June 2006 Bulletin
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File Stardom in the Following Decade
Margaret Rutherford, Alastair Sim, eccentricity and the British character actor WILSON, Chris Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17393/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/17393/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus 2S>22 Sheffield S1 1WB 101 826 201 6 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE Margaret Rutherford, Alastair Sim, Eccentricity and the British Character Actor by Chris Wilson A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2005 I should like to dedicate this thesis to my mother who died peacefully on July 1st, 2005. She loved the work of both actors, and I like to think she would have approved. Abstract The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole. -
Shakespeare Promptbooks LIBRARY of the UNIVERSITY of ILLINOIS at URBANA-CHAMPAIGN
JL llv Shakespeare Promptbooks LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN x792.9 cop. 3 REFERENCE The Shakespeare Promptbooks University of Illinois Press, Urbana and London, 1965 The Shakespeare Promptbooks A Descriptive Catalogue CHARLES H. SHATTUCK .U!UC © 1965 by the Board of Trustees of the University of Illinois. Manu- factured in the United States of America. Library of Congress Catalog Card No. 65-11737. C*V3 Preface and Acknowledgments The terminal date of this catalogue of Shakespeare promptbooks is the year 1961. But this is not the real end of it. The Festival Thea- tres of the three Stratfords, whose books I have accounted for, have already added four seasons, and presumably they will march on to the millennium, accumulating more (and ever more illuminating) rec- ords of their productions. A fourth Stratford in New Zealand has been rumored. The newly established National Theatre in England, New York's Shakespeare in the Park, and many another festival theatre yet to be created or to be professionalized, besides independent produc- tions in usual frequency, will swell the records of the future. Nor is the catalogue final for the theatre of the more remote past. Although I have combed the well-known depositories of theatrical ana and canvassed by mail several hundred libraries, museums, and histor- ical societies where older promptbooks might be stored, undoubtedly I have missed a good many. Some now in private hands will eventually drift into public collections. Some now buried unrecognized in the general shelves of library stacks, or even taken for junk and scheduled for the dustbin, may become known for what they are and be moved to prouder places. -
The Lady's Not for Burning a Play Reading
This thesis/project/dissertation has been reviewed for 508 compliance. To request enhancements, please email [email protected]. THE .LADY'S !fQ! ]!m BURNING A PLAY READING by Jay Lazell Deck A. B. College of the Pacific, 1946 Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS A"T THE SACRAMENTO STATE COLLEGE SACRA~IENTO STAT.r.: CJLLEGE Approved: ARCHI VES Charles V. Hume, Chair Baxter M. Geeting George W. Creel ldvisory Committee Date l?z7 ,,.l .f"t / '1 r,; ---------THE LADY 1S NOT FOR BURNING A PLAY READING J. Project Presented to the Faculty or the Division ot Humanities and F.1..ne Arts Sacramento State College In Partial Fulfillment or the Requirements tor the Degree Master or Arts by Jay Lazell Deck June 195\1- TABLE OF CONTENTS CHAPTER PAGE I. THE ORGANIZATION OF THE PROJECT • • • • • • • • 1 II. A BIOGRAPHICAL SKETCH OF THE AUTHOR • • • • • • , III. A STAGE HISTORY OF TEE PLAY • • • • • • • • • • 12 IV. THE INTERPRETATION OF THE ROLE •••• • • • • • 21 V. A BACKGROUND AND DEVELOPMENT OF PLAY READING • • 26 VI. SUMMARY AND CONCLUSION • • • • • • • • • • • • • 31 BIBLIOGRAPHY '. • • • • • • • • • • • • • • • • • • • • • 32 CHAPTER I THE ORGANIZATION OF THE PROJECT I. THE PROBLEM Statement Q,!, ~ problem. The problem in this Master's project is to interpret the character of Thomas Mendip in a play reading of I.b!! Lady's !!g1 ,!:2!: Burning by Christopher Fry. ~ Project: A. The reading will be presented on the Sacramento State College Campus on May 22, 1954. B. The production methods for this project include an informal setting, minimum lighting effects, modern day costuming, and suggested movement. -
2021 Nemla Convention Program R.Pdf
Northeast ModerN LaNguage associatioN FIFTY-SECOND ANNUAL AND FIRST VIRTUAL CONVENTION MARCH 10 –14, 2021 Administrative Host Institution: College of Arts and Sciences, University at Buffalo 2021 Sponsor: Department of Romance Languages, University of Pennsylvania BOARD OF DIRECTORS President Brandi So | New York Institute of Technology First Vice President Bernadette Wegenstein | Johns Hopkins University Second Vice President Joseph Valente | University at Buffalo Past President Carole Salmon | University of Massachusetts Lowell American /Diaspora Studies Director Benjamin Railton | Fitchburg State University British and Global Anglophone Studies Director Thomas Lynn | Penn State Berks Comparative Literature Director Katherine Sugg | Central Connecticut State University Creative Writing, Publishing, and Editing Director Abby Bardi | Prince George’s Community College Cultural Studies and Media Studies Director Maria Matz | University of Massachusetts Lowell French and Francophone Studies Director Olivier Le Blond | University of North Georgia German Studies Director Charles Vannette | University of New Hampshire Italian Studies Director Tiziano Cherubini | Baylor University Professionalization, Composition, and Pedagogy Director Maria Plochocki | City University of New York Spanish and Portuguese Studies Director Victoria L. Ketz | La Salle University CAITY Caucus President and Representative Francisco Delgado | Borough of Manhattan Community College, CUNY Diversity Caucus Representative Jennifer Mdurvwa | University at Buffalo Graduate -
SHAKESPEARE's DIALOGIC STAGE : TOWARDS a POETICS of PERFORMANCE By
SHAKESPEARE'S DIALOGIC STAGE : TOWARDS A POETICS OF PERFORMANCE by WINIFRED MARIA JONES A thesis submitted to the Faculty of Arts of The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute The University of Birmingham March 1999 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. ABSTRACT Shakespearian performance scholarship is arguably looking for a methodology that can integrate the study of performative work with critical analysis and theory. As an intervention in this discussion, I propose a poetics of performance, a term intended as a playful appropriation of Stephen Greenblatt's poetics of culture but one that restores the central omission of actual performance to his study of Renaissance subjectivity in dramatic texts. This is a systematic study of four plays, The Taming of the Shrew, The Merchant of Venice, Hamlet and Richard II in productions on stage and screen between 1927-1995, arranged diachronically and in dialogic pairings (drawing on 'Bakhtinian thought'). Utilising Greenblatt's discussion of cultural exchange and symbolic acquisition, and restoring Greenblatt's omission of diachronic 'appropriation', I consider the reception of the performative work, drawing attention to interpretative patterns, and enquire into the structuring historical contingency of the Renaissance locus. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. JESSICA TANDY: A TWENTIETH CENTURY ACTING CAREER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tonia Krueger, M.A. The Ohio State University 2002 Dissertation Committee: Approved By: Dr. Lesley K. Ferris, Adviser Dr. Thomas Postlewait Dr. Joy Reilly Theatre Graduate Program Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
The School for Scandal Edith Evans, Cecil Parker, Harry Andrews and Cast CLASSIC DRAMA
Richard Brinsley Sheridan The School for Scandal Edith Evans, Cecil Parker, Harry Andrews and cast CLASSIC DRAMA NA287512D 1 Act I Scene I 7:04 2 Maria, my dear, how do you do? 5:09 3 Oh dear, she changes colour very much! 5:26 4 Act I Scene II 4:56 5 Act II Scene I 5:39 6 Act II Scene II 9:06 7 Act II Scene III 4:21 8 Act III Scene I 6:03 9 I should be glad to be convinced my suspicions… 6:46 10 Act III Scene II 2:43 11 Act III Scene III 9:58 12 Act IV Scene I 6:33 13 Act IV Scene III 7:07 14 Ay, ever improving himself. 5:00 15 Well, sir? 5:06 16 Gentlemen, I beg pardon – I must wait on you downstairs… 5:28 17 Act V Scene I 6:09 18 Act V Scene II 6:31 19 I heard high words: what has ruffled you, sir? 4:05 20 Act V Scene III 4:56 21 As for that prodigal, his brother… 6:58 Total time: 2:05:18 2 Cast list Sir Peter Teazle Cecil Parker Sir Oliver Surface Baliol Holloway Joseph Surface Harry Andrews Charles Surface Alec Clunes Lady Teazle Claire Bloom Lady Sneerwell Dame Edith Evans Mrs. Candour Athene Seyler Crabtree and Moses George Howe Sir Benjamin Backbite, William Squire Sir Harry Bumper and Careless Maria Anne Leon Rowley and William Peter Williams Trip Peter Halliday Snake Michael Gough 3 Richard Brinsley Sheridan The School for Scandal Richard Brinsley Sheridan, the author of and when his great investment, Drury Lane The School for Scandal, was a frustrated Theatre, was destroyed in a disastrous fire, politician, a poor businessman and a he was observed quietly seated outside reluctant though brilliant playwright. -
The Shakespearean Performances of Sir John Gielgud
THE SHAKESPEAREAN PERFORMANCES OF SIR JOHN GIELGUD by Robert James Frost Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy of the University of Birmingham. The Shakespeare Institute October 1983 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. 1st of 2 files Introduction and Chapters 1-3 The remaining chapters and the appendices are in an additional file SYNOPSIS This thesis is a study of the stage history of six plays and three seasons of Shakespeare at the Old Vie as they are related to one man: Sir John Gielgud. Through the assembly of various sorts of evidence ranging from promptbooks, sound-recordings, reviews, programmes, inter views, correspondence, designer's blue-prints, I have attempted to reconstruct the performances and the productions in order to assess Gielgud's contribution as a Shakespearean actor and director. The plays looke^ at are Richard II, Hamlet, Much Ado About Nothing, King Lear and The Tempest, the Old Vie seasons those from 1929 to 1931. Each chapter, except for the first on the Old Vie which considers a repertory of productions of different plays performed by the same company, examines a series of separate productions of one play in chronological sequence to highlight developments in Gielgud's technique over the years and his response to the more widespread changes in the tradition of the stage interpretation of Shakespeare.