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Cyrano De Bergerac, by Edmond Rostand
Cyrano de Bergerac, by Edmond Rostand In A Nutshell Cyrano de Bergerac is a play about an eloquent, talented, and brave, but physically unappealing, man and his love for a beautiful woman, Roxane. Playwright Edmond Rostand wrote Cyrano de Bergerac as a comedy, and something of a satire of the overly romanticized literature of France in the 1600s (literature such as Alexandre Dumas’s The Three Musketeers, which was published in 1844). As such, you’ll find it chock-full of historical references to writers, royalty, philosophers, dramatists, and scientists of the time. Light-hearted in nature, this work is full of frivolous pomp and overblown dialogue. Adding to its showy, intentionally grandiose quality is the form of the prose: rhyming couplets of twelve syllables per line in the original French. The translated meter you often see in English is iambic pentameter, which, we all know, is a party waiting to happen. Published in French in 1897, Cyrano de Bergerac hit the stages of Paris to instant acclaim. Under the flourishes of renowned stage actor Constant Coquelin (to whom Rostand dedicated his play), Cyrano came to life. Basing his main character on a historical figure of the same name, Rostand accurately recounts much of the real Cyrano’s life – as told by Le Bret and a number of other biographers – in his beloved play. The real Cyrano de Bergerac was a French dramatist who lived from 1619-1655, which means Rostand got his dates correct in writing his play. De Bergerac really did fight at the Siege of Arras in 1640 and died in 1655. -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Playing Shakespeare with Deutsche Bank Production of Twelfth Night
2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh. -
1 Education Resource Pack Adapted by Deborah Mcandrew from The
Northern Broadsides Education Resource Pack Adapted by Deborah McAndrew From the original play Cyrano de Bergerac by Edmond Rostand Directed by Conrad Nelson Designer - Lis Evans Lighting Designer - Daniella Beattie Musical Director – Rebekah Hughes Presented in partnership with The New Vic Theatre, Newcastle-u-Lyme 1 About this pack We hope that teachers and students will enjoy our production and use this learning resource pack. It may be used in advance of seeing the performance – to prepare and inform students about the play; and afterwards – to respond to the play and explore in more depth. Teachers may select, from the broad range of material, which is most suitable for their students. The first section of this document is a detailed companion to our production: plot synopsis, who’s who in the play, and interviews with cast and creatives. It reveals the ways in which our company met with the many challenges of bringing CYRANO to the stage. The second section examines the background to the play. The original work by Edmond Rostand, and the real life Cyrano and his world; and the poetic content and context of the play. At the end of the second section are exercises and suggestions for study in the subjects of History, English and Drama. CYRANO by Deborah McAndrew, is published by Methuen and available to purchase from http://www.northern- broadsides.co.uk 2 CONTENTS PAGE INTRODUCTION 4 SECTION ONE Our play Characters 5 Plot synopsis Production Meet the team: In rehearsal – o Nose to nose with Christian Edwards o Eye to Eye with Francesca Mills A Stitch In Time – with the New Vic ‘Wardrobe’ Let there be light – with Daniella Beattie SECTION TWO Backstory Edmond Rostand The Real Cyrano Poet’s corner Verse and Cyrano SECTION THREE STUDY History, Literacy, Drama Credits and Links 40 3 INTRODUCTION The play CYRANO is a new English language adaptation of a French classic play by Edmond Rostand entitled Cyrano de Bergerac. -
ROXANNE Is a 1987 American Romantic Comedy Film Starring Steve Camera Pan Martin and Daryl Hannah
SITES TO VISIT continued ROXANNE is a 1987 American romantic comedy film starring Steve Camera Pan Martin and Daryl Hannah. It is a Continue on Silica Street to the Hendryx modern retelling of the Cyrano de Street stairway. A camera was raised on a 150 foot aerial platform to pan the Bergerac play, adapted by Steve residential hillside and show Steve Martin Martin. ( as C. D.) as he sauntered along swinging his tennis racket. Take the stairway down to ROXANNE was filmed in the summer Baker Street and turn right one block to Cedar Street. of 1986 in Nelson, British Columbia. Steve Martin chose to use The Duel Steve Martin (as C. D.) walks down the the local fire hall on Ward Street as the sidewalk stairs to meet his adversaries by primary set as well as many other the cedar stump. The stump is sadly now local sites. gone. Dixie's (Jackson's Hole & Grill) ROXANNE received an 89% approval At the end of the block is Dixie's Cafe (now rating on Rotten Tomatoes. Roger Jackson's Hole & Grill - 524 Vernon Street). All Ebert hailed interior filming was done on location. the film as a "gentle, whimsical comedy", giving it a 3 and half stars of Nelson four. It is still number #71 on Bravo's "100 Funniest Movies". Walking Tour This Walking Tour Map will lead you Map Steve Martin and Daryl Hannah through the picturesque streets of on location at Dixie's Cafe ( Jackson's Hole & Grill) Nelson to various film locations. Tour map produced by Touchstones Museum of Art & History 502 Vernon St., Nelson BC (250) 352-9813 www.touchstonesnelson.ca The Nightclub Walk a block down Ward Street to where Touchstones Nelson's side doorway was transformed into the nightclub entrance. -
An Interview with American Playwright August Wilson
AUGUST WILSON/ Tibbetts/ 1! AN INTERVIEW WITH AMERICAN PLAYWRIGHT AUGUST WILSON By John C. Tibbetts Interviews on 30 April and 3 May 2002 Raphael Hotel and Hallmark Corporate Headquarters, Kansas City MO TIBBETTS INTRODUCTION TO INTERVIEW: August Wilson was born Frederick August Kittel in 1945 in Pittsburgh, Pennsylvania’s Hill District, an area famous for the many black performers who began their careers there—Lena Horne, Erroll Garner, Ahmad Jamal, Earl (Fatha) Hines, and Billy Eckstine. The fourth child of six children of a baker and a cleaning woman (whose maiden name was Wilson), he was an avid reader and displayed early on a gift and a passion for poetry. But the world of theatre eventually claimed him, and he co-founded the Black Horizons Theatre in 1968 and turned to playwriting in earnest. He moved to St. Paul, Minnesota in 1978, where he began writing Ma Rainey’s Black Bottom, a play about the struggle between black musicians and their white bosses in the 1920s, and Jitney, whose story was set at a taxi stand on the Hill. Wilson’s career was launched when his work came to the attention of Lloyd Richards, an experienced director and head of the Yale Drama School Thus began a creative partnership that has lasted to the present day. Ma Rainey debuted on Broadway in 1984 and was a sensational success. Despite the fact that there were many esteemed black playwrights working at the time—Amiri Baraka, Ron Milner, Richard Wesley, Ed Bullins, and Phillip Hayes Dean, to cite just a few—no African-American plays had hitherto been successful on Broadway. -
June 2018 Welcome Mike Hausberg
JUNE 2018 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of The Tempest. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. -
Lou Bellamy 2006 Distinguished Artist
Lou Bellamy 2006 Distinguished Artist Lou Bellamy 2006 Distinguished Artist The McKnight Foundation Introduction spotlight is a funny thing. It holds great potential to expose and clarify whatever lies within its glowing circle—but for that to happen, eyes outside the pool of light must be focused Aon what’s unfolding within. Theater gains meaning only through the community that generates, participates in, and witnesses it. For McKnight Distinguished Artist Lou Bellamy and his Penumbra Theatre Company, using one’s talents to connect important messages to community is what art is all about. Bellamy believes that theater’s purpose is to focus the community’s attention and engage people in the issues we face together. He relishes the opportunity life has presented to him: to work in an African American neighborhood and develop art responsive to that neighborhood, while presenting ideas that are universal enough to encourage a world of diverse neighborhoods to take notice. This is not a spectator sport. Bellamy is a strong proponent of active art, art driven to do something. Ideally, audience members should see what’s onstage and listen to the message, then carry that message with them when they leave the theater. “You put all these people in a room,” he has said, “turn out the lights, and make them all look at one thing. You’ve got something powerful in that room.” More than 40,000 people experience that power annually, in Penumbra’s 265-seat theater in St. Paul. Universal messages are not crafted through European American templates only, and Bellamy recognizes that presenting a multifaceted reality means showing all the rays of light that pass through it. -
Cyrano De Bergerac
Cyrano de Bergerac Summer Reading Guide - English 10 Howdy, sophomores! Cyrano de Bergerac is a delightful French play by Edmond Rostand about a swashbuckling hero with a very large nose. It is one of my favorites! Read this entire guide before starting the play. The beginning can be tough to get through because there are many confusing names and characters, but stick with it and you won’t be disappointed! On the first day of class, there will be a Reading Quiz to test your knowledge of this guide and your comprehension of the play’s main events and characters. If you are in the honors section, you will also write a Timed Writing essay the first week of school. After school starts, we will analyze the play in class through discussions and various writing assignments. We will conclude the unit by watching a French film adaptation and comparing it to the play. By the way, my class is a No Spoiler Zone. This means that you may NOT spoil significant plot events to classmates who have not yet read the book. If you have questions about the reading this summer, please email me at [email protected]. I’ll see you in the fall! - Mrs. Lee 1 Introduction Cyrano de Bergerac is a 5-act play by French dramatist and poet Edmond Rostand (1868-1918). Our class version was translated into English by Gertrude Hall. Since its 1897 Paris debut, the play has enjoyed numerous productions in multiple countries. Cultural & Historical Background By the end of the 1800s, industrialization was taking place in most of Europe, including France, and with it came a more scientific way of looking at things. -
The Piano Lesson
Educational Tools Penumbra Theatre Study Guide Greetings! Thank you for visiting Penumbra Theatre Company’s Study Guide Library. We are so pleased that you seek to extend and engage your understanding of the drama we produce and the thematic issues it brings to the fore. Penumbra Theatre Company occupies a very unique place within American society, and by extension of that, the world. Penumbra was borne out of the Black Arts Movement, a time charged by civic protest and community action. An artist making art by, for and about the black community was charged with merging aesthetic (artistic) principles with ethical (moral) ones. Subsequently, in this historical and political context, art had an agenda to strive toward social change. African American artists were part of, and greatly influenced, the social currents that carried people from their homes, schools and places of worship to the streets. Bonding artistic interpretation with civic responsibility engenders an important kind of creative dissonance, a harmony of balance. It creates something neither art nor civic action could do alone. This is mission driven art, informed by a black ethos and aesthetic, which can adequately illuminate our experience. Ensemble Theatre in that context is the creation of a community of people committed to the telling of a story that acknowledges the experience of everyone involved. This kind of art demands that each audience member recognize his or her place in relation to the art. When that happens, we begin to think about ourselves as interactive forces in a greater social context. Our own agency becomes clearer to us; our choices and reactions start to make sense within a broader, more nuanced environment. -
Libertine Strategies
Joan Dejean LIBERTINE STRATEGIES Freedom and the Novel in Seventeenth-Century France $17.50 LIBERTINE STRATEGIES Freedom and the Novel in Seventeenth-Century France By Joan DeJean This book is an important contribution to the vigorous and growing revival of interest in the seventeenth-century French novel as the progenitor of what has become the dominant literary genre in our ow n time. In a brilliant discussion of a group of compelling works of prose fiction by freethinking authors whose flamboyant life styles, radical ideas, and auda cious attacks on the established order made their literary productions suspect, Joan De Jean demonstrates that the issues at the heart of the libertine enterprise—autobiography, madness, fragmentation, and dialogue—are precisely those that define the problematic modernity of these works. In detailed analyses of Theophile de Viau's Fragments d'une his toire comique, Charles SorePs Francion, Tris tan L'Hermite's Lepage disgracie, Cyrano de Bergerac's L'Autre Monde and Estats et empires du soleil, D'Assoucy's Avantures, and Chapelle's Voyage a Encausse, Professor DeJean explores the complex nonfictional literary genres with which they have tradi tionally been associated. Occupying an unstable middle ground be tween autobiography and the novel, the works of the libertines are, with one exception, all written in the first person, a marked departure from the dominant literary tradition of the ro man heroique. They reflect both structurally and thematically the problems of an existence that is at once lived and invented. Investigat ing these problems, DeJean provides an ori ginal interpretation of the libertines* obsession with naming, analyzes their perchant for fic tionalizing history, and studies their peculiar ambivalence about persecution. -
Musical Theater Sheet
FACT MUSICAL THEATER SHEET Established by Congress in 1965, the National Endowment for the Arts is the independent federal agency whose funding and support gives Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities. Through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector, the Arts Endowment supports arts learning, affirms and celebrates America’s rich and diverse cultural heritage, and extends its work to promote equal access to the arts in every community across America. The National Endowment for the Arts is the only funder, public or private, to support the arts in all 50 states, U.S. territories, and the District of Columbia. The agency awards more than $120 million annually with each grant dollar matched by up to nine dollars from other funding sources. Economic Impact of the Arts The arts generate more money to local and state economies than several other industries. According to data released by the National Endowment for the Arts and the U.S. Bureau of Economic Analysis, the arts and cultural industries contributed $804.2 billion to the U.S. economy in 2016, more than agriculture or transportation, and employed 5 million Americans. FUNDING THROUGH THE NATIONAL ENDOWMENT FOR THE ARTS MUSICAL THEATER PROGRAM: Fiscal Year 2018 marked the return of musical theater as its own discipline for grant award purposes. From 2014-2017, grants for musical theater were included in the theater discipline and prior to 1997, were awarded with opera as the opera/musical theater discipline. The numbers below, reflect musical theater grants awarded only when there was a distinct musical theater program.