DOCSLIB.ORG

THR 321:001 & THR 321L:020 Spring

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THR 321:001 & THR 321L:020 Spring Stephen F. Austin State University School of Theatre Intermediate Acting - THR 321:001 & THR 321L:020 Spring Semester 2011 Section 001: 2:00 - 2:50 M Allen Oster, Professor Lab 020: 2:00 - 3:50 W & F Office: Griffith Fine Arts Center 222 Griffith Fine Arts Bldg. 100 Phone: 468-4003 (Theatre Office) Downstage Theater 468-1119 (Office) Office Hours: 11:30 -1:00 & 3:00 - 4:00 M, E-mail: [email protected] 12:30 - 2:00 T & R, or by appointment. In order to avoid any misunderstanding about course description, requirements, and expectations, the following criteria is outlined for your information. Course Description and Objective: The overall objective of Intermediate Acting is designed to give the student actor the opportunity to further explore the acting process through modern dramatic literature and to continue his/her development of a method (system or process) for building an honest and believable character. Texts: THE ACTOR’S ART by Bryer and Davison IN THE COMPANY OF ACTORS by Carole Zucker (Two copies of these texts are available under my name in the Reserve Section of Steen Library. Also, one copy of each text is available in the stacks.) Script # 1 – TBA Script # 2 – TBA (the scripts will be made available to you, as well as, other handouts) Attendance Policy: See handout regarding Departmental Attendance Policy. FYI: After 3 unexcused absences, each unexcused absence thereafter will drop your grade 4% points. For example, if your final grade is 83.63 and you have 4 unexcused absences, your final grade will be dropped to a 79.63. Grading: Grades are based on a 100% point system. 90-100 is an A, 80-89.99 is a B, 70-79.99 is a C, etc. A 79.99 is not a B but is a C. The following is the grade and % point system: 10% 15% 20% 25% 30% A: 9 – 10 13.8 -15 18-20 22.5-25 27.3-30 B: 8 -8.9 12.3 - 13.7 16-17.9 20-22.4 24.3-27.2 C: 7 -7.9 10.8 - 12.2 14-15.9 17.5-19.9 21.3-24.3 D: 6 - 6.9 9.3 -10.7 12-13.9 15-17.5 18.2-21.2 F: 0 - 5.9 0 - 9.2 0-11.9 0-14.9 0-18.1 COURSE REQUIREMENTS: Major Assignments and Grade Distribution: (the dates of assignments are tentative depending on the size of the class) 1) Scene of Script # 1. Feb. 14, 16, 18, 21, 23... ……………………………….………………….15% 2) Character Analysis for Script # 1 typed, double-spaced, and due on day of your presentation)............................................................................10% 3) Scene of Script # 2. May 2, 4, 6.……………..………………..……………..…..…………..….20% 4) Dramaturgical Research paper of Script #2 (to be completed by the scene partners – typed, double-spaced and due on day of your presentation. One grade will be given to all students involved in each group)....……........................15% 5) Biologue (RESTRICTED TO 15 MINUTES) – Mar. 9, 11, 21, 28, 30, Apr. 4, 6, 8…….……..30% 6) Participation, attendance, improvement, attitude, exercise performance. Includes 2% for completing a course/instructor evaluation…………............................10% Additional Information: During the course of the semester, individual "help" sessions can be arranged to provide the student a more personalized situation for his/her progress and development. A letter grade reduction per day (including weekend days) is in effect for late assignments and papers. Students are encouraged to audition for SFA School of Theatre Main Stage and Student productions and are expected to attend as many productions as feasible. Please inform the instructor if you are uncomfortable with any exercise or script, subject matter, and/or language and material. Please be prompt for class and performances. Excessive tardiness and absences will affect your grade. PDAs, cell phones and other electronic devices should be turned off and put away during class time. AFTER THE FIRST OFFENSE, EACH SUBSEQUENT OFFENSE WILL CONSTITUTE 1% FROM YOUR FINAL GRADE. The final class meeting will be Friday, May 13 at 11:00 a.m. Academic Integrity (A-9.1) Academic integrity is a responsibility of all university faculty and students. Faculty members promote academic integrity in multiple ways including instruction on the components of academic honesty, as well as abiding by university policy on penalties for cheating and plagiarism. Definition of Academic Dishonesty Academic dishonesty includes both cheating and plagiarism. Cheating includes but is not limited to (1) using or attempting to use unauthorized materials to aid in achieving a better grade on a component of a class; (2) the falsification or invention of any information, including citations, on an assigned exercise; and/or (3) helping or attempting to help another in an act of cheating or plagiarism. Plagiarism is presenting the words or ideas of another person as if they were your own. Examples of plagiarism are (1) submitting an assignment as if it were one's own work when, in fact, it is at least partly the work of another; (2) submitting a work that has been purchased or otherwise obtained from an Internet source or another source; and (3) incorporating the words or ideas of an author into one's paper without giving the author due credit. Please read the complete policy at http://www.sfasu.edu/policies/academic_integrity.asp Withheld Grades Semester Grades Policy (A-54) Ordinarily, at the discretion of the instructor of record and with the approval of the academic chair/director, a grade of WH will be assigned only if the student cannot complete the course work because of unavoidable circumstances. Students must complete the work within one calendar year from the end of the semester in which they receive a WH, or the grade automatically becomes an F. If students register for the same course in future terms the WH will automatically become an F and will be counted as a repeated course for the purpose of computing the grade point average. Students with Disabilities To obtain disability related accommodations, alternate formats and/or auxiliary aids, students with disabilities must contact the Office of Disability Services (ODS), Human Services Building, and Room 325, 468-3004 / 468-1004 (TDD) as early as possible in the semester. Once verified, ODS will notify the course instructor and outline the accommodation and/or auxiliary aids to be provided. Failure to request services in a timely manner may delay your accommodations. http://www.sfasu.edu/disabilityservices/. Acceptable Student Behavior Classroom behavior should not interfere with the instructor’s ability to conduct the class or the ability of other students to learn from the instructional program (see the Student Conduct Code, policy D-34.1). Unacceptable or disruptive behavior will not be tolerated. Students who disrupt the learning environment may be asked to leave class and may be subject to judicial, academic or other penalties. This prohibition applies to all instructional forums, including electronic, classroom, labs, discussion groups, field trips, etc. The instructor shall have full discretion over what behavior is appropriate/inappropriate in the classroom. Students who do not attend class regularly or who perform poorly on class projects/exams may be referred to the Early Alert Program. This program provides students with recommendations for resources or other assistance that is available to help SFA students succeed. Program Learning Outcomes: This course applies at an introductory level to the following Program Learning Outcomes as identified by the School of Theatre: The student will be able to analyze a script in ways that are necessary to a theatre practitioner or scholar/critic. (All degree plans.) The student will demonstrate an understanding of the component areas of theatrical creation, process, production, performance, and study, and their interrelationships. (All degree plans.) The student will demonstrate competence in one or more theatre specialization(s). (BA) The student will demonstrate collaborative and/or leadership competencies appropriate to participate or take a leadership role in an effective theatrical production. (All degree plans.) The student will be able to complete and document a major project as a stage manager, as a designer or technician, or as an actor or director, demonstrating advanced competence in the student’s specialty. (BFA) The student will be able to present an effective presentation appropriate to the student’s specialization. (BFA) Student Learning Outcomes: Students who successfully complete this course will be able to: · analyze a dramatic text and interpret a character (PLO: A) · explain the fundamental concepts of modern acting theory (PLO: B) · employ the vocabulary required of the actor (PLOs: A, C) · articulate a basic personal artistic process (PLOs: C, D, E, F) · translate critical analysis into specific oral and physical choices (PLOs: A, C, E, F) · demonstrate the ability to work cooperatively on a creative/interpretative project (PLOs: B, D) Biologue of an Actor project Browse through one of the two texts, The Actor’s Art (for American students) or In the Company of Actors (for ATA students). Select three actors who intrigue you and read about him/ her. Make use of any other books, periodicals, internet sources. videos, films, etc. that you can find. Keep notes with the following in mind: you are to prepare a 15 minute talk on the life and career of the person. For this talk, you are to assume the role of a fictional person who figured into the subject's life, such as a close friend, fellow actor, director, dresser, agent, stagehand, etc. In other words, choose a point of view and share some insight into the subjects' life and career. You may include your persona's impressions, how you figured into their life, admirable and not so admirable traits, but above all, YOU SHOULD SHED LIGHT ON THEIR PROCESS AND WORKING METHODS, successful and not successful roles (why?) and the subject's impact, if any, on other actors and/or the theatre world.
Load more

Recommended publications
  • 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]
  • Philosophy Goes to the Movies
    PHILOSOPHY GOES TO THE MOVIES ‘Philosophy Goes to the Movies is very clearly and engagingly written. It has a particular claim on the attention of those preparing students for a systematic study of philosophy, one that distinguishes it from any other introductory book I know of.’ Stephen Mulhall, University of Oxford ‘I think this is an excellent text. Falzon is in control of his material. He writes clearly and at a level that undergraduates can understand. He seems as comfortable describing films as he is explaining the nature of a philosophical problem. It will make an outstanding text to use in introductory philosophy classes.’ Thomas Wartenburg, Mount Holyoke College, USA Philosophy Goes to the Movies is a new kind of introduction to philosophy that makes use of film to help us understand philosophical ideas and positions. Drawing on art- house movies like Cinema Paradiso and Hollywood blockbusters such as The Matrix, Christopher Falzon introduces and discusses central areas of philosophical concern, including: • the theory of knowledge • the self and personal identity • ethics • social and political philosophy • science and technology • critical thinking. Falzon draws from the ideas of a diverse selection of thinkers, from Plato and Descartes to Marcuse and Foucault. Ideal for the beginner, this book guides the student through philosophy using lively and illuminating cinematic examples including Total Recall, Crimes and Misdemeanors, Monty Python and the Holy Grail, Antz and Wings of Desire. It will also appeal to anyone interested in the philosophical dimensions of cinema. Christopher Falzon is Lecturer in Philosophy at Newcastle University, Australia. He is the author of Foucault and Social Dialogue (Routledge, 1998).
    [Show full text]
  • Mary Stuart First Mortality in the Film, Public Enemies, Taking a .45 Slug in the Solar Plexus from a Deranged Stephen Dorff
    Artist Biographies Jeff Christian (Director, Leicester) led the company for eight Peter Garino (Sir Amias Paulet, Artistic Director) is a founding seasons, having adapted and directed A Midsummer Night’s Dream, member of The Shakespeare Project of Chicago and has contributed to Henry VIII, the gender-swapped The Comedy of Errors, In Medea Res over 50 theatrical readings as an actor and director since 1995. He (from Euripides’ Medea), Henry VI (from Shakespeare’s trilogy), directed Measure For Measure to open the current season and is Faust (from Marlowe and Goethe), The Parvenu (from Moliere’s Le scheduled to appear in The Merry Wives of Windsor prior to directing Bourgeois Gentilhomme), Ibsen’s Ghosts, Dickens’s The Cricket on The Tempest in the spring. This past season, he appeared in Paradise the Hearth, the outreach program 50 Minute Hamlet, as well as having Lost, directed Antony & Cleopatra played Thomas and David in The staged King Lear, Love’s Labours Lost, As You Like It, Sheridan’s The Rivals and Cardinal Wolsey in Henry VIII. On behalf of The Rivals, Somerset Maugham's The Constant Wife, and Regina M. Shakespeare Project, he has facilitated his Sonnet Workshop and Page Schwartz’s adaptation of John Milton’s Paradise Lost. Other to the Stage Macbeth for local public and private schools and colleges. directing credits include Mojo Mickybo, A Whistle in the Dark and Previous roles include Lord Stanley in Richard III, Creon in Jeff Our Father (Seanachai Theatre Company), The Skin of Our Teeth Christian's adaptation, In Medea Res, Duke Senior and Duke Frederick (The Artistic Home), Proof and Driving Miss Daisy (New American in As You Like It, Don Pedro in Much Ado About Nothing, Mortimer in The Constant Wife, Rev.
    [Show full text]
  • 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.
    [Show full text]
  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
    [Show full text]
  • In This Issue
    2009 encorenews from Ohio State Theatre In this issue: The Jerome Lawrence David Lander (B.F.A. Meredith Lark (B.A. Alan Woods steps down and Robert E. Lee Theatre 1987) nominated for Tony Student) performs in as Director of the Theatre Research Institute Award three musicals at CAPA’s Research Institute moves to the renovated Southern Theatre Thompson Library department of theatre Godspell, spring 2009 Photoencore by Doug2009 Moody1 Letter from the Chair Dear Friends: Welcome back to your annual opportunity to hear the good news about the numerous activities and accomplishments of our remarkable students, faculty, and staff of the Department of Theatre. As you work your way through this edition of encore I think you will once again be surprised by both the breadth and the depth of the many educational opportunities that we offer for our students. I also hope as you journey with us over the past year, you will also think back to your time on campus and celebrate your continued connection to the lively art of theatre. We once again offered a robust production season that met with both artistic and critical acclaim. Well over a thousand students participated throughout the year in various ways in bringing to life productions of Noises Off, Machinal, and Godspell; a new work from guest playwright Stephen Culp entitled Pangea; and multiple new works from the creativity of our students, ranging from the M.F.A. outreach production of Destinopolis, six undergraduate originals presented in a festival setting, to the ten solo projects of our graduating class of M.F.A.
    [Show full text]
  • Talking Theatre Extract
    Richard Eyre TALKING THEATRE Interviews with Theatre People Contents Introduction xiii Interviews John Gielgud 1 Peter Brook 16 Margaret ‘Percy’ Harris 29 Peter Hall 35 Ian McKellen 52 Judi Dench 57 Trevor Nunn 62 Vanessa Redgrave 67 NICK HERN BOOKS Fiona Shaw 71 London Liam Neeson 80 www.nickhernbooks.co.uk Stephen Rea 87 ix RICHARD EYRE CONTENTS Stephen Sondheim 94 Steven Berkoff 286 Arthur Laurents 102 Willem Dafoe 291 Arthur Miller 114 Deborah Warner 297 August Wilson 128 Simon McBurney 302 Jason Robards 134 Robert Lepage 306 Kim Hunter 139 Appendix Tony Kushner 144 John Johnston 313 Luise Rainer 154 Alan Bennett 161 Index 321 Harold Pinter 168 Tom Stoppard 178 David Hare 183 Jocelyn Herbert 192 William Gaskill 200 Arnold Wesker 211 Peter Gill 218 Christopher Hampton 225 Peter Shaffer 232 Frith Banbury 239 Alan Ayckbourn 248 John Bury 253 Victor Spinetti 259 John McGrath 266 Cameron Mackintosh 276 Patrick Marber 280 x xi JOHN GIELGUD Would you say the real father—or mother—of the National Theatre and the Royal Shakespeare Company is Lilian Baylis? Well, I think she didn’t know her arse from her elbow. She was an extraordinary old woman, really. And I never knew anybody who knew her really well. The books are quite good about her, but except for her eccentricities there’s nothing about her professional appreciation of Shakespeare. She had this faith which led her to the people she needed. Did she choose the actors? I don’t think so. She chose the directors. John Gielgud Yes, she had a very difficult time with them.
    [Show full text]
  • Completeandleft
    MEN WOMEN 1. JA Jason Aldean=American singer=188,534=33 Julia Alexandratou=Model, singer and actress=129,945=69 Jin Akanishi=Singer-songwriter, actor, voice actor, Julie Anne+San+Jose=Filipino actress and radio host=31,926=197 singer=67,087=129 John Abraham=Film actor=118,346=54 Julie Andrews=Actress, singer, author=55,954=162 Jensen Ackles=American actor=453,578=10 Julie Adams=American actress=54,598=166 Jonas Armstrong=Irish, Actor=20,732=288 Jenny Agutter=British film and television actress=72,810=122 COMPLETEandLEFT Jessica Alba=actress=893,599=3 JA,Jack Anderson Jaimie Alexander=Actress=59,371=151 JA,James Agee June Allyson=Actress=28,006=290 JA,James Arness Jennifer Aniston=American actress=1,005,243=2 JA,Jane Austen Julia Ann=American pornographic actress=47,874=184 JA,Jean Arthur Judy Ann+Santos=Filipino, Actress=39,619=212 JA,Jennifer Aniston Jean Arthur=Actress=45,356=192 JA,Jessica Alba JA,Joan Van Ark Jane Asher=Actress, author=53,663=168 …….. JA,Joan of Arc José González JA,John Adams Janelle Monáe JA,John Amos Joseph Arthur JA,John Astin James Arthur JA,John James Audubon Jann Arden JA,John Quincy Adams Jessica Andrews JA,Jon Anderson John Anderson JA,Julie Andrews Jefferson Airplane JA,June Allyson Jane's Addiction Jacob ,Abbott ,Author ,Franconia Stories Jim ,Abbott ,Baseball ,One-handed MLB pitcher John ,Abbott ,Actor ,The Woman in White John ,Abbott ,Head of State ,Prime Minister of Canada, 1891-93 James ,Abdnor ,Politician ,US Senator from South Dakota, 1981-87 John ,Abizaid ,Military ,C-in-C, US Central Command, 2003-
    [Show full text]
  • Bernard Dukore
    What's New . At Least in Part1 Bernard F. Dukore [Dr. Bernard F. Dukore's Fellows Address was given at the ATA Convention in San Francisco, August 14, 1984. His Note #1 provides information about its publication in considerably altered form under the title, "Newer Peter Barnes, with Links to the Past," in Essays in Theatre, 5 (November 1986), pp. 47-59, and gives a rationale for updating the Address for inclusion here. Ed.] Copyright 1986, 1994 by Bernard F. Dukore © On the night of February 22nd, 1984, I decided that instead of going to the movies I would catch up on my reading. Too many books and periodicals were on my desk, looking at me in a way I thought reproachful. Among them was the December 1983 Theatre Journal, which contained Helen Krich Chinoy's "Notes" on the American theatre of the 1930s, her Fellows Address at the ATA Convention in August 1982. It was the first work that I read. The next morning, February 23rd, I received a phone call from Tony Distler, inviting me to give the Fellows Address at this convention. I don't know if there's a causal connection between the two, but if there is, you can cheer up, because the alternative might have been worse. You see, the movie I had considered going to see that night was Testament.2 Like my predecessors, I was told that I was free to pick any subject I liked, to give any kind of talk I chose. Oh, Lord! As Elmer Rice, Jean-Paul Sartre, and Peter Barnes, among others, have dramatized, freedom can be terrifying.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Players of Shakespeare 
    POSA01 08/11/1998 10:09 AM Page i Players of Shakespeare This is the fourth volume of essays by actors with the Royal Shake- speare Company. Twelve actors describe the Shakespearian roles they played in productions between and . The contrib- utors are Christopher Luscombe, David Tennant, Michael Siberry, Richard McCabe, David Troughton, Susan Brown, Paul Jesson, Jane Lapotaire, Philip Voss, Julian Glover, John Nettles, and Derek Jacobi. The plays covered include The Merchant of Venice, Love’s Labour’s Lost, The Taming of the Shrew, The Winter’s Tale, Romeo and Juliet, and Macbeth, among others. The essays divide equally among comedies, histories and tragedies, with emphasis among the comed- ies on those notoriously difficult ‘clown’ roles. A brief biographical note is provided for each of the contributors and an introduction places the essays in the context of the Stratford and London stages. POSA01 08/11/1998 10:09 AM Page ii POSA01 08/11/1998 10:09 AM Page iii Players of Shakespeare Further essays in Shakespearian performance by players with the Royal Shakespeare Company Edited by Robert Smallwood POSA01 08/11/1998 10:09 AM Page iv The Pitt Building, Trumpington Street, Cambridge , United Kingdom The Edinburgh Building, Cambridge , United Kingdom West th Street, New York, –, USA Stamford Road, Oakleigh, Melbourne , Australia © Cambridge University Press, 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 Printed in the United Kingdom at the University Press, Cambridge Typeset in ./pt Plantin Regular A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Players of Shakespeare : further essays in Shakespearian performance /by players with the Royal Shakespeare Company; edited by Robert Smallwood.
    [Show full text]
  • Films with 2 Or More Persons Nominated in the Same Acting Category
    FILMS WITH 2 OR MORE PERSONS NOMINATED IN THE SAME ACTING CATEGORY * Denotes winner [Updated thru 88th Awards (2/16)] 3 NOMINATIONS in same acting category 1935 (8th) ACTOR -- Clark Gable, Charles Laughton, Franchot Tone; Mutiny on the Bounty 1954 (27th) SUP. ACTOR -- Lee J. Cobb, Karl Malden, Rod Steiger; On the Waterfront 1963 (36th) SUP. ACTRESS -- Diane Cilento, Dame Edith Evans, Joyce Redman; Tom Jones 1972 (45th) SUP. ACTOR -- James Caan, Robert Duvall, Al Pacino; The Godfather 1974 (47th) SUP. ACTOR -- *Robert De Niro, Michael V. Gazzo, Lee Strasberg; The Godfather Part II 2 NOMINATIONS in same acting category 1939 (12th) SUP. ACTOR -- Harry Carey, Claude Rains; Mr. Smith Goes to Washington SUP. ACTRESS -- Olivia de Havilland, *Hattie McDaniel; Gone with the Wind 1941 (14th) SUP. ACTRESS -- Patricia Collinge, Teresa Wright; The Little Foxes 1942 (15th) SUP. ACTRESS -- Dame May Whitty, *Teresa Wright; Mrs. Miniver 1943 (16th) SUP. ACTRESS -- Gladys Cooper, Anne Revere; The Song of Bernadette 1944 (17th) ACTOR -- *Bing Crosby, Barry Fitzgerald; Going My Way 1945 (18th) SUP. ACTRESS -- Eve Arden, Ann Blyth; Mildred Pierce 1947 (20th) SUP. ACTRESS -- *Celeste Holm, Anne Revere; Gentleman's Agreement 1948 (21st) SUP. ACTRESS -- Barbara Bel Geddes, Ellen Corby; I Remember Mama 1949 (22nd) SUP. ACTRESS -- Ethel Barrymore, Ethel Waters; Pinky SUP. ACTRESS -- Celeste Holm, Elsa Lanchester; Come to the Stable 1950 (23rd) ACTRESS -- Anne Baxter, Bette Davis; All about Eve SUP. ACTRESS -- Celeste Holm, Thelma Ritter; All about Eve 1951 (24th) SUP. ACTOR -- Leo Genn, Peter Ustinov; Quo Vadis 1953 (26th) ACTOR -- Montgomery Clift, Burt Lancaster; From Here to Eternity SUP.
    [Show full text]