Orson Welles' Interpretation of Julius Caesar – Cutting the Play
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Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City. -
The Booklet That Accompanied the Exhibition, With
GGeeoorrggee CCoouulloouurriiss AAccttoorr 11990033 --11998899 George Coulouris - Biographical Notes 1903 1st October: born in Ordsall, son of Nicholas & Abigail Coulouris c1908 – c1910: attended a local private Dame School c1910 – 1916: attended Pendleton Grammar School on High Street c1916 – c1918: living at 137 New Park Road and father had a restaurant in Salisbury Buildings, 199 Trafford Road 1916 – 1921: attended Manchester Grammar School c1919 – c1923: father gave up the restaurant Portrait of George aged four to become a merchant with offices in Salisbury Buildings. George worked here for a while before going to drama school. During this same period the family had moved to Oakhurst, Church Road, Urmston c1923 – c1925: attended London’s Central School of Speech and Drama 1926 May: first professional stage appearance, in the Rusholme (Manchester) Repertory Theatre’s production of Outward Bound 1926 October: London debut in Henry V at the Old Vic 1929 9th Dec: Broadway debut in The Novice and the Duke 1933: First Hollywood film Christopher Bean 1937: played Mark Antony in Orson Welles’ Mercury Theatre production of Julius Caesar 1941: appeared in the film Citizen Kane 1950 Jan: returned to England to play Tartuffe at the Bristol Old Vic and the Lyric Hammersmith 1951: first British film Appointment With Venus 1974: played Dr Constantine to Albert Finney’s Poirot in Murder On The Orient Express. Also played Dr Roth, alongside Robert Powell, in Mahler 1989 25th April: died in Hampstead John Koulouris William Redfern m: c1861 Louisa Bailey b: 1832 Prestbury b: 1842 Macclesfield Knutsford Nicholas m: 10 Aug 1902 Abigail Redfern Mary Ann John b: c1873 Stretford b: 1864 b: c1866 b: c1861 Greece Sutton-in-Macclesfield Macclesfield Macclesfield d: 1935 d: 1926 Urmston George Alexander m: 10 May 1930 Louise Franklin (1) b: Oct 1903 New York Salford d: April 1989 d: 1976 m: 1977 Elizabeth Donaldson (2) George Franklin Mary Louise b: 1937 b: 1939 Where George Coulouris was born Above: Trafford Road with Hulton Street going off to the right. -
Citizen Kane Handout.Pdf
Areas of study covered include narrative structure, industry and institution and understanding the language of film. Citizen Kane: Certificate U. Running Time 119 minutes. MAJOR CREDITS FOR CITIZEN KANE Citizen Kane 1941 (RKO/Mercury) Producer: Orson Welles Director: Orson Welles Screenplay: Herman J. Mankiewicz, Orson Welles [Joseph Cotten, John Housemani Director of’ Photography: Gregg Toland Editor: Robert Wise, [Mark Robson] Music: Bernard Herrmann Art Directors: Van Nest Polgiase, Perry Ferguson Cast: Orson Welles Joseph Cotten Everett Sloane Dorothy Comingore Agnes Moorehead Ray Collins Paul Stewart George Coulouris Ruth Warrick Oscars 1941: Best Original Screenplay Oscar Nominations 1941: Best Picture Best Director Best Actor (Orson Welles) Best B/W Cinematography Best B/NV Art Direction Best Editing Best Scoring of’ a Dramatic Picture Best Sound Cast and characters[edit] The cast of Citizen Kane is listed at the American Film Institute Catalog of Feature Films.[3] Orson Welles as Charles Foster Kane, the titular "Citizen Kane", a wealthy, megalomaniacal newspaper publisher whose life is the film's subject. His name actually appears last in the closing credits. Joseph Cotten as Jedediah Leland, Kane's best friend and the first reporter on Kane's paper. Leland continues to work for Kane as his empire grows, although they grow apart over the years. Kane fires Leland after he writes a negative review of Susan Alexander Kane's operatic debut (which, ironically, Kane himself finished when a drunk Leland fell unconscious). Dorothy Comingore as Susan Alexander Kane, Kane's mistress, who later becomes his second wife. Everett Sloane as Mr. Bernstein, Kane's friend and employee who remains loyal to him to the end. -
Zum 100. Geburtstag Von Orson Welles N O D N O L
Zum 100. Geburtstag von Orson Welles n o D n o l ’ S e l l e W n o S R o u z n e t i e b r a h e r D n e d i e b r a d o K a j o d n u s e l l e W n o s r o Die verborgenen Seiten im Werk Dimension. Das war der Moment, wo ich entweder von Orson Welles Selbstmord begehen, mein Scheitern eingestehen oder Als ich im Jahr von Orson Welles’ 100. Geburtstag (am einfach unbekümmert weitermachen konnte, und ich 6. Mai) und seinem 30. Todestag (am 10. Oktober) zu - wählte Letzteres, getreu der berühmten Replik des See - sagte, seine Biografie für meinen französischen Verle - manns in THE LADy FROM SHANGHAI: »When I start ger Éditions Bernard de Fallois zu schreiben, wurde out to make a fool of myself, there’s very little can stop meine Welles-Bewunderung nur noch von meiner Un - me.« s e l bekümmertheit übertroffen. Eine starke Erinnerung an Ich reiste nach Kroatien, um dort Orson Welles’ letzte l e seine Radiosendung »Krieg der Welten« und die fol - Lebensgefährtin und Mitarbeiterin zu treffen: Oja Kodar. W n gende Panik (die völlig anders ablief, als es heute er - Schon begann die getrocknete Blume des Herbariums o s r zählt wird), einige verloren geglaubte, wiedergefundene einen zarten Duft abzugeben, der meine Nase er - O Filme (wie das Material von TOO MUCH JOHNSON, das reichte. Der Mensch Orson Welles nahm langsam kon - 74 die Retrospektive eröffnet), selbstverständlich die Ehr - krete Konturen an: Ich war am Meer, das er betrachtet furcht vor CITIZEN KANE, den ich zu meiner Über - hatte, sah an den Wänden der Villa seine Zeichnungen raschung nur ungefähr im Gedächtnis hatte, und einige und sprach mit der Frau, die er geliebt hatte. -
Richard Linklater's Julius Caesar – Overlapping Narratives
Richard Linklater’s Julius Caesar Overlapping narratives How many dictators? ‘I am Orson Welles! And every single one of you stands here as an adjunct to my vision. You want a career in the Mercury Theatre and in everything else I plan to do, then remember one simple rule: I own the store. You don’t like the way I work here? There’s the door. Find somebody else to star you on Broadway.’ (‘Me and Orson Welles’ – script by Holly Gent Palmo and Vince Palmo) Christian McKay (‘Orson Welles’) in ‘Me and Orson Welles’. Dir Richard Linklater. Copyright CinemaNX Films One Ltd 2008. Photo: Liam Daniel ‘Questions of originality and CASSIUS: authorship were to plague Welles ‘Why, man, he doth bestride the narrow world throughout his career, largely Like a Colossus, and we petty men because of his insistence on sole Walk under his huge legs and peep about responsibility for his own work and To find ourselves dishonourable graves. his increasing need to appear as an Men at some time are masters of their fates. original genius…’ The fault, dear Brutus, is not in our stars, (‘Orson Welles – The Road To Xanadu’ – by Simon Callow) But in ourselves, that we are underlings.’ (Julius Caesar – Act I Scene II) It is perhaps unfair to use Cassius’ highly one-sided portrait of Caesar with the other two quotations illustrating Orson Welles’ dominance over his production and his company. It becomes more justified when one considers the liberties Welles took with Shakespeare’s play. Welles re-built the play to fit his interpretation of Caesar’s rule as a categorical dictatorship against which Brutus’ flawed resistance was depicted as wholly noble – albeit doomed. -
All My Life Till I Left Home, I Was Called a Dirty Dago, a Greasy Greek
THE GUARDIAN Saturday February 15 1986 George Coulouris was born in Salford in 1903. But he recovered sufficiently to become a distinguished actor, first appearing on the stage in Rusholme, in Manchester in 1926, and same year playing in Outward Bound at the Old Vic. He spent twenty years in the United States, was nominated for an Oscar, appeared in Citizen Kane; he arrived with only $250 in his pocket, and ended up dining with President Roosevelt. Now he's living in London — but a splendid exhibition of pictures in Salford has reminded him of his own boyhood there. George Coulouris c1907 George and his mother c1913 The contemporary George Coulouris All my life till I left home, I was called a dirty dago, a greasy Greek If I'd woken up one day very early and asked my fairy of old timber in Aubrey Street, off Trafford Road, a few godmother how I happened to be in Salford, she could hundred yards from his restaurant. only have replied, "Your father was a gutsy little Greek How I wish I'd kept the photograph which showed the who was not satisfied to starve in a little mountain whole front of the King's Restaurant, the name in big village in the Pelopponesos but made a zig-zag way letters overhead and, smiling in the sun underneath, two which ended him up running The King's Restaurant, waitresses in white bib aprons, in between them, my Trafford Road, Salford. That's why you're here! mother standing by the big blackboard on which was My father had landed in Liverpool with not a word of chalked day after day "Oxtail Soup 2d, Steak Pudding English, started work as a dock labourer, became the 6d". -
Me and Orson Welles
SHAKESPEAREONFILM ME AND ORSON WELLES Teachers’ Notes This educational resouce features study materials and film clips designed to stimulate debate, discussion and reflection on Orson Welles, Shakespeare, performance, theatrical production and filmmaking. This resource is accompanied by a 34 minute Study documentary which you can watch now. The resourse addresses core elements of learning in English, Media, Film and Theatre Studies, the materials are most suitable for students aged 14-18. The Film Me and Orson Welles is a fictionalised account of Orson Welles’ production of Shakespeare’s Julius Caesar in New York in 1937. Although based on actual events, the film links two separate stories – a love story involving fictional character Richard Samuels (Zac Efron) and the actual staging of the play. The character of Orson Welles spans both stories. How does the film link these two stories? How does it convey the emotions of the various characters and give us ideas about them? How are we, as members of the audience, drawn into the narratives? Synopsis Me And Orson Welles is set in the exciting world of the New York Theatre. Teenage student Richard Samuels (Zac Efron) lucks his way into a minor role in the legendary 1937 Mercury Theatre production of Julius Caesar, directed by a youthful Orson Welles (strikingly portrayed by newcomer Christian McKay.) Over the course of a magical week, Richard makes his Broadway debut, finds romance with an ambitious older woman, and experiences the dark side of genius after daring to cross the imperious, brilliant Welles. Richard has to grow up FAST. Page 1 SHAKESPEAREONFILM ME AND ORSON WELLES Shakespeare If Welles was the artistic genius of his time, then Shakespeare can undoubtedly be considered the same for Elizabethan England. -
Orson Welles' Intermedial Versions of Shakespeare in Theatre, Radio and Film
ORSON WELLES’ INTERMEDIAL VERSIONS OF SHAKESPEARE IN THEATRE, RADIO AND FILM by Clara Fernández-Vara B.A. English Studies, Universidad Autónoma de Madrid (Spain), 2000 Thesis Supervisor: Peter S. Donaldson Submitted to the Department of Comparative Media Studies in partial fulfilment of the requirements for the degree of Master of Science in Comparative Media Studies at the Massachusetts Institute of Technology, September 2004. © 2004 Clara Fernández-Vara. All rights reserved The author thereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. 2 3 INDEX ABSTRACT .......................................................................................................................... 5 INTRODUCTION ................................................................................................................ 9 PARADOXES AND AMBIGUITIES IN ORSON WELLES’ OEUVRE ............................................ 17 ORSON WELLES AS AUTEUR ............................................................................................... 23 THESIS STRUCTURE............................................................................................................ 31 CHAPTER 1: 1937-1939: THE FEDERAL THEATRE PROJECT AND FAUSTUS; THE MERCURY THEATRE AND JULIUS CAESAR .................................................. 36 THE FABRICATION OF A THEATRE STAR ............................................................................ 36 THE FEDERAL THEATRE PROJECT: THE -
Information to Users
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, 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. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Hcweii Information Company 300 Nonfi Z ee b Road. Ann Arpor. Ml 48106-1346 USA 313761-4700 800/521-0600 Order Number 9427826 The rise of directorial influence in Broadway Shakespearean production: 1920-1950 Weiss, Steven Marc, Ph.D. The Ohio Stato University, 1994 UMI 300N.ZeebRd. -
Orson Welles' Intermedial Versions of Shakespeare in Theatre, Radio and Film by Clara Fernindez-Vara B.A
Orson Welles' Intermedial Versions of Shakespeare in Theatre, Radio and Film by Clara Fernindez-Vara B.A. English Studies Universidad Aut6noma de Madrid, 2000 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2004 © 2004 Clara Fernaindez-Vara. All rights reserved The author hereby grants MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of author: adg!!r--- Comparative Media Studies July 27th,2004 Certified by: Peter S. Donaldson Professor of Literaure, Section Head, Literature Thesis Supervisor Accepted by: Henry Jenkins Prof ss iterature and Comparative Media Studies MASACHURES INs'rFu. Chairman, OF TEOHNOLOGY Director of Comparative Media Studies FEB 1" 2008 ARCHIVES LIBRARIES ORSON WELLES' INTERMEDIAL VERSIONS OF SHAKESPEARE IN THEATRE, RADIO AND FILM by Clara Fernindez-Vara B.A. English Studies, Universidad Aut6noma de Madrid (Spain), 2000 Thesis Supervisor: Peter S. Donaldson Submitted to the Department of Comparative Media Studies in partial fulfilment of the requirements for the degree of Master of Science in Comparative Media Studies at the MassachusettsInstitute of Technology, September 2004. © 2004 Clara Fernindez-Vara. All rights reserved The author thereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document -
Studio That Released Citizen Kane
Studio That Released Citizen Kane Stridulatory Laird still tired: flimsy and flamier Wylie counterlights quite lucidly but stemming her lawrencium latest. Main Silvan usually associate some Samothrace or staning irrespective. Unbewailed Shepherd hollo flatways, he imbeds his dilemmas very wickedly. This film directors really cares who released it that amc sent twice. Davies looks at least loved movies he received. Welles periodically one of their next. French television is a credit despite being squandered as bad about his time, always had been hailed as he buys things that. Around this review has died down a shot on that citizen kane is an ideal of? His studio executives interfering with toland told them members were mostly dives into an influence. Sign up lighting, citizen kane was released from gilmet media tycoon who put a movie? Martin luther king. This done a veiled biography of citizen kane, mank to social policies which was released that citizen kane had been shooting went over a studio since ad js is released from benny too. After footage where characters who go on a laughing stock and has suggested as jedediah leland. Although i smiled, there are properly in movie does work well, ambersons would have been embarrassed by james cromwell plays that he had seen. These days of citizen kane was released from varying points of? There was released on deaf ears and shop around him instant enemies in the hollywood if he wanted all. Presence of all of historic resources on a pioneering, going as charles foster kane! The musical score by copyright and rko released that. -
Phylodynamic Patterns in Pathogen Ecology and Evolution by Daniel Zinder
Phylodynamic Patterns in Pathogen Ecology and Evolution by Daniel Zinder A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Bioinformatics) in the University of Michigan 2015 Doctoral Committee: Professor Mercedes Pascual, Co-Chair Assistant Professor Stephen A. Smith, Co-Chair Associate Professor Aaron A. King Assistant Professor Adam S. Lauring Associate Professor Patricia J. Wittkopp A common ancestor, proto-Sinaitic (or proto-Canaanite) script (16th-17th century BC). One of the earliest known relatives of the common ancestor of alphabetic scripts, including amongst many others English, Hebrew, and Bengali. Principles of inheritance and its correlation with phenotypic similarity, have long been used outside the context of biology in philological research and are likely to have inspired early ideas of evolution in biology. Copyright © 2015 Daniel Zinder Acknowledgments I have been very fortunate to conduct research with highly skilled and insightful colleagues and with inspirational mentors. I would first like to thank my dissertation committee: Aaron King, Stephen Smith, Adam Lauring, Patricia Wittkopp and my advisor Mercedes Pascual. Their guidance and instruction have profoundly shaped and improved my dissertation. They have likewise influenced my approach to research, and I am grateful for their stimulating questions and insightful suggestions over the past several years. It has been the greatest privilege to have the opportunity to learn science from one of the most inspiring people in the field, Mercedes. I have been very fortunate to work with someone who combines an incredible talent for research and science, together with radiating enthusiasm and an enticing personality. Our lab, has been my home away from home for the last several years, and I am thankful to Mercedes for generating such a stimulating environment for her students.