71 BIBLIOGRAPHY I. Primary Sources Albee, Edward. the Zoo

Total Page:16

File Type:pdf, Size:1020Kb

71 BIBLIOGRAPHY I. Primary Sources Albee, Edward. the Zoo BIBLIOGRAPHY I. Primary Sources Albee, Edward. The Zoo Story. The Death of Bessie Smith . The Sandbox . New York: Coward-McCann, 1960. Albee, Edward. The American Dream. New York: Signet Books , 1961. Albee, Edward. Who's Afraid of Virginia Woolf? Harmondsworth: Penguin 1968 Albee, Edward. The Ballad of the Sad Café . New York: Houghton Mifflin, 1965. Albee, Edward. Tiny Alice. New York: Pocket Books, 1964. Albee, Edward. A Delicate Balance. New York: Pocket Books, 1967. Albee, Edward. Box and Quotations From Chairman Mao Tse-Tung . New York: Pocket Books, 1970. Albee, Edward. All Over. London: Jonathan Cape, 1972. Albee, Edward. Seascape. New York: Atheneum, 1975. Albee, Edward . Listening and Counting the Ways . In Edward Albee: The Plays in Three Volumes . Vol. 2. New York: Atheneum 1991. Albee, Edward. The Lady from Dubuque . New York: Atheneum, 1980. O’Neill, Eugene. “Hughie.” The Plays 1932-44 . New York: Atheneum, 1991. Pinter, Harold. The Caretaker . London: Methuen, 1987. II. Secondary Sources 1. General books Bigsby C. W. E. A Critical Introduction to Twentieth Century American Drama . Vol. 2. Cambridge UP, 1984. Bigsby, C.W.E. Modern American Drama 1945-2000 . Cambridge: Cambridge UP, 2000. Eagleton, Terry. Literary Theory . An Introduction . Minneapolis: U of Minnesota P, 1984. Esslin, Martin. The Theatre of the Absurd . Harmondsworth: Penguin Books, 1980. 71 Kernan Alvin B., ed. The Modern American Theatre. A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1967. Parker, Dorothy, ed. Essays on Modern American Drama: Williams, Miller, Albee and Shepard . Toronto: Univ. of Toronto Pr., 1987. Wellek, René and Austin Warren. Theory of Literature. Harmondsworth: Penguin Books, 1973. 2. Monographical books on Edward Albee Amacher, Richard E. Edward Albee . Rev. ed. Boston: Twayne Publishers, 1982. Bigsby, C. W. E., ed. Edward Albee: A Collection of Critical Essays . Englewood Cliffs, N.J.: Prentice-Hall, 1975. Debusscher, Gilbert. Edward Albee; Tradition and Renewal. Brussels: American Studies Center, 1967. Hayman, Ronald. Contemporary Playwrights: Edward Albee . London: Heinemann, 1971. Hirsch, Foster. Who's Afraid of Edward Albee? Berkeley: Creative Arts Book Company, 1978. Kašparovská, Hana . Social Relevance in Arthur Miller and Edward Albee . Diploma thesis. Brno: FF MU, 1978. Kolin, Philip C., ed. Conversations with Edward Albee . Jackson and London: UP of Mississippi, 1988. Kolin, Philip C. and J. Madison Davis. Critical Essays on Edward Albee . Boston: G. K. Hall, 1986. Mann, Bruce J., ed. Edward Albee: a casebook . New York and London: Routledge, 2003. McCarthy, Gerry. Edward Albee . New York: St. Martin's Press, 1987. Paolucci, Anne. From Tension to Tonic: The Plays of Edward Albee . Carbondale and Edwardsville: Southern Illinois UP, 1972. 72 Roudané, Matthew Charles. Understanding Edward Albee . Columbia: U of South Carolina P, 1987 Roudané, Matthew C. Who's Afraid of Virginia Woolf: Necessary Fictions, Terrifying Realities . Boston: Twayne Publishers, 1990. Rutenberg, Michael E. Edward Albee: Playwright In Protest . New York: Drama Book Specialists, 1969. Stenz, Anita Maria. Edward Albee: The Poet of Loss . The Hague: Mouton, 1978. Wasserman, Julian N., ed. Edward Albee: An Interview and Essays . Houston, Texas: U of St. Thomas, 1983. 3. Essays in books Adler, Thomas P. Review of “Counting the Ways”. Educational Theatre Journal . Oct. 1977, 407-8. Rpt. in Kolin, Philip C. and J. Madison Davis. Critical Essays on Edward Albee . Boston: G. K. Hall, 1986. Albee, Edward. “Which Theatre is the Absurd One?” The New York Times Magazine 25 Feb, 1962. Rpt. in The Modern American Theatre. A Collection of Critical Essays ed. by Alvin B. Kernan. Englewood Cliffs, N.J.: Prentice-Hall, 1967. 170-175. Anderson, Mary Castiglie. “Ritual and Initiation in The ZOO Story .” Wasserman, Julian N., ed. Edward Albee:An Interview and Essays . Houston, Texas: U of St. Thomas, 1983. Baxandall, Lee. “The Theater of Edward Albee.” Tulane Drama Review 9.4 (Summer 1965). 19-40. Rpt. in The Modern American Theatre. A Collection of Critical Essays. Ed. Alvin B. Kernan. Englewood Cliffs, N.J.: Prentice-Hall, 1967. 80-98. Casper, Leonard. “The Expense of Joy in the Persistence of Mystery.” Edward Albee: An Interview and Essays . Ed. Julian N. Wasserman. Houston, Texas: U of St. Thomas, 1983. Cohn, Ruby. “The Verbal Murders of Edward Albee.” Dialogue in American Drama . 73 Bloomigton: Indiana UP, 1971. 137-40. Rpt. in Kolin, Philip C. and J. Madison Davis. Critical Essays on Edward Albee . Boston: G. K. Hall, 1986, 146-9. Driver, Tom. ”What’s the Matter with Edward Albee?” The Reporter Jan. 2, 1964. Rpt. in The Modern American Theatre. A Collection of Critical Essays. Ed. Alvin B. Kernan. Englewood Cliffs, N.J.: Prentice-Hall, 1967, 99-103. 4. Interviews: 1965 Rutenberg, Michael E. Edward Albee: Playwright In Protest . New York: Drama Book Specialists, 1969. (includes 2 interviews, from 1965 and 1968, at the end of his book) 1966 Flanagan, William. “The Art of the Theatre IV: Edward Albee: An Interview”. Paris Review 10 [Fall 1966] Rpt. in Kolin, Philip C., ed. Conversations with Edward Albee . Jackson and London: UP of Mississippi, 1988. 1968 Rutenberg, Michael E. Edward Albee: Playwright In Protest . New York: Drama Book Specialists, 1969. (includes 2 interviews, from 1965 and 1968, at the end of his book) 1980 De La Fuente, Patricia. “Edward Albee. An interview.” Rpt. in Kolin, Philip C., ed. Conversations with Edward Albee . Jackson and London: UP of Mississippi, 1988. 1981 Wasserman, Julian N., ed. Edward Albee: An Interview and Essays . Houston: U of St. Thomas, 1983. 1985 Roudané, Matthew C. ”A Playwright Speaks: An Interview with Edward Albee.” In Kolin, Philip C. and J. Madison Davis, ed. Critical Essays on Edward Albee . Boston: G. K. Hall, 1986 1988 Kolin, Philip C., ed. Conversations with Edward Albee . Jackson and London: UP of Mississippi, 1988. 1995 Bigsby, C. W. E. Writers in Conversation . Vol. 1. Norwich: E.A.S. Publishing, 2000. 1999 Mann, Bruce J., ed. Edward Albee: a casebook . New York and London: Routledge, 2003. 74 2002 Drukman, Steven. “Edward Albee: Who's afraid of controversy? Not this playwright - The Writing Life – Interview.” March 2002 . Gale Group . 20 Sep 2004. <http://www.findarticles.com/p/articles/mi_m1285/is_2_32/ai_83450560>. 2002 Morris, Steven Leigh. “Laughing in the Dark. The Education of Edward Albee“. Bill Pullman Website . 14 Mar 2002. Bill Pullman Website . 15 Apr 2005. <http://www.billpullman.org/goat/laweekalbee.htm>. 5. Internet articles Ardolino, Frank. „Nugent and Thurber's The Male Animal and Albee's Who's Afraid of Virginia Woolf?“ The Explicator . Washington: Winter 2003.Vol. 61, Iss. 2; pg. 112, 3 pgs. Literature Online. 2 May 2005. <http://lion.chadwyck.co.uk/searchFulltext.do?id=R01670345&divLevel=0&queryId= ../session/ 111686204518638& area=abell &forward=critrefft>. Beck, Ervin. ”Allegory in Edward Albee's The American Dream." Goshen College, English Department, Faculty Publications. 1996. Goshen College. 2 Nov 2004 <http:// www.goshen.edu/facultypubs/DREAM.html>. Berlin, Normand. „Traffic of our Stage: Albee's Peter and Jerry.“ Massachusetts Review: a quarterly of literature, the arts, and public affairs (Univ. of Massachusetts, Amherst) (45:4) [Winter 2004/2005] , p.768-777. Literature online. 16 May 2005. <http://lion.chadwyck.co.uk/searchFulltext.do?id=R03509112&divLevel=0&queryId= ../session/1116862045_18638&area=abell&forward=critref_ft>. “Biography of Edward Albee.” About the Artist . 2005. The John F. Kennedy Center for the Performing Arts. 6 Apr. 2005. <http:// www.kennedy/center.org/calendar/index.cfm? fuseaction=showIndividual&entitY_id=3687 &source_type=A>. Bovard, Karen. “Peter and Jerry. Act I: Homelife . Act II: The Zoo Story (review) ”. Theatre Journal (56:4) [Dec 2004], pp. 991-93. Literature Online. 6 Dec 2005. 75 <http://lion.chadwyck.co.uk/searchFulltext.do?id=R03492099&divLevel=0&queryId= ../session/ 1118307149_4782&area=abell&forward=critref_ft.>. Carter, Steven. „Albee's Who's Afraid of Virginia Woolf?“ Explicator (Helen Dwight Reid Educational Foundation, Washington, DC) (55:2) [Winter 1997] , p.102-103. Literature Online. 3 Oct. 2004. <http://lion.chadwyck.co.uk/searchFulltext.do?id=R01526305&divLevel=0&queryId= ../session /1116862045_18638&area=abell&forward=critref_ft>. Chiaromonte, Nicola. “Albee Damned: Review of Who's Afraid Of Virginia Woolf? ”. The New York Review of Books (1:1) [1 Feb. 1963]. The New York Review of Books. 3 Mar 2005. <http://www.nybooks.com/articles/13752>. Curry, J. K. „Edward Albee: A Singular Journey .“ Theatre Journal (Assn for Theatre in Higher Education) (Baltimore, MD) (55:2) [May 2003], p.369-370. Literature Online. 29 Jan. 2005. <http://lion.chadwyck.co.uk/searchFulltext.do?id=R01677018& d ivLevel=0&queryId=../session/1116862045_18638&area=abell&forward=critref_ft>. “Edward Albee.” Bedford/St. Martin’s . 1999. Bedford/St. Martin’s . 12 Mar. 2005 <http:// www.bedfordstmartins.com/litlinks/drama/albee.htm>. “Edward Albee.” Classic Notes . 2003. Gradesaver. Professional Proofreading and Editing Online. 19 Nov 2004 <http://www.gradesaver.com/ClassicNotes/Authors/about_edward_albee.html>. “Edward Albee : The man, the plays.” Geocities . 2004. Geocities. 6 Feb. 2005. <http:// www.geocities.com/Broadway/Stage/3316>. “Edward Albee.“ Moonstruck Drama Bookstore . 2004. Moonstruck Drama Bookstore.1 8 May 2005. <http://www.imagi-nation.com/moonstruck/clsc44.html>. “Edward Albee.” Wikipedia . 12 May 2005. Wikipedia.
Recommended publications
  • A Delicate Balance ​ ​​ ​ ​ ​​ ​
    PEEK BEHIND ​ ​ THE SCENES OF A DELICATE BALANCE ​ ​​ ​ ​ ​​ ​ Compiled By Lotta Löfgren ​ ​ ​ ​ ​ ​ To Our Patrons ​ ​ ​ ​ Most of us who attend a theatrical performance know little about how a play is ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ actually born to the stage. We only sit in our seats and admire the magic of theater. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ But the birthing process involves a long period of gestation. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Certainly magic does happen on the stage, minute to minute, and night after night. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ But the magic that theatergoers experience when they see a play is made possible ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ only because of many weeks of work and the remarkable dedication of many, many ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ volunteers in order to transform the text into performance, to move from page to ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ stage. In this study guide, we want to give you some idea of what goes into creating a ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ show. You will see the actors work their magic in the performance tonight. But they ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ could not do their job without the work of others. Inside you will find comments ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ from the director, the assistant director, the producer, the stage manager, the set ​ ​ ​ ​ ​
    [Show full text]
  • Guest Artists
    Guest Artists George Hamilton, Broadway and Film Actor, Broadway Actresses Charlotte D’Amboise & Jasmine Guy speaks at a Chicago Day on Broadway speak at a Chicago Day on Broadway Fashion Designer, Tommy Hilfiger, speaks at a Career Day on Broadway SAMPLE BROADWAY GUEST ARTISTS CHRISTOPHER JACKSON - HAMILTON Christopher Jackson- Hamilton – original Off Broadway and Broadway Company, Tony Award nomination; In the Heights - original Co. B'way: Orig. Co. and Simba in Disney's The Lion King. Regional: Comfortable Shoes, Beggar's Holiday. TV credits: "White Collar," "Nurse Jackie," "Gossip Girl," "Fringe," "Oz." Co-music director for the hit PBS Show "The Electric Company" ('08-'09.) Has written songs for will.i.am, Sean Kingston, LL Cool J, Mario and many others. Currently writing and composing for "Sesame Street." Solo album - In The Name of LOVE. SHELBY FINNIE – THE PROM Broadway debut! “Jesus Christ Superstar Live in Concert” (NBC), Radio City Christmas Spectacular (Rockette), The Prom (Alliance Theatre), Sarasota Ballet. Endless thanks to Casey, Casey, John, Meg, Mary-Mitchell, Bethany, LDC and Mom! NICKY VENDITTI – WICKED Dance Captain, Swing, Chistery U/S. After years of practice as a child melting like the Wicked Witch, Nicky is thrilled to be making his Broadway debut in Wicked. Off-Broadway: Trip of Love (Asst. Choreographer). Tours: Wicked, A Chorus Line (Paul), Contact, Swing! Love to my beautiful family and friends. BRITTANY NICHOLAS – MEAN GIRLS Brittany Nicholas is thrilled to be part of Mean Girls. Broadway: Billy Elliot (Swing). International: Billy Elliot Toronto (Swing/ Dance Captain). Tours: Billy Elliot First National (Original Cast), Matilda (Swing/Children’s Dance Captain).
    [Show full text]
  • Edward Albee Albee Was Born on March 12, 1928, in Washington, D
    Biography - Edward Albee Albee was born on March 12, 1928, in Washington, D. C., and adopted at the age of two weeks by Reed and Frances Albee, who named him Edward after Reed’s father. This elder Edward held a substantial business interest in a chain of vaudeville theatres, and the family was very wealthy. Young Edward’s early years were spent among servants, nurses, tutors, as the family alternated between stays in the mansion in Larchmont, New York, and extended winter holidays in Florida. He had, it seems, few friends his own age, but he did own a variety of pets – cats, guinea pigs, a St. Bernard. His parents were, in several ways, a unique couple. His father, Reed, was a small, quiet, apparently unassertive man. Frances Albee, on the other hand, seems to have been loud, aggressive, domineering. She was also twenty-three years younger and a foot taller than her husband. Other of Albee’s biographers usually stress her love of riding and suggest that her usual daytime wear was jodhpurs and a riding crop. Young Edward, who disliked riding, apparently felt more at home with his grandmother (Mrs. Albee’s mother). Albee’s school record was, in the conventional sense, a very bad one. Sent to a boarding school at the age of eleven, he was eventually dismissed from it for cutting classes, ignoring his academic work, not playing compulsory sports, and general bad behaviour. To encourage him toward greater self-discipline, his mother sent him to the Valley Forge Military Academy. Albee’s conduct, however, was apparently a problem that the resources of the academy were not designed to cope with, and he left that school too, at the school’s request.
    [Show full text]
  • Edward Albee's at Home at The
    CAST OF CHARACTERS TROY KOTSUR*............................................................................................................................PETER Paul Crewes Rachel Fine Artistic Director Managing Director RUSSELL HARVARD*, TYRONE GIORDANO..........................................................................................JERRY AND AMBER ZION*.................................................................................................................................ANN JAKE EBERLE*...............................................................................................................VOICE OF PETER JEFF ALAN-LEE*..............................................................................................................VOICE OF JERRY PAIGE LINDSEY WHITE*........................................................................................................VOICE OF ANN *Indicates a member of Actors’ Equity Association, the Union of David J. Kurs Professional Actors and Stage Managers in the United States. Artistic Director Production of ACT ONE: HOMELIFE ACT TWO: THE ZOO STORY Peter and Ann’s living room; Central Park, New York City. EDWARD ALBEE’S New York City, East Side, Seventies. Sunday. Later that same day. AT HOME AT THE ZOO ADDITIONAL PRODUCTION STAFF STARRING COSTUME AND PROPERTIES REHEARSAL STAGE Jeff Alan-Lee, Jack Eberle, Tyrone Giordano, Russell Harvard, Troy Kotsur, WARDROBE SUPERVISOR SUPERVISOR INTERPRETER COMBAT Paige Lindsey White, Amber Zion Deborah Hartwell Courtney Dusenberry Alek Lev
    [Show full text]
  • Interface Semiotics in the Dramaturgy of Tennessee Williams and Edward Albee
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SZTE Doktori Értekezések Repozitórium... Ph.D. Dissertation Theses Interface Semiotics in the Dramaturgy of Tennessee Williams and Edward Albee Réka Mónika Cristian Szeged 2001 A. Objectives and Structure The topic of the present dissertation is the dramaturgy of two modem American playwrights, Tennessee Williams and Edward Albee. The aim is to map the common features of their works in the context of semiotic textual exchange between the two oeuvres and of the biographical background of the playwrights in the context of a dramatic interface of the two authors. The scope of the Albee-Williams dramatic interface is to explain both oeuvres through an internal patterning of events and characters by deriving concepts of the one (Williams) into the other (Albee). The study of both oeuvres provides the visualization of the enigmas, of the invisible patterns that work to build the intertextual Williams-Albee bind. The invisible in one play is a trope of representation in another play within the same oeuvre. One play is or might well be the other discourse of the other play both in the case of the same author and in case of two different authors. This trans-substantiation is present in the form of the dramatic intertext or, to be more precise - due to the biographical implication - of the dramatic interface. The influence of Williams on Albee’s works had been expressed by many literary critics, as well as by Albee himself The dramatic interface of the two authors is mapped with the theoretical help of semiotics, psychoanalysis, theories of myth, symbols and gender approaches.
    [Show full text]
  • Newton Grisham Library Play Script List -By Author
    Newton Grisham Library Play Script List -by Author BIN # PLAY # TITLE AUTHOR # MEN # WOMEN # CHILDREN OTHER 73 1570 Manhattan Class Company Class 1 Acts 1991-1992 161 2869 The Boys from Siam Connolly, John Austin 2 161 2876 Fugue Thuna, Lee 3 5 74 1591 Acrobatics Aaron, Joyce; Tarlo, Luna 96 1957 June Groom Abbot, Rick 3 6 99 2016 Play On! Abbot, Rick 3 7 103 2080 Turn For The Nurse, A Abbot, Rick 5 5 30 699 Three Men On A Horse Abbott, G. And J.C. Holm 11 4 34 802 Green Julia Ableman, Paul 2 133 2457 Tabletop Ackerman, Rob 5 1 86 1793 Batting Cage, The Ackermann, Joan 1 3 86 1798 Marcus Is Walking Ackermann, Joan 3 2 88 1825 Off The Map Ackermann, Joan 3 2 101 2051 Stanton's Garage Ackermann, Joan 4 4 10 227 Farewell, Farewell Eugene Ackland, Rodney; Vari, John 3 6 84 1776 Lighting Up The Two-Year Old Aerenson, Benjie 3 167 2970 Dark Matters Aguirre-Sacasa, Roberto 3 1 168 2982 King of Shadows Aguirre-Sacasa, Roberto 2 2 169 2998 The Muckle Man Aguirre-Sacasa, Roberto 5 2 169 3007 Rough Magic Aguirre-Sacasa, Roberto 7 5 doubling 101 2054 Edgar Lee Masters' Spoon River Anthology Aidman, Charles 3 2 101 2054 Spoon River Anthology Aidman, Charles [Adapt. By] 3 2 149 2686 Green Card Akalaitis, JoAnne 6 5 10 221 Fragments Albee, Edward 4 4 19 436 Marriage Play Albee, Edward 1 1 26 604 Seascape Albee, Edward 2 2 30 705 Tiny Alice Albee, Edward 4 1 34 800 The Zoo Story and The Sandbox: Two Short Plays Albee, Edward 34 800 Sandbox, The Albee, Edward 3 2 44 1066 Counting the Ways and Listening: Two Plays Albee, Edward 44 1066 Counting The Ways
    [Show full text]
  • Abstract the Goat Or, Who Is Sylvia?: a Perfomance At
    ABSTRACT THE GOAT OR, WHO IS SYLVIA?: A PERFOMANCE AT MIAMI UNIVERSITY By Luis Fernando Midence Diaz The Goat or, who is Sylvia? is a character-driven story about an architect whose life crumbles when he falls in love with a goat. The actual focus of the piece lies on where the boundaries of “love” within an allegedly “liberal” society are, and how incommunicable such inclinations are. The play also features many language games and grammatical arguments in the middle of catastrophes and existential disputes between the characters. As director of the play my production concept integrates two particular fields of my interest and knowledge: theatre and television production. The idea is to bring Albee’s absurdist story one step further by combining the live theatre experience with the live television element. Besides a dramaturgical analysis of Albee’s play, this thesis further investigates the influence of the classic Greek tradition of tragedy as well as a possible link between Albee’s tragic comedy and Shakespeare’s The Two Gentlemen of Verona, while also incorporating Bertolt Brecht’s theories on Epic Theatre into the analysis and actual performance. THE GOAT OR, WHO IS SYLVIA?: A PERFOMANCE AT MIAMI UNIVERSITY A Thesis Submitted to the Faculty of Miami University In partial fulfillment of The requirements for the degree of Master of Arts Department of Theatre By Luis Fernando Midence Diaz Miami University Oxford, Ohio 2007 Advisor____________________________ (Dr. Roger Bechtel) Reader_____________________________ (Dr. William Doan) Reader_____________________________ (Dr. Howard Blanning) TABLE OF CONTENT Abstract Title Page i Table of Content ii Introduction 1 I.
    [Show full text]
  • Download CV (Pdf)
    RAQUEL ALMAZAN RAQUEL.ALMAZAN@ COLUMBIA.EDU WWW.RAQUELALMAZAN.COM SUMMARY Raquel Almazan is an actor, writer, director in professional theatre / film / television productions. Her eclectic career as artist-activist spans original multi- media solo performances, playwriting, new work development and dramaturgy. She is a practitioner of Butoh Dance and creator/teacher of social justice arts programs for youth/adults, several focusing on social justice. Her work has been featured in New York City- including Off-Broadway, throughout the United States and internationally in Greece, Italy, Slovenia, Colombia, Chile, Guatemala, Canada and Sweden; including plays within her lifelong project on writing bi-lingual plays in dedication to each Latin American country (Latin is America play cycle). EDUCATION MFA Playwriting, School of the Arts Columbia University, New York City BFA Theatre Performance/Playwriting University of Florida-New World School of With honors the Arts Conservatory, Miami, Florida AA Film Directing Miami Dade College, Miami Florida PLAYWRITING – Columbia University Playwriting through aesthetics/ Playwriting Projects: Charles Mee Play structure and analysis/Playwriting Projects: Kelly Stuart Thesis and Professional Development: David Henry Hwang and Chay Yew American Spectacle: Lynn Nottage Political Theatre/Dramaturgy: Morgan Jenness Collaboration Class- Mentored by Ken Rus Schmoll Adaptation: Anthony Weigh New World SAC Master Classes Excerpt readings and feedback on Blood Bits and Junkyard Food plays: Edward Albee Writing
    [Show full text]
  • Pam Mackinnon Announces Inaugural Season As Artistic Director of American Conservatory Theater
    FOR IMMEDIATE RELEASE Media Contact: Kevin Kopjak, Charles Zukow Associates |415.296.0677 | [email protected] Press photos and kits: act-sf.org/press PAM MACKINNON ANNOUNCES INAUGURAL SEASON AS ARTISTIC DIRECTOR OF AMERICAN CONSERVATORY THEATER The 2018–19 season includes Lynn Nottage’s 2017 Pulitzer Prize–winning drama, SWEAT; Jaclyn Backhaus’s ingenious and provocative telling of 19th-century American explorers, MEN ON BOATS; Edward Albee’s wildly imaginative and satirical Pulitzer Prize–winning comedy, SEASCAPE; Mfoniso Udofia’s achingly poignant drama, HER PORTMANTEAU; Lauren Yee’s exploration of cultural identity, global politics, and basketball, THE GREAT LEAP; and Kate Hamill’s rollicking new stage adaptation of William Thackeray’s classic novel, VANITY FAIR The final production of the 2018–19 season to be announced at a later date A Christmas Carol returns after another successful run in 2017 SAN FRANCISCO (April 3, 2018)—Tony, Obie, and Drama Desk Award winner Pam MacKinnon, the incominG artistic director of American Conservatory Theater (A.C.T.), has unveiled her inaugural season at the helm of San Francisco’s premier nonprofit theater company. The 2018–19 season includes Lynn NottaGe’s 2017 Pulitzer Prize–winninG drama, SWEAT; Jaclyn Backhaus’s inGenious and provocative tellinG of 19th-century American explorers, MEN ON BOATS; Edward Albee’s wildly imaGinative and satirical Pulitzer Prize–winninG comedy, SEASCAPE; Mfoniso Udofia’s achinGly poiGnant drama HER PORTMANTEAU; Lauren Yee’s exploration of cultural identity, global politics, and basketball, THE GREAT LEAP; and Kate Hamill’s rollickinG new staGe adaptation of William Thackeray’s classic novel, VANITY FAIR.
    [Show full text]
  • Who's Afraid of Virginia Woolf?
    Otterbein University Digital Commons @ Otterbein 1979-1980 Season Productions 1971-1980 2-6-1980 Who's Afraid of Virginia Woolf? Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/production_1979-1980 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "Who's Afraid of Virginia Woolf?" (1980). 1979-1980 Season. 5. https://digitalcommons.otterbein.edu/production_1979-1980/5 This Book is brought to you for free and open access by the Productions 1971-1980 at Digital Commons @ Otterbein. It has been accepted for inclusion in 1979-1980 Season by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. Otterbein College Theatre presents February 6-7-8-9, 1980 Director - Charles W. Dodrill Scenery Designer and Technical Director - D. Scott Dillon Lighting Designer, Costume Coordinator - Kathleen Lewicki Produced by arrangement with Dramitists Play Service. Inc DIRECTOR’S CORNER We are pleased to announce the completion of a working relationship with the Great Lakes Shakespeare Festival for our next production, the Shakespearean farce TFIE COMEDY OF ER­ RORS. Producing Director Vincent Dowling has arranged for professional actor and director ROBERT ELLENSTEIN to spend the next five weeks with us to direct ERRORS and teach the junior level Acting Studio classes. ROBERT ELLENSTEIN has been a professional actor, director and teacher for over 30 years. He is frequently seen on television in numerous series (over 300 appearances) including Chips, Hawaii 5-0 Quincy, Columbo, Rockford Files, McCloud and most recently in A Man Called Shane.
    [Show full text]
  • Edward Albee and Arthur Kopit: Look Who’S Wearing the Pants!
    Cultural Intertexts Year 1 Vol. 1-2/2014 Edward Albee and Arthur Kopit: Look Who’s Wearing the Pants! Andra-Elena AGAFIŢEI∗ Abstract The aim of this paper is, on the one hand, to make the readers acquainted with the realities of the twentieth century American family, as perceived by the two American playwrights, and, on the other hand, to underline the unusual phenomena that have been brought by the changing dynamics of the family relationships. All the five plays under discussion—All Over, A Delicate Balance, The American Dream, The Sandbox by Edward Albee, and Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin’ So Sad by Arthur Kopit — present situations in which the female characters seem to have become the leader, taking the place of the head of the family, of the pater familias. They stop acting like loving mothers and wives, they forget to take care of their families; instead, they lock away their hearts and assume the part of some sort of tyrant: they control everyone and everything in the house, their word being the equivalent of a rule. The female characters are endowed with masculine traits, whereas the male characters are emasculated, effeminate, deprived of any kind of power. The purpose of the paper is to demystify the myth of the ideal, perfect American family, to make the readers realize that the image that has been presented to the non-American public is, in the twentieth century, nothing but a disguise. Our goal is to display the image of the new American family hoping that, in doing so, we will succeed in making the readers realize the fact that human relationships, especially the ones within the family, need to be re-established on a deeper and more meaningful level.
    [Show full text]
  • Three Tall Women: Director’S Notes Four Fortunate Women (And One Man)
    PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY SYLVIA D. CHROMINSKA, DR. DESTA LEAVINE IN MEMORY OF PAULINE LEAVINE, SYLVIA SOYKA, THE WESTAWAY CHARITABLE FOUNDATION AND BY JACK WHITESIDE LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives.
    [Show full text]