Stanford University, Department of Theater Performance Studies, Records Creator: Stanford University

Total Page:16

File Type:pdf, Size:1020Kb

Stanford University, Department of Theater Performance Studies, Records Creator: Stanford University http://oac.cdlib.org/findaid/ark:/13030/c8n01czw Online items available Guide to the Stanford University, Department of Theater & Performance Studies, Records SC1303SC1303 Daniel Hartwig & Presley Hubschmitt Department of Special Collections and University Archives June 2018 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc SC1303 1 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Stanford University, Department of Theater Performance Studies, Records creator: Stanford University. Department of Theater and Performance Studies Identifier/Call Number: SC1303 Physical Description: 56 Linear Feet Physical Description: 559943.64 megabyte(s) Date (inclusive): 1946-2018 Language of Material: English Conditions Governing Access The materials are open for research use; materials must be requested at least 48 hours in advance of intended use. Audio-visual materials are not available in original format, and must be reformatted to a digital use copy. Preferred Citation Stanford University, Department of Theater and Performance Studies, Records (SC1303). Dept. of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif. Conditions Governing Use All requests to reproduce, publish, quote from, or otherwise use collection materials must be submitted in writing to the Head of Special Collections and University Archives, Stanford University Libraries, Stanford, California 94304-6064. Consent is given on behalf of Special Collections as the owner of the physical items and is not intended to include or imply permission from the copyright owner. Such permission must be obtained from the copyright owner, heir(s) or assigns. Restrictions also apply to digital representations of the original materials. Use of digital files is restricted to research and educational purposes. Immediate Source of Acquisition Transfer, 2018. Scope and Contents The materials include posters, production photographs, newsletters, publicity materials, news clippings, and audiovisual recordings documenting performances of the Department of Theater and Performance Studies. Subjects and Indexing Terms Drama -- 20th century Dramatics. Drama -- Study and teaching. Stanford University. Department of Theater and Performance Studies Stanford University. Department of Theater and Performance Studies Production photographs Accession ARCH_2017_038 1958-2000 Physical Description: 550912 megabyte(s) Box 1 Theater and Performance Studies ts003qt1940 Box 1 Theater and Performance Studies xy920cz8788 Box 1 Theater and Performance Studies wh090cb0728 Box 1 Theater and Performance Studies jg848ps7845 Box 1 Theater and Performance Studies jk442kt2747 Box 1 Theater and Performance Studies tb021yw4512 Box 1 Theater and Performance Studies yq779bv8197 Box 1 Theater and Performance Studies mw104zw9165 Box 1 Theater and Performance Studies bj086qy0825 Box 1 Theater and Performance Studies ym540rt4189 Box 1 12th Night rk479tv3730 Box 1 12th Night qf400sx7423 Box 1 3 Penny Opera ws515xd1672 Box 1 3 Penny Opera ty130nj6099 SC1303 2 Production photographs Accession ARCH_2017_0381958-2000 Box 1 3 Penny Opera zj264vg6420 Box 1 3 Penny Opera vn971dr9030 Box 1 Beckett festival my873jq5679 Box 1 Beggars Opera nq006vg9254 Box 1 Beggars Opera mr259dr0464 Box 1 Cyclops xb701sv1479 Box 1 Drama poster hm084nh7688 Box 1 Good Soul wx360ct7159 Box 1 Limited Engagement dr858hv6805 Box 1 Orestes bt138hw7426 1973 Box 1 Prometheus gc895sf5058 1967 Box 1 Suddenly Last Summer hf874mk2743 1962-08 Box 1 The Dispute cs353td4282 Box 1 Unclde Uanya mm757cg9594 1959-02 Box 1 Venus Observed cd148sk5572 1958-11 Records Accession ARCH_2018_128 1946-2018 Box 33, Box 34, Administrative records Box 36, Box 54 Box 63 Index Cards Box 67 Theses and Dissertations - Advised by Harry Elam, Jr. Box 68 Guest Book 1980 Dec 12 Box 68 Guest Book - Stanford Dance 1983-1985 Box 68 Administrative Binder for Stanford Dance Box 68 Development and Correspondence - Dance Action Stanford Box 68 Big Dance - Publicity Archive 1984 Box 68 Big Dance - Publicity Archive 1985 Box 68 Guest Book 1980 Dec 12 Box 68 Guest Book - Stanford Dance 1983-1985 Box 68 Administrative Binder for Stanford Dance Box 68 Development and Correspondence - Dance Action Stanford Box 68 Big Dance - Publicity Archive 1984 Box 68 Big Dance - Publicity Archive 1985 Audiovisual recordings box 30 1983-1987 Box 30 Graduate Design Projects: Judy Kreith, James Lee, Solomon Miller 30_01 1987 May 27 Physical Description: 1 videotape(s) (vhs) Box 30 Alumni Invitational Concert '84 + Faculty and Friends in Performance 30_02 1984 Nov- 1986 Feb Physical Description: 1 videotape(s) (vhs) Box 30 Pannel Discussion- Allen, Mhoney, Van Dusen 30_03 1986 Feb 12 Physical Description: 1 videotape(s) (vhs) Box 30 Videographics for Dance Portraits 30_04 Physical Description: 1 videotape(s) (vhs) Box 30 Dance Week '83 Panel Discussion 1 of 2 30_05 1983 Feb 23 Physical Description: 1 videotape(s) (vhs) SC1303 3 Records Accession ARCH_2018_1281946-2018 Audiovisual recordings Box 30 Dance Week '83 Panel Discussion 2 of 2 30_06 1983 Feb 23 Physical Description: 1 videotape(s) (vhs) Box 30 ACIS Dance Division 1 of 2 30_07 1987 Feb 27 Physical Description: 1 videotape(s) (vhs) Box 30 ACIS Dance Division 1 of 2 30_08 1987 Feb 27 Physical Description: 1 videotape(s) (vhs) Box 30 Untitled 30_09 Physical Description: 1 videotape(s) (vhs) Box 30 Untitled 30_10 Physical Description: 1 videotape(s) (vhs) Box 30 D. Eno Washington 30_11 Physical Description: 1 videotape(s) (vhs) Box 30 Dance Week Project: Strange Hero, Fractured Visage, No Heaven 30_12 Physical Description: 1 videotape(s) (vhs) Box 30 ACIS Dance Division 1 of 2 30_13 1987 Feb 27 Physical Description: 1 videotape(s) (vhs) Box 30 Dance Division portrait Intros: lisa Arkin's Narration 30_14 1987 Feb 17 Physical Description: 1 videotape(s) (vhs) Box 30 Dance Division General Intro: Lisa Arkin's Narration 30_15 1987 Feb 19 Physical Description: 1 videotape(s) (vhs) Box 30 Dance Week Opening 30_16 Physical Description: 1 videotape(s) (vhs) Box 30 Spring Dance Festival 30_17 1987 Physical Description: 1 videotape(s) (vhs) Box 30 ACIS Dance Division 2 of 2 30_18 1987 Feb 27 Physical Description: 1 videotape(s) (vhs) box 27 1987 Box 27 Dance Division Concert, Tape 1 27_01 1987 Feb 22 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Portrait: Martha Graham, Susan Chasion Narration, Audio Ch 1 + 2 27_02 1987 Feb 12 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Portrait: Martha Graham, Graham Still Portraits 27_03 1987 Feb 3 Physical Description: 1 videotape(s) (vhs) Box 27 Daniel Nagrin: A Man Dancing 27_04 1987 Physical Description: 1 videotape(s) (vhs) SC1303 4 Records Accession ARCH_2018_1281946-2018 Audiovisual recordings Box 27 Doris Humphrey 27_05 1987 Physical Description: 1 videotape(s) (vhs) Box 27 Lego Quililie Jauet Duet 27_06 Physical Description: 1 videotape(s) (vhs) Box 27 Martha Graham 27_07 1987 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Project: Tony Kramer Audio for Daniel Magrin 27_08 1987 Feb 13 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Portraits: Doris Humphrey 27_09 1987 Feb 19 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Portraits: Damniel Nagrin 27_10 1987 Jan 26 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Portraits: Doris Humphrey, Jancey Limpert's Narration 27_11 1987 Feb 18 Physical Description: 1 videotape(s) (vhs) Box 27 A Dance World and Doris Humphrey's Clip 27_12 1987 Jan 28 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Concert, Tape 2 27_13 1987 Feb 22 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Concer, Tape 1 27_14 1987 Feb 22 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Division Concert, Tape 2 27_15 1987 Feb 22 Physical Description: 1 videotape(s) (vhs) Box 27 Dance Week '87: Historical Portraits 27_16 1987 Physical Description: 1 videotape(s) (vhs) box 14, box 32 1990-1999 Box 14 End of 1/4 Winter 14_01 1996 Mar 13 Physical Description: 1 audiocassette(s) Box 14 End of Quarter Showing 14_02 1998 Dec 4 Physical Description: 1 audiocassette(s) Box 14 End of 1/4 Shpwing 14_03 1995 Dec 6 Physical Description: 1 audiocassette(s) Box 14 Journey of Drums 14_04 1994 Nov 7 Physical Description: 1 audiocassette(s) Box 14 End of 1/4 Showing Spring '93 14_05 1993 Physical Description: 1 audiocassette(s) SC1303 5 Records Accession ARCH_2018_1281946-2018 Audiovisual recordings Box 14 End of 1/4 Showing 14_06 1994 Mar 10 Physical Description: 1 audiocassette(s) Box 14 End of 1/4 Fall '99 14_07 1999 Physical Description: 1 audiocassette(s) Box 14 Alumni Dance Concert 14_08 1995 Oct 27 Physical Description: 1 audiocassette(s) Box 14 Alumni Concert 14_09 1997 Physical Description: 1 audiocassette(s) Box 14 Spring Migration 14_10 1996 Physical Description: 1 audiocassette(s) Box 14 Spring Migration 14_11 1994 Apr 30 Physical Description: 1 audiocassette(s) Box 14 Halifus Last 14_12 1993 Dec 9 Physical Description: 1 audiocassette(s) Box 14 Ballet Rep Performance 14_13 1998 Mar 6 Physical Description: 1 audiocassette(s) Box 14 Susan and Geroge's Tango Presentation 14_14 1995 Oct 23 Physical Description: 1 audiocassette(s) Box 14 Spring Mig '98 #20 14_15 1998 Physical Description: 1 audiocassette(s) Box 14 Spring Migration '97 14_16 1997 May 7 Physical Description: 1 audiocassette(s) Box 14 Trisha
Recommended publications
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • DIE LIEBE DER DANAE July 29 – August 7, 2011
    DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D.
    [Show full text]
  • HAYDN À L'anglaise
    HAYDN à l’anglaise NI6174 CAFO MOZART Caf€ Mozart Proprietor Derek McCulloch Emma Kirkby soprano Rogers Covey-Crump tenor Emma Kirkby soprano Rogers Covey-Crump tenor Jenny Thomas flute Ian Gammie guitar Alastair Ross square piano Jenny Thomas flute Ian Gammie guitar Alastair Ross square piano Derek McCulloch proprietor Instruments: Four-keyed flute: Rudolph Tutz, Innsbruck 2003, after August Grenser, c1790 Guitar: Nick Blishen, 2001; copy of Lacote, c1820 Square piano: William Southwell, London c1798. Restored by Andrew Lancaster, 2008 Tuning & maintenance: Edmund Pickering Tuning: a’=430; Vallotti Recorded June 7th-9th 2011 in Rycote Chapel nr Thame, Oxfordshire Sound engineer: Anthony Philpot. Producer: Dr Derek McCulloch Music edited and arranged by Ian Gammie & Derek McCulloch Source material: Bodleian Library, Oxford, UK Bodleian Libraries UNIVERSITY OF OXFORD © 2012 Caf€ Mozart Enterprises 64 Frances Rd Windsor SL4 3AJ [email protected] HAYDN à l’anglaise Cover picture: Derek McCulloch (©2012) after George Dance (1794) Haydn’s songs as edited by William Shield Graphics: Rod Lord (www.rodlord.com) ‘Ballads’ adapted from his instrumental music by Samuel Arnold Dedicated to the memory of Roy Thomas († February 2011) Rondos on his Canzonettas by Thomas Haigh Alastair Ross started his musical career as HAYDN à l’anglaise Organ Scholar in New College, Oxford in Caf€ Mozart Proprietor Derek McCulloch the 1960s. In the intervening years he has (a) Emma Kirkby soprano [1,2,3,6,8,10,14,15,17,19,20] established himself as one of the country’s (b) Rogers Covey-Crump tenor [1,2,4,7,9,10,11,13,14,15,18,19,20] foremost continuo players and as a solo (c) Jenny Thomas flute [2,7,8,9,10,13,14,15,19] harpsichordist with a particular affection for (d) Ian Gammie guitar [2,6,7,8,9,10,11,14,15,17,18,19,20] JS Bach.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • The Waste Land: a Personal Grouse
    The Waste Land: A Personal Grouse Leon Surette University of Western Ontario Eliot¶s Waste Land must be the most discussed and analyzed poem of its length in the language, yet, for all that, it is perhaps still the most contested of all poems firmly ensconced in the canon. Initially receivedat least by its boostersas an articulation of the alienation, disillusion and scepticism of the young twentieth century, it has since been attacked from many anglesas reactionary, mystical, homosexual, anti-Semitic, elitist, phallocentric andperhaps most damaginglyas a con. The last criticism comes from the rather acid pen of Lawrence Rainey, who denounces the whole of Modernist art DV OLWWOH PRUH WKDQ ³D VWUDWHJ\ ZKHUHE\ WKH ZRUN of art invites and solicits its cRPPRGLILFDWLRQ´ (3).1 The Waste Land, Rainey says, was ³DQ HIIRUW WR DIILUP the output of a specific marketing-publicity apparatus through the enactment of a triumphal and triumphant occasion´ 7KHUHLVQRGRXEWWKDWWKHSXEOLFDWLRQRIThe Waste Land was orchestrated by Eliot, Pound, and Eliot¶s Harvard friend, Schofield Thayer, co-editor of The Dial, but if we are to condemn all artworks whose creators indulged in self promotion, the canon would shrink radically. Of course, the poem has its defendersindeed, they are legion; however, few any longer defend the poem¶V ³P\WKLFDO PHWKRG´DIHature emphasized by early boosters and by Eliot himself. 5RQDOG %XVK IRU H[DPSOH GLVPLVVHV WKH ³)UD]HU DQG :HVWRQ LPDJHU\´DV³VXSHULPSRVHGSLHFHPHDORQWRVHFWLRQVWKDWKDGEHHQ ZULWWHQHDUOLHU´an assessment with which it is difficult to disagree. +RZHYHUKHJRHVRQWRVXUPLVH³WKDW(OLRWKDGVRPHNLQGRIVKRUW- lived religious illumination during the process of re-envisioning the IUDJPHQWVRIKLVSRHP´ WKHUHE\SURVSHFWLYHO\GHIHQGLQJLWIURP Rainey¶s accusations of manipulative career buildingwhich it certainly was.
    [Show full text]
  • Poetics and the Waste Land
    Poetics and The Waste Land Subjects, Objects and the “Poem Including History” Wassim Rustom A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo In Partial Fulfilment of the Requirements for the MA Degree May 2016 Poetics and The Waste Land Subjects, Objects and the “Poem Including History” Wassim Rustom © Wassim Rustom 2016 Poetics and The Waste Land: Subjects, Objects and the “Poem Including History” Wassim Rustom http://www.duo.uio.no Abstract The aim of this thesis is to trace key elements of the poetics that produced The Waste Land, T. S. Eliot’s landmark work of modernist poetry. Part I of the thesis examines the development of the Hulme-Pound-Eliot strand of modernist poetry through a focus on the question of subjectivity and the relationship between philosophical-epistemological ideas and modernist poetics. It traces a movement from a poetic approach centred on the individual consciousness towards one that aims to incorporate multiple subjectivities. Part II offers a complementary account of Eliot’s shift towards a more expansive scope of subject matter and of the fragmented poetic structure of The Waste Land. The argument is based on Jacques Rancière’s analysis of the modern regime of poetics dominant in the West since the Romantics, which identifies “literature” with the “life of a people” and is characterized by an inclusive logic that poeticizes ordinary subjects, objects and fragments. To my parents Contents Introduction.........................................................................................................................1 Part I 1 Early Modernism and Turn-of-the-century Philosophy: Subjectivity and Objectivity...9 1.1 Subjectivity and Narrative Technique................................................................................
    [Show full text]
  • The Waste Land by T
    The Waste Land by T. S. Eliot Copyright Notice ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. ©2007 eNotes.com LLC ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. For complete copyright information on these eNotes please visit: http://www.enotes.com/waste−land/copyright Table of Contents 1. The Waste Land: Introduction 2. Text of the Poem 3. T. S. Eliot Biography 4. Summary 5. Themes 6. Style 7. Historical Context 8. Critical Overview 9. Essays and Criticism 10. Topics for Further Study 11. Media Adaptations 12. What Do I Read Next? 13. Bibliography and Further Reading 14. Copyright Introduction Because of his wide−ranging contributions to poetry, criticism, prose, and drama, some critics consider Thomas Sterns Eliot one of the most influential writers of the twentieth century. The Waste Land can arguably be cited as his most influential work. When Eliot published this complex poem in 1922—first in his own literary magazine Criterion, then a month later in wider circulation in the Dial— it set off a critical firestorm in the literary world. The work is commonly regarded as one of the seminal works of modernist literature. Indeed, when many critics saw the poem for the first time, it seemed too modern.
    [Show full text]
  • Life Is a Dream I.Fdx
    Life is a Dream: A New Vintage Magical Realism Adaptation by Calderon Adapted by Annie R. Such Annie R. Such [email protected] www.arsplays.com 917.474.4850 CHARACTER NAME BRIEF DESCRIPTION AGE GENDER ACT I We hear whispers echoed as if in a cave. The lights come up on Segismundo sleeping in his cell held by chains and lit by a tine lamp. He is dressed in rags and animal skins. The whispers become clear bible verses, studies of the universe, all seem to swirl around the man. As the scene mounts, the whispers beckon him “Wake Up, Wake Up, Wake Up” HIGH ON A MOUNTAIN. THE WIND HOWLS AS THE SUN SETS. ROSAURA, DRESSED IN MALE SAILING ATTIRE, COMES UP FROM BEHIND THE BACK OF THE MOUNTAIN. ROSAURA Damn You, Poland. You give an ill welcome to a foreigner. Your blood stained sands mark an unwanted entrance into your lands. Don’t you know how long I’ve traveled, how far I’ve come? Hardly have I voyaged without struggles and torment- ‘Tis in my blood. But when have the unfortunate ever been delivered mercy? Clarin, Rosaura’s servant, comes around the mountain, panting heavily, carrying luggage like a pack mule. CLARIN Don’t speak for me, Lady-- as a lackey on your revenge quest, I should resent being added to your anguish, but not your speech to the stars. ROSAURA I refrained from giving you a share in my laments, Clarin, so as not to deprive you of your own soliloquy, your own philosophical answer to a rhetorical whine.
    [Show full text]
  • January 19, 2020 Luc De Wit 3:00–4:40 PM
    ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J.
    [Show full text]
  • Solo List and Reccomended List for 02-03-04 Ver 3
    Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano.
    [Show full text]
  • Fusing the Voices: the Appropriation and Distillation of the Waste Land
    Fusing the voices: the appropriation and distillation of The waste land Martin John Fletcher Submetido em 19 de julho de 2015. Aceito para publicação em 23 de outubro de 2015. Cadernos do IL, Porto Alegre, n.º 51, dezembro de 2015. p. 51-66 ______________________________________________________________________ POLÍTICA DE DIREITO AUTORAL Autores que publicam nesta revista concordam com os seguintes termos: (a) Os autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Creative Commons Attribution License, permitindo o compartilhamento do trabalho com reconhecimento da autoria do trabalho e publicação inicial nesta revista. (b) Os autores têm autorização para assumir contratos adicionais separadamente, para distribuição não exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista. (c) Os autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado. (d) Os autores estão conscientes de que a revista não se responsabiliza pela solicitação ou pelo pagamento de direitos autorais referentes às imagens incorporadas ao artigo. A obtenção de autorização para a publicação de imagens, de autoria do próprio autor do artigo ou de terceiros, é de responsabilidade do autor. Por esta razão, para todos os artigos que contenham imagens, o autor deve ter uma autorização do uso da imagem, sem qualquer ônus financeiro para os Cadernos do IL.
    [Show full text]
  • Jmaddalena 14
    James Maddalena Baritone (Updated February 2014. Please discard previous materials.) The renowned baritone James Maddalena commands a large and varied repertoire ranging from Monteverdi to contemporary opera. He first gained international recognition for his notable portrayal of the title role in the world premier of John Adams’ Nixon in China, directed by Peter Sellars with Houston Grand Opera followed by performances at Netherland Opera, the Edinburgh Festival, Brooklyn Academy of Music, Washington Opera, Frankfurt Opera, Australia’s Adelaide Festival, the Chatelet in Paris, English National Opera, the Greek National Opera and most recently for his debut with the Metropolitan Opera. His association with John Adams continued in two more recent roles: the Captain in Adams’s The Death of Klinghoffer, which premiered at the Théâtre de la Monnaie in Brussels and received performances at the Opera de Lyon, the Brooklyn Academy of Music, San Francisco Opera, and at the Vienna Festival prior to being recorded by Nonesuch under Kent Nagano; and Jack Hubbard in Doctor Atomic for San Francisco Opera. Mr. Maddalena has appeared with many other leading international opera companies: New York City Opera, San Francisco Opera, Atlanta Opera, Santa Fe Opera, Opera Theatre of St. Louis, Opera Boston, the Lyric Opera of Kansas City, Frankfurt Opera, and Glyndebourne Festival Opera, as well as with the Chicago Symphony, Los Angeles Philharmonic, Boston Symphony, San Francisco Symphony, Brooklyn Philharmonic, the Royal Scottish Orchestra, Orchestra of the Accademia di Santa Cecilia in Rome and the London Symphony Orchestra. He is a frequent collaborator with director Peter Sellars and sang major roles in Sellars’ stagings of the Mozart/Da Ponte operas (the Count in Le nozze di Figaro and Guglielmo in Così fan tutte), as well as his productions of operas by Haydn, Handel and John Adams.
    [Show full text]