA, MATERIALS GROUPED ACCORDING TO LANGUAGE (FRENCH, GERMAN; ITALIAN, MODERN HEBREW, NORWEGIAN, POLISH, PORTUGUESE, RUSSIAN, SPANISH, SWEDISH) AND SUBJECT MATTER ARE FOUND IN THIS ANNOTATED SELECTIVE LIST. FOR ITEMS IN EACH SECTION, INFORMATION INCLUDES LIST PRICES, GRADE LEVELS, LANGUAGE PROFICIENCY LEVELS, AND CRITICAL EVALUATIONS. APPENDIXES INCLUDE SELECTIVE AND ANNOTATED BIBLIOGRAPHIES FOR SIX CULTURES (FRENCH, GERMAN, HISPANIC, ITALIAN, LUSO-BRAZILIAN, AND RUSSIAN), CRITERIA FOR THE EVALUATION OF MATERIALS; AND SOURCES OF MATEnIALS. (AF) U.S. DEPARTMENT Of HEALTH. ELiVATION & WELFARE FRENCH OFFICE Of EDUCATION GERMAN ITALIAN THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR OR6ANIZATION ORIGINATIN5 IT.POINTS OF VIEW OR OPINIONS MODERN HEBREW STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. NORWEGIAN POLISH PORTUGUESE RUSSIAN SPANISH SWEDISH MLA selective list of materials for use by TEACHERS OF MODERN FOREIGN LANGUAGES IN ELEMENTARY AND SECONDARY SCHOOLS EDITED BY Mary J. 011mann Prepared and Published by The Modern Language Association of America Pursuant to a Contract with the U.S. Office of Education, Department of Health, Education, and Welfare 1962 This Selective List of Materials supersedes the Materials Est published by the Modern Language Association in 1959 "PERMISSION TO REPRODUCE THIS COPYRIGHTED MATERIAL HAS 2EEN GRANTED BY 0.Mottaktinu TO ERIC AND ORGANIZATI S °PELTING UNDER AGREEMENTS WITP U.S.
    [Show full text]
  • Folk Arts in Education: a Resource Handbook. INSTITUTION Michigan Stat Univ., East
    DOCUMENT RESUME ED 390 743 SO 025 598 AUTHOR MacDowell, Marsha, Ed. TITLE Folk Arts in Education: A Resource Handbook. INSTITUTION Michigan Stat Univ., East. Lansing. University Museum. PUB DATE 87 NOTE 349p. PUB TYPE Guides Non-Classroom Use (055) Reports Descriptive (141) EDRS PRICE MFOI/PC14 Plus Postage. DESCRIPTORS Art Education; Cultural Pluralism; Curriculum Design: Curriculum Guides; *Educational Resources; Elementary Secondary Education; *Folk Culture; *Instructional Materials; *Program Descriptions; Program Design; Program Development; Teaching Guides; Traditionalism IDENTIFIERS *Folk Art; *Folk Patterns ABSTRACT This compendium of resources is designed for use by teachers, art educators, museum staff, youth leaders, program planners, and folklorists. Organized in the following way, chapter 1, "Folk Arts in Education," provides an overview of the development of folk-arts-in-education programs; chapter 2, "Reports from the Field," contains short reports from indiv:duals who have developed or participated in a variety of folk-arts-in education projects and programs; chapter 3, "Resources," is a listing of individuals and organizations who cuuld provide professional assistance for folk arts programming; chapter 4, "Bibliography," includes entries chosen to give general overviews of folklore study and specific references to folklife in education; and chapter 5, "Glossary," contains a short list of folklife and education terms. The remaining portion of this handbook contains excerpts from a wide range of materials developed for folk-arts-in-education projects. These excerpts indicate the variety of formats, approaches, and curriculum models used in the development of some projects. Each section of excerpts has been prefaced itri a short description. (MM) kebroduclions supplied by LDRS are the bestthat .an be made from the original document.
    [Show full text]
  • The Wisdom of Anton Chekhov
    Copyright © 2010 by Walter G. Moss THE WISDOM OF ANTON CHEKHOV Table of Contents (with links) CHEKHOV‟S LIFE AND TIMES ................................................................................. 3 Chekhov‟s Early Years and the Women in His Life................................................... 5 Years of Transition, 1886-1891 .................................................................................. 7 The Melikhovo Years, 1892-1898, and Helping Others ........................................... 14 The Moscow Art Theater, Olga, and Yalta, 1898-1904 ........................................... 21 CHEKHOV AND WISDOM ........................................................................................ 29 Chekhov‟s Beliefs and Values .................................................................................. 32 Faith, Hope, and Despair .......................................................................................... 40 Literature, Realism, Comedy, and Tragedy .............................................................. 45 Isolation, Women, Love, Sex, and Marriage ............................................................ 53 Social and Political Views ........................................................................................ 60 Environmental Views................................................................................................ 67 CONCLUSION AND LEGACY .................................................................................. 71 2 THE WISDOM OF ANTON CHEKHOV In his novel
    [Show full text]
  • The Message of Love
    The Message of Love Dorothy Day The Catholic Worker, December 1950, 1, 2. Summary: A Christmas-time reflection on the state of the world torn by the Korean war and poverty in the midst of plenty in the United States. Points to the Gospel message of peace, love of enemies, and love of one another–“It is the only word for Christmas when love came down to the mire, to teach us that love.” Keywords: pacifism, conscientious objection (DDLW #617). We do not stand in high places like Joseph in Egypt, like Mordecai and Daniel, the advisers of Kings. We do not know the Stalins, the Churchills and the Trumans of this world and no one is waiting for our words on the great and weighty questions of the day as they wait on the words of these others to hear their fate. We would rather be like the Joseph who found a birthplace for Jesus in a stable, who fled into Egypt (at the bidding of an angel) and lived in a foreign land and was a d.p.[displaced person] and worked with his hands for his bread. Jesus Christ, Son of God, Maker of Heaven and Earth, lived for 33 years in an occupied country, Archbishop Byrnes said once. He didn’t lead any Underground movement. Of course, he said, “Render unto Caesar the things that are Caesar’s,” we have heard that often enough. But St. Hilary interprets that to mean that if we have little of Caesar we don’t have to render very much to him.
    [Show full text]
  • Raising Social Issues in the Short Stories of Anton Chekhov
    VOLUME-7, ISSUE-1, JANUARY-2018 • PRINT ISSN No 2277 - 8160 Original Research Paper English RAISING SOCIAL ISSUES IN THE SHORT STORIES OF ANTON CHEKHOV Research Scholar, University Dept. of English, L N Mithila University, Darbhanga, Rashmi Priya Bihar Prof (Dr) A K Research Supervisor, University Dept. of English, L N Mithila University, Darbhanga, Bachchan Bihar ABSTRACT Anton Chekhov started writing short stories in the form of anecdotes. He developed the technique of the stream of consciousness in his stories, later adopted by James Joyce, Virginia Woolf and many others. His stories show that no matter how meticulously we go through the characters, the human condition remains mysterious. Chekov was a practising doctor, an environmentalist, a researcher and a philanthropist. Many modern short story writers believe Chekhov to be the originator of the modern short story. Raymond Carver believed that Chekhov was the greatest of all short story writers. His stories deal with different shades of human psychology in different conditions. These stories include “Bet”, “The Lottery Ticket”, Lady with the Lapdog”, “Husband”, “Excellent People”, “Fat and Thin”. Chekhov's stories are as wonderful and signicant today as when they rst appeared. KEYWORDS : Anton Chekhov, Anecdotes, Consciousness, Realism In this era of literature short story has emerged as a prominent form creating a very special setting mostly prevalent in Russia and of storytelling. Its single and compact plot structure keeps reader dealing with major issues of the society through his stories. spellbound. Anton Pavlovich Chekhov (1860-1904) is known as the great specialist of the short story among all genres.
    [Show full text]
  • Ouramericanholid006232mbp.Pdf
    ur Hmerican CHRISTMAS OUR AMERICAN HOLIDAYS Edited by ROBERT HAVEN SCHAUFFLER AND OTHERS students SERIES of anthologies for the use of A and teachers in schools and colleges; consisting of the best verse, plays, stories, addresses, sped*! to the articles, orations, etc Applicable holidays listed as follows; ARBOR DAY April or My ARMISTICE DAY Nowmtosr nth CHRISTMAS Ite#m&*r *$th FLAG DAY GRADUATION DAY May INDEPENDENCE DAY Jvty LINCOLN'S BIRTHDAY . THE MAGIC OF BOOKS . * . Book*W**k THE MAGIC OF MUSIC , . * Mwic-W*** MEMORIAL DAY . , May $*th MOTHER'S DAY . .Second Sunday in May ROOSEVELT DAY October ajth HALLOWE'EN Octobtf }t*t THANKSGIVING . last Thursday in Nw*mb*r EASTER MarclAx April WASHINGTON'S BIRTHDAY . Mnwy **nd COLUMBUS DAY .October x*th DEMOCRACY DAYS PAN-AMERICAN DAY . April x4 th A complete catalogue of books particularly adapted for school assemblies and celebrations, for patri- otic and civic programs, for camps* dramatic dubi and graduation exercises, will be tent at your request CHRISTMAS ITS ORIGIN, CELEBRATION AND SIGNIFICANCE AS RE- LATED IN PROSE AND VERSE IT ROBERT HAVEN SCHAUFFLER NEW YORK DODD, MEAD AND COMPANY 1943 COPYRIGHT 1907 BT DOPD, MBAJ> & COMPANY PRINTED IK U. 8, A* CONTENTS PAGE PREFACE *,*,,,*., 1 INTRODUCTION iii I ORIGIN Is THERE A SANTA CLAVS? * . P. P. Church 3 LITTLE TOWN OF BETHLEHEM Phillips Brooks S THE GLAD EVANGEL . Kate Doughs Wiggin 7 THE SHEPHERDS , . William Drummond 8 A CHRISTMAS CAROL . , James Russell Lowell 9 A CHRISTMAS HYMN , * , . Alfred Domett xo SONS OF TH MORNING . , Reginald Heler 12 GOD REST YE, Msm GKNTLEMEN .
    [Show full text]
  • Journal of the Short Story in English, 51
    Journal of the Short Story in English Les Cahiers de la nouvelle 51 | Autumn 2008 Theatricality in the Short Story in English Electronic version URL: https://journals.openedition.org/jsse/883 ISSN: 1969-6108 Publisher Presses universitaires de Rennes Printed version Date of publication: 1 December 2008 ISSN: 0294-04442 Electronic reference Journal of the Short Story in English, 51 | Autumn 2008, “Theatricality in the Short Story in English” [Online], Online since 01 December 2011, connection on 09 August 2021. URL: https:// journals.openedition.org/jsse/883 This text was automatically generated on 9 August 2021. © All rights reserved 1 TABLE OF CONTENTS Foreword Laurent Lepaludier and Michelle Ryan-Sautour Part 1: Theatricality and the Short Story Theatricality in the Short Story: Staging the Word? Laurent Lepaludier Chekhov’s Legacy: the influence of the implicit and the dramatic effect Jacqueline Phillips Part 2: Theatricality and the Modernist Short Story Theatricality, Melodrama and Irony in Stephen Crane’s Short Fiction Martin Scofield Charades and Gossip: The Minimalist Theatre of Joyce’s Dubliners Valérie Bénéjam Staging Social and Political Spaces: Living Theatre in Joyce’s “The Dead” Rita Sakr The dramaturgy of voice in five modernist short fictions: Katherine Mansfield’s “The Canary”, “The Lady’s Maid” and “Late at Night”, Elizabeth Bowen’s “Oh! Madam…” and Virginia Woolf’s “The Evening Party” Anne Besnault-Levita "Wash" as Faulkner's Prose Tragedy Françoise Buisson Part 3: Theatricality and the Contemporary Short Story Behind
    [Show full text]
  • An Approach to Reevaluating and Understanding Chekhov in the Perspective of Theme, Motif, Symbol and Writing Style
    European Journal of English Language and Literature Studies Vol.7, No.2, pp.42-54, March 2019 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AN APPROACH TO REEVALUATING AND UNDERSTANDING CHEKHOV IN THE PERSPECTIVE OF THEME, MOTIF, SYMBOL AND WRITING STYLE K.M. Jubair Uddin Lecture in English, Faculty of Biological Sciences, University of Chittagong, Chittagong- 4331 Bangladesh Md. Khurshedul Alam (Corresponding Author) Lecturer in English, Faculty of Science, University of Chittagong, Chittagong- 4331, Bangladesh ABSTRACT: Anthon Chekhov can strikingly be marked out for his artistic ingenuity in composing his short stories imbued with cornucopia of ideas with pinpoint accuracy. He has amassed so many cutting edge ideas which represent the matter of opinions which can be often described as a sense of sentimental, emotive, equivocal, weird, funny, and even haunting and taunting . A gushing outlet of emotional intelligence and essence of life are found in Anthon Chekhov’s writing. Chekhovian short stories do not let the reader a solid message rather it caters to the readers to give room to extract the themes of the stories from abyss of twist and turn . Russian literature owes to Chekhov by large for he got the nerves of the Russian people and their turn of mind. His delineation of the characters is enshrouded in delicate touch and his dealings with the characters has an emollient tone. His experiential learning with the social maladies bounds him to present the scenario of decadent, corroding and worked-up society of Russia. His play with the word also contributes to the creation of the characterization more sharply and nicely.
    [Show full text]