Information to Users
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City. -
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. -
Stanley Chase Papers LSC.1090
http://oac.cdlib.org/findaid/ark:/13030/kt6h4nc876 No online items Finding Aid for the Stanley Chase Papers LSC.1090 Processed by Timothy Holland and Joshua Amberg in the Center For Primary Research and Training (CFPRT), with assistance from Laurel McPhee, Fall 2005; machine-readable finding aid created by Caroline Cubé and edited by Josh Fiala, Caroline Cubé, Laurel McPhee and Amy Shung-Gee Wong. UCLA Library Special Collections Online finding aid last updated on 2020 December 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Stanley Chase LSC.1090 1 Papers LSC.1090 Contributing Institution: UCLA Library Special Collections Title: Stanley Chase papers Creator: Chase, Stanley Identifier/Call Number: LSC.1090 Physical Description: 157.2 Linear Feet(105 boxes, 12 oversize boxes, 27 map folders) Date (inclusive): circa 1925-2001 Date (bulk): 1955-1989 Abstract: Stanley Chase (1928-) was a theater, film, and television producer. The collection consists of production and business files, original production drawings, posters, press clippings, sound recordings, and scripts from his major projects. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. -
Click Here to Download The
$10 OFF $10 OFF WELLNESS MEMBERSHIP MICROCHIP New Clients Only All locations Must present coupon. Offers cannot be combined. Must present coupon. Offers cannot be combined. Expires 3/31/2020 Expires 3/31/2020 Free First Office Exams FREE EXAM Extended Hours Complete Physical Exam Included New Clients Only Multiple Locations Must present coupon. Offers cannot be combined. 4 x 2” ad www.forevervets.com Expires 3/31/2020 Your Community Voice for 50 Years PONTEYour Community Voice VED for 50 YearsRA RRecorecorPONTE VEDRA dderer entertainment EEXXTRATRA! ! Featuring TV listings, streaming information, sports schedules, puzzles and more! June 25 - July 1, 2020 has a new home at INSIDE: THE LINKS! Sports listings, 1361 S. 13th Ave., Ste. 140 sports quizzes Jacksonville Beach and more Pages 18-19 Offering: · Hydrafacials · RF Microneedling · Body Contouring · B12 Complex / Lipolean Injections ‘Hamilton’ – Disney+ streams Broadway hit Get Skinny with it! “Hamilton” begins streaming Friday on Disney+. (904) 999-0977 1 x 5” ad www.SkinnyJax.com Kathleen Floryan PONTE VEDRA IS A HOT MARKET! REALTOR® Broker Associate BUYER CLOSED THIS IN 5 DAYS! 315 Park Forest Dr. Ponte Vedra, Fl 32081 Price $720,000 Beds 4/Bath 3 Built 2020 Sq Ft. 3,291 904-687-5146 [email protected] Call me to help www.kathleenfloryan.com you buy or sell. 4 x 3” ad BY GEORGE DICKIE Disney+ brings a Broadway smash to What’s Available NOW On streaming with the T American television has a proud mistreated peasant who finds her tradition of bringing award- prince, though she admitted later to winning stage productions to the nerves playing opposite decorated small screen. -
Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
“The Once and Future Juggernaut”
WITH THE RECENT DEATHS OF CHARLES XAVIER AND WOLVERINE, THE JEAN GREY SCHOOL FOR HIGHER LEARNING HAS BEEN LEFT IN CHAOS. THE X-MEN ARE SPLINTERED AND BROKEN, AND WITH THE FUTURE OF MUTANTKIND HANGING IN THE BALANCE, IDEOLOGICAL DIFFERENCES HAVE SET LIFELONG FRIENDS AGAINST EACH OTHER. IN THE WAKE OF THIS SCHISM, MANY OF THE X-MEN HAVE FOUND THEMSELVES LOST AND SEARCHING FOR PURPOSE. ONE OF THESE X-MEN IS PIOTR RASPUTIN, KNOWN AS COLOSSUS, A MAN WHOSE HAS BEEN LEFT SCARRED BY THE HORRORS IN HIS PAST. HE HAS SEEN HIS FAMILY TORN APART, EVEN HAVING HIS SISTER CAPTURED BY THE DEMON BELASCO AND INFECTED BY THE DARK MAGIC OF HIS REALM OF LIMBO. HE WATCHED AS THE WOMEN HE LOVED WERE KIDNAPPED, LOST, AND KILLED. HE HAS DIED AND BEEN RESURRECTED. AND HIS MIND POSSESSED AND PERVERTED BY BEINGS SUCH AS THE PHOENIX AND CYTTORAK. A MAN WHO ONCE STOOD AS A SHINING, METAL EXAMPLE OF GOOD HAS SEEN HIS SOUL TAINTED BY HIS CHOICES AND THE BLOOD OF THOSE HE HAS KILLED. DESPITE ALL THIS, HE WAS GIVEN A CHANCE AT REDEMPTION BY WOLVERINE, REJOINING THE X-MEN AT THE JEAN GREY SCHOOL. HOWEVER, FACING DOWN HIS DEMONS WILL TAKE MORE THAN JUST SOME FREE ROOM AND BOARD. “THE ONCE AND FUTURE JUGGERNAUT” PART ONE OF FOUR WRITER CHRISTOPHER YOST ARTIST JORGE FORNÉS COLORIST RACHELLE ROSENBERG LETTERER VC’S JOE CARAMAGNA COVER BY KRIS ANKA ASSISTANT EDITOR XANDER JAROWEY EDITOR MIKE MARTS EDITOR IN CHIEF AXEL ALONSO CHIEF CREATIVE OFFICER JOE QUESADA PUBLISHER DAN BUCKLEY EXECUTIVE PRODUCER ALAN FINE X-MEN CREATED BY STAN LEE AND JACK KIRBY AMAZING X-MEN No. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
Shak Shakespeare Shakespeare
Friday 14, 6:00pm ROMEO Y JULIETA ’64 / Ramón F. Suárez (30’) Cuba, 1964 / Documentary. Black-and- White. Filming of fragments of Shakespeare’s Romeo and Juliet staged by the renowned Czechoslovak theatre director Otomar Kreycha. HAMLET / Laurence Olivier (135’) U.K., 1948 / Spanish subtitles / Laurence Olivier, Eileen Herlie, Basil Sydney, Felix Aylmer, Jean Simmons. Black-and-White. Magnificent adaptation of Shakespeare’s tragedy, directed by and starring Olivier. Saturday 15, 6:00pm OTHELLO / The Tragedy of Othello: The Moor of Venice / Orson Welles (92’) Italy-Morocco, 1951 / Spanish subtitles / Orson Welles, Michéal MacLiammóir, Suzanne Cloutier, Robert Coote, Michael Laurence, Joseph Cotten, Joan Fontaine. Black- and-White. Filmed in Morocco between the years 1949 and 1952. Sunday 16, 6:00pm ROMEO AND JULIET / Franco Zeffirelli (135’) Italy-U.K., 1968 / Spanish subtitles / Leonard Whiting, Olivia Hussey, Michael York, John McEnery, Pat Heywood, Robert Stephens. Thursday 20, 6:00pm MACBETH / The Tragedy of Macbeth / Roman Polanski (140’) U.K.-U.S., 1971 / Spanish subtitles / Jon Finch, Francesca Annis, Martin Shaw, Nicholas Selby, John Stride, Stephan Chase. Colour. This version of Shakespeare’s key play is co-scripted by Kenneth Tynan and director Polanski. Friday 21, 6:00pm KING LEAR / Korol Lir / Grigori Kozintsev (130’) USSR, 1970 / Spanish subtitles / Yuri Yarvet, Elsa Radzin, GalinaVolchek, Valentina Shendrikova. Black-and-White. Saturday 22, 6:00pm CHIMES AT MIDNIGHT / Orson Welles (115’) Spain-Switzerland, 1965 / in Spanish / Orson Welles, Keith Baxter, John Gielgud, Jeanne Moreau, Margaret 400 YEARS ON, Rutherford, Norman Rodway, Marina Vlady, Walter Chiari, Michael Aldridge, Fernando Rey. Black-and-White. Sunday 23, 6:00pm PROSPERO’S BOOKS / Peter Greenaway (129’) U.K.-Netherlands-France, 1991 / Spanish subtitles / John Gielgud, Michael Clark, Michel Blanc, Erland Josephson, Isabelle SHAKESPEARE Pasco. -
Playgra:1Vi February I 960 Forty-First St
d \.,) PLAYGRA:1VI FEBRUARY I 960 FORTY-FIRST ST. THEATRE 125 West 41st St., New York II .• SHAKESPEARE IN HARLEM February 28th, 1950: The Day They Killed Cash J i m D ish o1,; R e ttor t f!' r Jim Bishop, the famous neu·spaperman. is the hope of the hopeless. boats, liquor, tire-., car-;, plane trip,;, luggage, the author of the best-selling books. ·'The This led to the Federal Deposit Jn,.urance stenographic services, recording:,:;, camerae;, Day Lincoln Was Shot" and "The Da) Corporation. \\hich means that the United fishing equipment, gi fts, flower,.-many. Christ Died." Ile is also a ll"idely syndicated States Go,ernment endorsed sa, in~s atc-ounls many things. \ mong the items it will not buy columnist. and stopped the failure of hanks. It also led are a !.paL'l' ship, a dental extraction and a to the cheap checking account, through guide rondurted tour o f the Kremlin. 6"" \\hich the average \,age earner r-ould pay his Thf' D.C. f•xccuti,es are ,,orking: on thf'c;e. ...._,a<:.h, of course, has not died. If you think bills by ,,ritinµ; on a slip of paper. Thi;; The rost of becomin:;: a member ic; -~5. The so, try doing wi thou t it. In my fami ly it is check ,,as a long step in the right direnion. low fee led to ~ome suspi<"ion on my part. I used freely. Too freely. I have often aJ.ked It honored t he signature of the pri,ate my children if they thought 1 wac; made of it citizen. -
Inteimed0j Er SERVICIO
/ 1. letro golduyn. inteimed0J er SERVICIO . DEPRENSA N.° 51 — BARCELONA, 15 DE JULIO DE 19 lARXIU GENERALITAT DE CAÏALUY,; E3IBLIOTECA COMO SE HACEN LAS PELICULAS (Continua f — PREPARATIVOS EN EL ESCENARIO DieZ grandes naves posee Metro Goldwvn Mayer en sus Estudios de Culver City, destinadas al roda¡e de películas. En ellas se pueden construir toda clase de escenarios, desde suntuosos pala ante la intervención clos hasta selvas tropicales. Para la construcciór de los mismos, precisa, todo, del director de la cinta, el director artístico, o arquitecto escenarista, el operador, el director de per el de construcciones el del sonal —que se encarga del repartc de papeles—, superintendente y lefe departamento eléctrico, amén del director del departamento de registro sonaro. estas discuten seña En una reunión previa, y ba¡o la supervisión del productor, personas y lan las características generales de los escenarios que cada película necesita. El departamento de detalles sean la exacta Investigaciones se encarga de proporcionar cuantos precisos para asegurar reproducción de la atmósfera que cada escenario debe evocar. Este departamento cuenta con una consultas. biblioteca nutridisima, y atiende anualmente a un promedio de 50.000 Existe otro departamento, el de Accesorios, que provee a los estudios con toda clase de ob¡e a ve tos, utensilios, herramientos, armas y libros. Este departamento tiene obligación de suministrar, si la acción de la cinta transcu ces, las cosas más inesperadas como, por e¡emplo, cigarrillos rusos, el descritos en la cinta. Este rre en Rusia, o flores de !os más variados climas, según la estación y país de consti- departamento de accesorios, que tan importante, papel desempeña en el rodaje películas, valor asciende a mil!ones de dólares. -
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. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................