DOCSLIB.ORG

R 4-Week Acting Intensive Training in NYC!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
R 4-Week Acting Intensive Training in NYC! Giles Foreman Centre for Acting “Learn American acting with great American coaches, in NYC!” ! ! A LEADING PROFESSIONAL ACTING STUDIO 4-WEEK ACTING INTENSIVE TRAINING IN NEW YORK! LONDON | NEW YORK | PARIS 4 weeks from 5th - 30th June 2017! ACTOR TRAINING | FILM & TV PRODUCTION | CORPORATE COMMUNICATION ! ! Spend the month of June studying in the vibrant heart of the New York City theatre district, Times Square in Manhattan; and experience an amazing, intense and rewarding 4-week training hosted by !GFCA New York - with a team of expert industry coaches (for biographies see p2).! Each week includes 30 hours of study, Monday to Saturday 10 - 5 pm:! ! •! Meisner Method - Matt Corozine! ! •! Strasberg Technique - Roberta Wallach! ! •! Uta Hagen Technique - Carol Rosenfeld! ! •! Period Styles - Janice Orlandi! ! •! Viewpoints! ! •! Michael Chekhov - Janice Orlandi! ! •! Williamson Technique - Janice Orlandi! ! •! Fitzmaurice Voice ! ! •! Standard American-English accent! ! •! On-Camera / Commercial - Gregory Burger-Sobeck! Plus, for visitors to New York, there are options for organised sightseeing trips to major locations including the Guggenheim Museum, Rockefeller Centre, Empire State building, the !Statue of Liberty, Broadway productions, amongst many other attractions!! Accommodation*: if you wish, you are welcome to arrange your own via Airbnb or similar: preferably within 20-30 minutes travel by Subway/Underground to W 43rd St and 8th Ave in !Midtown Manhattan, near 42nd St / Port Authority, Times Sq - 42nd St, 50th St - 1 train. ! !* Special offer: residential housing in Manhattan available - please contact us for further details!! ! Tuition fee** total:! USA ! $2350 ! NB! “early-bird” discount: only $1950, if you confirm with $500 deposit by 8 April!! Euro ! #2250 !! or with “early-bird” discount: only #1850!! UK ! £1900 !! or with “early-bird” discount: only £1600! ! 25% deposit by 8 May 2017, to confirm your place.! ** Travel, accommodation, and sightseeing fees are not included above. Costs will vary according to individual !preference, but please ask us for guideline figures.! ! Promoted by GFCA London, and hosted by GFCA NYC - for further information and specifics on any aspect please contact us!! !(biographies and subject-descriptions, please see overleaf)! www.gilesforeman.com [email protected] Tel: +44 (0)20 7437 3175 GILES FOREMAN CENTRE FOR ACTING [Caravanserai Productions Ltd t/a] STUDIO SOHO 2a Royalty Mews [entrance next to Quo Vadis], Dean Street W1D 3AR Registered ofce 2a Royalty Mews, Dean Street W1D 3AR Company No: 05645207 Tutors include (A - Z):! ! Gregory Berger-Sobeck (On-Camera / Commercial Acting)! Gregory is a graduate, and currently serving on the Acting Faculty, of the Yale School of Drama .! Founded in 1998 by Gregory, Berg Studios is dedicated to cultivating your talent and imaginative work while focusing on building a repeatable technique.! The foundation of its acting technique is twofold: illuminating subtext through script analysis and finding imaginative and spontaneous behavior. Students strive for authenticity and bold originality.! The task moves from asking "How am I seen?" to "What do I see?"! The Berg Studios’ approach attracts industry professionals who audit its classes to scout for talent, !giving its students valuable industry contacts for professional growth.! Matthew Corozine (Meisner method)! Matthew was officially nominated for a 2015 Excellence in Theatre Education Tony Award®, a brand new honour presented by The Tony Awards® and Carnegie Mellon University; established “to celebrate the educators who transform lives through the power of the arts.”! Matthew believes that you can create your own life. With this in mind (and heart), he created the Matthew Corozine Studio Theatre (MCS), a New York City-based acting studio rooted in the Meisner Technique. Since the year 2000, MCS has formed part of a vision Matthew has for his artistic community – to be working artists and have a home to build their craft – with honour and integrity. Matthew has taught acting at American Academy of Dramatic Arts NYC, and acting and improvisation at SUNY Purchase. Actors coached by Matthew are currently working on Broadway and in television and film, in both New York City and Los Angeles. ! Matthew has a BA in Theatre Arts, majoring in Acting and Directing, from SUNY at New Paltz, and continued his training in the Meisner Technique with the great Robert X. Modica at Carnegie Hall Studios in NYC. As an actor he has appeared in many commercials, NYC theatre productions, national tours, and independent films. As a director, Matthew directed The Boys Upstairs, and Miss Kim for FRINGEnyc, where both shows extended their runs in NYC. He directed the NYC and LA premieres of Susan E. Isaacs, based on her spiritual memoir, Angry Conversations With God. He !has also guest directed at St. John’s University (Queens). ! Janice Orlandi (Period Styles, Michael Chekhov, Williamson Technique)! Janice has taught for over eighteen years in educational institutions in the United States and Europe, including Ira Brind School of the Arts, Mason Gross School of the Arts, Williamstown Theatre Festival, de Lindenberg Centrum Voor de Kunsten, Netherlands, State Theatre School in Odense, Denmark, Ophelia Theatre School in Copenhagen, NY Conservatory for Dramatic Arts, and the School for Film and Television, New York City. She has served as a movement, character, and period style coach for The Mirror Repertory Company, Sonnet Rep, Players Theater, and for University of the Arts.! Janice has produced and collaborated in joint workshops internationally with Master Teachers in both New and Primary movement pedagogies. She is currently completing a book entitled Movement Marathons: Crossing Pedagogy© which explores exercises, practices, vocabulary, affinities, and cross training of five movement methods and pedagogy: Michael Chekhov, Viewpoints, Laban, and the Williamson Technique.! A founding member of Echo Repertory Company, Janice produced and adapted new plays, including The Triangle Factory Fire Project (a tribute to the women who survived the Triangle Factory Fire of 1911). She is also a founding member of Expanded Arts Theater Company, New York City, and a member of the National Association of Movement Educators.! www.gilesforeman.com [email protected] Tel: +44 (0)20 7437 3175 GILES FOREMAN CENTRE FOR ACTING [Caravanserai Productions Ltd t/a] STUDIO SOHO 2a Royalty Mews [entrance next to Quo Vadis], Dean Street W1D 3AR Registered ofce 2a Royalty Mews, Dean Street W1D 3AR Company No: 05645207 Carol Rosenfeld ! Carol began teaching at HB Studio, New York, 50 years ago, working alongside two of the greatest acting teachers of the 20th Century, Uta Hagen and Herbert Berghof.! “Uta and Herbert embraced me, saw my talent and nurtured it. I entered an environment in which artistic freedom flourished, where respect for the art of acting was assumed; I was given the space to find my own way as a teaching artist. I love the work and everything about it.” – Carol Rosenfeld! Carol’s teaching experience includes: HB Studio - where the legacy, values and principals of its founding members continues. There she created the Hagen Institute’s Six Week Summer Intensive, Core One Year Training and the Hagen Teacher Training Lab and served as the first Director of The Hagen Institute 2010-2014. As a Fulbright Specialist: she taught workshops for La Escuela del Actor in Montevideo, Uruguay and the Polish National Film School in Lodz. Master Classes: Montreal, Vancouver, Toronto, Winnipeg, Halifax, Calgary, Copenhagen, Barcelona, London and Melbourne, Australia. Rutgers (New Brunswick), The National Theatre of the Deaf, The National Theatre School of Canada, The Shaw Festival (Niagara on the Lake).! Carol also authored her widely recognised Actor’s Workbook; Acting and Living in Discovery as well !as the Hagen Technique chapter in Training for the American Actor.! Roberta Wallach (Strasberg Technique)! Roberta made her professional acting debut at 16 in the film version of The Effect Of Gamma-Rays On Man-In-The-Moon Marigolds opposite Joanne Woodward and directed by Paul Newman. She studied acting at the Neighborhood Playhouse, at HB Studios with Herbert Berghof and Uta Hagen, Lee Strasberg, Robert Lewis, Susan Batson, Gary Austin, Sonda Seacat and Elizabeth Kemp. She became a member of The Actors Studio in 1980. She started teaching privately, then at the New York Film Academy, Black Nexxus, HB Studios, at Yoko Narahashi’s school, UPS (United Performer’s Studio) in Tokyo and is now teaching in New York at The Strasberg Institute.! As an actor, she has worked on the big and small screens and on stage with such extraordinary artists as Bette Davis, Ruth Gordon and Garson Kanin, Susan Batson, Shelley Winters, Arthur Penn, Anne Jackson and Eli Wallach, Tony Danza, Frank Corsaro, James Gandolfini, Brian Murray, Eileen Heckert, Kate Valk, Anne Meara, Doug Hughes, Elizabeth Franz, Lynn Cohen, Melanie Mayron and Robert Glaudini, among others. Roberta appeared in the films Rabbit Hole with Nicole Kidman and Aaron Eckhart; Boy Wonder; That’s What She Told Me (shown at the New York International Film Festival) and Last I Heard, starring Paul Sorvino, Michael Rappaport and Paul Ben Victor.! Subject information! Viewpoints is a technique of composition that provides a vocabulary for thinking about and acting upon movement and gesture. It was riginally developed in the 1970s by choreographer Mary Overlie as a method of movement improvisation, presence and
Load more

Recommended publications
  • TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
    TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Respect for Acting Ffirs.Qxd 5/7/08 12:54 PM Page Ii
    ffirs.qxd 5/7/08 12:54 PM Page vi ffirs.qxd 5/7/08 12:54 PM Page i respect for acting ffirs.qxd 5/7/08 12:54 PM Page ii Respect for Acting was first published in 1973 with the cover above. This edition reprints the original without alteration. ffirs.qxd 5/7/08 12:54 PM Page iii respect for acting uta hagen with haskel frankel John Wiley & Sons, Inc. ffirs.qxd 5/7/08 12:54 PM Page iv Copyright © 1973 by Uta Hagen. All rights reserved Foreword copyright © 2008 by David Hyde Pierce Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropri- ate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representa- tions or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose.
    [Show full text]
  • Celebrating 75 Years in 2020 HB Studio Celebrates 75 Years As a Crucial Training and Practice Space for Theater Artists
    ONGOING PROFESSIONAL TRAINING AND PRACTICE FOR ACTORS, PLAYWRIGHTS, AND DIRECTORS Celebrating 75 Years In 2020 HB Studio celebrates 75 years as a crucial training and practice space for theater artists. Herbert Berghof, a rising star of the German-Austrian theater who became a refugee from the Nazi Anschluss, founded HB in his new American home in 1945. In 1946 he joined forces with the magnificent actress Uta Hagen, who would become his life’s partner. Together they established the vital teaching legacy that now survives them, training some of the finest, most lauded actors of the American stage and screen. Having had to restart his artistic life in a new country and a new language, Berghof extended his compassion to other artists from “outside” in the form of an open door. HB is a place of opportunity, access, and community where anyone with serious intent is welcomed. “The instructors are the best in the Berghof was seeking the continuity and experimental business. Go in with an open mind. Work freedom he had experienced in the repertory theaters of hard. Read Uta Hagen’s books and watch Europe. Just as a painter uses his studio or a dancer flexes her DVD series. As an actor, this school at the barre, theater people need a place they can go to hone their skills and creative ideas as they develop over will change your life.” time. Conservatory programs provide great concentrated —ADAM R, STUDENT training, but it takes years for an actor’s process to evolve and a career to take hold. As performers, we must maintain our physical conditioning and interpretive skills while adapting to ever-changing trends in the business and in the conditions of our world.
    [Show full text]
  • Al Pacino Retrospective at BFI Southbank February – March 2014
    Al Pacino Retrospective at BFI Southbank February – March 2014 16 January 2014, London. Throughout February and March BFI Southbank will celebrate the career of one of the world’s most popular living stage and screen actors, Al Pacino. Starring in some of the most iconic roles of all time, Pacino’s illustrious career has spanned from such classics as The Godfather Trilogy (1972, 1974 & 1990), Scarface (1983), and Serpico (1973) to Sea of Love (1989), Scent of a Woman (1992) and Insomnia (2001). The recipient of countless awards, including an Oscar, 5 Golden Globes, 2 Emmys, a BAFTA and 2 Tonys, Pacino’s acting talents are undisputable; however, he has not always been content to stay in front of the camera, taking on directing duties for Looking for Richard (1996), Chinese Coffee (2000), Wilde Salomé (2011) and most recently Salomé (2013). From a career that has (so far) produced over 40 film roles, the BFI Southbank season will screen 20 of his greatest films, with the centrepiece of the season being an Extended Run of a 4K restoration of Francis Ford Coppola’s masterly The Godfather Part II (1974), which returns to cinemas in a nationwide release from 21 February. Pacino studied acting first at the Herbert Berghof Studio, then under Lee Strasberg at the Actors Studio in New York (where he is currently co-president alongside Ellen Burstyn and Harvey Keitel). During this time Pacino performed a number of minor stage roles, which eventually led to his breakthrough film role in The Panic in Needle Park (1971). Under the direction of Jerry Schatzberg, (whom he would work with again on the Palme d’Or winning Scarecrow) Pacino shone as a young New Yorker addicted to heroin.
    [Show full text]
  • Anniversary Kick-Off Celebration
    HHBth ANNIVERSARY KICK-OFF CELEBRATION MONDAY, NOVEMBER 3, 2014 70TH ANNIVERSARY KICK-OFF CELEBRATING SEVEN DECADES OF HB STUDIO MONDAY, NOVEMBER 3, 2014 MANHATTAN PENTHOUSE A NOTE FROM OUR PRESIDENT Welcome, honored guests! For seven decades, HB has been an artistic home for generations of theatre artists to train and practice. Tonight we celebrate the thousands of performers, directors, and designers who have studied and taught at HB, and we remember our visionary founders who established this unique institution. We are fortunate to have with us this evening an impressive group of artists who will bring to life the arc of HB’s history and share with us their own experiences of the Studio. We are proud of our connection with them and the many thousands more friends and alumni out in the world enjoying successful careers as theatre artists – or working in other professions but still benefiting from their experience working, practicing, or training at HB. HB has taken tremendous strides forward as a resilient arts institution. Recently, HB garnered increased philanthropic support and implemented exciting new programs. A grant from the Noël Coward Foundation, for example, launched a series of events including panel discussions and acting workshops. Always remembering and honoring the artistic integrity and vision of Herbert Berghof and Uta Hagen, the current HB family revitalizes their legacy by ensuring that the Studio remains relevant in the 21st century. Thank you so much for joining us this evening for this very special celebration. I am grateful to my fellow Board members for their dedication, to the Benefit Committee for their support, to the HB staff for their hard work, and most of all to the incredible artists who continue to make HB a vibrant and vital resource for the theatre community.
    [Show full text]
  • Le « Method Acting » : Un Séjour Au H.B. Studio De New York
    Document généré le 2 oct. 2021 01:21 Jeu Revue de théâtre Le « method acting » Un séjour au H.B. Studio de New York André Thérien Au tour de l’acteur, au tour de l’actrice Numéro 33 (4), 1984 URI : https://id.erudit.org/iderudit/26793ac Aller au sommaire du numéro Éditeur(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (imprimé) 1923-2578 (numérique) Découvrir la revue Citer cet article Thérien, A. (1984). Le « method acting » : un séjour au H.B. Studio de New York. Jeu, (33), 226–239. Tous droits réservés © Cahiers de théâtre Jeu inc., 1985 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ le «method acting» un séjour au h.b. studio de new york La façon de jouer des Français et des Allemands, quand elle est réussie, est superbe; les détails sont atteints, [. .. ] Ils sont capables de faire quelque chose à chaque ligne: un clignement de l'oeil, un mouvement de la main, un léger regard, un essoufflement passager; [. .. ] L'autre école, la nôtre, commence de la même façon. Dans tout bon jeu théâtral, l'acteur perçoit la réalité de ce qu'il doit jouer, mais les moyens d'y parvenir sont différents.
    [Show full text]
  • Movement for Actors This Page Intentionally Left Blank Movement for Actors
    Movement for Actors This Page Intentionally Left Blank Movement for Actors Edited by NICOLE POTTER © 2002 Nicole Potter The essays in Movement for Actors were written expressly for this book. Copyrights for individual essays are retained by their authors, © 2002. All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 06 05 04 03 02 5 4 3 2 1 Published by Allworth Press An imprint of Allworth Communications, Inc. 10 East 23rd Street, New York, NY 10010 Cover and interior design by Annemarie Redmond Cover photo credits (clockwise, from upper left): Margolis Brown Theater Company, The Bed Experiment, conceived and written by Kari Margolis and Tony Brown, photo: Jim Moore; Theater Ten Ten, King Lear, 1998, directed by Rod McLucas, fight direction by Joe Travers, Jason Hauser (Edmund), Andrew Oswald (Edgar), photo: Sascha Nobés; Shakespeare and Company, Sarah Hickler, Rebecca Perrin, Mary Conway, Susan Dibble, photo: Stephanie Nash. Page composition/typography by Sharp Des!gns, Lansing, MI ISBN: 1-58115-233-7 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Movement for actors / edited by Nicole Potter. p. cm. Includes bibliographical references and index. ISBN 1-58115-233-7 1. Movement (Acting) I. Potter, Nicole. PN2071.M6 M59 2002 792'.028—dc21
    [Show full text]
  • IB ANNIVERSARY JOURNAL For
    INSIDE BROADWAY 25th Anniversary-1982-2007 Dear Friends and Colleagues: 25 years is a considerable period of time, and to fill that time with work that creates a prestigious and highly regarded theatre and education company is both a great challenge and a source of considerable satisfaction. I certainly would never have anticipated that the opportunity to organize a student ticket program with CATS in 1982 would turn into a major organization that annually serves over 26,000 children in over 75 schools throughout the city, and that became both a career and a mission for its founder.. However, the years have been both productive and filled with many great successes. In assembling this booklet we want to share with you some of the great moments over the last quarter century of Inside Broadway. I hope you enjoy reading about our history because it gave me and my staff great pleasure in researching our files and speaking with several of the people who have contributed to our story. On a personal note, it has also been a privilege to have been the founder and director of Inside Broadway, and to have the opportunity of bringing the magic and excitement of live Broadway theatre into the lives of so many youngsters. MISSION STATEMENT Inside Broadway is a professional New York City based children’s theatre company committed to pro- ducing Broadway’s classic musicals in a contemporary light for young audiences. Our aim is to pass down the rich legacy of America’s musical theater to future generations so that the magic, music, and universal themes of the genre are not lost, but rediscovered and made relevant for today’s youth.IB’s musical adaptations are presented in public schools throughout the city and in our Weekend Family Series for the public.
    [Show full text]
  • 2O13-2O14 Course Catalog Cecil B
    2O13-2O14 COURSE CATALOG CECIL B. DEMILLE • WILLIAM DEMILLE • MARION LORNE • HOWARD LINDSAY • DALE CARNEGIE • WILLIAM POWELL • EDWARD G. ROBINSON • JOSEPH SCHILDKRAUT • PHILLIP LOEB • WALTER ABEL • THELMA RITTER • STERLING HOLLOWAY • SPENCER TRACY • SAMM LEVINE • FRANCES FULLER • AGNES MOOREHEAD • ROSALIND RUSSELL • GARSON KANIN • JIM BACKUS • HUME CRONYN • PAT O’BRIEN • RICK POLIZZI • BETTY FIELD • MARC DANIELS • EZRA STONE • LEE BOWMAN • ROBERT WALKER • JENNIFER JONES • DIANA DILL DOUGLAS • KIRK DOUGLAS • TERESE HAYDEN • LAUREN BACALL • NINA FOCH • JASON ROBARDS • COLLEEN DEWHURST • DON RICKLES • CHARLES DURNING • DON MURRAY • NICHOLAS COLASANTO • JOHN KARLEN • GARY TOMLIN • CONRAD BAIN • TOM POSTON • GRACE KELLY • RUTH GORDON • JOE REGALBUTO • MARY JO SLATER • ANNE BANCROFT • JOHN CASSAVETES • GENA ROWLANDS • RENEE TAYLOR • FLORENCE HENDERSON • ELIZABETH MONTGOMERY • EILEEN BRENNAN • WILLIAM BLINN • ROBERT REDFORD • DEBORAH WALLEY • M. EMMET WALSH • WILLIAM DEVANE • JUDD HIRSCH • GARY SANDY • ELIZABETH FRANZ • DANNY DEVITO • CLEAVON LITTLE • MICHAEL BRANDON • ANITA MORRIS • CAROLINE LAGERFELT • ARMAND ASSANTE • BRAD DAVIS • KATE JACKSON • JULIA DUFFY • GRAHAM BECKEL • PETER WELLER • MELANIE MAYRON • KIM CATTRALL • LUCILLE 96 OSCARS® 241 EMMYS® 85 TONYS® WATSON • DORY PREVIN • CHRISTINE EBERSOLE • RON HALE • PETER BERGMAN • LORETTA SWIT • ONE LEGENDARY SCHOOL DONNA PESCOW • DIANA SCARWID • MICHAEL COUNTRYMAN • BETH BRODERICK • ERIC ROBERTS • DENNIS HAYSBERT • LINWOOD BOOMER • KIM BROCKINGTON • NICK CASSAVETES • DOUGLAS CARTER BEANE •
    [Show full text]
  • 4V Û.−Ñžk V&[Áoøpy Æ
    Ellis Island Booklet 3/23/05 5:06 PM Page 16 AMERICAN CLASSICS PETER BOYER Ellis Island: The Dream of America Barry Bostwick • Blair Brown • Olympia Dukakis Anne Jackson • Bebe Neuwirth Eli Wallach • Louis Zorich Philharmonia Orchestra • Peter Boyer Ellis Island as it appears today (courtesy Ellis Island Immigration Museum) 8.559246 16 Ellis Island Booklet 3/23/05 5:06 PM Page 2 Notes on Ellis Island: The Dream of America Ellis Island: The Dream of America was born out of my fascination with the relationship between history and music. I’m drawn to good stories—especially stories which come from the past but are relevant to the present—and as an orchestral composer, I’m intrigued by the potential of the orchestra as a storytelling medium. Of course, orchestral music cannot tell stories in a literal way, but its ability to suggest scenes and emotions, and evoke responses in listeners, has challenged and stimulated composers for centuries. My fascination with the story of the Titanic led me to choose that as the subject of an early orchestral work, and considering the plight of that vessel’s third-class passengers—humble European immigrants bound for America—led me to think more broadly about early twentieth-century American immigration. America is a nation of immigrants, and our immigrant history is a profound part of our American mythology. In the history of American immigration, Ellis Island and the Statue of Liberty are icons of immense significance. In the years of its operation, from 1892 to 1954, more than twelve million immigrants, over 70% of all immigrants to the United States, passed through Ellis Island, the processing station which was “the gateway to America.” Today, more than 40% of the U.S.
    [Show full text]
  • Convert Finding Aid To
    Anne Jackson and Eli Wallach An Inventory of Their Papers at the Harry Ransom Center Descriptive Summary Creator: Jackson, Anne, 1925-2016 and Wallach, Eli, 1915-2014 Title: Anne Jackson and Eli Wallach Papers Dates: 1928-2016 Extent: 85 document boxes, 7 oversize boxes (osb) (39 linear feet), 9 oversize folders (osf), 2 galley files (gf) Abstract: The Anne Jackson and Eli Wallach Papers document the lives and careers of the prominent American acting couple from their early stage and television appearances in the 1940s through their final performances on film in the 2000s and include scripts, photographs, posters, theater programs, clippings, correspondence, and scrapbooks, as well as manuscripts and other material relating to their memoirs and other writings, all dating from 1928 to 2016. Call Number: Film Collection FI-05251 Language: English, Hebrew, Italian, and Spanish Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. To request access to electronic files, please email Reference. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility.
    [Show full text]