Travesties: the Debate on Art and the Function of the Artist…….…...2
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Liana De Camarqo Leão Âk£ MA D, T994
Liana de Camarqo Leão METAVISION& ENTRANCES AND EXífS IN TOM Âk£ MA D, Dissertação apresentada ao Curso de Pós-Graduação em Literaturas de Língua Inglesa, do Setor de Ciências Humanas, Letras e Artes da Universidade Federal do Paraná, para a obtenção do grau dc Mestre cm Letras. Orientador: Proí1. Dr\ Anna Stegh Camati. t994 ACKNOWLEDGMENTS >1 man had need have sound ears to hear himseíffranifij criticised; and as títere are feu' who can endure to hear it without ùeing nett fed, those who hazard the undertaking of it to us manifest a singular effect of friendship; for 'tis . to (ove siticerehj indeed, to venture to wound and off end us, for our ou>ngood. (Montaigne) First of all, I would like to acknowledge the enlightening, patient and constructive guidance I have received, throughout my graduate studies, from my advisor, Dr. Anna Stegh Camati. I also wish to thank the generous commentaries and suggestions of Dr. Thomas Beebee from Pennsylvania State University and Dr. Graham Huggan from Harvard University. I am extremely grateful to Dr. David Shephard, and to my colleague Cristiane Busato, who patiently revised parts of this dissertation. Finally, my affection and gratitude to my husband, Luiz Otávio Leáo, for his support in providing free time for me to study. iii TADLE OF CONTENTS ABSTRACT vi ; RESUMO viii 1 INTRODUCTION: Till« CIUTICO' ANXllfiTY" FOH TOM STOPPARD'B ORIGINALrrY 1 2 THE FRAMEWORK OF ROSENCRANTZ AND OUILDENSTERN ARE DEAD: STOPPARJD'S VISION OF REALITY AS SET OF INTERCHANGEABLE FRAMES 20 3 TWO PRUFROCKEAN SHAKESPEARE CHARACTERS IN SEARCH OF GODOT 50 3.1 ELIOT'S INFLUENCE: A HUNDRED INDECISIONS BEFORE DYING 64 3.2 PIRANDELLO'S INFLUENCE: TWO CHARACTERS IN SEARCH OF THEMSELVES 58 3.3 BECKETT'S INFLUENCE: WAITING FOR A PLOT... -
William and Mary Theatre Main Stage Productions
WILLIAM AND MARY THEATRE MAIN STAGE PRODUCTIONS 1926-1927 1934-1935 1941-1942 The Goose Hangs High The Ghosts of Windsor Park Gas Light Arms and the Man Family Portrait 1927-1928 The Romantic Age The School for Husbands You and I The Jealous Wife Hedda Gabler Outward Bound 1935-1936 1942-1943 1928-1929 The Unattainable Thunder Rock The Enemy The Lying Valet The Male Animal The Taming of the Shrew The Cradle Song *Bach to Methuselah, Part I Candida Twelfth Night *Man of Destiny Squaring the Circle 1929-1930 1936-1937 The Mollusc Squaring the Circle 1943-1944 Anna Christie Death Takes a Holiday Papa is All Twelfth Night The Gondoliers The Patriots The Royal Family A Trip to Scarborough Tartuffe Noah Candida 1930-1931 Vergilian Pageant 1937-1938 1944-1945 The Importance of Being Earnest The Night of January Sixteenth Quality Street Just Suppose First Lady Juno and the Paycock The Merchant of Venice The Mikado Volpone Enter Madame Liliom Private Lives 1931-1932 1938-1939 1945-1946 Sun-Up Post Road Pygmalion Berkeley Square RUR Murder in the Cathedral John Ferguson The Pirates of Penzance Ladies in Retirement As You Like It Dear Brutus Too Many Husbands 1932-1933 1939-1940 1946-1947 Outward Bound The Inspector General Arsenic and Old Lace Holiday Kind Lady Arms and the Man The Recruiting Officer Our Town The Comedy of Errors Much Ado About Nothing Hay Fever Joan of Lorraine 1933-1934 1940-1941 1947-1948 Quality Street You Can’t Take It with You The Skin of Our Teeth Hotel Universe Night Must Fall Blithe Spirit The Swan Mary of Scotland MacBeth -
Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles. -
A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2002 A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays. Bonny Ball Copenhaver East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Copenhaver, Bonny Ball, "A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays." (2002). Electronic Theses and Dissertations. Paper 632. https://dc.etsu.edu/etd/632 This Dissertation - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays A dissertation presented to the Faculty of the Department of Educational Leadership and Policy Analysis East Tennessee State University In partial fulfillment of the requirements for the degree Doctor of Education in Educational Leadership and Policy Analysis by Bonny Ball Copenhaver May 2002 Dr. W. Hal Knight, Chair Dr. Jack Branscomb Dr. Nancy Dishner Dr. Russell West Keywords: Gender Roles, Feminism, Modernism, Postmodernism, American Theatre, Robbins, Glaspell, O'Neill, Miller, Williams, Hansbury, Kennedy, Wasserstein, Shange, Wilson, Mamet, Vogel ABSTRACT The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays by Bonny Ball Copenhaver The purpose of this study was to describe how gender was portrayed and to determine how gender roles were depicted and defined in a selection of Modern and Postmodern American plays. -
Waiting for Godot and Rosencrantz and Guildenstern Are Dead Axel KRUSI;
SYDNEY STUDIES Tragicomedy and Tragic Burlesque: Waiting for Godot and Rosencrantz and Guildenstern are Dead AxEL KRUSI; When Rosencrantz and Guildenstern are Dead appeared at the .Old Vic theatre' in 1967, there was some suspicion that lack of literary value was one reason for the play's success. These doubts are repeated in the revised 1969 edition of John Russell Taylor's standard survey of recent British drama. The view in The Angry Theatre is that Stoppard lacks individuality, and that Rosencrantz and Guildenstern are Dead is a pale imitation of the theatre of the absurd, wrillen in "brisk, informal prose", and with a vision of character and life which seems "a very small mouse to emerge from such an imposing mountain".l In contrast, Jumpers was received with considerable critical approval. Jumpers and Osborne's A Sense of Detachment and Storey's Life Class might seem to be evidence that in the past few years the new British drama has reached maturity as a tradition of dramatic forms aitd dramatic conventions which exist as a pattern of meaningful relationships between plays and audiences in particular theatres.2 Jumpers includes a group of philosophical acrobats, and in style and meaning seems to be an improved version of Stoppard's trans· lation of Beckett's theatre of the absurd into the terms of the conversation about the death of tragedy between the Player and Rosencrantz: Player Why, we grow rusty and you catch us at the very point of decadence-by this time tomorrow we might have forgotten every thing we ever knew. -
New Play Festival
New Play Festival January 16th, 2021 DRIVE BY DEBORAH YARCHUN Winner of Neukom Institute Literary Arts Award for Playwriting issued by the Neukom Institute for Computational Science at Dartmouth College Directed by Michael Legg Production Stage Manager Assistant Stage Manager Assistant Director/Dramaturg *Brian R. Sekinger Jacqueline Pageau Sam West CAST *Larry Bull .............................................................................................Arthur *Johanna Day ......................................................................................Arlene *Nehassaiu deGannes .........................................................................Gloria Jayla McDonald .................................................................................Ainsley *Allison Jean White ....................................................................................Jo *CJ Wilson ............................................................................................... Cliff Songs composed by Hannah Fairchild Special Thanks to the Neukom Institute, Dan Rockmore, and the Department of Theater at Dartmouth College. NEW WORKS NOW is made possible by the BOLD Theater Women’s Leadership Circle and the Helen Gurley Brown Foundation. Season Underwriter New Works Now Sponsors * Member of Actor’s Equity Association, the Union of Professional Actors and Stage Managers in the United States. ABOUT THE COMPANY LARRY BULL (Arthur) is delighted to be making his NS debut in Drive. Broadway: Linda Vista - Second Stage; The Coast of Utopia - Lincoln -
United States Theatre Programs Collection O-016
http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 [email protected] URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in -
The Writer and Director
The writer and director Specific learning outcomes Students will: • understand the process of developing this script. • examine how a scene in the play has been developed by the director. • understand the writer’s purpose in developing this play • understand and be able to describe the features of Stoppard’s writing • identify key ideas in the play. [These learning outcomes relate to the Communication and Interpreting in Drama (CI) and Understanding Drama in Context (UC) strands in The Arts in the New Zealand Curriculum.] Tom Stoppard “If I wanted to change the world, the last thing I would do is write a play.” Tom Stoppard Tom Stoppard was born Tomas Straussler on 3 July 1937 in Zlín, Czech Republic. Stoppard’s father, Eugene Straussler, was a company physician whose Czech company sent the family to a branch factory in Singapore in 1938/39. After the Japanese invasion, his father stayed on and was killed in a prisoner of war camp, but Mrs Straussler and her two sons escaped to India, where she married a British officer, Kenneth Stoppard, in 1946. At the age of nine, Tom and his family went to live in England. Tom Stoppard (he assumed his stepfather’s surname) quit school at the age of 17 and started his career as a journalist in Bristol. He began to write plays in 1960 after moving to London. Travesties: The writer and director, page 1 Accessed from The Arts/Ngā Toi materials, www.tki.org.nz/r/arts/drama/travesties Stoppard’s bibliography of plays, radio dramas and film scripts is extensive. -
Hamlet West End Announcement
FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer. -
This Production Is Made Possible by the Generosity of Peter House & Carol Childs. Busy Direct
PRESS CONTACT: Nancy Richards – 917-‐873-‐6389 (cell)/[email protected] MEDIA PAGE: www.northcoastrep.orG/press PHOTOS BY: Aaron Rumley FOR IMMEDIATE RELEASE, PLEASE: FLAMBOYANT CIVIL WAR GENERAL CREATES HAVOC IN WORLD PREMIERE COMEDY, FADED GLORY, BY TIM BURNS AT NORTH COAST REP Performances BeginninG Wednesday, May 28, 2014 With OpeninG NiGht, Saturday, May 31, at 8 PM RunninG ThrouGh Sunday, June 22 Directed by DAVID ELLENSTEIN SOLANA BEACH -‐ Following its highly successful world premiere of MANDATE ME MORIES, North Coast Rep is mounting a second world premiere, FADED G LORY. Written by TimBurns, this comedic romp tells the improbable, but, true story of Daniel Sickels, a 19th-‐century congressman, friend to presidents, Civil War general, lover ofIsabella Queen II of Spain, notorious philanderer, embezzler, murderer,nd a the officer who almost cost the Union victory in perhaps the most pivotal battle of the Civil War, only to receive the Congressional Medal ofr. Hono Based on this real figure from American history, funny, poignant and filled with astonishing little-‐known historical information, FADED G LORY promises to be a highlight of our season. Audiences will enjoy a rollicking comedic romp through this amazing life. Artistic Director David Ellenstein* will directAndrew Barnicle,* Ben Cole, Frances Anita Rivera, Bruce Turk,* Rachel VanWormer, and Shana Wride.* Ryan Ford will be the assistant director. The design team includes Aaron Rumley,* Stage Manager; Marty Burnett, Scenic Design; Matt Novotny, Lighting; Sonia Elizabeth, Costumes; Melanie Chen, Sound; and Peter Herman, Hair & ign. Wig Des Peter Katz and Leon Williams are co-‐producers. *The actor orstage manager appears through the courtesy of Actors’ Equity Association, the union of professional actors and stage managers in the United States. -
CAST BIOGRAPHIES TOBY STEPHENS (Captain Flint)
-Season Three- CAST BIOGRAPHIES TOBY STEPHENS (Captain Flint) Toby Stephens was born in London, England and trained at the London Academy of Music and Dramatic Art (LAMDA). He has gained critical acclaim as a stage and screen actor and upcoming work includes the feature film 13 Hours: The Secret Soldiers of Benghazi directed by Michael Bay, and And Then There Were None for the BBC. He will also star opposite Timothy Spall and John Hurt in Nick Hamm’s The Journey. Previous television roles include: “Vexed” (BBC), “Robin Hood” (BBC), “Wired” (ITV), “The Wild West” (BBC 1), “Jane Eyre” (BBC 1), “Sharpe’s Challenge” (ITV), “The Best Man” (ITV), “The Queen’s Sister” (Channel 4), “Waking the Dead” (BBC 1), “Poirot” (ITV), “Cambridge Spies” (BBC 2), “Perfect Strangers” (BBC 2), and “The Tenant of Wildfell Hall” (BBC 1). Recent film credits include: Believe with Natasha McElhone and Brian Cox, All Things to All Men alongside Gabriel Byrne and Rufus Sewell, and the lead role in The Machine for Content Film. Other film work includes: Severance, The Rising: Ballad of Mangal Pandey, Die Another Day, Possession, The Announcement, Onegin, Photographing Fairies, Sunset Heights, Cousin Bette, The Great Gatsby, Twelfth Night, and Orlando. Toby is an accomplished stage actor, both in London’s West End and on Broadway. Theater credits include ‘Elyot’ opposite Anna Chancellor in “Noel Coward’s Private Lives,” ‘Georges Danton’ in “Danton’s Death” (National Theatre Olivier), ‘Henry’ in “The Real Thing” (The Old Vic), ‘Thomas’ in “A Doll’s House,” ‘Jerry’ in