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Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
What Are They Doing There? : William Geoffrey Gehman Lehigh University
Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context .................................. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
First Folio Teacher Curriculum Guide
First Folio Teacher Curriculum Guide Titus Andronicus by William Shakespeare directed by Gale Edwards April 3—May 20, 2007 First Folio: Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production ofTitus Andronicus A Brief History of the Audience…………………….1 by William Shakespeare! About the Playwright Each season, the Shakespeare Theatre Company On William Shakespeare…………………………………3 presents five plays by William Shakespeare and Elizabethan England……………………………………….4 other classic playwrights. The mission of all Shakespeare’s Works……………………………………….5 Education Department programs is to deepen Shakespeare’s Verse and Prose……………………..7 understanding, appreciation and connection to A Timeline of Western World Events…….……..9 classic theatre in learners of all ages. One approach is the publication of First Folio: Teacher About the Play Curriculum Guides. Synopsis of Titus Andronicus……………….…..….10 For the 2006•07 season, the Education Romans, Goths and Moors: Who’s Who in Department will publishFirst Folio: Teacher Titus Andronicus. ………………………..….….……...…11 Curriculum Guides for our productions ofAn Vengeance Is Mine: Revenge Tragedies in Enemy of the People, The Beaux’ Stratagem, Shakespeare’s Time…………….…...………………..…13 Richard III and Titus Andronicus. First Folio Blood and Gore: Staging Violence Then and Guides provide information and activities to help Now…………………………………………………………..……14 students form a personal connection to the play Code of Honor in Titus Andronicus….…….…16 before attending the production at the Shakespeare’s Symbolism……………………………17 Shakespeare Theatre Company. First Folio Guides contain material about the playwrights, their Classroom Connections world and the plays they penned. Also included Before the Performance…………………….………..18 are approaches to explore the plays and · Create a Vice Character productions in the classroom before and after · Costume Design the performance. -
The World of Noël Coward MORE from the ARCHIVES NOËL
HOME CHAT The World Of Noël Coward NOËL COWARD AT CARNFORTH AND THE UK BIRTHDAY EVENTS ALAN FARLEY DOMINIC VLASTO introduces the broadcasts of the renowned West Coast Radio Arts Host. PRIVATE LIVES and RELATIVE VALUES Reviews of the recent Coward revivals that still ‘raise the bar’ for audiences everywhere. MORE FROM THE ARCHIVES The best of the sepia-tinted media world of Noël Coward in the 1930s PHOTO: Ann Harding and Noël Coward making their way through the crowd at the Annual Theatrical Garden Party 1936 A MAGAZINE ABOUT THE LIFE AND WORK OF SIR NOËL COWARD •AUGUST 2013 Editorial CONTENTS Welcome and a huge thank you to everyone that has sent us material for our archive pages. We have not been Editorial 2 able to include even a fraction of all the material we have received so please forgive us if you chosen item Forthcoming Events 3 has not made the cut this time, as golfers I think say! There is always next time and the next... Smalhythe 4 At the moment I am working through all that is required for the exhibition at Carnforth Station that starts in October with a Private Lives 5 planned day of talks and films about Noël Coward, Brief Encounter and its theatre forbear Still Life. Relative Values 6 This year’s UK Coward events include our AGM at The Noël Coward Theatre and the Annual Luncheon at the Grand Saloon at the Theatre Michael Law - Easy to Love 7 Royal, Drury Lane. The cabaret for the lunch will be perfvormed by Helen McDermot and Adrian Wright accompanied by Annette Jude. -
Heartbreak House, 1959: a Fantasia in What Manner?
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2014-09-23 Heartbreak House, 1959: A Fantasia in What Manner? MacWhirter, Kristal MacWhirter, K. (2014). Heartbreak House, 1959: A Fantasia in What Manner? (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26345 http://hdl.handle.net/11023/1781 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Heartbreak House, 1959 A Fantasia in What Manner? by Kristal L. MacWhirter A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DRAMA CALGARY, ALBERTA SEPTEMBER, 2014 © Kristal L. MacWhirter 2014 Abstract This thesis is a reconstruction of the 1959 Broadway production of G. Bernard Shaw’s play Heartbreak House. The first chapter examines the world in 1959. The second chapter consists of biographies of those involved in the production. The third chapter describes the action of the play and analyzes the reasons for the directorial, design, and acting choices. The fourth and final chapter gives the critical response to the play. The paper questions whether or not the vision of the director was realized by the cast and crew, and understood by the audience. -
Stage by Stage South Bank: 1976 – 1987
Stage by Stage South Bank: 1976 – 1987 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Peter Hall. Photograph by Zoë Dominic. 1976 £2.35 for a voucher guaranteeing a seat, 28 February: the last night of the NT at the which must be swapped for a ticket before the Old Vic – a single performance of Val May’s performance. The scheme proves unpopular documentary about Lilian Baylis, Tribute to the and by December the following year has been Lady, with Peggy Ashcroft as the Lady. dropped. The cost of the new building is by now put at Ralph Richardson inaugurates Ralph’s Rocket, £16 million. ‘Like many a luxury… it may well which is fired before every NT first night. ‘I love turn out to have been a bargain. …Anything fireworks,’ he says, ‘they’re so unnecessary’. comparable, begun today, would cost from (The practice is discontinued later when £25m to £40m.’ (The Economist). terrorist alerts make it inadvisable). It is clear that the Cottesloe will be the last The work at first known as ‘NT Extras’ starts, of the three new theatres to open, and short under Associate Director Michael Kustow. seasons of ‘studio’ work are staged at the ICA The first Platform Performance is staged and Young Vic Theatres. -
Film in the Language Arts Class. Developments in Classroom
DOCUMENT RESUME ED 130 330. CS 203 047 AUTHOR Aquino, John TITLE Film in the Language Arts Class. Developmentsin Classroom Instruction. INSTITUTION National Education Association, Washington,D.C. PUB DATE 77 NOTE 53p. AVAILABLE FROM NEA Order Department, The Academic Building,Saw Mill Road, West Haven, Connecticut 06516 (Stock No. 1811-7-00, $2.50 paper, $5.00 cloth) EDRS PRICE MF-$0.83 Plus Postage. HC Not Available fromEDRS. DESCRIPTORS Film Criticism; *Films; Film Study; *LanguageArts; *Literature Appreciation; Secondary Education; Teaching Methods ABSTRACT In this booklet, the author discusses theways in which film may be used to extend and enrichthe study of literature and explores the rhetoric of film--how ituses visual symbols, similes, and other metaphors to give depthto its content, and how it can broaden characterization and emphasize the symbolic and aesthetic highlights of setting in sequences that last.onlyseconds. Topics of chapters are film and literature, films to extendor compare with works of literature, films as illustrations ofliterary techniques, and films instead of novels. A list of references,an annotated filmography, and a bibliographyare included. (JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from othersources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, itemsof marginal * * reproducibility are often encountered and this affectsthe quality * * of the microfiche and hardcopy reproductions ERIC makesavailable * * 7ia the ERIC Document Reproduction Service (EDRS).EDRS is not * responsible for the quality of the original document.Reproductions * * supplied by EDRS are the best that can be made fromthe original. * *********************************************************************** IN THE LANGUAGE ARTS CLASS PE RMISbION TO REPRODUCE THIS COPYRIGHTED MATERIAL BY MICRO. -
SHAKESPEARE's DIALOGIC STAGE : TOWARDS a POETICS of PERFORMANCE By
SHAKESPEARE'S DIALOGIC STAGE : TOWARDS A POETICS OF PERFORMANCE by WINIFRED MARIA JONES A thesis submitted to the Faculty of Arts of The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute The University of Birmingham March 1999 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Shakespearian performance scholarship is arguably looking for a methodology that can integrate the study of performative work with critical analysis and theory. As an intervention in this discussion, I propose a poetics of performance, a term intended as a playful appropriation of Stephen Greenblatt's poetics of culture but one that restores the central omission of actual performance to his study of Renaissance subjectivity in dramatic texts. This is a systematic study of four plays, The Taming of the Shrew, The Merchant of Venice, Hamlet and Richard II in productions on stage and screen between 1927-1995, arranged diachronically and in dialogic pairings (drawing on 'Bakhtinian thought'). Utilising Greenblatt's discussion of cultural exchange and symbolic acquisition, and restoring Greenblatt's omission of diachronic 'appropriation', I consider the reception of the performative work, drawing attention to interpretative patterns, and enquire into the structuring historical contingency of the Renaissance locus. -
Engaging and Evading the Bard: Shakespeare, Nationalism, And
Engaging and Evading the Bard: Shakespeare, Nationalism, and British Theatrical Modernism, 1900-1964 by Charles Joseph Del Dotto Department of English Duke University Date:_______________________ Approved: ___________________________ John M. Clum, Supervisor ___________________________ Sarah Beckwith ___________________________ Toril Moi ___________________________ Michael Valdez Moses ___________________________ Maureen Quilligan Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Engaging and Evading the Bard: Shakespeare, Nationalism, and British Theatrical Modernism, 1900-1964 by Charles Joseph Del Dotto Department of English Duke University Date:_______________________ Approved: ___________________________ John M. Clum, Supervisor ___________________________ Sarah Beckwith ___________________________ Toril Moi ___________________________ Michael Valdez Moses ___________________________ Maureen Quilligan An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Charles Joseph Del Dotto 2010 Abstract Engaging and Evading the Bard is about British theatrical modernism and its ambivalent relationship to Shakespeare. The conventional narrative of early twentieth- century British theater and drama situates their rise within the broad European context of Continental artistic developments, such as the rise of Henrik Ibsen. Examining the work of George Bernard Shaw, T. S. Eliot, W. H. Auden, and Peter Brook, this dissertation argues that the inauguration of a specifically British theater, theatricality, and dramatic movement in the modernist period is absolutely contingent on a turn to Shakespeare, the icon par excellence of British drama, British culture, British identity, British history, and British power. -
Twelfth Night" for May Hollingworth Ot the Inda Pendent
The Best Way t o Mel bourne The new Sydney-Melbourne Daylight Express provides the best way to travel to Melbourne. • Comf o1•t: Relaxing in your adjustable seat in an artistic, air-conditioned car, you see the varied scenery through wide-vision windows as the express speeds smoothly behind its fast and powerful diesel electric locomotive. • Convenience : You leave Sydney at 7.45 a.m. (Monday, Wednesday or Friday) and arrive in Melbourne 13½hours later. Services from Melbourne are on Tuesdays, Thursdays and Saturdays. Excellent meals and refreshments are obtainable in the buffet-diner car. Seat reserv ations can be made up to two months in advance of travel. 'i • Econo1ny: Jwi l-ffH NIGH1 Fares (including seat reserva by tions) are: 1st Class 2nd Class l Single, £6 I 0 £4 11 6 WILLIAM SHAKESPEARE Return, £9 17 0 £7 6 0 • Safety: The Rail Way is the Safe Way. COMM ISSIONER FOR RAILWAYS / The Austr alian Elizabethan Theatre Trust PATRO HER MAJESTY THE QUEEN PRESJDENT ........................The Rt. Hon. S1r John Latham, G.C.M.G., Q.C . ••••••••••••••••••• CHAI RM A .....................................................................................................Dr. H. C. Coomhs EXECUTIVE DIRECTOR ..........•..........•....•........................................................Hugh Hunt So EASY to play .. ADMINISTRATIVE OFFICER ...........................................................................James Mill s HO . SECRETARY .............................................................................................Maurice Park~r BOARD F THE AUSTRALIA DRJ\M.'\ COMP A Y: Mr. Warwick Fairfax, Chairman Mr. Frank J. Mc Kenna, C.B.E. Mr. C. J. A. Mo .es, C.B.E. Mr. Rupe1 t Murdoch Mr. Clive Ogilvy Professor Keith McCartney The purpose of the Au stralian Drama Company is to form a continuing theatrical company similar in its aims to the Old Vic and to the Comedie Francaise, with its artists drawn principally from Austr alia, though from time to time it is hoped to welcome guest artists from overseas. -
Vinyl Records Inventory
Title + Volume Artist/Author publisher Recording Catalog LC number Box number date/Copyrigh Number t date Winfield Winfield Carillon 1 Townley Scott Townley Scott records reads from his own works WORDS FOR Theodore Folkways 1 THE WIND Roethke records John Crowe John Crowe Carillon 1 Ransom reads Ransom records from his own works Ezra Pound Ezra Pound Caedmon 1 reading his poetry Poetas Juan Peñalver 1 Españoles De Garcia Lorca A nuestros dias Juno and The Sean O’Casey Caedmon 1 Paycock Siobhan Mckenna Cyril Cusack Marianne Marianne Carillon 1 Moore reads Moore records from her own works Monuments of Caedmo 1 Early English n Drama Volume one: the wellsprings of drama Death of a Arthur Miller Decca 1 Salesman Arthur Miller Arthur Miller Spoken 1 speaking on and arts reading from “The Crucible” and “Death of a Salesman” John Masefield, John Spoken 1 O.M. reads “The Masefield arts Story of Ossian” The Tragical Christopher Caedmo 1 History of the Life Marlowe n and Death of Doctor Faustus Louis MacNeice Louis Argo 1 reads selected MacNeice poems Louis MacNeice Louis Carillon 1 reads from his own MacNeice records works Robert Lowell Robert Lowell Carillon 1 reads from his own Records works Stanley Kunitz Stanley Kunitz Carillon 1 reads from his own Records works Poems of Lorca, F.G Folkway 1 FEDERICO s GARCIA LORCA Records The four Kennedy- John F. The 1 Nixon debates Kennedy Spoken Word Richards M. Inc. Nixon Ulysses Siobhan Caedmo 1 Soliloquies of McKenna n Molly and Leopold Bloom James Joyce Meeting of the FOLKW 1 James Joyce AYS Society