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Tom Weston-Jones
TOM WESTON-JONES Film includes: Captain America RAF Pilot Joe Johnston Marvel Enterprises Television includes: Warrior Richard Lee Jonathan Tropper Cinemax Troy Hector Owen Harris Kudos The Terror Lt Graham Gore Edward Berger AMC Dickensian Meriwether Harry Bradbeer Red Planet Not Safe For Work Anthony Kieron Hawke Quite Scary Films Copper Kevin Corcoran Tom Fontana Cineflix World Without End Merthin Michael Caton-Jones Tandem Productions Spooks Sasha Allrich Riley Kudos Nightwatch Jack Brown Richard Laxton BBC Theatre includes: Merchant of Venice Bassanio Rupert Goold Almeida Theatre Co Enlightenment Adam Ed Hall Hampstead Theatre Translations Doalty Roger Haines The Tobacco Factory Someone Who'll Watch Over Me Adam Hannah Drake Alma Theatre, Bristole The Country Wife Horner Jenny Stephens Old Vic Main Stage The Good Companions Inigo Jolifant Sue Wilson Bristol Old Vic Studio Theatre whilst in training includes: Pornography 4 Gemma Fairlie BOVTS The Beaux Stratagem Squire Sullen Andrew Hilton BOVTS Bluebird Richard Sonia Fraser BOVTS Measure for Measure Angelo Dick Tuckey BOVTS Three Sisters Vershinin Dan Bird BOVTS One Flew Over the Cuckoo's Nest R.P. McMurphy Poppy Corbett Royal Holloway Angels in America Joe Pitt Alistair Nargate Royal Holloway A Streetcar Named Desire Stanley Tom Pinam Royal Holloway Training: Bristol Old Vic Other Skills include: Stage Combat: BADC Level 1 (Distinction) BADC Level Advanced (Gold) Dance: Jazz, Tap, Basic ballet, Period Dance Sport: Basketball, iceskating, Roller blading, rugby, football, surfing, tennis. Singing: Baritone Music: Strong guitar, Bongo, Saxophone. Tom Weston-Jones 1 Markham Froggatt & Irwin Limited Registered Office: Bank Gallery, High Street, Kenilworth, Warwickshire, CV8 1LY Registered in England No. -
HJR 23.1 Sadoff
38 The Henry James Review Appeals to Incalculability: Sex, Costume Drama, and The Golden Bowl By Dianne F. Sadoff, Miami University Sex is the last taboo in film. —Catherine Breillat Today’s “meat movie” is tomorrow’s blockbuster. —Carol J. Clover When it was released in May 2001, James Ivory’s film of Henry James’s final masterpiece, The Golden Bowl, received decidedly mixed reviews. Kevin Thomas calls it a “triumph”; Stephen Holden, “handsome, faithful, and intelligent” yet “emotionally distanced.” Given the successful—if not blockbuster—run of 1990s James movies—Jane Campion’s The Portrait of a Lady (1996), Agniezka Holland’s Washington Square (1997), and Iain Softley’s The Wings of the Dove (1997)—the reviewers, as well as the fans, must have anticipated praising The Golden Bowl. Yet the film opened in “selected cities,” as the New York Times movie ads noted; after New York and Los Angeles, it showed in university towns and large urban areas but not “at a theater near you” or at “theaters everywhere.” Never mind, however, for the Merchant Ivory film never intended to be popular with the masses. Seeking a middlebrow audience of upper-middle-class spectators and generally intelligent filmgoers, The Golden Bowl aimed to portray an English cultural heritage attractive to Anglo-bibliophiles. James’s faux British novel, however, is paradoxically peopled with foreigners: American upwardly mobile usurpers, an impoverished Italian prince, and a social-climbing but shabby ex- New York yentl. Yet James’s ironic portrait of this expatriate culture, whose characters seek only to imitate their Brit betters—if not in terms of wealth and luxury, at least in social charm and importance—failed to seem relevant to viewers The Henry James Review 23 (2002): 38–52. -
HTC AIC Program
Season 2012 AN INSPECTOR CALLS HTC Artspace Exhibition This year the Artspace celebrates the 60th Anniversary of the Heidelberg Theatre Company, featuring archival posters, programmes, photos and newspaper articles, mapping the history of the theatre and highlighting the wonderful plays presented over the years - as well as a display of interesting and beautiful costumes on the Mezzanine. The display, including costumes, for our first play this year has attracted great interest and comment The display for our second play of 2012 covers the third decade of the Company, the 1970s. These documents have been collected by various members of the theatre over many years and we thank them for being aware of the importance of preserving our history. We hope you enjoy the journey with us through the sixty memorable years of Heidelberg Theatre Company HEIDELBERG THEATRE COMPANY (HTC) BOOKINGS 03 9457 4117 ENQUIRIES 03 9455 3039 EMAIL [email protected] WEB www.htc.org.au HTC is a member of the Victorian Drama League. HTC acknowledges financial assistance from the City of Banyule. 2 HEIDELBERG THEATRE COMPANY 3 May - 193 May 2012 About the author J.B. Priestley was born in Bradford, in England’s industrial midlands. He left school at age sixteen to work for a local wool merchant, and in 1914 enlisted in the army. In his subsequent writing, Priestley often drew on his wartime experiences and memories of pre-war England. In 1919, Priestley spent three years at Cambridge, taking honours in English literature, modern history, and political science. As a fiction writer, he became a household name with ‘The Good Companions’ (1929), a comic novel about an itinerant group of music-hall entertainers that sold almost a million copies in hardcover. -
Patrick Deer, New York University British Cinema and Middlebrow Culture in the Interwar Years. by Lawrence Napper. Exeter: Un
158 THE SPACE BETWEEN “violence” and “trauma” would have benefited from the kind of subheadings offered for “war.” The lack of index entries on “militarism,” “militarization,” and the “military industrial complex” reveals a need for greater clarity about the political economy of twentieth-century warfare, despite the editors’ and contributors’ references to the massive—and continuing—shadow cast by modern war economies on literature and culture. The omission of an index entry for “Anti-americanism” may also be revealing of Rawlinson and Pi- ette’s ambivalence towards the exact place of the US and its war machine in their transatlantic study. Given the sheer richness of the range of critics and theorists cited in the footnotes to the volume, the Companion would have benefited from their inclusion in the index, which tends to be tilted towards primary texts. This could, of course, be rectified in an expanded online index, had the editors world enough and time. Overall this is a superb and invaluable resource, which will repay repeated reading and consultation. ---Patrick Deer, New York University British Cinema and Middlebrow Culture in the Interwar Years. By Lawrence Napper. Exeter: University of Exeter Press, 2009. 250 pp. $85.00 cloth. As snapshots of Britain’s twentieth-century cultural history go, the image of the interwar petit-bourgeois commuter trundling home on the “tube” to the new suburbs on London’s periphery, nose in a Penguin paperback, conjures little that is malevolent or threatening. For the intelligentsia of the period, however, both the cultural tastes and modes of living of those in the ”middle” represented a minatory development: this was the wasteland of modernity manifest. -
An Inspector Calls Is Recommended for the Artistic Team Students in Grade 8 Director……………………….JIM MEZON and Higher
An Inspector by J.B. Priestley Calls ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 Who’s Who 5 The Playwright 6-7 Director’s Notes 8 Designer’s Notes 9 Production History 10 World of the Play 11-15 Did You Know? 16 Say What? 17 Sources 18 Activities 18-29 Response Sheet 30 THE SHAW STORY MANDATE The Shaw Festival is the only theatre in the world which exclusively focuses on plays by Bernard Shaw and his contemporaries, including plays written or about the period of Shaw’s lifetime (1856 – 1950). The Shaw Festival’s mandate also includes: • Uncovered Gems – digging up undiscovered theatrical treasures, or plays which were considered major works when they were written but which have since been unjustly neglected • American Classics – we continue to celebrate the best of American theatre • Musicals – rarely-performed musical treats from the period of our mandate are re- discovered and returned to the stage WHAT MAKES • Canadian Work – to allow us to hear and promote our own stories, our own points SHAW SPECIAL of view about the mandate period. MEET THE COMPANY — OUR ENSEMBLE • Our Actors: All Shaw performers contribute to the sense of ensemble, much like the players in an orchestra. Often, smaller parts are played by actors who are leading performers in their own right, but in our “orchestra,” they support the central action helping to create a density of experiences that are both subtle and informative. • Our Designers: Every production that graces the Shaw Festival stages is built “from scratch,” from an original design. -
{PDF EPUB} the Good Companions by JB Priestley
Read Ebook {PDF EPUB} The Good Companions by J.B. Priestley The Good Companions by J.B. Priestley. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 65682c596d4f8474 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. The Good Companions by J.B. Priestley. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. -
Inspector Calls (LUCY)
2 A RESOURCE PACK FOR TEACHERS CONTENTS A USER’S GUIDE 4 1. PAST, PRESENT AND FUTURE i. Time and the Birlings 5 ii. The Social Context: 1912 and 1945 9 iii. The Social Context: The Play Today 11 iv. Political Play or Propaganda? 13 2. PRODUCING PRIESTLEY’S PLAY i. Frequently Asked Questions 15 ii. Who is the Inspector? 19 iii. Exploring Theatricality 21 iv. Film Facts 24 3. BEHIND THE SCENES i. In Rehearsal 25 ii. Collaborative Theatre 26 iii. Tricks of the Trade 28 iv. The Secret of Success 30 4. PRACTICAL APPROACHES 31 5. SELECTED FURTHER READING 39 Written for The Magenta Partnership by Kim Greengrass ©1999 3 SECTION ONE ~ Read the outlines of three of J.B.Priestley’s other dramatic works before considering the following questions. o? Can you find any important similarities between the summaries of Priestley’s CTIVITY other plays and An Inspector Calls? A o? How do the theories of time presented in these plays influence your W understanding of An Inspector Calls? P AST ? SHO o Use Sheila’s remark that “If it didn’t end tragically, then that’s lucky for us. But - it might have done.” (An Inspector Calls p. 70) as the starting point for a E , PRESENT collection of quotations from the play about alternative realities or what might PR have been. o? Can you think of other stage plays, films or books which explore concepts of time? (eg. the films Sliding Doors, Back to the Future etc) Do these present a similar view of time to that in Priestley’s work? AND FUTURE 1. -
Playing the Role of Inspector Goole in an Inspector Calls by J.B
PLAYING THE ROLE OF INSPECTOR GOOLE IN AN INSPECTOR CALLS BY J.B. PRIESTLEY By Andrew Bailes SUPERVISORY COMMITTEE: PROF. RALF REMSHARDT, CHAIR PROF. TIM ALTMEYER, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF FLORIDA 2012 © 2012 Andrew Bailes 2 “No man is an island.” −John Donne 3 ACKNOWLEDGEMENTS I would like to thank David Young for his wisdom and humor. I would like to thank Charlie Mitchell for being a terrific coach and Tim Altmeyer for teaching me ownership. Thanks to Kathy Sarra for providing me with a new body, to Tiza Garland for making it powerful, and to Yanci Bukovec for giving it a rich voice. Also, thanks to Ralf Remshardt for his insight. Finally, infinite love and appreciation to Elle Bailes for her continuous support and trust. 4 TABLE OF CONTENTS ACKNOWLEDGEMENTS…………………………………………………………………….....4 ABSTRACT……………………………………………………………………………………….6 CHAPTER 1. INTRODUCTION...……………………………………………………………………7 2. TEXTUAL ANALYSIS THE PLAY………………………………………………………………………..9 THE PLAYWRIGHT……………………………………………………………12 CONTEXT……………………………………………………………………….13 3. THE PROCESS CHARACTERIZATION………………………………………………………...16 VOCAL EXPLORATIONS……………………………………………………...18 PHYSICAL EXPLORATIONS………………………………………………….19 4. THE PRODUCTION PERFORMANCE………………………………………………………………..22 SELF-EVALUATION…………………………………………………………...24 5. CONCLUSION………………………………………………………………………..26 WORKS CITED…………………………………………………………………………………27 APPENDICES APPENDIX A – PRODUCTION PROGRAM APPENDIX B – PRODUCTION PHOTOS APPENDIX C – CHARACTER ANALYSIS BIOGRAPHICAL SKETCH…………………………………………………………………….45 5 Abstract of Project in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts PLAYING THE ROLE OF INSPECTOR GOOLE IN AN INSPECTOR CALLS BY J.B. -
Read Ebook {PDF EPUB} Victoria's Heyday by J.B. Priestley Victoria's Heyday by J.B
Read Ebook {PDF EPUB} Victoria's Heyday by J.B. Priestley Victoria's Heyday by J.B. Priestley. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660d1f96a8de2bdd • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Bibliography. 1931 The Good Companions (adaption with Edward Knoblock) 1932 Dangerous Corner 1933 The Roundabout 1934 Laburnum Grove 1934 Eden End 1935 Duet in Floodlight 1936 Cornelius 1936 Spring Tide (with George Billam) 1936 Bees on the Boatdeck 1937 Time and the Conways 1937 Mystery at Greenfingers 1937 I Have Been Here Before 1937 People at Sea 1938 Music at Night (published 1947) 1938 When We Are Married 1939 Johnson Over Jordan 1940 The Long Mirror (published 1947) 1942 Good Night Children 1944 They Came to a City 1944 Desert Highway 1945 How Are They at Home? 1946 Ever Since Paradise 1947 An Inspector Calls 1947 The Rose and Crown 1948 The Linden Tree 1948 The Golden Fleece 1948 The High Toby (for Toy Theatre) 1949 The Olympians (opera, music by Arthur Bliss) 1949 Home is Tomorrow 1950 Summer Day’s Dream 1950 Bright Shadow 1952 Dragon’s Mouth (with Jacquetta Hawkes) 1953 Treasure on Pelican 1953 Try It Again 1953 Private Rooms 1953 Mother’s Day 1954 A Glass of Bitter 1955 Mr Kettle and Mrs Moon 1956 Take the Fool Away 1958 The Glass Cage 1963 The Pavilion of Masks 1964 A Severed Head (with Iris Murdoch) 1974 The White Countess (with Jacquetta Hawkes) FICTION. -
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C
ANNOUNCEMENT from the Copyright Office, Library of Congress, Washington, D.C. 20559-6000 PUBLICATION OF FIFTH LIST OF NOTICES OF INTENT TO ENFORCE COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT. COPYRIGHT RESTORATION OF WORKS IN ACCORDANCE WITH THE URUGUAY ROUND AGREEMENTS ACT; LIST IDENTIFYING COPYRIGHTS RESTORED UNDER THE URUGUAY ROUND AGREEMENTS ACT FOR WHICH NOTICES OF INTENT TO ENFORCE RESTORED COPYRIGHTS WERE FILED IN THE COPYRIGHT OFFICE. The following excerpt is taken from Volume 62, Number 163 of the Federal Register for Friday, August 22,1997 (p. 443424854) SUPPLEMENTARY INFORMATION: the work is from a country with which LIBRARY OF CONGRESS the United States did not have copyright I. Background relations at the time of the work's Copyright Off ice publication); and The Uruguay Round General (3) Has at least one author (or in the 37 CFR Chapter II Agreement on Tariffs and Trade and the case of sound recordings, rightholder) Uruguay Round Agreements Act who was, at the time the work was [Docket No. RM 97-3A] (URAA) (Pub. L. 103-465; 108 Stat. 4809 created, a national or domiciliary of an Copyright Restoration of Works in (1994)) provide for the restoration of eligible country. If the work was Accordance With the Uruguay Round copyright in certain works that were in published, it must have been first Agreements Act; List Identifying the public domain in the United States. published in an eligible country and not Copyrights Restored Under the Under section 104.4 of title 17 of the published in the United States within 30 Uruguay Round Agreements Act for United States Code as provided by the days of first publication. -
JB Priestley
CHARLES PARKHURST RARE BOOKS & AUTOGRAPHS PRESENTS J. B. PRIESTLEY A COLLECTION J. B. Priestley (13 September 1894 – 14 August 1984) Charles Parkhurst Rare Books & Autographs 7079 East 5th Avenue Scottsdale, AZ 85251 480.947.3358 fax- 480.947.4563 [email protected] www.parkhurstrarebooks.com All items are subject to prior sale. We accept Visa, Mastercard, Amex, Discover, Check, Wire Transfer, Bank Check or Money Orders in US Funds. Personal checks must clear prior to shipment. Prices are net. Institutions billed. Shipping and insurance are extra and will be billed at cost according to customer's shipping preference with tracking availability. For approximate shipping cost by weight, destination and approximate travel time please contact us. All items sent on approval and have a ten day return privilege. Please notify us prior to returning. All returns must be properly packaged and insured. All items must be returned in same condition as sent. J.B. Priestley 1894-1984. Author, novelist, playwright, essayist, broadcaster, scriptwriter, social commentator and man of letters whose career straddles the 20th century. LOST EMPIRES. London: Heinemann, (1965). First edition. 308 pp., bound in brown cloth spine lettering silver, near fine in unclipped very good dust jacket showing minor wear. FESTIVAL AT FARBRIDGE. Melbourne: William Heinemann, Ltd., (1951). First Australian edition. 593 pp., bound in red cloth, spine lettering black, near fine in very good unclipped pictorial dust jacket by Eric Fraser with a minor wear to head and a touch of red bleed through from cloth and a couple of small closed edge tears to rear panel. THE CARFITT CRISES ad two other stories. -
Crest Theatre Collection Inventory
Crest Theatre Collection Inventory 33 boxes and 13 scrapbooks Box #1: Production Photographs – 61 items Richard of Bordeaux, Jan. 5-16, 1954 (1) The Philadelphia Story, Jan. 19-30, 1954 (8) The Light of Heart, Feb.2-13, 1954 (7) Lord Arthur Saville’s Crime, Feb. 16-27, 1954 (10) Miss Julie, March 2-13, 1954 (7) Sorry, Wrong Number, March 2-13, 1954 (4) Escapade, March 16-April 13, 1954 (9) Murder in the Cathedral, April 6-17, 1954 (10) 5 unidentified production photographs Box #2: Production Photographs – 53 items Dream Girl, April 12-May 1, 1954 (7) Haste to the Wedding, May 4-15, 1954 (10) The Little Hut, May 18-29, 1954 (8) Amphitryon 38, June 1-12, 1954 (9) A Jig for the Gypsy, Sept. 14-25, 1954 (5) The Man Who Came to Dinner, Sept.28-Oct. 9, 1954 (9) The Living Room, Oct. 12-23, 1954 (5) Box #3: Production Photographs – 59 items Charley’s Aunt, Oct. 26-Nov.13, 1954 (8) The Confidential Clerk, Nov.16-27, 1954 (9) The Lady from Edinburgh, Nov. 30-Dec.11, 1954 (9) Christmas in the Market place, Dec.14-25, 1954 (5) Beauty and the Beast, Dec. 28, 1954-Jan.15, 1955 (9) Twelfth Night, Jan.18-29, 1955 (10) The Biggest Thief in Town, Feb.1-12, 1955 (9) Box #4: Production Photographs – 51 items Marching Song, Feb.15-26, 1955 (8) Diary of a Scoundrel, Mar.1-12, 1955 (8) Crest Theatre Collection Inventory Page 2 of 26 Meeting at Night, Mar.15-26, 1955 (8) The Prisoner, March 29-April 9, 1955 (8) When We Are Married, April 12-23, 1955 (11) The Gift of the Serpent, May3-14, 1955 (8) Box #5: Production Photographs – 53 items Hay Fever, May 17-28, 1955 (8) They Know What They Wanted, Sept.20-, 1955 (10) The Fourposter, Oct.11-, 1955 (10) Othello, Oct.25-, 1955 (6) Hunting Stuart, Nov.22-, 1955 (10) An Inspector Calls, Dec.28-, 1955 (9) Box #6: Production Photographs – 55 items You Never Can Tell, Jan.10-, 1956 (11) The Rainmaker, Jan.24-, 1956 (8) School for Scandal, Feb.