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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
The Role of Irish-Language Film in Irish National Cinema Heather
Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall A Thesis in the PhD Humanities Program Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada August 2012 © Heather Macdougall, 2012 ABSTRACT Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall, Ph.D. Concordia University, 2012 This dissertation investigates the history of film production in the minority language of Irish Gaelic. The objective is to determine what this history reveals about the changing roles of both the national language and national cinema in Ireland. The study of Irish- language film provides an illustrative and significant example of the participation of a minority perspective within a small national cinema. It is also illustrates the potential role of cinema in language maintenance and revitalization. Research is focused on policies and practices of filmmaking, with additional consideration given to film distribution, exhibition, and reception. Furthermore, films are analysed based on the strategies used by filmmakers to integrate the traditional Irish language with the modern medium of film, as well as their motivations for doing so. Research methods included archival work, textual analysis, personal interviews, and review of scholarly, popular, and trade publications. Case studies are offered on three movements in Irish-language film. First, the Irish- language organization Gael Linn produced documentaries in the 1950s and 1960s that promoted a strongly nationalist version of Irish history while also exacerbating the view of Irish as a “private discourse” of nationalism. Second, independent filmmaker Bob Quinn operated in the Irish-speaking area of Connemara in the 1970s; his fiction films from that era situated the regional affiliations of the language within the national context. -
The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge. -
Music Generation Enters Phase Two
SPRING/SUMMER 2017 PROGRESS THROUGH PHILANTHROPY Music Generation Enters Phase Two WWW.IRELANDFUNDS.ORG At the heart of business in Ireland © 2016 KPMG, an Irish partnership 12 56 3 Message from the Chairman 24 Irish Wheelchair Association 5 Message from the Worldwide President & CEO 28 ReCreate 6 Your Philanthropic Impact - Thank You! 32 The Spectrum Centre 10 The Ireland Funds 2016 Flagship Grants 36 Gaisce 14 Music Generation 40 Inner City Enterprise 18 The Irish Film Institute 46 Anam Cara contents 22 Youth Initiatives connect 2016 | 1 48 The Ireland Funds Young Leaders - Membership Opportunities 50 The Ireland Funds Young Leaders – Global 5K 54 The Ireland Funds Golf Events 56 Events Around the World 56 100 The Ireland Funds Heritage Society 102 Board of Directors 104 Contacts Read Connect magazine online at www.irelandfunds.org 50 10 connect 2017 • 2 ConnectSPRING / SUMMER / 2017 Dear Fellow Donors, As I have the privilege of beginning my second term, I do so with great enthusiasm. In 2017 we continue to see economic improvements in Ireland, North and South. Unemployment is falling, new businesses are being created and a renewed sense of confidence is establishing itself after the ravages of the Great Recession. However, we cannot afford to overlook the considerable challenges Ireland, North and South, could face, not least as a result of Brexit. Despite the progress that has been made, many sectors of society remain untouched by the recovery and many others are still feeling the wounds of such a difficult period. To help strengthen society, the Irish not-for-profit sector plays a critical role. -
A Conversation About Costume with Edward Gordon Craig, Léon Bakst, and Pablo Picasso Annie Holt Independent Scholar
Mime Journal Volume 26 Action, Scene, and Voice: 21st-Century Article 8 Dialogues with Edward Gordon Craig 2-28-2017 Speaking Looks: A Conversation About Costume With Edward Gordon Craig, Léon Bakst, And Pablo Picasso Annie Holt independent scholar Follow this and additional works at: http://scholarship.claremont.edu/mimejournal Part of the Dance Commons, Other Theatre and Performance Studies Commons, and the Theatre History Commons Recommended Citation Holt, Annie (2017) "Speaking Looks: A Conversation About Costume With Edward Gordon Craig, Léon Bakst, And Pablo Picasso," Mime Journal: Vol. 26, Article 8. DOI: 10.5642/mimejournal.20172601.08 Available at: http://scholarship.claremont.edu/mimejournal/vol26/iss1/8 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Mime Journal by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. ACTION, SCENE, AND VOICE: 21ST-CENTURY DIALOGUES WITH EDWARD GORDON CRAIG 46 scholarship.claremont.edu/mimejournal • Mime Journal February 2017. pp. 46–60. ISSN 2327–5650 online Speaking Looks: A Conversation about Costume with Edward Gordon Craig, Léon Bakst, and Pablo Picasso Annie Holt Edward Gordon Craig perceived a vast difference between his design work and the design of the famous Ballets Russeshe called the Ballets Russes designs “unimportant” and “trash.”1 Many early theater historians followed Craig’s lead in framing them as opposing schools of scenography, focusing on their differences in dimensionality. The Ballets Russes designers, made up almost exclusively of painters, are often considered “the gorgeous sunset of scene-painting” in the two-dimensional baroque tradition, typified by the painted canvas backdrop, whereas Craig’s “artist of the theatre” innovatively used three- dimensional objects such as architectural columns or stairs (Laver, “Continental Designers,” 20). -
ETD Template
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt “The World Goes One Way and We Go Another”: Movement, Migration, and Myths of Irish Cinema by Dana C. Och B.A. in English, University of Pittsburgh, 1996 M.A. in English, University of Pittsburgh, 1999 Submitted to the Graduate Faculty of Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Dana C. Och It was defended on 8-31-06 and approved by Dr. Nancy Condee Dr. Adam Lowenstein Dr. Colin MacCabe Dr. Marcia Landy Dissertation Director ii Copyright © by Dana C. Och 2006 iii “The World Goes One Way and We Go Another”: Movement, Migration and Myths of Irish Cinema Dana C. Och, Ph.D. University of Pittsburgh, 2006 The dissertation considers Irish films through the valence of movement and migration to conceptualize a cinema that can account for how films function locally and transnationally. I consider various forms of migration in films produced in Ireland to interrogate how identity and the nation are presented. Considering forms of migration opens a different approach to the films that enables questioning of the myths of the nation-state within globalized capital and culture. In Ireland, the land has given shape to the physical boundaries of imagined identity; land is understood as a material trace denoting a linear history of invasion, conquest, and ultimately independence – an evolution from colonial oppression to postcolonial identity. -
Gordon Craig's Production of "Hamlet" at the Moscow Art Theatre Author(S): Kaoru Osanai and Andrew T
Gordon Craig's Production of "Hamlet" at the Moscow Art Theatre Author(s): Kaoru Osanai and Andrew T. Tsubaki Reviewed work(s): Source: Educational Theatre Journal, Vol. 20, No. 4 (Dec., 1968), pp. 586-593 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/3205002 . Accessed: 01/02/2013 18:58 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Educational Theatre Journal. http://www.jstor.org This content downloaded on Fri, 1 Feb 2013 18:58:37 PM All use subject to JSTOR Terms and Conditions THEATRE KAORU OSANAI ARRHIVES Gordon Craig's Production of Hamlet at the Moscowz Art Theatre Translated with an Introduction by ANDREW T. TSUBAKI The Hamlet production at the Moscow Art Theatre staged by Edward Gordon Craig and Konstantin Sergeivich Stanislavsky was without doubt one of the major works Craig left to us, and moreover was an important production in the history of modern theatre. Despite its significance, no substantial description of the production is available in English. A memoir prepared by Kaoru Osanai (i881-1928) fills this vital gap, providing helpful details which are much needed. -
Directory of Local Studies Articles and Book Chapters in Dún Laoghaire
Directory of Local Studies Articles and Book Chapters in Dún Laoghaire-Rathdown Compiled by: Nigel Curtin, Local Studies Librarian, dlr Library Service This publication lists articles, book chapters and websites published on subjects relating to the county of Dún Laoghaire-Rathdown. It is based primarily on material available in dlr Libraries Local Studies Collection. It does not represent an exhaustive listing but should be considered as a snapshot of material identified by the Local Studies Librarian from 2014 to 2021. Its purpose is to assist the researcher in identifying topics of interest from these resources in the Collection. A wide ranging list of monographs on the topics covered in the Directory can also be found by searching dlr Libraries online catalogue at https://libraries.dlrcoco.ie/ Directory of Local Studies Articles and Book Chapters in Dún Laoghaire-Rathdown dlr Local Studies, 5th Floor dlr LexIcon, Haigh Terrace, First published 2021 by Dún Laoghaire-Rathdown County Council Moran Park, Dún Laoghaire, Co. Dublin E: [email protected] T: 01 280 1147 Compiled by Nigel Curtin W: https://libraries.dlrcoco.ie ISBN 978-0-9956091-3-6 Book and cover design by Olivia Hearne, Concept 2 Print Printed and bound by Concept 2 Print dlrlibraries @dlr_libraries Libraries.dlr https://bit.ly/3up3Cy0 3 Contents PAGE Journal Articles 5 Book Chapters 307 Web Published 391 Reports, Archival Material, 485 Unpublished Papers, Manuscripts, etc. Temporary bridge over Marine Road, Kingstown, 31 August 1906. The bridge connected Town Hall with the Pavilion on the occasion of the Atlantic 3 Fleet Ball. 5 Directory of Dún Laoghaire-Rathdown Local Studies YEAR BOOK TITLE CHAPTER or reference AUTHOR WEBLINKS or notes Journal Articles Bullock Harbour, 1860s. -
Papers of Micheál Mac Liammóir
Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 117 PAPERS OF MICHEÁL MAC LIAMMÓIR (MSS 41,246-41,340) Papers of the actor, stage designer, theatre director and author, Micheál Mac Liammóir, of the Gate Theatre, Dublin, which he founded with his partner, Hilton Edwards, in 1928. The collection comprises playscripts, essays, records of business, and personal and professional correspondence. Compiled by Máire Ní Chonalláin, 2005 Contents Introduction 5 Micheál Mac Liammóir 5 Provenance 5 Content and Structure 5 I Literary and autobiographical works by Mac Liammóir 7 I.i Scripts 7 I.i.1 Dancing Shadow 7 I.i.2 Diarmuid and Gráinne 7 I.i.3 Full Moon for the Bride 7 I.i.4 Gertie the Ghost of the Gate 7 I.i.5 Home for Christmas (or the Grand Tour) : a Masquerade 8 I.i.6 I Must be Talking to my Friends 8 I.i.7 Ill Met by Moonlight 8 I.i.8 The Importance of Being Oscar 9 I.i.9 Juliet in the Rain 10 I.i.10 The Mountains Look Different 11 I.i.11 Pageant of St. Patrick 11 I.i.12 Portrait of Miriam 12 I.i.13 Prelude in Kazbek Street 12 I.i.14 A Slipper for the Moon 12 I.i.15 The Speckledy Shawl 13 I.i.16 Talking about Yeats 13 I.i.17 Where Stars Walk 14 I.ii Autobiographical material 15 I.ii.1 All for Hecuba 15 I.ii.2 Actors in Two Lights / Aisteoiri faoi Dhá Sholas 15 I.iii Works in Irish 15 I.iv Miscellaneous writings 15 II Diaries and miscellaneous personal papers 16 III Works by others 17 III.i Adaptations of novels and other genres 17 III.ii Plays by others 18 IV Correspondence 19 IV.i Abbey Theatre and the National Theatre Society 19 IV.ii Ballets by Mac Liammóir 20 IV.iii Ballintubber Abbey 750 years celebrations 20 IV.iv Birthday cards: 70th birthday celebrations 21 2 IV.v “Bookings (and things concerning them)” 21 IV.v.1 Agents 21 IV.v.2 Theatre bookings 21 IV.v.3 Booking of actors 22 IV.vi British Council 22 IV.vii Broadcasting 22 IV.vii.1 A.B.C. -
A.J. [Con] Leventhal
--- -- -- A. J. LEVENTHAL 1896- 19'79 Dublin scholar, wit and man of letters Edited by Eoin O'Brien Published by %$ THE CON LEVENTHAL SCHOLARSHIP COMMITTEE %$ THE DR. A.J. (CON) LEVENTHAL SCHOLARSHIP Con Leventhal died in Paris in 1979. Two years later a group of his friends came together in' Dublin to consider how best to commemorate his erudi- tion, charm and literary influence. It was resolved to establish a scholarship that would enable a graduate student in English or Modern Languages of Trinity College, Dublin.to study in Europe. Con's friends and literary asso- ciates, and academic institutes at home and abroad contributed generously to the sch~larshipfund and to the scholarship auction in the Samuel Beckett Rooms in Trinity College on March 15th, 1984. The first scholarship will be awarded in the academic year 1984-5. THE SCHOLARSHIP COMMITTEE Secretary: Dr. Eoin O'Brien Treasurer: Prof. Barbara Wright 9, Clifton Terrace, Dean of the Faculty of Monkstown, Arts (Letters) Co. Dublin. Trinity College Dublin. Jacob Weingreen Gerald Davis Samuel Beckett John Jay Niall Sheridan Bernard Moss Niall Montgomery K.W.J. Adams Anne Woolfson DesirCe Hay ter Marion Leigh Anne Madden Thomas N.F. Murtagh Marcella Senior Colin Simon Brian Coyle ' Francis Barry Hassia Jameson Harden J ay Martha Fehsenfeld THE A J. LEVENTHAL SCHOLARSHIP AUCTION will be held in THE SAMUEL BECKETT ROOMS TRINITY COLLEGE DUBLIN on Thursday 15th March 1984 at 8.15 p.m. On view wedriesday and Thursday, 14th and 15th 12 midday to 6 p.m. (Catalogue p. 32) THE WRITINGS OF A. -
THE THEATRE the Russian Theatre Represents Various Forms of the Western Theatre with Something of Its Own Besides
CHAPTER VIII THE THEATRE THE Russian theatre represents various forms of the Western theatre with something of its own besides. The conventional theatre and the progressive theatre, crude The Theatre. melodrama and the finest symbolism are all here. There is dull aping of Western fashions, and there is also an extraordinary acute sense of the theatre as a problem. The problem is stated and faced with characteristic Russian frankness and thoroughness. The remotest possibilities of dramatic art are taken into con- sideration, including the possibility that the theatre in its present form may have outlived its time and Should be superseded. Western plays and players quickly find their way to Russia and, indeed, translated plays constitute the bull< of the Russian theatrical rkpertoire. All kinds of Western innovations are eagerly discussed and readily adopted, and at the same time in various odd corners in the capitals stale and obsolete theatrical forms stubbornly hold their own. Both the best and the worst sides of the theatre are to be found in Russia. The dullness and shallowness of theatrical routine are most obviously and oppressingly dull and shallow. But over against this is the openness of mind, the keenness of intelligence, the energy and persistence in inquiry and experiment that place the Russian theatre in the vanguard of the modern theatrical movement. And the progressive spirit is steadily gaining ground ; theatrical conventionalism is losing its self-confidence, is beginning to doubt of itself. There are no fixed new standards, except that things must be done as well and intelligently as possible, and the old standards are drifting into oblivion. -
Siobhán Mckenna Mckenna, Siobhán (1922–86), Actor and Theatre Director, Was Born 24 May 1922 at 28 St James's Park, Off the Falls Road, Belfast, Co
Siobhán McKenna McKenna, Siobhán (1922–86), actor and theatre director, was born 24 May 1922 at 28 St James's Park, off the Falls Road, Belfast, Co. Antrim, the second daughter of Margaret (Gretta) O'Reilly from Loch Gamhna, Co. Longford, and her husband, Eoghan McKenna (b. Millstreet, Co. Cork, 1892) lecturer in mathematical physics atthe Municipal College of Technology, Belfast. McKenna and her elder sister, Nancy (b. 1919), received their early schooling at the Dominican convent, Falls Road,Belfast. In 1928 Eoghan McKenna moved his family to Fort Eyre at Shantalla, Co.Galway, when he was appointed lecturer (later professor) in mathematical sciences at UCG. Irish was the language of the McKenna household. Siobhán Ní Mhainín from Ballyferriter, Co. Kerry, lived with the family while studying for her degree in Irish. McKenna also became fluent in Connemara Irish. Her formal education, at Dominican College, Taylor's Hill, Co. Galway, was interrupted by a year's confinement to bed with glandular fever. She then enrolled at the boarding school of the St Louis Sisters at Monaghan, where she developed her love of drama. While still a university student, at UCG, McKenna acted leading roles at the Taidhbhearc, Galway's Irish-language theatre, playing in the Irish version of Evans and Valentine's Tons of money (‘Dalladh airgid’) in March 1941, in Jean-Jacques Bernard's LeNational Six (‘Ar an mBóthar Mór’, translated by Professor Liam Ó Briain and in her own translation of J. M. Barrie's Mary Rose. She played in an Irish version of Eugene O'Neill's The Emperor Jones and in two plays by Sean O'Casey , ‘Shadow of a gunman’ and ‘The plough and the stars’.