Linley Sambourne's Diary 1905
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Theater Souvenir Programs Guide [1881-1979]
Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy. -
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre. -
Front Matter
Cambridge University Press 978-1-107-14168-1 — The Merchant of Venice William Shakespeare , Edited by M.M. Mahood , Introduction by Tom Lockwood Frontmatter More Information THE NEW CAMBRIDGE SHAKESPEARE generaleditor Brian Gibbons, University of Münster associate generaleditor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE MERCHANT OF VENICE For this updated edition of one of Shakespeare’s most problematic plays, Tom Lockwood has added a new introductory section on the latest scholarly trends, performance and adaptation practices which have occurred over the last two decades. Investigating the latest critical frames through which the play has been interpreted, the updated introduction also focuses on recent international performances on stage and screen (including Al Pacino’s performances on film and in Daniel Sullivan’s production in New York, the Habima National Theatre’s production for the Globe to Globe Festival, Jonathan Munby’s touring production for the Globe performed in London, New York and Venice, and Rupert Goold’s production for the Royal Shakespeare Company). Finally, new forms of adaptation are considered: a perfor- mance transposed to the different generic mode of a New York auction room, and the remaking of the play in Howard Jacobson’s 2016 novel, Shylock Is My Name. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-14168-1 — The Merchant of Venice William Shakespeare , Edited by M.M. -
Lazarsfeld AJVS Final-Layout
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online The English Warner Brother triumphs over religious hegemony on the road to celebrity and dynasty Ann Lazarsfeld-Jensen In late Victorian England, music halls were often besieged by fanatical Christians who wanted to shut them down. Evangelicals manipulated justifiable public concerns about alcohol abuse to conflate popular entertainment with social erosion. The complex legislation surrounding places of entertainment began in the 1830s with concerns about limelight and sawdust, but by the 1880s it was firmly focused on morality (Victorian Music Halls 63) The music hall wars were an alarming threat for the predominantly Jewish artists and hall managers barely one generation beyond refugee poverty. It was unwise for them to oppose anything rooted in the national religious hegemonies, and they could not find a moral high ground to protect their livelihood. In this context, the fin de siècle Jewish theatrical agent, Dick Warner, began to use networks of men’s clubs and newspaper publicity to redefine the industry. The peaceful assimilation of Jews with its concomitant benefits for the pursuit of profit (Jews of Britain 77-79) was not a cynical ambition. Warner subscribed to the Victorian Anglo-Jewish world view of judicious assimilation and restrained observance, and he embraced it as the way forward for theatrical entrepreneurs who were losing ground to what Kift refers to as the “sour-faced, austere and ascetic” social reformers (157). The themes of Warner’s publicity campaign are recognisable today. -
Shakespeare on Silent Film: an Excellent Dumb Discourse Judith Buchanan Index More Information
Cambridge University Press 978-0-521-87199-0 - Shakespeare on Silent Film: An Excellent Dumb Discourse Judith Buchanan Index More information Index Bold type indicates a central-case reference; bold italics indicates reference to a figure; the suffix n indicates reference to a note. Abel, Richard, 40n, 82n company logo, 116; the ‘Biograph Girl’, Achterberg, Fritz, German film actor, 231 Florence Lawrence, 3, 143 acting editions, 47, 86, 156, 159, 161 The Kissing Scene Between Trilby and Little acting manuals, 46, 174–75, 176, 177 Billee (1896), 61 acting styles, in transition, 174 duel scene from Macbeth (Bitzer, 1905), considered characteristic of particular 74–75n nations, 174, 178, 187–89 Americanism, of production company, films facial expressivity, 139–41, 144, 231–32, 241, and approach to Shakespeare, 112–18 249–50 anachronisms, 193, 197, 237 histrionic or excessive, xxii, 62, 63, 64, 166, androgyny, 20–21, 224–26, 226, 227 167, 172–74, 178–80, 181, 183–85, 229, Angeli, Diego, Italian translator of 230, 240, 241, 242, 246 Shakespeare, 70n ‘mugging’ (the mouthing of inaudible words Angiers, battle of, tableau interpolated in Tree’s for the camera), 63, 171, 172, 198–99 stage King John (1899), 64, 70n naturalistic/verisimilar/minimalist, 164, 170, Angus, Ian, xixn 174, 181, 183, 228–32, 242, 249–51 Anthony, Barry, 58n, 59n, 62n, 64–65n, 67n, pantomimic codes, 19, 46, 49, 173–78, 176, 68n, 69n, 70n 177, 181 Antony and Cleopatra, Shakespeare play advertising, see marketing strategies Antoine et Cléopatre, ballet (1761), 49n Ambrosio-Film, -
Dramatic Opinions and Essays with an Apology by Bernard Shaw
DRAMATIC OPINIONS AND ESSAYS WITH AN APOLOGY BY BERNARD SHAW CONTAINING AS WELL A WORD ON THE DRAMATIC OPINIONS AND ESSAYS OF BERNARD SHAW BY JAMES HUNEKER VOLUME ONE NEW YORK: BRENTANO‟S, MCMXXII CONTENTS A Word on the Dramatic Opinions and Essays of Bernard Shaw by James Huneker The Author‟s Apology by Bernard Shaw Slaves of the Ring Two New Plays King Arthur Poor Shakespeare! An Old New Play and a New Old One Mr. Pinero‟s New Play The Independent Theatre Repents L‟Œuvre At the Theatres Two Bad Plays Spanish Tragedy and English Farce Mr. Irving Takes Paregoric The Two Latest Comedies A New Lady Macbeth and a News Mrs. Ebbsmith Sardoodledom Two Plays Duse and Bernhardt La Princesse Lointaine Mr. Daly Fossilizes Poor Shakespeare! Toujours Daly The Season‟s Moral 2 Romeo and Juliet Pinero As He Is Acted The Chili Widow More Masterpieces The New Magdalen and the Old Trilby and “L‟Ami des Femmes” The Case for the Critic-Dramatist Manxsome and Traditional The Divided Way Told You So The Old Acting and the New Mr. John Hare One of the Worst New Year Dramas Plays of the Week Michael and His Lost Angel Church and the Stage Dear Harp of My Country! The Tailor and the Stage Two Plays Pinero and Grundy on G.B.S. The Return of Mrs. Pat Boiled Heroine Mary Anderson 3 Nietzsche in English Two Easter Pieces Punch and Judy Again The Immortal William The Farcical Comedy Outbreak Henry IV Resurrection Pie G.B.S. on Clement Stone 4 A WORD ON THE DRAMATIC OPINIONS AND ESSAYS OF BERNARD SHAW BY JAMES HUNEKER THIS book is composed of selections from the dra- matic criticisms of Bernard Shaw, which ap- peared in the London Saturday Review, begin- ning January 5th, 1895, and ending May 21st, 1898— a notable period in the history of that journal, for it inaugurated the regime of Frank Harris, and the ad- vent of such brilliant writers as Shaw, Harris, MacColl, Runciman, Cunninghame Graham, and other distin- guished spirits. -
The Forces of Commerce and Capital in a Revival of Edward Bulwer-Lytton's Money
Spring 2001 115 "The Arithmetic and Logic of Life": The Forces of Commerce and Capital in a Revival of Edward Bulwer-Lytton's Money James Fisher Though our brother is on the rack, as long as we ourselves are at our ease, our senses will never inform us of what he suffers... It is by imagination that we can form any conception of what are his sensations.1 —Adam Smith, Theory of Moral Sentiments The Vices and Virtues are written in a language the World cannot construe; it reads them in a vile translation, and the translators are FAILURE and SUCCESSl2 —Alfred Evelyn, Money, (V, III) Theatre students are frequently instructed that the vigorous and energetic theatrical world of the nineteenth century produced little drama of lasting significance prior to Henrik Ibsen's social problem plays. Most Victorian theatre was overly sentimental and melodramatic, as the cliche goes; quaint and colorful perhaps, but finally too simplistic and flatly-dimensioned for sophisticated audiences at the dawn of the twenty-first century. The era, it seems, applied its repressions too fiercely for dramatists to delve below the surface of human experience, hindering serious questioning of prevailing values. The naive moralizing and stereotypical characters of this period made for a barren dramatic age. The condescension directed at nineteenth century drama also results from another presumed hindrance. These supposedly unwatchable plays are often multi- scene works requiring large casts and are, as such, too daunting in scope for even the most adventurous of directors and producing organizations. Published scripts of many nineteenth century plays can be difficult (if not impossible) to locate; James Fisher, Professor of Theater at Wabash College, has authored five books, including The Theater of Tony Kushner: Living Past Hope (NY: Routledge, 2001), and has published articles and reviews in numerous periodicals. -
Anecdotes of the Theatre (1914)
More Anecdotes of tii« heatre '^ ^>- c -l;-' /9/^/ CORNELL UNIVERSITY LIBRARY 3 1924 079 583 765 The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924079583765 A TVTT7r^r»r\T'rro — — — Uniform with this Volume ANECDOTES OF PULPIT AND PARISH COLLECTED AND ABRANGKD BY ARTHUR H. ENGELBAOH "Nearly a thousand good stories." Pall Mall Gazette. " Abundant and well selected, contains a fund of wit and humour." Evening^ Standard. "An excellent book for whiling away an hour at any time." Sunday Times. ANECDOTES OF THE THEATRE COLLECTED AND ABBANGBD BY ARTHUR H. ENGELBAGH AUTHOR OF "ANKODOTER OF BENCH AND BAR" t LONDON GRANT RICHARDS LTD. PUBLISHERS PRINTED BY THE RIVERSIDE PRESS LIMITED EDINBURGH 1914 ANECDOTES OF THE THEATRE GOOD story is told of a rich banker at Paris, A who, though a sexagenarian, fancied himself a perfect Adonis, and was always behind the scenes, hanging about and making love to Mademoiselle Saulnice, to whom the machinist of the Opera House was paying his addresses. Determined to be re- venged, and profiting by the moment when his rival, in uttering soft nonsense, had inadvertently placed his foot upon a cloud, the machinist gave a whistle, which was the signal for raising the cloud. When the curtain was drawn up the audience were not a little edified at seeing the banker, with powdered head, and gorgeously attired in evening costume, embroidered coat and waistcoat, ascending to the clouds by the side of Minerva, represented by the object of his devotion. -
Fashion Behind the Footlights: the Influence of Stage
FASHION BEHIND THE FOOTLIGHTS: THE INFLUENCE OF STAGE COSTUMES ON WOMEN'S FASHIONS IN ENGLAND FROM 1878-1914 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karen Adele Recklies, B.A., M.A. * * * * * The Ohio State University 1982 Reading Committee: Approved By Alan Woods George Crepeau Firman Brown, Jr. Advisor Department of Theatre Copyright Karen Adele Recklies 1982 I I I l I ~ ACKNOWLEDGMENTS I would like to thank the following, people for their help in preparing the dissertation: my advisor Alan Woods, George Crepeau, Firman Brown, Jr., Mary Millican, and my husband Don for his preparation of the illustrations. ii VITA 1971 ...................... B.A., Kent State University, Kent, Ohio 1971-72................... Teaching Assistant, Department of Theatre, Kent State Univer sity, Kent, Ohio 1974 ............... M.A., Kent State University, Kent, Ohio 1976-80 ................. Graduate Teaching Associate, Graduate Administrative Associ ate, Department of Theatre, The Ohio State University, Columbus, Ohio 1981-82 ................. Graduate Administrative Associ ate, Center for Medieval and Renaissance Studies, The Ohio State University, Columbus, Ohio PUBLICATIONS AND PRESENTATIONS "Lillie Langtry's Stage Costumes: Examples of Contemporary Fashions in England and America, 1895-1900." Part of the Competitive Costume Panel at the American Theatre Association National Convention, August 1981. "Lillie Langtry's Stage Costumes: Examples of Contemporary Fashions in England and America, 1895-1900." Accepted for publication in Theatre Studies. FIELDS OF STUDY Major Field; Theatre Studies in Costume Design and Costume History. Professor Michelle Guillot Studies in Literature and Criticism. Professor John Morrow Studies in History. -
British Theatre and the Great War, 1914–1919
Copyrighted material – 978–1–137–40199–1 Introduction, selection and editorial matter © Andrew Maunder 2015 Individual chapters © Contributors 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identifi ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–40199–1 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. -
Music Hall and the Age of Resistance
Music Hall and the Age of Resistance Music Hall and the Age of Resistance: A Study of the Censorship Practices Which Influenced the Form of the Victorian Music Hall Leading to the 1912 Royal Command Performance and Beyond By KIRSTEN FELDNER, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirement for the Degree of Master of Arts McMaster University © Copyright by Kirsten Feldner, July 2019 i McMaster University MASTER OF ARTS (2019) Hamilton, Ontario (English Literature) TITLE: Music Hall and the Age of Resistance: A Study of the Censorship Practices Which Influenced the Form of the Victorian Music Hall Leading to the 1912 Royal Command Performance and Beyond. AUTHOR: Kirsten Feldner, B.A. (McMaster University) SUPERVISOR: Doctor Catherine Annette Grisé NUMBER OF PAGES: ix, 107. ii Lay Abstract This thesis pairs an analysis of meeting minutes, newspaper articles, song-sheets, and theatrical programmes from London’s Victorian music halls with contemporary music hall scholarship and studies of censorship to add to the discussion of the genre’s “end” or “death.” Using the work of Judith Butler, this thesis is divided into a study of how censorship transformed the music hall’s landscape, content, and culminating performance from its onset. As a result, this thesis argues that the controlling factors which shaped the genre led to what other music hall scholars have considered its end. By identifying the styles and modes of censorship used in the evolution of the English music hall genre, and in in-period methods of resistance to social control, this project suggests the radical potential of the music hall form as a contemporary style of theatre. -
586898 Vol2.Pdf
CHAPTER IX: l88S On 3 January 1885 the Clerk to the Leeds Justices sent a letter to the Grand Theatre which said that the Justices considered that 'strong hand rails' were necessary in the principal, and some of the other staircases in the theatre, and that the stage door should be made to open outwards. (It will be remembered that there had been an accident at the Theatre Royal, Leeds, in 1882, and that Watson had been asked to report on the safety of the Grand Theatre's exits in case of panic in 1883. It seems likely, therefore, that the Justices were now acting with an increased awareness of such dangers.) Lee Anderson received the letter, but passed it on to Kingston for the consideration of the directors. They, however, anticipated this, and decided at a meeting held before Lee Anderson sent on the letter, that the Justices' demands fell upon the theatre's lessee and not the company. Kingston ,\.,asaccordingly instructed to send the letter back to Lee Anderson. Whatever the propriety of this move, it is clearly concordant with the company's intention dating from the 1884 Annual General Meeting to make Wilson Barrett responsible for every expense that it could. This kind of action was no doubt necessitated by the 3% narrow margin of profit on which the company worked, and the strictness with which the directors controlled their expenditure is indicated by a letter to the company's auditors (Messrs John Routh) on 15 January 1885. Having completed the audit Messrs Routh had sent to the board an account for £3 l7s.