Pinter Play| Where It Happens
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The Normal Heart
THE NORMAL HEART Written By Larry Kramer Final Shooting Script RYAN MURPHY TELEVISION © 2013 Home Box Office, Inc. ALL RIGHTS RESERVED. No portion of this script may be performed, published, reproduced, sold or distributed by any means or quoted or published in any medium, including on any website, without the prior written consent of Home Box Office. Distribution or disclosure of this material to unauthorized persons is prohibited. Disposal of this script copy does not alter any of the restrictions previously set forth. 1 EXT. APPROACHING FIRE ISLAND PINES. DAY 1 Masses of beautiful men come towards the camera. The dock is full and the boat is packed as it disgorges more beautiful young men. NED WEEKS, 40, with his dog Sam, prepares to disembark. He suddenly puts down his bag and pulls off his shirt. He wears a tank-top. 2 EXT. HARBOR AT FIRE ISLAND PINES. DAY 2 Ned is the last to disembark. Sam pulls him forward to the crowd of waiting men, now coming even closer. Ned suddenly puts down his bag and puts his shirt back on. CRAIG, 20s and endearing, greets him; they hug. NED How you doing, pumpkin? CRAIG We're doing great. 3 EXT. BRUCE NILES'S HOUSE. FIRE ISLAND PINES. DAY 3 TIGHT on a razor shaving a chiseled chest. Two HANDSOME guys in their 20s -- NICK and NINO -- are on the deck by a pool, shaving their pecs. They are taking this very seriously. Ned and Craig walk up, observe this. Craig laughs. CRAIG What are you guys doing? NINO Hairy is out. -
1968 Seniors
SENIORS As Followers Today, We Become Leaders Tomorrow! \Ve cniors enjoyed our last year of high chool b} participating in many activities and tud1ing eriou ly. ur final year was highlighted by a trip to ebra ka ity and a tour through ffutt Air Force Ba e, and climaxed by the junior- enior Prom and Banquet given in our honor by the junior la . :'\Ir. Jerry ~1ullcns and !\1i haron Shields were the sponsor of the en1or Clas th1 year. Among the extra-curnLular activities ofTered to !{Iris thi~ year was golf Shown here is ~enior, Lois Jurgen. meier, pracucml{ her golf swing. 10 RITA BARRY Pep Club I, 2, 3, 4; peech Conte t 2, 3, 4; Girls Glee I, 4; Piay 3; Drama Club 2, 3, 4. MARY JO BLODGE"IT Pep Club I, 2, 3, 4; Vice-Pre ident 4; Y-Teens I, 2, 3, 4; Trea urer 2; Vice-President 3; Program Chairman 4; Band I, 2, 3, 4, Clarinet Quartet I, 2, 3, 4; Annual Staff 3, 4; A%istant Editor 4; Volleyball 3, Play 3, 4; Girl Glee I, 2, 3, 4; Chorus I, 2, 3; Clas Pre ident I; Class Treasurer 3; Drama Club 4. VINCE BOWKER Clas Pres1dent 3; Football 2, 3, 4; Basketball l, 2. 3, ·l; Track I, 2, 3, 4, tudent Council4; Letterman' Club 2, 3, 4; Drama Club 4; Play :3. BOB BO C Basketball I, Prom erver 2; Play und Effects 3; tudent Council 4; Drama Club 4. LINDA B RCHAM Pep Club I, 2, 3, 4; Y-Teen I, 2, 3, 4; Girl Glee I, 2, 3; Mixed Choru I, 2, Drama Club 4; FH 4 FRANK B RE H Basketball I, 2, 3, 4; Football 3, 4; Track 3, 4; Letterman's Club I, 2, 3, 4; President 4; Student Council Drama Club 3, 4; Play 3; Banquet erver 2. -
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. -
The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it. -
Professionals' Contributions Recognized
THE 1950s INSPIRED ALFIE AWARDS SPOOF ISSUE OF ALFRED UNIVERSITY VOL. XVI ALFRED, N.Y., SATURDAY, MAY 1, 2010 NO. 16 “SUGGESTIVE AND VULGAR” GYRATING ALFIE BOBBLE HEAD GIVES PARENTS THE JITTERS ALFRED, NY - Student outrage has erupted as University officials are at- tempting to censor the fifties-themed Alfie PROFESSIONALS’ Awards occurring on Saturday, May 1st. Some students feel the University has CONTRIBUTIONS gone too far with recent restrictions re- garding the actual bobbling of the King RECOGNIZED Alfred Bobble-Head trophy. The Universi- STAFF PASSION FOR FOLK ty argues that the movement is sexually DANCING AND RECYCLING suggestive and has asked that the tro- TO BE HONORED AT ALFIES phy be shown only from the waist down. “The Alfie Awards is a time for respect- The Alfie Academy, comprised of ful admiration for those who make Al- ten Alfred students and three profes- fred such a swell place to live. Certain sionals, have chosen this year’s reci- behavior will not be tolerated as it is im- peints of the “Outstanding Contribu- moral and leads to a life of debauch- tion by a University Professional” award. ery,” declared Dan Dogooder, Direc- The award was created to recog- tor of Appropriate Student Activities. nize those who go beyond their job de- “It is important to note that we will be cription to make Alfred a better place. focusing on the wholesome aspect of the Kacie Dean, president of Green Alfred, decade such as cardigans, poodle skirts, will present the first award to David Cham- root beer floats, sock hops, hula hoops and berlain and Alex Wake. -
Trademark Rights for Signature Touchdown Dances
Trademark Rights for Signature Touchdown Dances Abstract Famous athletes are increasingly cultivating signature dances and celebratory moves, such as touchdown dances, as valuable and commercially viable elements of their personal brands. As these personal branding devices have become immediately recognizable and have begun being commercially exploited, athletes need to legally protect their signature dances. This paper argues that trademark law should protect the signature dances and moves of famous athletes, particularly the signature touchdown dances of NFL players. Because touchdown dances are devices capable of distinguishing one player from another, are non- functional, and are commercially used in NFL games, the dances should be registrable with the USPTO as trademarks for football services. Trademark Rights for Signature Touchdown Dances Joshua A. Crawford Table of Contents I. Introduction . 1 A. Aaron Rodgers and the “Discount Double Check” . 1 B. Signature Dances and Moves in Sports . 4 C. Trademark Protection for Signature Sports Dances . 8 II. Trademark Eligibility and Registration for Signature Touchdown Dances . 10 A. Background Principles of American Trademark Law . 11 B. Subject-Matter Eligibility. 12 C. Distinctiveness . 15 1. Distinctiveness Background . .. 15 2. Acquired Distinctiveness for Dances with Secondary Meaning . 18 3. The Possibility of Proving Inherent Distinctiveness under Seabrook . 19 4. The Possibility of Wal-Mart Barring Inherent Distinctiveness . 20 D. Functionality . 21 E. Use in Commerce . 24 1. Interstate Commerce . 24 2. Bona Fide Commercial Use . 25 a. Manner of Use . 26 b. Publicity of Use . 28 c. Frequency of Use . 31 III. Infringement . 33 A. Real-World Unauthorized Copying of Dances among Players—Permissible Parody . 34 B. -
Interpretation of the Subtext of Harold Pinter's the Room, a Thematic Study
International Journal on Studies in English Language and Literature (IJSELL) Volume 3, Issue 3, March 2015, PP 51-58 ISSN 2347-3126 (Print) & ISSN 2347-3134 (Online) www.arcjournals.org Interpretation of the Subtext of Harold Pinter’s the Room, A Thematic Study Mona F. Hashish Northern Border University, Saudi Arabia [email protected] Keywords: Harold Pinter, subtext, silence, fear and violence. Harold Pinter (1930- 2008) is a modern British Noble-prize winning dramatist. The research tackles his first play The Room (1957). That play represents Pinter’s early subtle plays where he hides meanings within their folds. In his early phase, Pinter chooses to be silent, discreet and indirect in both language and characterization. The research studies the unspoken in The Room because it tells important and crucial information about the characters, their thoughts and their past. Pinter makes his play so ambiguous that it is not understood without analyzing what is said and what is not said. Moreover, the study treats the main themes in the play: alienation, violence, menace and fear. Therefore, the research investigates the subtext in order to reveal the embedded meanings of the text. The Room primarily discusses Rose’s tragedy that is unsaid. The protagonist’s reaction reflects her suffering. The paper manages to discover the reasons of her tragedy through studying her attitude, and analyzing her actions, reactions, silence and gestures. The Room is one of Harold Pinter‘s early plays that are vague and highly suggestive. John Brown calls Pinter‘s early plays –such as The Room (1957), The Birthday Party (1958), The Dumb Waiter (1959), The Caretaker (1960) and The Homecoming (1965) –‗interior plays‘ because they are all subtle and implicit (12). -
Juniors to Have Prom Girls Glee Club Pre~Ents Nnua Aster Oncert
,. SERlES V VOL. VII Stevens Point, \Vis., April 10, 1946 No. 23 College Band Again Juniors To Have Prom Girls Glee Club Pre~ents To Welcome Alums Of interest to all students is the fact that the first post-war Juni or A 1 E c The col lege band, under Ihe di rec· Promenade will be he!J as originally nnua aster oncert tion of Peter J. Michelsen, wi ll hold sc heduled on Friday, May 24. There · a h omecoming on Saturday and Sun had previously been some question day, April 27 and 28. as to whether it could be held be Holds Initiation Michelsen to Direct Approximately 36 band directors cause of the fact that the date chose n Second semester pledges became The Girls Glee club, under the plan to attend the homecoming. for the Prom was the same as that members of Sigma Tau Delta, na directi on of Peter J. Michelsen, will They wi ll play with the college selected by the freshmen for their tional honora ry English fraternity, present their fifth annual Easte r band, making a total of '65 people in proposed party. After a discussion at a meeting held last Wednesday concert on P,tlm Sunda)', April 14, the organization. between the heads of the two classes, the decision was reached to evening in Studio A. in th; coll ege aud itorium .It 3 o'clock ! he g roup will spend Saturday combine the two events in to the The new members, Joyce Kopitz in the .1fternoon. rehearsing, and on Saturday evening, Junior Prom. -
Harold Pinter's Transmedial Histories
Introduction: Harold Pinter’s transmedial histories Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Bignell, J. and Davies, W. (2020) Introduction: Harold Pinter’s transmedial histories. Historical Journal of Film, Radio & Television, 40. pp. 481-498. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778314 Available at http://centaur.reading.ac.uk/89961/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/01439685.2020.1778314 Publisher: Taylor & Francis 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 Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 Introduction: Harold Pinter’s Transmedial Histories Jonathan Bignell & William Davies To cite this article: Jonathan Bignell & William Davies (2020): Introduction: Harold Pinter’s Transmedial Histories, Historical Journal of Film, Radio and Television To link to this article: https://doi.org/10.1080/01439685.2020.1778314 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=chjf20 Historical Journal of Film, Radio and Television, 2020 https://doi.org/10.1080/01439685.2020.1778314 INTRODUCTION: HAROLD PINTER’S TRANSMEDIAL HISTORIES Jonathan Bignell and William Davies This article introduces the special issue by exploring the transmediality of Harold Pinter's work. -
Why We Play: an Anthropological Study (Enlarged Edition)
ROBERTE HAMAYON WHY WE PLAY An Anthropological Study translated by damien simon foreword by michael puett ON KINGS DAVID GRAEBER & MARSHALL SAHLINS WHY WE PLAY Hau BOOKS Executive Editor Giovanni da Col Managing Editor Sean M. Dowdy Editorial Board Anne-Christine Taylor Carlos Fausto Danilyn Rutherford Ilana Gershon Jason Troop Joel Robbins Jonathan Parry Michael Lempert Stephan Palmié www.haubooks.com WHY WE PLAY AN ANTHROPOLOGICAL STUDY Roberte Hamayon Enlarged Edition Translated by Damien Simon Foreword by Michael Puett Hau Books Chicago English Translation © 2016 Hau Books and Roberte Hamayon Original French Edition, Jouer: Une Étude Anthropologique, © 2012 Éditions La Découverte Cover Image: Detail of M. C. Escher’s (1898–1972), “Te Encounter,” © May 1944, 13 7/16 x 18 5/16 in. (34.1 x 46.5 cm) sheet: 16 x 21 7/8 in. (40.6 x 55.6 cm), Lithograph. Cover and layout design: Sheehan Moore Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9861325-6-8 LCCN: 2016902726 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is marketed and distributed by Te University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Table of Contents Acknowledgments xiii Foreword: “In praise of play” by Michael Puett xv Introduction: “Playing”: A bundle of paradoxes 1 Chronicle of evidence 2 Outline of my approach 6 PART I: FROM GAMES TO PLAY 1. Can play be an object of research? 13 Contemporary anthropology’s curious lack of interest 15 Upstream and downstream 18 Transversal notions 18 First axis: Sport as a regulated activity 18 Second axis: Ritual as an interactional structure 20 Toward cognitive studies 23 From child psychology as a cognitive structure 24 . -
The Theme of Isolation in Harold Pinter's the Caretaker
www.the-criterion.com The Criterion: An International Journal in English ISSN (0976-8165) The Theme of Isolation in Harold Pinter’s The Caretaker Dr. H.B. Patil The human being in modern life has become victim of frustration, loneliness, loss of communication and isolation. Harold Pinter, the British playwright reflects exactly this state of human being in his play The Caretaker. His well known plays are The Room, The Homecoming , The Birthday Party, etc. But his real breakthrough came with the publication of The Caretaker. Harold Pinter’s works present directly or indirectly the influences of pre-war and post-war incidents. The sense of rootlessness, loneliness and isolation can be seen in his characters. The audiences are made to laugh but at the same time they are threatened by violent action that destroys the central character. The Caretaker discusses the critical condition of characters in the play. All the three characters Aston, Mick and Davies do represent their isolation with more or less intensity. This play of Pinter opens the life in general and life in 1950s England in particular. The isolation is either forced on them or it is selected by them on their own. His characters do not allow themselves to form good relationship with others. From the very beginning of the play, the realistic details occur. Aston lives in a room of an apartment that is owned by his brother Mick. Though they are brothers there is no proper communication between them. Aston lives the life of mentally retarded human being because of the electric shock treatment given to him. -
The Complete Poetry of James Hearst
The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring.