A Streetcar Named Desire Lighting and Set Designs

Total Page：16

File Type：pdf, Size：1020Kb

A Streetcar Named Desire Lighting and Set Designs 1947 Ethel Barrymore Theater: Jo Mielziner (Scenery and Lighting Design) 1947 Ethel Barrymore Theater: Jo Mielziner (Scenery and Lighting Design) 1947 Ethel Barrymore Theater: Jo Mielziner (Scenery and Lighting Design) 1947 Ethel Barrymore Theater: Jo Mielziner (Scenery and Lighting Design) Jo Mielziner (Scenery and Lighting Design) Death of a Salesman (1949) Jo Mielziner (Scenery and Lighting Design) 1776 (1969) Jo Mielziner (Scenery and Lighting Design) The King and I (1951) 2005 Studio 54: Robert Brill (Scenery) and Donald Holder (Lighting) 2005 Studio 54: Robert Brill (Scenery) and Donald Holder (Lighting) Robert Brill (Scenery Design) Guys and Dolls (2009) Robert Brill (Scenery Design) As Assassins (2004) Robert Brill (Scenery Design) Buried Child (1995) Donald Holder (Lighting Design) M. Butterfly (2017) Donald Holder (Lighting Design) The Motherfucker With The Hat (2011) Donald Holder (Lighting Design) The King and I (2015) 2010 Guthrie: Todd Rosenthal (Scenery) and Peter Mumford (Lighting) 2010 Guthrie: Todd Rosenthal (Scenery) and Peter Mumford (Lighting) 2010 Guthrie: Todd Rosenthal (Scenery) and Peter Mumford (Lighting) Todd Rosenthal (Scenery Design) A Streetcar Named Desire at The Cleveland Playhouse Todd Rosenthal (Scenery Design) A Skull in Connemara Todd Rosenthal (Scenery Design) An Iliad Peter Mumford (Lighting Design) The Dark Earth and Light Sky (2012) Peter Mumford (Lighting Design) Tosca (2010) Peter Mumford (Lighting Design) Women on the Verge of a Nervous Breakdown (2015) 2012 Broadhurst Theater: Eugene Lee (Scenery) and Edward Pierce (Lighting) 2012 Broadhurst Theater: Eugene Lee (Scenery) and Edward Pierce (Lighting) 2012 Broadhurst Theater: Eugene Lee (Scenery) and Edward Pierce (Lighting) 2012 Broadhurst Theater: Eugene Lee (Scenery) and Edward Pierce (Lighting) Eugene Lee (Scenery Design) Bright Star (2016) Eugene Lee (Scenery Design) The Other Place (2013) Eugene Lee (Scenery Design) Glengarry Glen Ross (2013) Edward Pierce (Lighting Design) Baby Doll (2015) Edward Pierce (Lighting Design) The Piano Lesson (2016) Edward Pierce (Lighting Design) The Lark (2005).

Copy Link

Recommended publications

Undergraduate Play Reading List
UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M.
[Show full text]
Whole Document
Copyright By Christin Essin Yannacci 2006 The Dissertation Committee for Christin Essin Yannacci certifies that this is the approved version of the following dissertation: Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 Committee: _______________________________ Charlotte Canning, Supervisor _______________________________ Jill Dolan _______________________________ Stacy Wolf _______________________________ Linda Henderson _______________________________ Arnold Aronson Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 by Christin Essin Yannacci, B.A.; M.A. Dissertation Presented to the faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2006 Acknowledgements There are many individuals to whom I am grateful for navigating me through the processes of this dissertation, from the start of my graduate course work to the various stages of research, writing, and editing. First, I would like to acknowledge the support of my committee members. I appreciate Dr. Arnold Aronson’s advice on conference papers exploring my early research; his theoretically engaged scholarship on scenography also provided inspiration for this project. Dr. Linda Henderson took an early interest in my research, helping me uncover the interdisciplinary connections between theatre and art history. Dr. Jill Dolan and Dr. Stacy Wolf provided exceptional mentorship throughout my course work, stimulating my interest in the theoretical and historical complexities of performance scholarship; I have also appreciated their insights and generous feedback on beginning research drafts. Finally, I have been most fortunate to work with my supervisor Dr. Charlotte Canning. From seminar papers to the final drafts of this project, her patience, humor, honesty, and overall excellence as an editor has pushed me to explore the cultural implications of my research and produce better scholarship.
[Show full text]
Ebook Download the Plays, Screenplays and Films of David
THE PLAYS, SCREENPLAYS AND FILMS OF DAVID MAMET PDF, EPUB, EBOOK Steven Price | 192 pages | 01 Oct 2008 | MacMillan Education UK | 9780230555358 | English | London, United Kingdom The Plays, Screenplays and Films of David Mamet PDF Book It engages with his work in film as well as in the theatre, offering a synoptic overview of, and critical commentary on, the scholarly criticism of each play, screenplay or film. You get savvy industry tips and strategies for getting your screenplay noticed! Mamet is reluctant to be specific about Postman and the problems he had writing it, explaining. He shrugs off the whispers floating up and down the Great White Way about him selling out and going Hollywood. Contemporary playwright David Mamet's thought-provoking plays and screenplays such as Wag the Dog , Glengarry Glen Ross for which he won the Pulitzer Prize , and Oleanna have enjoyed popular and critical success in the past two decades. The Winslow Boy, Mamet's revisitation of Terence Rattigan's classic play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. House of Games is a psychological thriller in which a young woman psychiatrist falls prey to an elaborate and ingenious con game by one of her patients who entraps her in a series of criminal escapades. Paul Newman plays Frank Calvin, an alcoholic and disgraced Boston lawyer who finds a shot at redemption with a malpractice case. I Just Kept Writing. The impressive number of essays , novels , screenplays , and films that Mamet has produced They might be composed and awesome on the battlefield, but there is a price, and that is their humanity.
[Show full text]
Advertising Sales
"It is a thrill to see David Mamet’s “Glengarry Glen Ross” on this season’s theater roster..." -- Lansing City Pulse August 12, 2015 "...even the silent moments grab the audience and keep them intently focused." --Bridgette Redman, Encore Michigan review of Ixion's Topdog/Underdog "...a thrill to watch." --Tom Helma, Lansing City Pulse review of Ixion's The Effect of Gamma Rays on Man-in-the-Moon Marigolds Be a part of the excitement! Advertise with Ixion After a critically acclaimed inaugural season, Ixion theatre ensemble is diving into its second. Featuring world and regional premieres, and a dynamic revival; this season promises to entertain, challenge and excite audiences. Equally exciting is our new home, the Robin Theater. Seating nearly a hundred people per performance, this space offers an intimate opportunity to enjoy the arts. You can be a part of our second season by advertising in our show programs. Imagine connecting with a dynamic arts organization; their patrons committed to Sineh Wurie the community; and celebrating the revitalization of Lansing's REO Town! Nominated for Best Lead Actor by Lansing City Pulse & Encore Michigan in Attached is an advertising order sheet, which details ad specs and pricing. Please Topdog/Underdog contact us if you have any questions. If you are interested in underwriting a particular show or discussing other advertising opportunities, please contact our Artistic Director, jeff croff, via phone, 715.775.4246, or email [email protected]. www.ixiontheatre.com Find us on Facebook and Google+
[Show full text]
Theatre of Power: Conflicts, Resistance and Foucauldian Power
國立中山大學外國語文研究所碩士論文 A THESIS SUBMITTED TO THE GRAGUATE INSTITUTE OF FOREIGN LANGUAGES AND LITERATURE NATIONAL SUN YAT -SEN UNIVERSITY 指導教授: 王儀君 Advisor: Professor Wang I-Chun 題目：權力劇場：大衛‧馬梅特之《房地產大亨》及《美國水牛》中的衝突、反抗與傅柯式權力觀 Title: Theatre of Power: Conflicts, Resistance and Foucauldian Power in David Mamet's Glengarry Glen Ross and American Buffalo 研究生: 陳宛伶撰 By: Chen Wan-Ling 中華民國八十九年六月 June 2000 ACKNOWLEDGEMENTS I’ve learned that the most precious gift I’ve received is the warm concern and constant encouragement from the following people on my way of bringing this thesis to fulfillment. First and foremost, my gratitude goes to Professor Wang I-chun, my advisor. Without her patient guidance and perceptive advice, I could never be out of the impasse in the process of my thesis-writing. I would like to express my sincere appreciation to my oral examiners, Professor Wu Hsin-fa and Professor Liao Pen-shui, whose inspiring questions and invaluable suggestions help better this thesis. I am grateful to my sworn confidants for their lasting friendship and immense support: to Emily Wu, for her steady care and understanding; to Sharon Tseng and Joan Lin, for their collecting important resources; to Gavin Wong and Vincent Tsai, for their careful proofreading at the final stage of the draft; to Leo Chen, Jackie Chen and Irene Wang, for their continual assistance. I wish to thank my musketeers, as well as forever friends, Pao-i Hwang and Grace Lai, for their cherished companionship. I also owe my good friends Ashlee Tai, Gloria Tsai and Jay Lee a great deal.
[Show full text]
Building Cultures by Designing Buildings: Corporatism, Eero Saarinen, and Thevivian Beaumont Repertory Theater at the Lincoln Center for the Performing Arts
85TH ACSA ANNUAL MEETING ANDTECHNOLOGY CONFERENCE 457 Building Cultures by Designing Buildings: Corporatism, Eero Saarinen, and theVivian Beaumont Repertory Theater at the Lincoln Center for the Performing Arts WESLEY R. JANZ, AIA Ball State University In 1964, the inaugural production of the Lincoln Center the temporary facility. The second considers the architec- repertory company opened to critical acclaim. The debut of tural intentions of these non-architects as they gave physical Arthur Miller's play After The Fall was "an impressive start" form to the preeminent culture they envisioned. (chapman); one that would "arouse an audience and enrich a season" (Nadel). The cast, which included Faye Dunaway, THE CAMPUS OF THE LINCOLN CENTER FOR Hal Holbrook, and leading man Jason Robards, Jr. was THE PERFORMING ARTS lauded: "no performance was less than compelling," stated Lincoln Center was the focus of the eighteen-block Lincoln Howard Taubman, the theater critic of the New York Times. Square Urban Redevelopment Project on the Upper West The theater, a temporary facility that was designed and Side of New York City. Spearheading the Lincoln Center built under the guidance of co-producing directors Robert component were Coinmissioner Robert Moses, Dwight Whitehead and Elia Kazan, was also praised. The critic John Eisenhower, the President of the United States; Nelson A. McClain termed the playhouse "a quite fabulous structure," Rockefeller, the Governor of the State of New York; and the and Howard Clunnan agreed; "the moment you enter it your third John D. Rockefeller. The Center's unofficial title, the attention is riveted on the stage" (Hyams).
[Show full text]
Sidney Flack Height: 5’ 9” SAG-AFTRA Eligible 155 Lbs
Sidney Flack Height: 5’ 9” SAG-AFTRA Eligible 155 lbs. Hair: Gray has current passport Eyes: Blue and drivers license FILM Impropriety Supporting Nadeem Soumah, Dir. Dotty And Soul (Starring Leslie Uggams) Supporting Adam Saunders, Dir. Thirteen Minutes (Starring Paz Vega) Supporting Lindsay Gossling, Dir. In Sickness & In Health (Short) Supporting Chris Oz McIntosh, Dir. Dandelion (Short) Lead Jörg Viktor Steins-Lauss, Dir. Jade Black Major Supporting Terry Spears, Dir. The Last Exorcist Supporting Robin Bain, Dir. Hells Belle Supporting Terry Spears, Dir. MONO: An Anthology: Danger Boy Supporting Jacob Leighton Burns, Dir. Empyrean Supporting Amiel Courtin-Wilson, Dir. Tempo (Short) Supporting Lead Brian Lawes, Dir. The Harvesters Supporting Nick Sanford, Dir. Children of The Corn: Runaway Supporting John Gulager, Dir. Gosnell (Starring Dean Cain) Supporting Nick Searcy, Dir. The Foreverlands (short) Supporting Kyle Kauwika Harris, Dir. Effie (short) Supporting Lead Michael Cunningham, Dir. T. V. The Battle Of Honey Springs Star Pantheon Digital, Bryan Beasley, Dir. In The Gap: Deborah, The Cost of Freedom Star TBN, Jonathan Coussens, Dir. Murder Made Me Famous: 2 episodes Co-Star AMS Pictures, ReelzChannel - The Dating Game Killer Drew Feldman, Dir. - Robert Durst Katie Dunn, Dir. Price of Fame: Johnny Depp Co-Star AMS Pictures, ReelzChannel Brad Osborne, Dir. Annihilator (pilot trailer) Supporting Bat Bridge Entertainment Scandal Made Me Famous: 2 eps. Co-Star AMS Pictures, ReelzChannel - Jessica Hahn Adam Dietrich, Dir. - Anna Nicole
[Show full text]
Acquisitions Edited.Indd
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.
[Show full text]
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.
[Show full text]
The Tenth Annual William Kemp Symposium for Majors in English, Linguistics, & Communication
The Tenth Annual William Kemp Symposium for Majors in English, Linguistics, & Communication Thursday, April 24, 2014 8:00-9:15 SESSION I—American Drama since 1945 in Performance (Combs 111) 1. Dylan Lockwood (and friends), Who's Afraid of Virginia Woolf? by Edward Albee (video) 2. Nathan Bemis, Sam Relken, and Claire Winkler, Who's Afraid of Virginia Woolf? by Edward Albee (live performance) 3. Courtney Rampey (and friends), Glengarry Glen Ross by David Mamet (video) 4. Amanda Riffe (and friends), The Heidi Chronicles by Wendy Wasserstein (video) 5. Megan Champion and Ashley Most, Fucking A by Suzan-Lori Parks (video) 6. Bethany Alley, Conor Murphy, and Sara Weinstein, The Glass Menagerie by Tennessee Williams, Who’s Afraid of Virginia Woolf? by Edward Albee, ’night, Mother by Marsha Norman, and Angels in America by Tony Kushner (video) Chair: Gary Richards 9:30- 10:45 SESSION II—Papers from "After Books" (Combs 114) Chair: Zach Whalen SESSION III—Six Poets: Poems from 304 (Combs 322) Creative works by Virginia Cox, Amanda Halprin, Stephenie Duncan, Lincoln Dunn, Keiera Lewis, and Robert Kingsley Chair: Luke Johnson 11:00-12:15 SESSION IV—Poems from 470A: Poetry Seminar (Combs 114) Creative works from 15 student poets Chair: Jon Pineda SESSION V—Social Media at UMW (Combs 112) Social Media Campaign: Promoting the UMW Multicultural Fair Students in COMM 370: Social Media developed and implemented a social media campaign for the Multicultural Fair. In this presentation, students from the class will discuss how to plan a social media campaign, phases of implementation, and how they helped to promote and document this year’s Multicultural Fair SMH 101: Finishing the Social Media Handbook for College Students The Spring 2013 COMM 370: Social Media class started a very ambitious project – to create an iPad book called SMH 101: The Social Media Handbook for College Students.
[Show full text]
Introduction
THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
[Show full text]
Universiv Micrcsilms International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
[Show full text]