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The Wonderful Wizards Behind the Oz Wizard
Syracuse University SURFACE The Courier Libraries 1997 The Wonderful Wizards Behind the Oz Wizard Susan Wolstenholme Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Arts and Humanities Commons Recommended Citation Wolstenholme, Susan. "The Wonderful Wizards behind the Oz Wizard," The Courier 1997: 89-104. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOLUME XXXII· 1997 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOLUME XXXII 1997 Ivan Mestrovic in Syracuse, 1947-1955 By David Tatham, Professor ofFine Arts 5 Syracuse University In 1947 Chancellor William P. Tolley brought the great Croatian sculptor to Syracuse University as artist-in-residence and professor ofsculpture. Tatham discusses the his torical antecedents and the significance, for Mdtrovic and the University, ofthat eight-and-a-half-year association. Declaration ofIndependence: Mary Colum as Autobiographer By Sanford Sternlicht, Professor ofEnglish 25 Syracuse University Sternlicht describes the struggles ofMary Colum, as a woman and a writer, to achieve equality in the male-dominated literary worlds ofIreland and America. A CharlesJackson Diptych ByJohn W Crowley, Professor ofEnglish 35 Syracuse University In writings about homosexuality and alcoholism, CharlesJackson, author ofThe Lost TtVeekend, seems to have drawn on an experience he had as a freshman at Syracuse University. Mter discussingJackson's troubled life, Crowley introduces Marty Mann, founder ofthe National Council on Alcoholism. Among her papers Crowley found a CharlesJackson teleplay, about an alcoholic woman, that is here published for the first time. -
The Dakota Fairy Tales of L. Frank Baum
Copyright © 2000 by the South Dakota State Historical Society. All Rights Reserved. The Dakota Fairy Tales of La Frank Baum Mark I. West L, Frank Baum lived in Aberdeen, South Dakota, from Sep- tember 1888 until April 1891. During this period, he ran a store called Baum's Bazaar for a little over a year, and when that enterprise failed, he tried his hand at publishing a weekly newspaper named the Aberdeen Saturday Pioneer. Baum man- aged to keep the paper going until March 1891, but in the end, it, too, proved to be a financial failure. Feeling defeated, Baum left Aberdeen that April and moved to Chicago, where he even- tually achieved fame as a children's author. Even though Baum had little success as an Aberdeen businessman, the experiences he gained while living on the Dakota prairie provided him with material and insights that he would later draw upon in his sto- ries. The literary critics and biographers who have studied Baum are not in complete agreement as to how his Dakota years influenced his writings. Some critics argue that the opening scenes in The Wonderful Wizard of Oz (1900), which Baum places in Kansas, are really set in South Dakota. Michael Patrick Hearn takes this position in The Annotated Wizard ofOz, stat- ing that these scenes "are largely Baum's recollections of the great gray prairie of the Dakota Territory (now South Dakota)."' The historian Nancy Tystad Koupal takes a somewhat different 1. Hearn, Introduction, Notes, and Bibliography to Tbe Annotated Wizard of Oz York: Clarkson N. -
The Golden Age Exposed: the Reality Behind This Romantic Era
Illinois Wesleyan University Digital Commons @ IWU Honors Projects Theatre Arts, School of 4-28-2017 The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Follow this and additional works at: https://digitalcommons.iwu.edu/theatre_honproj Part of the Theatre and Performance Studies Commons Recommended Citation Adams, Danny, "The Golden Age Exposed: The Reality Behind This Romantic Era" (2017). Honors Projects. 22. https://digitalcommons.iwu.edu/theatre_honproj/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Illinois Wesleyan University The Golden Age Exposed: The Reality Behind This Romantic Era Danny Adams Honors Research April 28th, 2017 1 In the spring of 2016, I took a class called "Music Theatre History and Literature" which is about exactly what it sounds like: a course on the history of music theatre and how it evolved into what it is today. From The Black Crook, the first known "integrated musical" in 1866, to In the Heights and shows today, the class covered it all. -
The Broadway Musical Adaptation of Sean O'casey's Juno and the Paycock
City University of New York (CUNY) CUNY Academic Works Publications and Research Kingsborough Community College 2002 Broadway and the Paycock: The Broadway Musical Adaptation of Sean O'Casey's Juno and the Paycock Julia M. Furay CUNY Kingsborough Community College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/kb_pubs/45 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] I' . f BROADWAY AND THE P AYCOCK The Broadway Musical Adaptation of Sean O'Casey's Juno and the Paycock By Julia Marguerite Furay In Partial Fulfillment of the Masters of Arts Degree in Modem Drama Studies Under the Supervision ofFinola Cronin Head of Department: Dr. Joseph Long University College Dublin Drama Studies Department August 2002 I " TABLE OF CONTENTS TITLE PAGE ......................................................................................................................... 1 TABLE OF CONTENTS ..................................................................................................... 2 ABSTRACT............................................................................................................................ 3 INTRODUCTION ................................................................................................................. 4 CHAPTER 1: MUSICALITY WITHIN O'CASEY'S JUNO AND THE PAYCOCK 6 O'CASEY'S SONGFUL CHARACTERS 7 SINGING WORDS -
O MÁGICO DE OZ Edição Comentada E Ilustrada
L. Frank Baum O MÁGICO DE OZ Edição Comentada e Ilustrada Ilustrações originais de W.W. Denslow Prefácio: Gustavo H.B. Franco Tradução: Sérgio Flaksman Notas: Juliana Romeiro Sumário Apresentação ao leitor brasileiro Prefácio Baseado em fatos reais: “O Mágico de Oz” como alegoria política e monetária, por Gustavo H.B. Franco Introdução 1. O ciclone 2. O encontro com os Munchkins 3. Como Dorothy salvou o Espantalho 4. A estrada pela floresta 5. O resgate do Lenhador de Lata 6. O Leão Covarde 7. A viagem em busca do Grande Oz 8. O campo das papoulas da morte 9. A Rainha dos Ratos do Campo 10. O Guarda dos Portões 11. A maravilhosa Cidade das Esmeraldas de Oz 12. Em busca da Bruxa Má 13. A salvação 14. Os Macacos Alados 15. O segredo de Oz o Terrível 16. Os poderes mágicos do Grande Impostor 17. Como o balão levantou voo 18. Rumo ao sul 19. Atacados pelas árvores que lutam 20. O delicado País de Louça 21. O Leão se torna Rei dos Animais 22. O País dos Quadlings 23. A Bruxa Boa concede o desejo de Dorothy 24. De volta em casa As pranchas coloridas de W.W. Denslow Cronologia: Vida e obra de L. Frank Baum Apresentação ao leitor brasileiro O Mágico de Oz, de L. Frank Baum, está para os Estados Unidos assim como Alice no País das Maravilhas para a Inglaterra, ou os contos dos irmãos Grimm para a Alemanha. Desde o início, por sinal, o livro foi comparado ao clássico de Lewis Carroll – e não sem um fundo de verdade. -
Shaping the American Audience in Rodgers and Hammerstein's
Shaping the American Audience in Rodgers and Hammerstein’s Oklahoma! Kim, Hye won Contents Ⅰ. Introduction Ⅱ. Oklahoma!: An Artistic Approach with a Business Mind Ⅲ. Oklahoma!’s Tryouts in New Haven and Boston Ⅳ. Oklahoma! on Broadway Ⅴ. Shaping The American Audience Ⅵ. The Embodiment of Patriotic Strategy VII. Conclusion Ⅰ. Introduction American musical theatre is considered to be a major American contribution to world theatre. From Oscar G. Brockett to Stacy E. Wolf, most theatre historians agree that musical theatre has played a significant role in the history of American theatre. Nonetheless, it had been dismissed in the narrative of American theatre history, and only recently has it been mentioned in theatre history books. When historians and scholars write about the important moments in musical theatre, it is inevitable to mention the musicals of Richard Rodgers and Oscar Hammerstein II to talk about the elements and the new forms they offered; Oklahoma! has been taken 4 영미연구 제34집 up as a scholarly subject and used as a category in the periodization of American musical theatre―known as the golden age (1943-1968)1) and the beginning of the “integrated” musical.2) Recent historians have re-shifted conversations about musical theatre scholarship and representation by interrogating the musicals of Rodgers and Hammerstein from a different lens. However, not much is known about how the duo shaped the American audience. In what follows, this study demonstrates how Rodgers and Hammerstein shaped the American audience in Oklahoma! through calculated media management and consciously planned deployment of patriotic strategy embedded within the show in respond to the cultural and historical context of the 1930s and early 1940s, and ultimately, my research explores how the collaborators are constructed as an all-American brand. -
A Research Guide for L. Frank Baum
The Wizard Behind Oz and Other Stories: A Research Guide for L. Frank Baum By: Karla Lyles October 2006 2 Introduction: In 1900 Lyman Frank Baum published The Wonderful Wizard of Oz, a phenomenal literary success that inspired posthumous writings to continue the Oz series into more than 40 books (including the originals). Although Baum published several additional series of books (most pseudonymously written) and other individual writings, he is best known for The Wonderful Wizard of Oz. A considerable number of books, articles, dissertations, and electronic resources containing information about the Oz masterpiece are available, supplying a wealth of information for the curious Baum fan or avid Baum researcher. To locate information about Baum and his writings I consulted several search engines, including ABELL, British Library Catalogue, Copac, DLB, MLAIB, Wilson, and WorldCat, as well as referred to footnotes in printed materials I obtained. I have provided references to the databases I located each of the materials in within the brackets at the end of the citation entries, allowing the reader to consult those databases if he/she so chooses to pursue further research. For those individuals who may be unfamiliar with the acronyms of some of the databases, ABELL is the Annual Bibliography of English Language and Literature, DLB is the Dictionary of Literary Biography, and MLAIB is the MLA International Bibliography. I also relied substantially on the services of Interlibrary Loan to secure materials that are not available in Evans Library at Texas A & M University, and I recommend the use of Interlibrary Loan in conducting research to allow for the acquisition of materials that would otherwise remain unobtainable. -
Broadside Book Awards Book/Media Board Meeting News Network Reviews at Baruch
Newsletter of the Theatre Library Association In Memoriam: Brooks McNamara, TLA President, 1977-1980, and Founding Director of the Shubert Archive Inside this issue Executive Broadside Book Awards Book/Media Board Meeting News Network Reviews at Baruch INSIDE THIS ISSUE 4 President‘s Report BROADSIDE (ISSN: 0068-2748) is published three times a year and distributed to all members in good standing. Contents ©Theatre Library Association 6 In Memoriam Access via login—Members contact David Nochimson ([email protected]) 8 BROADSIDE News Network Editor: Angela Weaver ([email protected]), University of Washington 10 Announcements Book Review Editor: Catherine Ritchie ([email protected]), Dallas Public Library 14 Book/Media Reviews Regional News Editor: Robert W. Melton ([email protected]), 20 Books Received University of California, San Diego 20 TLA at ALA in Chicago BROADSIDE PUBLICATION GUIDELINES BROADSIDE is the principal medium through which the Theatre Library Association 20 Upcoming Events communicates news, activities, policies, and procedures. Collectively, past issues also provide historical information about the organization and the profession of performing arts librarianship. BROADSIDE has no ambition to serve as a scholarly journal. 3 TLA Board Scholarly and other articles or monographs may be considered for TLA‘s other principal publication, Performing Arts Resources. 3 TLA Mission Statement In addition, BROADSIDE serves as a means for the exchange among members of information that advances the mission of the organization. Examples of this include short news items about recent activities of both individual and institutional members; 1 Front Cover short reviews of relevant books and other resources; news of relevant exhibits, conferences, and other developments in performing arts librarianship, collections, and scholarship. -
Mordden, Ethan (B
Mordden, Ethan (b. 1947) by Craig Kaczorowski Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2005, glbtq, inc. Reprinted from http://www.glbtq.com Ethan Mordden is perhaps best known for his four volumes of short fiction comprising the series of interconnected "Buddies" stories set in New York City, which have, since their first publication over twenty years ago, gained classic status in gay literature. These "tales of gay Manhattan" are, as the critic Reed Woodhouse observed, principally "paeans to friendship," that is, friendships between men, in the "post- Stonewall gay world." Mordden is also the author of four additional novels and over twenty works of nonfiction on musicals, theater, opera, and film. Ethan Mordden was born on January 27, 1947 in Pennsylvania and raised there, as well as in Venice, Italy and Long Island. He graduated from the University of Pennsylvania with a B. A. in History. Shortly after graduation, he moved to New York City. His publishing career began in 1976 with the study of the Broadway musical, Better Foot Forward: The History of American Musical Theatre. His fiction first began appearing in the early 1980s in the pioneering literary magazine Christopher Street as a regular column called "Is There a Book in This?" As Mordden has explained, he was originally hired by Chuck Ortleb and Tom Steele, the publishers of Christopher Street, to write a monthly arts review column. However, over drinks one evening, Mordden began telling the two publishers stories about his "eccentric and colorfully picturesque" family. Ortleb and Steel were so entertained by these stories they immediately decided to change the arts review column to an autobiographically-oriented one instead. -
'No Theatre Guild Attraction Are We': Kiss Me, Kate and the Politics of the Integrated Musical Dan Rebellato
This article was downloaded by: [Royal Holloway University] On: 1 October 2010 Access details: Access Details: [subscription number 906453470] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Contemporary Theatre Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713639923 'No Theatre Guild Attraction Are We': Kiss Me, Kate and the Politics of the Integrated Musical Dan Rebellato To cite this Article Rebellato, Dan(2009) ''No Theatre Guild Attraction Are We': Kiss Me, Kate and the Politics of the Integrated Musical', Contemporary Theatre Review, 19: 1, 61 — 73 To link to this Article: DOI: 10.1080/10486800802583091 URL: http://dx.doi.org/10.1080/10486800802583091 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Transcript of King Denslow of Oz
1 You’re listening to Suspension of Disbelief. I’m Eric Molinsky. When I was a kid, I was not a big fan of the Wizard of Oz. I recognized that the performers were amazing -- but the movie always felt kind of stagey. I could still see the seams on the costumes. And I felt like the camera was just about to catch a microphone hanging above the actors. Now ten years ago, I came across the original book from 1900 -- The Wonderful Wizard of Oz written by L. Frank Baum. The story is, you know, just like the movie – but the illustrations were SO charming. The shapes of the characters were really funny with big heads and little bodies. They were drawn with bold strokes. The expressions on the Tin Man and the Scarecrow were just as human as Ray Bolger and Jack Haley, but the characters really look like they’re made of straw and tin. Dorothy is like this scrappy 6 year old, who really looks like she’s from a farm. And the Lion was a LION like a big lion but he’s wearing spectacles and he’s got a little bow in his hair! The artist was William Wallace Denslow or W.W. Denslow. I had never heard of him. MPH: Had he illustrated more classics, we probably would know more of his books. But other than The Wizard of Oz, he’s pretty much forgotten. That’s Michael Patrick Hearn. He wrote biographies on L. Frank Baum and W.W. Denslow. And the story of their collaboration is completely fascinating. -
Integration and the American Musical: from Musical Theatre to Performance Studies
Integration and the American Musical: From Musical Theatre to Performance Studies By James Bradley Rogers A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Shannon Jackson, Chair Professor Linda Williams Professor Shannon Steen Fall 2010 COPYRIGHT 2010 JAMES BRADLEY ROGERS Abstract Integration and the American Musical: From Musical Theatre to Performance Studies by James Bradley Rogers Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Shannon Jackson, Chair In this dissertation, I challenge the discourse of “integration” that has long served as the foundation of musical theatre historiography. Integration ostensibly refers to an artful melding of the various components of the musical, such that the dances, songs, and dialogue appear fluid and continuous, of a whole. Most histories of the musical claim that the Kern-Hammerstein musical Show Boat was the first piece to adumbrate integration, and that the 1943 Rodgers & Hammerstein musical Oklahoma! fully realized this promise of integration. I argue that this commonly held view ignores the fundamental impossibility of the musical to speak from a single voice, given the shift between the dialogic and musical registers. My dissertation illuminates how certain components or conventions of performance—divas, dancers, and the relationship of musicals to film and opera—have helped to consolidate this fictive sense of integration. This analysis also shows how the dominant narrative of musical theatre historiography—and our subsequent understandings of musical theatre—have been intimately suffused with the politics of gender, race, class, and nation.