DOCSLIB.ORG

Dissertation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DISSERTATION Titel der Dissertation HAROLD PINTER IN GERMAN: WHAT'S LOST IN TRANSLATION? Verfasserin RENÉE VON PASCHEN, M.A. angestrebter akademischer Grad Doktorin der Philosophie (Dr. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 092 317 Dissertationsgebiet lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof. Dr. Brigitte Marschall 2 2 3 ABSTRACT 7 ZUSAMMENFASSUNG 9 FOREWORD 11 INTRODUCTION 12 1 HAROLD PINTER'S BACKGROUND AS A WRITER 16 1.1 HAROLD PINTER'S BIOGRAPHY 16 1.1.1 PINTER'S CHILDHOOD YEARS 17 1.1.2 PINTER'S ACTING AND DIRECTING CAREER 19 1.1.2.1 Pinter's Acting Career in the Theater ..............................................................................26 1.1.2.2 Pinter's Acting Career and Roles in Cinema...................................................................26 1.1.2.3 Television Films and Roles in Which Pinter Acted........................................................27 1.1.2.4 Radio Broadcasts in Which Pinter Played a Role ...........................................................28 1.1.2.5 Plays Pinter Directed on Stage........................................................................................28 1.1.2.6 Movies and Television Films Directed by Pinter............................................................29 1.1.3 PINTER'S POLITICAL ENGAGEMENT 30 1.1.4 PINTER'S OEUVRE AS A WRITER 35 1.1.4.1 Plays by Pinter.................................................................................................................35 1.1.4.2 Prose and Poetry by Pinter ..............................................................................................37 1.1.4.3 Screenplays by Pinter......................................................................................................39 1.1.4.4 Prizes and Awards Won by Pinter ..................................................................................40 1.1.5 INTERNATIONAL REACTIONS TO PINTER'S NOBEL PRIZE IN LITERATURE 2005 42 1.2 CONSIDERATIONS OF ABSURDIST LITERATURE 45 1.2.1 ORIGINS OF THE ABSURDIST GENRE: HORROR AND HUMOR 45 1.2.2 SAMUEL BECKETT AS AN ABSURDIST PLAYWRIGHT 47 1.2.3 SAMUEL BECKETT'S INFLUENCE ON HAROLD PINTER 50 1.3 CONSIDERATIONS OF HUMOR AND COMEDY 53 1.3.1 BLACK HUMOR AND DARK COMEDY 54 1.3.2 JEWISH AND YIDDISH HUMOR 56 1.3.3 CLASSICAL GERMAN COMEDY OR THE LACK THEREOF 62 1.4 HAROLD PINTER AS A PLAYWRIGHT 65 1.4.1 PINTER’S METAPHORICAL AND POLITICAL PLAYS 66 1.4.2 THE INFLUENCE OF PINTER'S JEWISH BACKGROUND ON HIS WRITING 67 1.4.3 PINTER'S LANGUAGE AND STYLE 68 1.4.4 PINTER'S COMEDIES OF MENACE 79 3 4 2 TRANSLATION STUDIES 88 2.1 TRANSLATION OF HUMOR 89 2.2 TRANSLATION OF DIALOGUE 91 2.3 AUDIOVISUAL TRANSLATION 94 2.4 HAROLD PINTER IN GERMAN TRANSLATION 96 3 THE BIRTHDAY PARTY BY HAROLD PINTER 100 3.1 A GENERAL PLOT OUTLINE OF THE BIRTHDAY PARTY 100 3.2 PRODUCTION HISTORY OF THE BIRTHDAY PARTY INCLUDING REVIEWS 101 3.2.1 PRODUCTION HISTORY & RECEPTION OF DIE GEBURTSTAGSFEIER IN GERMAN TRANSLATION 109 3.2.2 PRODUCTION HISTORY OF THE BIRTHDAY PARTY SCREENPLAY AND FILM 122 3.3 GENERAL COMMENTARIES ON THE BIRTHDAY PARTY 126 3.4 PINTER'S COMMENTS ON THE BIRTHDAY PARTY 128 3.5 A COMPARATIVE STUDY OF THE BIRTHDAY PARTY WITH DIE GEBURTSTAGSFEIER TRANSLATIONS BY WILLY H. THIEM AND MICHAEL WALTER 131 4 THE CARETAKER BY HAROLD PINTER 164 4.1 A GENERAL PLOT OUTLINE OF THE CARETAKER 164 4.2 PRODUCTION HISTORY OF THE CARETAKER INCLUDING REVIEWS 165 4.2.1 PRODUCTION HISTORY & RECEPTION OF DER HAUSMEISTER IN GERMAN TRANSLATION 174 4.2.2 PRODUCTION HISTORY & RECEPTION OF THE CARETAKER SCREENPLAY AND FILM 193 4.3 GENERAL COMMENTARIES ON THE CARETAKER 197 4.4 PINTER'S COMMENTS ON THE CARETAKER 201 4.5 A COMPARISON OF THE PLAY THE CARETAKER WITH THE FILM - SCREENPLAY BY HAROLD PINTER 204 4.6 A COMPARATIVE STUDY OF THE CARETAKER (DONNER) WITH DER HAUSMEISTER (PFLEGERL) AND THIEM & WALTER'S TRANSLATIONS 211 5 THE DUMB WAITER BY HAROLD PINTER 239 5.1 A GENERAL PLOT OUTLINE OF THE DUMB WAITER 239 5.2 PRODUCTION HISTORY & RECEPTION OF THE DUMB WAITER INCLUDING REVIEWS 240 5.2.1 PRODUCTION HISTORY & RECEPTION OF DER STUMME DIENER IN GERMAN TRANSLATION 246 4 5 5.2.2 PRODUCTION HISTORY & RECEPTION OF THE DUMB WAITER FILM BY ROBERT ALTMAN 264 5.3 GENERAL COMMENTARIES ON THE DUMB WAITER 268 5.4 PINTER'S COMMENTS ON THE DUMB WAITER 271 5.5 A COMPARATIVE STUDY OF THE DUMB WAITER WITH ITS GERMAN TRANSLATION BY WILLY THIEM, THE FILM BY ROBERT ALTMANN AND ITS GERMAN DUBBED VERSION DER STUMME DIENER 272 6 STATISTICAL OVERVIEW OF AUSTRIAN PINTER PRODUCTIONS COMPARED TO OTHER 20TH CENTURY ENGLISH-LANGUAGE PLAYWRIGHTS 300 6.1 AUSTRIAN PRODUCTIONS OF POPULAR 20TH CENTURY ENGLISH-LANGUAGE PLAYWRIGHTS IN GERMAN TRANSLATION 300 6.1.1 SAMUEL BECKETT (1949-1982): 126 PRODUCTIONS 301 6.1.2 TENNESSEE WILLIAMS (1911-1983): 120 PRODUCTIONS 301 6.1.3 THORNTON WILDER (1897-1985): 96 PRODUCTIONS 302 6.1.4 EUGENE O'NEILL (1988-1953): 80 PRODUCTIONS 302 6.1.5 ARTHUR MILLER (1915-2005): 78 PRODUCTIONS 302 6.1.6 NEIL SIMON (1927 - ): 66 PRODUCTIONS 303 6.1.7 EDWARD ALBEE (1928 - ): 62 PRODUCTIONS 304 6.1.8 JOHN BOYNTON PRIESTLEY (1894-1984): 56 PRODUCTIONS 304 6.1.9 HAROLD PINTER (1930-2008): 49 PRODUCTIONS 305 6.1.9.1 One Production of Pinter's Die Geburtstagsfeier..........................................................307 6.1.9.2 Seven Productions of Pinter's Der stumme Diener .......................................................308 6.1.9.3 Twelve Productions of Pinter's Der Hausmeister .........................................................309 6.1.10 ALAN AYCKBOURN (1939 - ): 42 PRODUCTIONS 311 6.1.11 OTHER POPULAR ENGLISH-SPEAKING PLAYWRIGHTS OF THE 20TH CENTURY IN AUSTRIA 312 7 TRANSLATION AND RECEPTION OF PINTER'S PLAYS IN OTHER LANGUAGES AND COUNTRIES 313 7.1 TRANSLATION AND RECEPTION OF PINTER'S PLAYS IN FRANCE 313 7.2 TRANSLATION AND RECEPTION OF PINTER'S PLAYS IN THE CZECH LANGUAGE 316 7.3 TRANSLATION AND RECEPTION OF PINTER'S PLAYS IN ITALIAN 316 7.4 TRANSLATION AND RECEPTION OF PINTER'S PLAYS IN SLOVENIAN 317 7.5 INTERNATIONAL REACTIONS TO PINTER'S DEATH IN 2008 318 8 FINAL REMARKS AND CONCLUSION 321 5 6 9 LIST OF ILLUSTRATIONS 324 10 BIBLIOGRAPHY 326 10.1 BOOKS 326 10.2 ARTICLES AND REVIEWS 333 10.3 OTHER REFERENCE SOURCES 346 11 FILMOGRAPHY 350 ACKNOWLEDGEMENTS 354 CURRICULUM VITAE 355 6 7 Abstract This interdisciplinary dissertation compares Nobel laureate Harold Pinter's English plays and films with their German versions for the purpose of uncovering what is lost in the course of translation. In this scope, the author also provides creative new German renditions to help illustrate how the multi-faceted levels of meaning can be maintained in contrast to the earlier German translations, whereby a special focus is placed on humor. The premise of this dissertation is that Pinter's work is less popular in German- speaking countries than in English-speaking ones for a series of reasons, in particular the loss of their original meaning and humor in connection with cultural mistranslation. The misunderstanding of Pinter in German-speaking countries may be an exemplary case in theater translation. Basic research will focus on his comedies of menace, including the plays and film versions of 1) The Birthday Party, 2) The Dumb Waiter and 3) The Caretaker. It was, for example, evident that Der stumme Diener would not be well received in Germany and had lost all its humor upon its premiere in Frankfurt, where "…it was played as a completely serious horror piece without a flicker of amusement."1 To begin with, Harold Pinter's broad-scoped oeuvre as a playwright will be depicted, accompanied by remarks on his style and his own commentaries on his work. This will be followed by an exploration of black comedy and British humor, as well as Jewish and Yiddish humor, in contrast to German comedy. Factors contributing to cultural differences in the understanding of humor may include the lack of a great tradition of classical German comedy and the specific political atmosphere in post WWII German-speaking countries. There will also be an examination of the theater of the absurd, including its influences on Pinter's work and style. 1 Taylor, p. 329. 7 8 A further chapter will briefly outline translation studies with emphasis on the Skopos theory, which is the dominant theory in translation studies at present. It postulates that a translation is dependent on the purpose for which it is rendered, meaning that it should be in keeping with the intended scope of use. The author's research ties into this in the form of literary translation, which is widely recognized as the art of recreating a work of literature in another linguistic and cultural context. The comparative study of Harold Pinter's dramatic works shall contrast the English originals with the German translations of the above three plays, as well as corresponding film productions in English and German, where available. This will involve the comparison of selected German and English lines to demonstrate how the literary translation of the dialogue and idiomatic phrasing differ from the source text. The comparative studies of these dramatic works with their German translations will focus on the aspects of humor on stage and screen. Reviews and playbills will also be quoted to illustrate the reception of the above plays and enhance the multiple facets of this interdisciplinary study. As my research on literary translation and the performing arts will also touch upon the non-verbal context, it will be supplemented with film versions of Pinter's play The Birthday Party (Dir. William Friedkin), The Dumb Waiter (Dir. Robert Altman), as well as The Caretaker (Dir. Clive Donner). Der Hausmeister (Dir. Dietmar Pflegerl) was staged and filmed in Austria, enabling further investigation into the German- language interpretation of Pinter's plays, including the stimulus-response system of dialogue on the stage. Altman's film was dubbed as Der stumme Diener in Germany, involving constrained translation, which renders the translation of films particularly complex.
Recommended publications
  • Making Pictures the Pinter Screenplays

    Making Pictures the Pinter Screenplays

    Joanne Klein Making Pictures The Pinter Screenplays MAKING PICTURES The Pinter Screenplays by Joanne Klein Making Pictures: The Pinter Screenplays Ohio State University Press: Columbus Extracts from F. Scott Fitzgerald, The Last Tycoon. Copyright 1941 Charles Scribner's Sons; copyright renewed. Reprinted with the permission of Charles Scribner's Sons. Extracts from John Fowles, The French Lieutenant's Woman. Copyright © 1969 by John Fowles. By permission of Little, Brown and Company. Extracts from Harold Pinter, The French Lieutenant's Woman: A Screenplay. Copyright © 1982 by United Artists Corporation and Copyright © 1982 by J. R. Fowles, Ltd. Extracts from L. P. Hartley, The Go-Between. Copyright © 1954 and 1981 by L. P. Hartley. Reprinted with permission of Stein and Day Publishers. Extracts from Penelope Mortimer, The Pumpkin Eater. © 1963 by Penelope Mortimer. Reprinted by permission of the Harold Matson Company, Inc. Extracts from Nicholas Mosley, Accident. Copyright © 1965 by Nicholas Mosley. Reprinted by permission of Hodder and Stoughton Limited. Copyright © 1985 by the Ohio State University Press All Rights Reserved Library of Congress Cataloging in Publication Data Klein, Joanne, 1949­ Making pictures. Bibliography: p. Includes index. 1. Pinter, Harold, 1930- —Moving-picture plays. I. Title. PR6066.I53Z713 1985 822'.914 85-326 Cloth: ISBN 0-8142-0378-7 Paper: ISBN 0-8142-0400-7 for William I. Oliver Contents Acknowledgments ix Chronology of Pinter's Writing for Stage and Screen xi 1. Media 1 2. The Servant 9 3. The Pumpkin Eater 27 4. The Quiller Memorandum 42 5. Accident 50 6. The Go-Between 77 1. The Proust Screenplay 103 8.
  • Diplomarbeit

    Diplomarbeit

    DIPLOMARBEIT Titel der Diplomarbeit „Die Figuren des Helmut Qualtinger in der Tradition des Wiener Volksstücks“ Verfasser Elias Natmessnig angestrebter akademischer Grad Magister der Philosophie (Mag. phil) Wien, 2009 Studienkennzahl lt. A 317 Studienblatt: Studienrichtung lt. Theater- Film- und Medienwissenschaften Studienblatt: Betreuerin / Betreuer: Univ. Prof. Dr. Christian Schulte 1 2 Inhalt Inhalt........................................................................................................................................... 3 1) Einleitung............................................................................................................................... 7 2) Inspirationen der Jugend...................................................................................................... 10 3) Das Volksstück .................................................................................................................... 15 3.1) Das Wiener Volksstück................................................................................................. 18 3.1.1) Johann Nepomuk Nestroy...................................................................................... 19 3.1.2) Zwischen Nestroy und Kraus................................................................................. 22 3.1.3) Karl Kraus.............................................................................................................. 24 3.2) Die Erneuerer ...............................................................................................................
  • Food & Entertainment

    Food & Entertainment

    Food & Entertainment Food Page 35 fe expose Fuego Lights up KL Skyline Level 23A, The Troika is a hotbed of flavours and fun with Troika Fine Dining presenting Cantaloupe, Claret, Strato and now Fuego. Fuego brings scintillating South American flavours to Kuala Lumpur with flamed, grilled and smoked styles dominating a tantalising menu orchestrated by owners Eddie Chew and Christian Bauer. Elevated views of the floodlit Twin Towers provide a spectacular backdrop to this open-fronted outlet. South America is a continent of many national and regional cuisines and Fuego has selected popular styles and dishes from across the land plus some from neighbouring Mexico and Central America. Diners are encouraged to sample various dishes with sharing plates facilitating the process. Ceviche is available in four ways with barramundi, prawn, snapper and salmon prepared in lime. Grilled watermelon with fried halloumi, pickled tomato and raspberry vinegar is one of the more unique entrées. Enjoy desserts such as banana and salted caramel mini magnum ice cream plus a crunchy cookie and banana cream. Wines and spirits such as rums, tequilas and piscos feature on the beverages list. Like all outlets at Troika, bookings are essential with two seatings at 6pm and 8.30pm. www.troikaskydining.com New Japanese Restaurant at Pullman Bangsar Gohan Japanese Restaurant has just opened in a secluded location on the first floor of the Pullman Kuala Lumpur Bangsar to offer what Chef Hoi claims is traditional Japanese cuisine which, according to him, means serving kaiseki (dégustation) or seasonal dishes. The dynamic young chef trained in Singapore under Chef Hirohashi at Kumo Kaiseki Restaurant and then his passion for authentic Japanese food took him to Japan for two years on-the-job training.
  • Revisiting Zero Hour 1945

    Revisiting Zero Hour 1945

    REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs.
  • Presseheft OSTWIND 2.Pdf

    Presseheft OSTWIND 2.Pdf

    PRESSEHEFT Constantin Film präsentiert eine SamFilm Produktion in Co-Produktion mit Constantin Film und Alias Entertainment AB 14. MAI IM KINO DARSTELLER Hanna Binke, Amber Bongard, Jannis Niewöhner, Marvin Linke, Cornelia Froboess, Tilo Prückner, Nina Kronjäger, Jürgen, Vogel, Max Tidof, Walter Sittler, Henriette Morawe, u.v.a PRODUZENTEN Ewa Karlström Andreas Ulmke-Smeaton DREHBUCH Lea Schmidbauer und Kristina Magdalena Henn REGIE Katja von Garnier INHALTSVERZEICHNIS BESETZUNG (Auszug) 4 NINA KRONJÄGER (Elisabeth Schwarz) 25 KURZINHALT & PRESSENOTIZ 6 JÜRGEN VOGEL (Philipp Schwarz) 26 ÜBER DIE PRODUKTION 7 KATJA VON GARNIER (Regie) 27 INTERVIEW KATJA VON GARNIER 13 EWA KARLSTRÖM, ANDREAS ULMKE-SMEATON (Produktion) 27 INTERVIEW HANNA BINKE 17 MARTIN MOSZKOWICZ (Koproduzent) 28 INTERVIEW GERD GRZESCZAK 20 GERD GRZESCZAK 28 BESETZUNG 22 (Horse Master/ ESN – The European Stuntwork) HANNA BINKE (Mika) 22 KENZIE DYSLI (Pferdestunts/ Double Hanna Binke) 29 AMBER BONGARD (Fanny) 22 PFERDEFILME – WIE ALLES BEGANN 30 JANNIS NIEWÖHNER (Milan) 23 OSTWIND 2 – DAS BUCH ZUM FILM 32 MARVIN LINKE (Sam) 23 DAS ORIGINAL - FILMHÖRSPIEL 33 CORNELIA FROBOESS (Maria Kaltenbach) 24 KONTAKTE 33 TILO PRÜCKNER (Herr Kaan) 25 BESETZUNG (Auszug) Mika Hanna Binke Elisabeth Schwarz Nina Kronjäger Fanny Amber Bongard Philipp Schwarz Jürgen Vogel Milan Jannis Niewöhner Hanns de Burgh Walter Sittler Sam Marvin Linke Leopold Sasse Max Tidof Maria Kaltenbach Cornelia Froboess u.v.a. Herr Kaan Tilo Prückner STAB (Auszug) Regie Katja von Garnier Drehbuch Lea Schmidbauer und Kristina Magdalena Henn Produzenten Ewa Karlström, Andreas Ulmke-Smeaton Koproduzent Martin Moszkowicz (Constantin Film) Associate Producer Bernd Schiller Produktionsleitung Elke Sasserath Casting Stefany Pohlmann Kamera Torsten Breuer Szenenbild Carola Gauster Kostümbild Mika Braun Maske Waldemar Pokromski, Claudia Humburg Schnitt Tobias Haas Sounddesign Media, Sound & Pictures Mischung Tschangis Chahrokh Musik Annette Focks Horse Master Gerd Grzesczak Pferdetrainerin/ Kenzie Dysli Stunt Double Mika SONSTIGES Drehzeit 7.
  • Theatre of the Absurd : Its Themes and Form

    Theatre of the Absurd : Its Themes and Form

    THE THEATRE OF THE ABSURD: ITS THEMES AND FORM by LETITIA SKINNER DACE A. B., Sweet Briar College, 1963 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Department of Speech KANSAS STATE UNIVERSITY Manhattan, Kansas 1967 Approved by: c40teA***u7fQU(( rfi" Major Professor il PREFACE Contemporary dramatic literature is often discussed with the aid of descriptive terms ending in "ism." Anthologies frequently arrange plays under such categories as expressionism, surrealism, realism, and naturalism. Critics use these designations to praise and to condemn, to denote style and to suggest content, to describe a consistent tone in an author's entire ouvre and to dissect diverse tendencies within a single play. Such labels should never be pasted to a play or cemented even to a single scene, since they may thus stifle the creative imagi- nation of the director, actor, or designer, discourage thorough analysis by the thoughtful viewer or reader, and distort the complex impact of the work by suppressing whatever subtleties may seem in conflict with the label. At their worst, these terms confine further investigation of a work of art, or even tempt the critic into a ludicrous attempt to squeeze and squash a rounded play into a square pigeon-hole. But, at their best, such terms help to elucidate theme and illuminate style. Recently the theatre public's attention has been called to a group of avant - garde plays whose philosophical propensities and dramatic conventions have been subsumed under the title "theatre of the absurd." This label describes the profoundly pessimistic world view of play- wrights whose work is frequently hilarious theatre, but who appear to despair at the futility and irrationality of life and the inevitability of death.
  • Samuel Beckett and the Reception of Harold Pinter's Early

    Samuel Beckett and the Reception of Harold Pinter's Early

    “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas Book or Report Section Accepted Version Bignell, J. ORCID: https://orcid.org/0000-0003-4874-1601 (2020) “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas. In: Rakoczy, A., Hori Tanaka, M. and Johnson, N. (eds.) Influencing Beckett / Beckett Influencing. Collection Karoli. L'Harmattan, Budapest & Paris, pp. 61-74. ISBN 9782343219110 Available at http://centaur.reading.ac.uk/95305/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: https://webshop.harmattan.hu/? id=aa725cb0e8674da4a9ddf148c5874cdc&p=termeklap&tkod=4605 Publisher: L'Harmattan All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online (Published in: Anita Rákóczy, Mariko Hori Tanaka & Nicholas Johnson, eds. Infleuncing Beckett / Beckett Influencing. Budapest & Paris: L’Harmattan, 2020, pp. 61-74). “Random dottiness”: Samuel Beckett and the reception of Harold Pinter’s early dramas by Jonathan Bignell Abstract This essay analyzes the significance of Samuel Beckett to the British reception of the playwright Harold Pinter’s early work. Pinter’s first professionally produced play was The Birthday Party, performed in London in 1958. Newspaper critics strongly criticized it and its run was immediately cancelled. Beckett played an important role in this story, through the association of Pinter’s name with a Beckett “brand” which was used in reviews of The Birthday Party to sum up what was wrong with Pinter’s play.
  • Signed the Portfolio

    Signed the Portfolio

    May 2018 The Portfolio Issue 8 SPM08 Signed SGA092 £600 £120 per month for 5 months Set of 10 Multi-signed 1968 single stamp Anniversary covers (mainly TUC with a few Votes for Women). Signatures include Dorothy Hodgkin, Vic Feather, Jimmy Knapp & Tom Jackson John Edmonds is a former trade union official in the United Kingdom. On graduation, Rodney Kevan Bickerstaffe (1945 -2017) was a British trade unionist. He he found work as a research assistant with the National Union of General and was General Secretary of the National Union of Public Employees (1982-1993) Municipal Workers, moving on to become a field officer, then a National Industrial and UNISON (1996-2001), Britain’s largest trade union at the time. He later Officer. In 1986, Edmonds became General Secretary of the union, by then known became president of the UK National Pensioners Convention (2001-2005). as the GMB. In this role, he became known as a critic of Tony Blair’s leadership of the Elizabeth Conway Symons, Baroness Symons of Vernham Dean, PC is a Labour Party. He stood down as leader in 2003, one year ahead of schedule. British politician and former General Secretary of the FDA Trade Union and John Stephen Monks, Baron Monks is a Labour Co-operative member of the a Minister of State. She was created a Labour life peer as Baroness Symons House of Lords and was the General Secretary of the Trades Union Congress of Vernham Dean, of Vernham Dean in the County of Hampshire on 7 October (TUC) in the UK from 1993 until 2003, when he became the General Secretary 1996.
  • Destiny Emigration an Exhibtion in Cooperation with FOTOHOF Archiv, Salzburg and Mandello, Barcelona/New York

    Destiny Emigration an Exhibtion in Cooperation with FOTOHOF Archiv, Salzburg and Mandello, Barcelona/New York

    GERTI DEUTSCH (1908-1979) JEANNE MANDELLO (1907-2001) Destiny Emigration An exhibtion in cooperation with FOTOHOF archiv, Salzburg and Mandello, Barcelona/New York Das Verborgene Museum at the European Month of Photography Berlin Destiny Emigration reconstructs the stories of two Jewish photographers, Gerti Deutsch and Jeanne Mandello. Each left her country when the Nazis took power. Gerti Deutsch Gerti Deutsch, Oskar Kokoschka, Salzburg 1958 escaped Vienna for London in 1936, two years before Austria was annexed by the Germans. Jeanne Mandello had already fled Frankfurt in 1934, heading first for Paris and then for Montevideo in Uruguay. Gerti Deutsch: Vienna 1908 – 1979 London Born in 1908 and raised in the heart of Vienna, she trained as a photographer in 1933 – 1935 at the Graphische Lehr- und Versuchsanstalt in her native town. Austrofascism had already curtailed the liberal lifestyle and its propaganda proclaimed a visual aesthetic in photography that glorified the homeland. Gerti Deutsch, on the other hand, preferred everyday motifs that were at odds with this norm, such as her high-angle shot of people waiting at a provincial railway station (1930s), and the diagonals that were a hallmark of modern photography. In 1936 she left Vienna for London, where her principal client until 1950 was the liberal, anti-fascist “Picture Post”, founded by Stefan Lorant in 1938. She produced 64 pictorial Jeanne Mandello, Arbeiter, reports on cultural topics and current affairs, including photographic series on subjects Montevideo 1945 like the Jewish refugee children brought over from Germany (1938) or Austrian POWs Duration returning home from the war (1948). Having managed to salvage most of her work, she 29th September 2016 – 5th February 2017 returned to Austria to take pictures after the Second World War, not only at the Opening 28th September 2016, 19 h traditional Salzburg Festival but also of country people at rural festivals.
  • Kunstbericht 2011 Kunstbericht

    Kunstbericht 2011 Kunstbericht

    Kunstbericht-2011-FX.indd 1 Kunstbericht 2011 Kunstbericht 06.06.12 08:14 2011 Kunstbericht 2011 Bericht über die Kunstförderung des Bundes Struktur der Ausgaben Förderungen im Detail Service Glossar zur Kunstförderung Impressum Herausgeber Bundesministerium für Unterricht, Kunst und Kultur, Kunstsektion, 1010 Wien, Minoritenplatz 5 Redaktion Alexandra Auth, Herbert Hofreither, Robert Stocker Cover Christina Brandauer Grafische Gestaltung, Satz, Herstellung Peter Sachartschenko Herstellung Druckerei Berger, Horn Inhalt Vorwort Seite 5 I Struktur der Ausgaben Seite 7 II Förderungen im Detail Seite 81 III Service Seite 139 IV Glossar zur Kunstförderung Seite 263 V Register Seite 297 Kunstbericht 2011 5 Vorwort Der Kunstbericht 2011 ist mehr als nur ein Geschäftsbericht. Er stellt nicht nur transpa- rent Zahlen und Fakten dar, er zeigt vor allem die Bandbreite der Kunstförderung und den Erfolg des künstlerischen Schaffens in der Literatur, am Theater, in der Musik, im Film, in der bildenden Kunst sowie die Arbeit der regionalen Kulturinstitutionen. Gemeinsam können wir auf ein gutes Jahr für die Kunst zurückblicken: nationale und internationale Preise für den österreichischen Film, die Umsetzung der Kinodigitalisie- rung für die Programmkinos, ein vielbeachteter Beitrag Österreichs bei der Kunstbiennale in Venedig, weitere Stärkung des zeitgenössischen Kunstschaffens und die nachhaltige © Hans Ringhofer Umsetzung der Nachwuchsförderung und Kulturvermittlung. Um eine kontinuierliche Tätigkeit zu ermöglichen, bedarf es eines stabilen Budgets. Trotz der Konsolidierung des Staatshaushaltes, die zu Kürzungen in einigen Ressorts geführt hat, ist es uns im Bereich der Kunst und Kultur gelungen, die Budgets und die Ausgaben stabil zu halten. Darin drückt sich das klare Bekenntnis zur Verantwortung des Staates für die Förderung von Kunst aus.
  • That Fall by Samuel Beckett

    That Fall by Samuel Beckett

    Wednesday, November 9, 2016 at 7:00 pm Thursday–Friday, November 10–11, 2016 at 7:00 and 9:00 pm Saturday, November 12, 2016 at 3:00, 7:00, and 9:00 pm All That Fall By Samuel Beckett Pan Pan Theatre Gavin Quinn , Director Aedín Cosgrove , Set and Lighting Designer Jimmy Eadie , Sound Designer VOICES Áine Ní Mhuirí , Mrs. Rooney Phelim Drew , Christy Daniel Reardon , Mr. Tyler David Pearse , Mr. Slocum Robbie O’Connor , Tommy John Kavanagh , Mr. Barrell Judith Roddy , Miss Fitt Nell Klemen čič, Dolly Andrew Bennett , Mr. Rooney Joey O’Sullivan , Jerry This performance is approximately 70 minutes long and will be performed without intermission. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. The Duke on 42nd Street Please make certain all your electronic devices aNEW42ND STREET ® proje ct are switched off. WhiteLightFestival.org MetLife is the National Sponsor of Lincoln Center. UPCOMING WHITE LIGHT FESTIVAL EVENTS: Artist Catering provided by Zabar’s and Zabars.com Thursday–Saturday, November 10–12 at 8:00 pm at Baryshnikov Arts Center, Jerome Robbins Theater American Airlines is the Official Airline of Lincoln (T)here to (T)here (World premiere) Center Liz Gerring Dance Company Liz Gerring , choreographer Nespresso is the Official Coffee of Lincoln Center In collaboration with Kay Rosen Dancers: Brandon Collwes, Joseph Giordano, Pierre NewYork-Presbyterian is the Official Hospital of Guilbault, Julia Jurgilewicz, Claire Westby Lincoln Center Post-performance discussion with Liz Gerring on November 11 Co-presented by Lincoln Center’s White Light “All That Fall” by Samuel Beckett is presented Festival and Baryshnikov Arts Center through special arrangement with Georges Borchardt, Inc.
  • Shakespeare on Film, Video & Stage

    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.