Gesture and Movement in Silent Shakespeare Films
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Shakespeare on Screen a Century of Film and Television
A History of Shakespeare on Screen a century of film and television Kenneth S. Rothwell published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge CB2 1RP, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Kenneth S. Rothwell 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Reprinted 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in Palatino A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Rothwell, Kenneth S. (Kenneth Sprague) A history of Shakespeare on screen: a century of film and television / Kenneth S. Rothwell. p. cm Includes bibliograhical references and index. isbn 0 521 59404 9 (hardback) 1. Shakespeare, William, 1564–1616 – Film and video adaptations. 2. English drama – Film and video adaptations. 3. Motion picture plays – Technique. I. Title. pr3093.r67 1999 791.43 6–dc21 98–50547 cip ISBN 0521 59404 9 hardback – contents – List of illustrations ix Preface xi Acknowledgments xiii List of abbreviations xiv 1 Shakespeare in silence: from stage to screen 1 2 Hollywood’s four seasons -
Cause Célèbre by Terence Rattigan
Cause Célèbre by Terence Rattigan Teachers’ Resource Pack Researched & written by Ellen Groves & Anne Langford 1 Cause CélèBRE – Teaching Resources Cause Célèbre SUBTITLE Cause Célèbre at The Old Vic 3 Sir Terence Rattigan : His Story 4 Chronology: Rattigan’s Career 5 Synopsis 6 What does cause célèbre mean? 8 Character breakdown 8 Theatrical context of the play 10 Historical context of the play 11 The ‘True’ story 12 Crimes of passion: Case Studies 13 Modern parallel case: OJ Simpson 15 Women and the Criminal Justice system 16 Death penalty in the UK / Around the world 17 In Conversation with... Niamh Cusack 19 Freddie Fox 21 Richard Teverson 23 Rehearsal Notes from the Assistant Director Eleanor While 24 Bibliography 26 2 cause célèbre by terence rattigan Lucy Black Timothy Carlton Simon Chandler Richard Clifford Oliver Coopersmith Niamh Cusack Anne‐Marie Duff Rory Fleck‐Byrne Joan Webster EranFis RaGenbury John Davenport Croom ‐ Johnson Christopher Edith Davenport Klma RaGenbury Montague & Randolph Browne Freddie Fox Jenny Galloway Patrick Godfrey Nicholas Jones Tommy McDonnell Lucy Robinson Tristan Shepherd Richard Teverson Tony Davenport Irene Riggs Judge O'Connor George Wood Stella Morrison Clerk of Court Casswell @nderstudy responsibiliAes Lucy Black: Edith Davenport & Klma RaGenbury Rory Fleck Byrne: George Wood & Casswell Tristan Shepherd:Tony Davenport & Randolph Browen & Montague Richard Teverson: O’Connor & Croom Johnson Sarah Waddell: Stella Morrison & Irene Riggs & Joan Webster & Clerk of Court Michael Webber: EranFis RaGenbury & Porter Sarah Waddell Michael Webber Tristram Wymark Tristram Wymark: John Davenport & Judge & Sergeant Bagwell Warder Sergeant Bagwell Porter 3 Cause CélèBRE – Teaching Resources Sir Terence Rattigan His Story Sir Terence Mervyn Rattigan was born in Kensington, London on 10 June 1911 and died of cancer on 30 November 1977. -
Counterfeits Read What One of the GREATEST NEWSPAPERS in AMERICA Has to Bay on This Subject: Revival Under Way, Says ' Thought from J
t6 TIIE MORNING OREG ONIAN, THURSDAY, SEPTEMBER 18, 1919. BIG THINGS SEE N IN THEFT FROM BODY OF OREGON AGRICULTURE DEAD Ml SUSPECTED Counterfeits Read what one of the GREATEST NEWSPAPERS IN AMERICA has to Bay on this subject: Revival Under Way, Says ' Thought From J. Real yj J $500 Stolen .... x v "The manufacturers of Castoria have been compelled to spend of C. J. Mcintosh. R. Patterson. hundreds thousands of dollars to familiarize the public with the signature of Chas. H. Fletcher. This has been necessitated by reason of pirates counterfeiting the Castoria trade- GOOD TEAM WORK COUNTS FUNERAL SET FOR TODAY mark. This counterfeiting is a crime not only against the proprietors of Castoria, ' but against the growing generation. All persons should be careful to see that i t- - , . i'armer and Scientist Are "Working V f Mr. Tumulty Sends President's Sym Castoria bears the signature of Chas. H. Fletcher, if they would guard the health Together and Significant Re- yyr pathy Over Death of Retired Bus of their children. Parents, and mothers in particular, ought to carefully examine Already Appear, sults iness Man, Active War Worker. the Castoria advertisements which have been appearing in this paper, and to re- member that the wrapper of every bottle of genuine Castoria bears the fac-sim- ile The biggest fact in Oregon's indus- Investigation of what may have been Chas. H. under whose supervision been trial development is the revival of ag- theft of nearly 500 from the body of signature of Fletcher, it has manufactured riculture, reports C. -
Othello, 1955
University of Montana ScholarWorks at University of Montana Montana Masquers Event Programs, 1913-1978 University of Montana Publications 11-16-1955 Othello, 1955 Montana State University (Missoula, Mont.). Montana Masquers (Theater group) Follow this and additional works at: https://scholarworks.umt.edu/montanamasquersprograms Let us know how access to this document benefits ou.y Recommended Citation Montana State University (Missoula, Mont.). Montana Masquers (Theater group), "Othello, 1955" (1955). Montana Masquers Event Programs, 1913-1978. 105. https://scholarworks.umt.edu/montanamasquersprograms/105 This Program is brought to you for free and open access by the University of Montana Publications at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Masquers Event Programs, 1913-1978 by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. William Shakespeare's Fifty-First Season MONTANA MASQUERS Present William Shakespeare's OTHELLO LEROY W. HINZE, Director CLEMEN M. PECK, Designer and Technical Director •Original Music by MONROE C. DEJARNETTE CAST PRODUCTION STAFF In Order of Appearance Assistant to the Director....Sheila Sullivan Roderigo...............................................Harold Hansen Production Manager for touring company Stage Manager ..................... Ray Halubka | Iago............................................William Nye Electrician .......... ...................Bruce Cusker Brabantio ................................Bruce -
Love's Labour's Lost
CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. -
Introduction
NOTES INTRODUCTION 1. Nathanael West, The Day of the Locust (New York: Bantam, 1959), 131. 2. West, Locust, 130. 3. For recent scholarship on fandom, see Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture (New York: Routledge, 1992); John Fiske, Understanding Popular Culture (New York: Routledge, 1995); Jackie Stacey, Star Gazing (New York: Routledge, 1994); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina, 1991); Joshua Gam- son, Claims to Fame: Celebrity in Contemporary America (Berkeley: Univer- sity of California Press, 1994); Georganne Scheiner, “The Deanna Durbin Devotees,” in Generations of Youth, ed. Joe Austin and Michael Nevin Willard (New York: New York University Press, 1998); Lisa Lewis, ed. The Adoring Audience: Fan Culture and Popular Media (New York: Routledge, 1993); Cheryl Harris and Alison Alexander, eds., Theorizing Fandom: Fans, Subculture, Identity (Creekskill, N.J.: Hampton Press, 1998). 4. According to historian Daniel Boorstin, we demand the mass media’s simulated realities because they fulfill our insatiable desire for glamour and excitement. To cultural commentator Richard Schickel, they create an “illusion of intimacy,” a sense of security and connection in a society of strangers. Ian Mitroff and Warren Bennis have gone as far as to claim that Americans are living in a self-induced state of unreality. “We are now so close to creating electronic images of any existing or imaginary person, place, or thing . so that a viewer cannot tell whether ...theimagesare real or not,” they wrote in 1989. At the root of this passion for images, they claim, is a desire for stability and control: “If men cannot control the realities with which they are faced, then they will invent unrealities over which they can maintain control.” In other words, according to these authors, we seek and create aural and visual illusions—television, movies, recorded music, computers—because they compensate for the inadequacies of contemporary society. -
3. Terence Rattigan- First Success and After
DIPLOMARBEIT Titel der Diplomarbeit „In and out of the limelight- Terence Rattigan revisited“ Verfasserin Covi Corinna angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 30. Jänner 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: 343 Diplomstudium Anglistik und Amerikanistik UniStG Betreuer: Ao. Univ.-Prof. Dr. Rudolf Weiss Table of contents 1. Introduction……………………………………………………....p.4 2. The History of the Well-Made Play…………………………......p.5 A) French Precursors.....................................................................p.6 B) The British Well-Made Play...................................................p.10 a) Tom Robertson and the 1870s...........................................................p.10 b) The “Renaissance of British Drama”...............................................p.11 i. Arthur Wing Pinero (1855-1934) and Henry Arthur Jones (1851- 1929)- The precursors of the “New Drama”..............................p.12 ii. Oscar Wilde (1854-1900)..............................................................p.15 c) 1900- 1930 “The Triumph of the New Drama”...............................p.17 i. Harley Granville-Barker (1877-1946)………………................p.18 ii. William Somerset Maugham (1874-1965)..................................p.18 iii. Noel Coward (1899-1973)............................................................p.20 3. Terence Rattigan- first success and after...................................p.21 A) French Without Tears (1936)...................................................p.22 -
The Gish Girls Talk About Each Other to ADA PATTERSON (Photoplay Feb – Jun 1921)
The Gish Girls Talk About Each Other To ADA PATTERSON (Photoplay Feb – Jun 1921) All we have in common is our mother," said one of the most unlike sisters in the world. Lillian Gish spoke. The young tragedienne whom John Barrymore has called "The American Bernhardt" sat staidly in a chair according to the accepted relation of chairs and sitters. Dorothy Gish, the comedienne, perched on hers. It must be chronicled of Mrs. James Rennie that she sits on her feet. She is more comfortable so and neither her sad-eyed sister, nor her mother, nor her bridegroom ever reproves her for the acquired in childhood habit. It's a part of her and none of the family wants to lose any part of Dorothy. The sisters had promised to talk about each other to me. They had agreed to tell the truth, frankly, as they saw it. The time was a recent Saturday afternoon. The place was the apartment occupied by Mrs. Gish and Lillian. Hard by was that of the"7ecently made Mrs. James Rennie with her handsome young lord. Yes, at the Hotel Savoy, although the address of the pair is 132 East Nineteenth Street. "We give teas at the Nineteenth Street address but live here," said the bride. "It will be so until we have thoroughly furnished the apartment." "What do you think of your sister's marriage?" Lillian Gish of the wide, blue, thoughtful eyes, that register such depths of feeling on the silver sheet, adjusted herself and the skirt of her girlish blue serge suit on the gilt backed chair. -
URMC V123no109 20150220.Pdf (6.062Mb)
THE ROCKY MOUNTAIN theweekender Friday, February 20, 2015 FIRST ANNUAL OSCARS EDITION CSU alumnus nominated for an Oscar for his work on short animated film ‘The Dam Keeper’ McKenna Ferguson | page 10 To sum up: quick summaries of the eight Best Picture nominations Arts & Entertainment Desk | page 8 & 9 ‘Boyhood’: Overrated or a new classic? Aubrey Shanahan | page 4 Morgan Smith | page 4 “Why are they even called the ‘Oscars’?” A brief historical timeline of Hollywood’s biggest night Aubrey Shanahan | page 3 abbie parr and kate knapp COLLEGIAN 2 Friday, February 20, 2015 | The Rocky Mountain Collegian collegian.com THE ROCKY MOUNTAIN Follow @CollegianC COLLEGIAN on Twitter for the COLLEGIAN PHOTOSHOP OF THE WEEK latest news, photos Lory Student Center Box 13 and video. Fort Collins, CO 80523 This publication is not an offi cial publication of Colorado State University, but is published by Follow our an independent corporation using the name ‘The collegiancentral Rocky Mountain Collegian’ pursuant to a license Instagram for the granted by CSU. The Rocky Mountain Collegian is a 8,000-circulation student-run newspaper intended latest photos. as a public forum. It publishes fi ve days a week during the regular fall and spring semesters. During the last eight weeks of summer Collegian distribution drops to 3,500 and is published Like Collegian weekly. During the fi rst four weeks of summer the Central on Facebook Collegian does not publish. for the latest news, Corrections may be submitted to the editor photos and video. in chief and will be printed as necessary on page two. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
The Importance of the Weimar Film Industry Redacted for Privacy Abstract Approved: Christian P
AN ABSTRACT OF THE THESIS Tamara Dawn Goesch for the degree of Master of Arts in Interdisciplinary Studies in Foreign Languages and Litera- tures (German), Business, and History presented on August 12, 1981 Title: A Critique of the Secondary Literature on Weimar Film; The Importance of the Weimar Film Industry Redacted for Privacy Abstract approved: Christian P. Stehr Only when all aspects of the German film industry of the 1920's have been fully analyzed and understood will "Weimar film" be truly comprehensible. Once this has been achieved the study of this phenomenon will fulfill its po- tential and provide accurate insights into the Weimar era. Ambitious psychoanalytic studies of Weimar film as well as general filmographies are useful sources on Wei- mar film, but the accessible works are also incomplete and even misleading. Theories about Weimar culture, about the group mind of Weimar, have been expounded, for example, which are based on limited rather than exhaustive studies of Weimar film. Yet these have nonetheless dominated the literature because no counter theories have been put forth. Both the deficiencies of the secondary literature and the nature of the topic under study--the film media--neces- sitate that attention be focused on the films themselves if the mysteries of the Weimar screenare to be untangled and accurately analyzed. Unfortunately the remnants of Weimar film available today are not perfectsources of information and not even firsthand accounts in othersour- ces on content and quality are reliable. However, these sources--the films and firsthand accounts of them--remain to be fully explored. They must be fully explored if the study of Weimar film is ever to advance.