Performing Arts 273

Total Page:16

File Type:pdf, Size:1020Kb

Performing Arts 273 Performing arts 273 PERFORMING ARTS Broadway play was so successful that several other professional companies were formed to take it to The pride of the deafCOIn ~ theaters outside New York City In of and language, or actress played the leading significant. When .' The national touring persons their deaf counterparts ci j ies throughout the on stage, the movies, it serves i('atured Linda Bove; the remove the "stereotype" of deafness, had Freda Norman They discover and develop greater (England) company confidence attitude toward groups have since played and and society, It also encourages them to seek other South Africa, and repeat performances continued role models in the performing arts, to captivate audiences in regional theaters through­ out the United States. Altogether, scores of deaf PERFORMING ARTISTS persons have been employed in leading or sup­ In many ways, deaf persons as individuals have porting roles or as understudies and substitutes. blazed new pathways in the performing arts for The film rights to the play were purchased by others to follow. One of these individuals is Ber­ a Hollywood production company in 1984. See nard Bragg. He studied mime with Marcel Marceau FRELICH, PHYLLIS. in Paris United States with people who had acquired one-man the best night clubs had already made an theaters. television appearances frdich and Bove. Among clude his The Quiet Man in Fabray and Johnnie Ray, appearances on unusual distinction ofbeing guest spots on television RA,y,JOHNNIE. States. Bragg also helped Theatre ofthe Deaf (NTD) TELEVISION and was one ofits brightest stars for over 10 years. One of the first profoundly deaf persons to appear The publication of his biography, Si,1!)IS of Silence on prime-time television was Audree (Bennett) (1974), by Helen Powers, is an inspiration for all Norton, who had toured nationally with the NTD. deafyouth. See BRAGG, BERNARD. Norton had a featured role in Mannix (1968), a Another performer who often appeared on tele­ detective series starring Mike Connors. It was a vision was Linda Bove. A member of NTD since drama in which Norton not only was the heroine 1968, she played a leading role in productions of but also exposed audiences to deaf awareness and the Little Thefltre of the Deaf. Moreover, she was deaf culture (it was probably the first time in a the first scen in the daytime tclc­ show that a flashing used TOlllOTTOW (1973); she attention to a ringing also member of the popular chil­ a deafcharacter on the Streets She had the lead Francisco (1971). during the years when November 15, 1971 ,Jane and the national company performed in vVechsberg, both former NTD, United Statc;; and she also had a first television program prot(Jundly in a full-length Sesame Street movie, Follow That deaf newscasters. This was NewSiSn Four, a daily Bird (1984). By communicating with "hands that news program integrated with the Today Show in talk," Linda Bove has helped develop deaf aware­ the early morning for deafpersons in the San Fran­ ness and shown how deaf individuals can contrib­ cisco Bay area. Wilk and Wechsberg used sign lan­ ute to the world ofentertainment. See BOVE, LINDA. guage and fingerspelling to communicate the news For deaf people, the biggest breakthrough in the of the world, as well as "what was happening and theater world occurred in June 1980, when deaf where" in the local deafcommunity. NewSign Four Phyllis Frelich, a former member of NTD, won the proved so successful that it was honored with an Antoinette Award for best actrcss Award. in the plav Lesser God. The original ;;econd Emmy Award went in production two other deaf persons his documentary television supporting Merkin andJulianna Gold. i\·J,v Ears, which featured Frelich's only proved that a people who contributed to educa­ ented deaf person could succeed on Broadway if tional, and economic growth ofCalifornia. In 1975 given the opportunity, but also opened the door to Wechsberg established Sign-Scope, a motion picture other deaf performing artists. The long-running production company in Portland, Oregon. This led 274 Performing arts to the production of a full-length movie in Tech­ people and their culture. Featuring his one-man nicolor, Deafula-a deaf-culture parody ofthe clas­ Gee Jay Show (named for his initials), Johnston's sic horror film Dracula. It proved that oe3f per­ repertory ofdeafjokes :mo skits, his improvisations be inventive and pantomime and slap~tick and his catchy wrote the script but and dance numbers success. and played the leading Mary Beth Miller had berself as a with another comedy, popular comedian and with the a Iso featured deaf NrD Company before and then and deaf culture. helping to found the the focus ofanother latter, she wrote and perfrl!'mances of venture into television programming for deaf and Travelling Road Show and A Play of 1,000 Words, hearing viewers in 1975 when D.E.A.F. Media, Inc., also performing in both as the major character. produced Silent Perspectives, which acquainted the Her talents for mimicry and dramatic monologue, public with deaf people and their culture; it won comedy sketches, and slapstick earned her nation­ an Emmy Award. wide acclaim whenever she went on tours of the This led to the creation of an original and ima­ United States and Canada. ginative program for deaf children, Rainbow's End (1980), featuring a magical television studio where CHILD STARS most of them deaL was inevitable that increasing star attraction of number ofstage , screen, productions should feature deaf child performers. first of these to role on the lIJ'(ladway stage was the v"ho portrayed "Hubbell) the musical Runawal's alliO approaches to teaching and eloquent sign ' stage with visually to deaf children. It was the first program Hlibok was his interpreter, who provided voice-over of its kind, winning an Emmy Award in 1980 and as well as signs for those scenes when he was off the hope of deaf people everywhere that it would stage. It marked the first time in New York theater have continued production as a deaf version ofSe­ historv that deaf audiences could follow and fully same Street. undeistand an interpreted musical, thereby serving Los Angeles took pride in displaying its own tele­ as a model or prototype for the New York Theatre vision celebrity in the person ofHerb Larsen, called Access Project ofsign-interpreted performances for "the deafJohnny Carson." As host ofQ/J-Hand, ce­ deaf people, which began in 1980. Runaways cap­ Larsen captivated deaf tured five Tony Award rnaster of ceremonies In 1979 10-year-old the half-hour show deaf parents, had the on the Silent Network And Your Name Is JOlloh. and interpreter was ilcted the all-too-common deaf parents, who helped diagnosed as mentally Theatre of the Deafand ered to be deaf. Bravin's a long libt of television and film credits as an actor. the movie and television celebrity; the By the end of 1984, OjJ:Hand had a string of 200 tured other deaf persons, including its consultant, performances, produced by Silent Network. Created Bernard Bragg, all of whom provided realistic sit­ by Sheldon Altfeld, the Los Angeles-based company uations and environments to convey "the deaf ex­ is dedicated to producing nationwide television perience" in what was probably the best-made and programming that showcases deaf talent and deaf most honest movie on the subject up to that time. culture. Other teenagers appearing in television dramas were Kevin Van Wieringen as "Scott Phillips" in an COMEDIANS episode of the series James At 1r; (19711). Another deaf culture to use 13-year-old Johnny appeared in were George Johnston episodes ofthe serieo; 'free (1983). Bf'l a gifted impressionisl Km'acs, who is the son also played allY well-known personage, Wild Boy," who ii' and needs hearing, and could sing and dance with perfect to communicate in sign language in an episode of timing to suit the comedy situation. Also, he could the television adventure drama series Little House depict "the deaf Archie Bunker" using the man­ On the Prairie (1982). nerbms. and folklore peculiar In 1982 lS-year-old appeared Pcdorming 275 in movie theaters throughout the United States in Frances Woods, named Esther Thomas at birth. A Originally l1In),-on-the-Lips, movie premature baby. weighed only pounds and adaptation "hort story, It Was born without drums; the doctors did no! Won the-Eyes," IVlargaret Montague, teacher her to live. However, she grew up of deaf children. The film also featured Nanette to very athletic, and developed a fine sense of Fabray. rhythm for dancing. It was on the dance floor that If anyone ever loomed larger than life on both she met her future husband, Anthony Caliguire, the movie and television screen, it was "the In- who began teaching her to dance by playing the Hulk" of rerrigno. Born raised in getting feel the of the music, developed infection then havillg perform steps to three that a severe loss and the particular rhythm. See Woons,FRANcES. learning to ::;peal'.. quite difficult. Ferrigno was One ofthe first deafdance groups was the Amer­ called "dumb Louie" by his peers and grew up shy ican Deaf Dance Company (ADDC). With Yacov and withdrawn, and a skinny weakling. However, Sharir, a normal-hearing dancer, as their artistic he took up body-building and developed into a tall, director, the ADDC developed a unique set ofdance man. His movie appcarrmee was in numbers without use of which im­ c]ilssic film on body-building, Iron, in audiences their visual intuitively he co-starred with Arnold Schwarzenegger. conceived rhythms.
Recommended publications
  • Copyrighted Material
    9781405170550_6_ind.qxd 16/10/2008 17:02 Page 432 INDEX 4 Little Girls (1997) 93 action-adventure movie 147, 149, 254, 339, 348, 352, 392–3, 396–7, 8 Mile (2002) 396–7 259, 276, 287–8, 298–9, 410 402–3 20th Century-Fox 21, 30, 34, 40–2, 73, actualities 106, 364, 410 Against All Odds (1984) 289 149, 184, 204–5, 281, 335 ACT-UP (AIDS Coalition to Unleash Agar, John 268 25th Hour, The (2002) 98 Power) 337, 410 Aghdashloo, Shohreh 75 27 Dresses (2008) 353 ADA (Americans with Disabilities Act) Ahn, Philip 130 28 Days (2000) 293 398–9, 410 AIDS 99, 329, 334, 336–40 48 Hours (1982) 91 Adachi, Jeff 139 AIDS Coalition to Unleash Power see 100-to-1 Shot, The (1906) 174 Adams, Evan 118–19 ACT-UP 300 (2007) 74, 298, 300 ADC (American-Arab Anti- AIM (American Indian Movement) 111, Discrimination Committee) 73–4, 116–17, 410 Abbott and Costello 268 410 Air Force (1943) 268 ABC 340 Addams Family, The (1991) 156 Akins, Zoe 388–9 Abie’s Irish Rose (stage) 57 Addams Family Values (1993) 156 Aladdin (1992) 73–4, 246 Abilities United Productions 384 Adiarte, Patrick 72 Alba, Jessica 76, 155, 159 ability 359–84, 410 adult Western 111, 410 Albert, Eddie 72 ableism 361, 381, 410 Adventures of Ozzie & Harriet, The (TV) Albert, Edward 375 Abominable Dr Phibes, The (1971) 284 Alexie, Sherman 117–18 365 Adventures of Priscilla, Queen of the Algie, the Miner (1912) 312 Abraham, F. Murray 75, 76 COPYRIGHTEDDesert, The (1994) 348 MATERIALAli (2001) 96 Academy Awards (Oscars) 29, 58, 63, Adventures of Sebastian Cole, The (1998) Alice (1990) 130 67, 72, 75, 83, 92, 93,
    [Show full text]
  • SLAV-T230 Vampire F2019 Syllabus-Holdeman-Final
    The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 11498 (SLAV) (please call me Jeff) SLAV-T230 11893 (HHC section) GISB East 4041 Fall 2019 812-855-5891 (office) TR 4:00–5:15 pm Office hours: Classroom: GA 0009 * Tues. and Thur. 2:45–3:45 pm in GISB 4041 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] [my preferred method] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today).
    [Show full text]
  • The Dracula Film Adaptations
    DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no.
    [Show full text]
  • New York Deaf Theatre, Ltd. 14Th Anniversary Season
    New York Deaf Theatre, Ltd. 14th Anniversary Season The Hearing Test by Willy Conley &: 2S Cents by Aaron B. Weir December 4 .. 19, 1993 DEAF MOSAIC Congratulate New York Deaf Theatre, Ltd. and welcomes the opening of its 14th season D Watch D F MOSAIC 9:00 a.m. undays on The Discovery Channel DEAF MOSAIC is produced by the DEPARTMENT OF TELEVISION, FILM, AND PHOTOGRAPHY GALLAUDET UNIVERSITY 800 Florida Ave. NE Washington, DC 20002-3695 (202) 651-5115 (TTY IV) (202) 651-5124 (FAX) COOPER..HEWITI MUSEUM National of Wishes You aJoyous J{oliday Season and you to Join Us in uploring the World of'Design EXHIBITIONS Mechanical Brides: Woman and Machines from Home to Office Now through 2, 1994 Fancy Fronts: Men's Waistcoats of Eighteenth Now February 13, 1994 Crane: Children Now through February 13, 1994 From to Building: A in Singapore Architect Paul Randolph Now through 13,1994 the New: Design and the American Consumer 1925 - 1975 February 8 - June 14, 1994 EDUCATIONAL PROGRAMS Thursday, April 14 at 6:30 pm • "New Designs for Industry in the 19th Fee: $15 General $10 Museum Members; $5 Students and Seniors Tuesday, April 19 at 6:30 pm "Landscapes Peril: Memory Nuclear Fee: $10 Public; $8 Museum Students and Seniors Tuesday, April 26 at 6:30 One Word: in American 1950-1970" Fee: $15 Public; $10 Museum Members; Students and 2 East 91 Street at Fifth Avenue l'eaist~!1' for Programs or to book Group Gallery Tours call TOO (212) 86()"6865 or, Voice (212) 86()..6899 In Memory Jim Tala 1951 - 1993 'Brok.en Spok.es I99° a Christmas Carol I99 I Jackie Roth Tony Allicino Artistic Director General Manager NEW YORK DEAF THEATRE, LTD.
    [Show full text]
  • Cultural Arts Among Deaf People Robert Panara
    Rochester Institute of Technology RIT Scholar Works Articles 1983 Cultural arts among deaf people Robert Panara Follow this and additional works at: http://scholarworks.rit.edu/article Recommended Citation Panara, R. (1983). Cultual arts among deaf people. Gallaudet Today, 13(3), 12-16. This Article is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Articles by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. -- --- cultural Arts Among Deaf people by Robert F. Panara he publicationof that remarkable novel, Roots, by TAlex Haley,and its .dramatizationon nationaltelevision has probably created more awareness of "the Black . experience" in America than any other single work since 1852,when Harriet Beecher Stowe published Unde Tom~ Cabin. It is also important to note that Roots, unlike Unde Tom~ Cabin, was the work of a Blackauthor an~ that Black . persons played the leading roles on Tv. This "cultural breakthrough" has great significance when we consider the state of the cultural arts among deaf people. To begin with, there is.the outstanding achievement of the National Theatre of the Deaf which has helped awaken the public to "Deaf Awareness." Since its establishment in 1967, NTDhas influenced millions of hearing people, in the theatre and on TV.. In their han~s, the sign language of the so-called "deaf and dumb~' has '- "The Camel Driver" is a dry-point etching by Cadwallader Washbum. Mr. Washbum, who graduated from Gallaudet In 1890, was not only an artist of International note, but also a journalist, oologlst, entomologist, world traveler, and explorer.
    [Show full text]
  • Bernard Bragg
    Bernard Bragg 1928-2018 Early Life ● Bragg grew up in Brooklyn, and was fully immersed in the Deaf culture through his Deaf parents, aunt and uncle. ● Bragg was also involved in the acting culture through his dad's job as an amateur actor. Education ● Bernard studied theater at Gallaudet University (at the time called Gallaudet College). ○ While studying, Bragg had lead roles in performances, and gained experience directing ○ Bragg was also interested in literature and won the Teegarden Award for Creative Poetry during his final year Life after College ● After he finished his Education, Bragg became an instructor at the California School for the Deaf (CSD), and taught there for 15 years. ○ While he was there, he was also involved in extracurricular activities such as supervising and directing student productions ○ Bernard also continued to pursue his own opportunities in theater by directed convention shows for the National Association for the Deaf and performing at the Los Angeles Club for the Deaf An Interesting Opportunity ● While working at CSD, Bragg had an opportunity to see famous mime Marcel Marceau while he was on tour. ○ At this performance, Bernard was lucky enough to arrange a meeting with Marcel. This connection opened the door for an audition by Bernhard that resulted in him receiving an offer by Marcel to study under him in Paris. ○ Bernard accepted Marcel’s offer, and traveled to France once the school year was complete. Returning to America ● Marcel inspired Bragg to perform more, because, as he said, “If he can do a two-hour show without saying a word, why can’t I?”.
    [Show full text]
  • Arts Accessibility for the Deaf. INSTITUTION National Access Center, Washingtof DC
    DOCUMENT RESUME ED 213 235 EC ]41 192 AUTHOR Bergman, Eugene TITLE Arts Accessibility for the Deaf. INSTITUTION National Access Center, Washingtof DC. SPONS AGENCY National Endowment for the Arts, Washington, D.C. PUB DATE Mar 81 NOTE 24p. AVAILABLE FROMNational Access Center, 1419 27th St., N.W., Washington, DC 20007. EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Accessibility (for Disabled); *Art; *Cultural Activities; Dance; *Deafness; Museums; Music; Television; *Theater Arts ABSTRACT The booklet provides information and resources for cultural organizations and institutions interested in making the arts accessible to deaf citizens. Preliminary information includes a discussion of deafness in America and the deaf in the history of the arts and notes that the era of silent films was the golden age of cinema. Listed are 36 theaters of and for the deaf as well as 18 hearing theaters with accessibility for the deaf. Also considered are television shows with deaf characters, entertainment programs for the deaf, news programing, the deaf and educational television, closed captioning, and videodiscs. Brief sections discuss resources for deaf dance as well as music and the visual arts. Museums offering interpreted tours and/or special programs for the deaf are listed. The booklet's suggestions for improving arts accessibility include involving the staff in awareness training, developing a deaf audience, and designing programs which consider visual cueing, lighting, fire and emergency warning, acoustics, and hearing amplification. Sources o..esign information are noted. Finally, resources are given for locating deaf people in the community, locating deaf artists, and reaching deaf audiences. (DB) ********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document.
    [Show full text]
  • Vampire Movies Final.Indd
    The Vampire Library ADAM WOOG San Diego, CA ® For Stephanie Wichmann and Mary Alice Tully, my favorite vampire fans. About the Author Adam Woog has written many books for adults, young adults, and children. He and his wife live in Seattle, Washington. ey have a daughter who is in college. ©2011 ReferencePoint Press, Inc. For more information, contact: ReferencePoint Press, Inc. PO Box 27779 San Diego, CA 92198 www.ReferencePointPress.com ALL RIGHTS RESERVED No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means —graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution, or information storage retrieval systems—without the written permission of the publisher. Picture credits: Cover: iStockphoto.com Fortean Picture Library: 6 iStockphoto.com: 14, 41 Photofest: 10, 19, 26, 31, 49, 52, 56, 60, 66, 70 Series design and book layout: Amy Stirnkorb LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Woog, Adam, 1953- Vampires in the movies / by Adam Woog. p. cm. -- (The vampire library series) Includes bibliographical references and index. ISBN-13: 978-1-60152-135-4 (hardback) ISBN-10: 1-60152-135-9 (hardback) 1. Vampire fi lms--History and criticism--Juvenile literature. I. Title. PN1995.9.V3W66 2010 791.43’675--dc22 2010017982 Contents Introduction: Blood-Sucking Stars of the Silver Screen 4 Chapter 1: Dawn of the Movie Undead 8 Chapter 2: e Vampire Evolves 22 Chapter 3: Blockbusters and Other Twists on an Immortal Tale 35 Chapter 4: e Building Blocks of Vampire Flicks 50 Chapter 5: Breaking the Mold 63 Source Notes 76 For Further Exploration 77 Index 78 Introduction Blood-Sucking Stars of the Silver Screen ampires, those bloodthirsty creatures of the night, have been staples of horror movies since the dawn Vof fi lmmaking.
    [Show full text]
  • Drácula, O Imortal Do Cinema: Uma Arqueologia Das Encarnações Do Famoso Vampiro No Audiovisual1
    revista Fronteiras – estudos midiáticos 19(1):26-36 janeiro/abril 2017 Unisinos – 10.4013/fem.2017.191.03 Drácula, o imortal do cinema: uma arqueologia das encarnações do famoso vampiro no audiovisual1 Dracula, the immortal of cinema: An archeology of the incarnations of the famous vampire in the audiovisual Yuri Garcia2 [email protected] RESUMO ABSTRACT O presente artigo tem como objetivo traçar uma breve This article aims to outline a brief archeology of the incursions arqueologia das incursões do personagem “Drácula”, criado of the character “Dracula”, created by Bram Stoker, in the book por Bram Stoker, no livro de 1897 do mesmo nome, no cinema. of 1897 of the same name, in the movies. Although the work of Embora a obra de Stoker seja um grande marco da literatura Stoker is a major milestone of the English Gothic literature (and gótica inglesa (e talvez até da literatura de uma forma geral), perhaps even of literature in general), it is in the audiovisual that é no audiovisual que percebemos um maior desenvolvimento we perceive a greater development of the vampire, achieving do vampiro, alcançando uma fama inimaginável. Nesse caso, an unimaginable fame. In this case, we see that the influence vemos que a influência dos meios acabam sendo um interessante of the media is an interesting modeler in the development of modelador no desenvolvimento do vampiro ao longo do tempo. the vampire over the time. Its difference in mediatic device and Sua diferença de suporte midiático e diferentes momentos different times of society and technological possibilities ends da sociedade e das possibilidades tecnológicas acabam nos up presenting us an incredible variation of the initial literary apresentando uma incrível variação do produto literário product.
    [Show full text]
  • Page 1 of 2 Moma | Press | Releases | 1997 | a Groundbreaking
    MoMA | press | Releases | 1997 | A Groundbreaking International Survey of Forty Vampi... Page 1 of 2 A GROUNDBREAKING INTERNATIONAL SURVEY OF FORTY VAMPIRE FILMS MARKS THE CENTENARY OF BRAM STOKER'S International Film Series Features Classic, Rare, and Offbeat Variations on Vampire Mythologies CinemaDracula April 17May 20, 1997 The vampire is a seminal icon around the world, present in one form or another in nearly every culture's folklore, literature, and, during the last one hundred years, film. On the occasion of the centenary of Bram Stoker's influential novel Dracula, whose dark Count has dominated our century, The Museum of Modern Art will present CinemaDracula, an international survey of forty films that draw on the novel and other vampire stories. The series, which opens April 17, features films from 14 different countries and is the most comprehensive retrospective of vampire films ever assembled. It concludes May 20. At the heart of CinemaDracula are three classics of the horror genre that are also regarded as masterpieces of cinema: F. W. Murnau's Nosferatu: Eine Symphonie des Grauens (1922), Carl Th. Dreyer's Vampyr (1932), and Terence Fisher's Horror of Dracula (1958). The retrospective will present rare 35mm screenings of these films, including the New York premiere of the most complete extant version of Nosferatu, preserved with original color tints, on loan from the Munich Filmmuseum. The series will also honor other unforgettable screen Draculas: Bela Lugosi, as the seductive continental in Tod Browning's 1931 Dracula; Klaus Kinski, in Werner Herzog's 1979 remake of Nosferatu; Frank Langella, in John Badham's 1979 adaptation of the Broadway play; and Gary Oldman, in Francis Ford Coppola's baroque 1992 interpretation.
    [Show full text]
  • Bernard Bragg Collection
    Bernard Bragg Collection RITDSA.0053 Inventory created by Megan August 16, 2011 Updated by: Jean Pietrowski March 25, 2014 Updated by: Patrick Toy Aug. 2017 Updated by: Jess Andrews September 7, 2017 Acc. 2011:075 Abstract: Materials related to well-known deaf actor, Bernard Bragg, with emphasis on his time with the National Theatre of the Deaf. Historical Note: Bernard Bragg is a world-renowned deaf actor, teacher, and artist. Born to deaf parents in 1928, he learned American Sign Language (ASL) to communicate, and was exposed to theatre by his father, Wolfe Bragg at an early age. Enrolled in a military school with an integrated system of teaching speech he grew up otherwise immersed in deaf culture. Influenced in high school to try out for theatre, his interest and passion blossomed. Paired with a love for English, he entered Gallaudet College (now University) where he studied theater and played in many lead roles in performances there. He went on to teach at the California School for the Deaf in Berkeley in California while earning a Master’s in Special Education. While teaching, he felt stagnant, and sought out inspiration. When world- famous mime Marcel Marceau came through town, he ran to his show, getting an impromptu audition himself afterward. Marcel invited him to Paris to study and Bernard gladly accepted. After a summer of hard work, he returned home and began to use his new ideas and talents in local nightclubs. In 1967, Bernard was approached by David Hayes to help found the National Theatre of the Deaf (NTD).
    [Show full text]
  • Annual Report of Achievements of Report Annual
    Gallaudet University Annual Report of Achievements Fiscal Year 2015 October 1, 2014 - September 30, Year Achievements Fiscal Annual Report of Gallaudet University ANNUAL REPORT OF ACHIEVEMENTS October 1, 2014-September 30, 2015 FISCAL YEAR 2015 800 Florida Avenue, NE Washington, DC 20002 www.gallaudet.edu President T. Alan Hurwitz celebrates his legacy as Gallaudet’s 10th President by working with students in the university’s new, state-of-the-art science labs designed KDES students (from left) Sahkira Reynoso, Benjamin Ambrose, Angelina Kivite, according to DeafSpace design principles. e labs were constructed based on the and Lamonte Fisher harvest fall vegetables from the House One garden with result of information gathered at a demonstration lab to examine how deaf students Gallaudet University First Lady Vicki Hurwitz. roughout her time as First Lady, and faculty really interact in a science lab. is is one example of how Gallaudet Hurwitz invited KDES rst and second graders to the Edward Miner Gallaudet is creating living laboratories to better understand the ways architecture can be Residence twice a year—in the spring to plant owers, herbs, and vegetables, and enhanced through a greater awareness of the unique ways deaf people experience make bird houses, and in the autumn to harvest the vegetables and decorate and and design their spaces. carve pumpkins. Photo by Zhee Chatmon Photo by Zhee Chatmon ANNUAL REPORT OF ACHIEVEMENTS October 1, 2014-September 30, 2015 FISCAL YEAR 2015 Table of Contents Fiscal Year 2016 Highlights ...........................................................1 Denitions of Terms Used ..................................................................3 About Gallaudet University .......................................................... 19 I. Mission Statement ......................................................................21 II.
    [Show full text]