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Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
Gemini Awards: the Winners Prix Gemeaux
CINEMA CAN A D A • SesSiOIlS, Da vid Foster, Tony Greco, Linda . Series: Tim Dunphy, Peter Monahan (Night Heat Gemini awards: Thompson (Davlin Productions/CBC); Best "Dead Rillger"); Best Writing in a Comedy or Prix Gemeaux: Variety Series: It's Oilly Rock 'N' Roll , Joe Variety Program or Series: Avrum Jacobson the winners Bodolai, John Brunton, Judith Dryland (Family Reullioll); Best Writing in an Information! Quatre Saisons (insightiCBC); Best Information Series: Vellture, Documenta ry Program or Series: Kent Martin, TORONTO - The fo llowing is a complete list of Duncan McEwan (CBC); Best Light Information James Laxer (Reckollillg: The Politica l Eco llomy Of to boycott awards the 1988 Gemini Award winners in ceremonies Series: Live It Up, Alan Edmonds, Jack McGa w Callada "Part Olle -111 Bed With All Elephant"); sponsored by the Academy of Canaclian Cinema (CTV); Best Documentary Program : RUllaways- Best Photography in a Dramatic Program or MONTREAL - The third- annual Prix Gemeaux and Television at the Metro Toronto Convention 24 HOllrs 011 The Street, Lon Appleby, Howard Series: Marc Champion (Alille Of Green Gables was a unqualified success fo r some and a Centre November 29 and 30th. Bernstein, David Sobelman (CBC); Best TIle Sequel); Best Photography in a Comedy, complete waste of time for others. In the Program categories the winners were: Documentary Series: Th e Nature Of Things, Variety or Performing Arts Program or Series: Over 50 awards were presented during the Best Short Drama: A Child's Christmas III Wales, James R. Murray (CBC); Best Performing Arts Rene Ohashi (Masterclass With MeI1l1hill); Best televised gala event to honor the Quebec Seaton McLean, Gillian Richardson (Atlantis/ Program: Masterclnss With Melluhill, Niv Photography in an InformationIDocumentary television industry. -
Season of 1703-04 (Including the Summer Season of 1704), the Drury Lane Company Mounted 64 Mainpieces and One Medley on a Total of 177 Nights
Season of 1703-1704 n the surface, this was a very quiet season. Tugging and hauling occur- O red behind the scenes, but the two companies coexisted quite politely for most of the year until a sour prologue exchange occurred in July. Our records for Drury Lane are virtually complete. They are much less so for Lincoln’s Inn Fields, which advertised almost not at all until 18 January 1704. At that time someone clearly made a decision to emulate Drury Lane’s policy of ad- vertising in London’s one daily paper. Neither this season nor the next did the LIF/Queen’s company advertise every day, but the ads become regular enough that we start to get a reasonable idea of their repertory. Both com- panies apparently permitted a lot of actor benefits during the autumn—pro- bably a sign of scanty receipts and short-paid salaries. Throughout the season advertisements make plain that both companies relied heavily on entr’acte song and dance to pull in an audience. Newspaper bills almost always mention singing and dancing, sometimes specifying the items in considerable detail, whereas casts are never advertised. Occasionally one or two performers will be featured, but at this date the cast seems not to have been conceived as the basic draw. Or perhaps the managers were merely economizing, treating newspaper advertisements as the equivalent of handbills rather than “Great Bills.” The importance of music to the public at this time is also evident in the numerous concerts of various sorts on offer, and in the founding of The Monthly Mask of Vocal Musick, a periodical devoted to printing new songs, including some from the theatre.1 One of the most interesting developments of this season is a ten-concert series generally advertised as “The Subscription Musick.” So far as we are aware, it has attracted no scholarly commentary whatever, but it may well be the first series of its kind in the history of music in London. -
Getting a on Transmedia
® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. SPRING 2014 Getting a STATE OF SYN MAKES THE LEAP GRIon transmediaP + NEW RIVALRIES AT THE CSAs MUCH TURNS 30 | EXIT INTERVIEW: TOM PERLMUTTER | ACCT’S BIG BIRTHDAY PB.24462.CMPA.Ad.indd 1 2014-02-05 1:17 PM SPRING 2014 table of contents Behind-the-scenes on-set of Global’s new drama series Remedy with Dillon Casey shooting on location in Hamilton, ON (Photo: Jan Thijs) 8 Upfront 26 Unconventional and on the rise 34 Cultivating cult Brilliant biz ideas, Fort McMoney, Blue Changing media trends drive new rivalries How superfans build buzz and drive Ant’s Vanessa Case, and an exit interview at the 2014 CSAs international appeal for TV series with the NFB’s Tom Perlmutter 28 Indie and Indigenous 36 (Still) intimate & interactive 20 Transmedia: Bloody good business? Aboriginal-created content’s big year at A look back at MuchMusic’s three Canadian producers and mediacos are the Canadian Screen Awards decades of innovation building business strategies around multi- platform entertainment 30 Best picture, better box offi ce? 40 The ACCT celebrates its legacy Do the new CSA fi lm guidelines affect A tribute to the Academy of Canadian 24 Synful business marketing impact? Cinema and Television and 65 years of Going inside Smokebomb’s new Canadian screen achievements transmedia property State of Syn 32 The awards effect From books to music to TV and fi lm, 46 The Back Page a look at what cultural awards Got an idea for a transmedia project? mean for the business bottom line Arcana’s Sean Patrick O’Reilly charts a course for success Cover note: This issue’s cover features Smokebomb Entertainment’s State of Syn. -
The Economics of Gender Relations in London City Comedy
THE ECONOMICS OF GENDER RELATIONS IN LONDON CITY COMEDY BY KRISTIN WEISSE A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS English May, 2015 Winston-Salem, North Carolina Approved By: Sarah Hogan, Ph.D., Advisor Olga Valbuena, Ph.D., Chair Susan Harlan, Ph.D. ACKNOWLEDGEMENTS First and foremost, I would like to thank Dr. Hogan— not only for her helpful input and guidance throughout the process of writing this thesis, but also for inspiring my interest in Elizabethan and Jacobean literature through her remarkable energy and enthusiasm. In addition, a special thanks to Dr. Harlan and Dr. Valbuena, whose Renaissance drama classes further solidified my desire to research London city comedy and whose suggestions were also integral to the completion of this project. I am immensely grateful to have had the opportunity to work with such an intelligent and lively group of women. Moreover, I would like to thank my friends and teammates for their constant love and encouragement throughout my entire time as a graduate student at Wake Forest. Thank you especially to my “soulmates” Lizzie and Kelly for the endless trips to Camino (which made thesis writing so much more enjoyable), the ice cream dates, the epic road-trips, and for always being there for me to lean on and to learn from. Thank you also to Sam, Kaitlyn, Kathleen, Aubrey, and Chandler for the constant motivation both intellectually and physically (whether out on the trails, on the track, or even just lounging around the kitchen of 1022 Polo), and for the much-needed distractions from writing and reading. -
Jane Milling
ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife. -
This Is a Test
‘LIES BETWEEN FRIENDS’ CAST BIOS GABRIELLE ANWAR (Joss) – Born in Berkshire, England, the endearing and accomplished Gabrielle Anwar has more than 45 film and television performances to her credit in both Europe and the United States, including her breakout film, “Scent of a Woman,” where she was whisked off her feet into an acclaimed tango with Al Pacino. Anwar has enthralled in a vast array of diverse characters from the blind diving horse circus performer in Disney’s biopic “Wild Hearts Can’t Be Broken” to the risqué royal in Showtime’s “The Tudors” to the supercilious counterpart to Noah Wyle in TNT’s “The Librarian II.” She also played the fatal object of desire in “Things To Do In Denver When You’re Dead,” the regal Queen Anne in “The Three Musketeers,” the party girl in BBC’s adaptation of Mortimer’s “Summer’s Lease” and the coquette pursuing Dermott Mulroney and Hope Davis in the independent feature “Happy Together.” Currently, Anwar stars as Fiona in the USA Network original series “Burn Notice.” With three children, a canine, a feline, an art studio, a yoga fanatic, a garden and a slew of literature in the works, Anwar lacks any free time. # # # CRAIG SHEFFER (Sheriff Zach Watts) – After studying theatre at East Stroudsburg University, Craig Sheffer immediately relocated to New York to pursue a career in acting. Early auditions landed him a role in the off-Broadway play Punchy, and he soon found himself co- starring in the award-winning Broadway production Torch Song Trilogy. In less than a year, producers spotted his work on Broadway and cast him in his feature-film debut opposite Emilio Estevez in “That Was Then, This Is Now.” Sheffer later landed starring roles in the John Hughes comedy “Some Kind of Wonderful” and the father/son drama “Split Decisions,” with Gene Hackman. -
Going Commercial: Agency in 17Th Century English Drama
GOING COMMERCIAL: AGENCY IN 17TH CENTURY ENGLISH DRAMA by KARL F. MCKIMPSON A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy March 2016 DISSERTATION APPROVAL PAGE Student: Karl F. McKimpson Title: Going Commercial: Agency in 17th Century English Drama This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Dianne Dugaw Chairperson George Rowe Core Member Ben Saunders Core Member Alexandre Albert-Galtier Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2016 ii © 2016 Karl F. McKimpson This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Karl F. McKimpson Doctor of Philosophy Department of English March 2016 Title: Going Commercial: Agency in 17th Century English Drama This dissertation’s aim is to reveal how essential economic mechanics were to playwrights when it came to depicting agency. Rising commercialization in the seventeenth century prompted playwrights to appropriate market behaviors in London as a new discourse for agency. Commerce serves as a metaphor for every part of daily life, and a new kind of “commercial” agency evolves that predicates autonomy upon the exchange networks in which a person participates. Initially, this new agency appears as a variation on the trickster. By the end of the century, playwrights have created a new model for autonomy and a new kind of hero to employ it: the entrepreneur. -
Disordered Appetites: Female Flesh in the Works of Thomas Middleton
DISORDERED APPETITES: FEMALE FLESH IN THE WORKS OF THOMAS MIDDLETON A dissertation submitted by Gregory M. Schnitzspahn in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English TUFTS UNIVERSITY May 2015 Copyright © 2015 by Gregory M. Schnitzspahn Advisor: Judith Haber ii Abstract This dissertation contends that Thomas Middleton’s plays and poetry exploit an early modern psychocultural anxiety focused on the insubstantiality of symbolic or linguistic constructs. More specifically, Middleton’s works consistently examine the manipulability and immateriality of patriarchally prescribed female social identities––such as maid, wife, and widow––that are based entirely upon a woman’s sexual or marital relations with men. Employing principles drawn from psychoanalysis and ecofeminism, I argue that this Middletonian preoccupation bespeaks a more widespread uncertainty in the period about symbolic structures intended to control or contain female bodies and the natural world. My analysis of Thomas Middleton’s work therefore points to conceptual technologies that were emergent in the early modern period and which continue to exert influence in the present day. In the introduction, I describe my guiding principles and theoretical apparatus by reading the typically Middletonian complications of marital and sexual identity in two plays, The Witch and The Phoenix. Chapter One moves to a discussion of female virginity in The Changeling, Middleton’s famous collaboration with William Rowley, and argues that the play taps into cultural anxieties about the potential unreliability of symbolic technologies for controlling female bodies and appetites. Chapter Two examines Middleton’s early work, The Ghost of Lucrece, and contends that this poem’s plaintive ghost uses images of iii female corporeality as a rhetorical weapon, unleashing great floods of blood, milk, and tears that strain the written language of the poem itself. -
Print This Article
JOURNAL OF ENGLISH STUDIES – VOLUME 17 (2019), 127-147. http://doi.org/10.18172/jes.3565 “DWINDLING DOWN TO FARCE”?: APHRA BEHN’S APPROACH TO FARCE IN THE LATE 1670S AND 80S JORGE FIGUEROA DORREGO1 Universidade de Vigo [email protected] ABSTRACT. In spite of her criticism against farce in the paratexts of The Emperor of the Moon (1687), Aphra Behn makes an extensive use of farcical elements not only in that play and The False Count (1681), which are actually described as farces in their title pages, but also in Sir Patient Fancy (1678), The Feign’d Curtizans (1679), and The Second Part of The Rover (1681). This article contends that Behn adapts French farce and Italian commedia dell’arte to the English Restoration stage mostly resorting to deception farce in order to trick old husbands or fathers, or else foolish, hypocritical coxcombs, and displaying an impressive, skilful use of disguise and impersonation. Behn also turns widely to physical comedy, which is described in detail in stage directions. She appropriates farce in an attempt to please the audience, but also in the service of her own interests as a Tory woman writer. Keywords: Aphra Behn, farce, commedia dell’arte, Restoration England, deception, physical comedy. 1 The author wishes to acknowledge funding for his research from the Spanish government (MINECO project ref. FFI2015-68376-P), the Junta de Andalucía (project ref. P11-HUM-7761) and the Xunta de Galicia (Rede de Lingua e Literatura Inglesa e Identidade III, ref. ED431D2017/17). 127 Journal of English Studies, vol. 17 (2019) 127-147 Jorge Figueroa DORREGO “DWINDLING DOWN TO FARCE”?: LA APROXIMACIÓN DE APHRA BEHN A LA FARSA EN LAS DÉCADAS DE 1670 Y 1680 RESUMEN. -
The BG News November 20, 1987
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 11-20-1987 The BG News November 20, 1987 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News November 20, 1987" (1987). BG News (Student Newspaper). 4729. https://scholarworks.bgsu.edu/bg-news/4729 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Lefties have rights too, see Friday Magazine THE BG NEWS Vol.70 Issue52 Bowling Green, Ohio Friday, November 20,1987 Budget City police accord at hand investigate WASHINGTON (AP) - Bar- gainers from the White House 'hot* signs and Congress said yesterday they were closer to agreement byJaredO. Wadley on a deficit-reduction plan, but copy editor divisions in Republican ranks imperiled efforts to avoid City police detectives have Gramm-Rudman budget cuts started an investigation to re- today. cover stolen street and traffic President Reagan pushed for signs because of a recent in- the negotiators to settle on a crease in student thefts. STOP Sackage of deficit cuts. Some When the Department of Pub- epublicans, however, said lic Works' fund to replace the they'd just as soon see the wide- signs became low, Decteetive Al spread automatic slicing begin Alvord said a "recovery opera- as required by the Gramm- tion" was started with assis- Rudman deficit-reduction law. -
The Whore and the Breeches Role As Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2000 Masked Criticism: the Whore and the Breeches Role as Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn. Mary Katherine Politz Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Politz, Mary Katherine, "Masked Criticism: the Whore and the Breeches Role as Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn." (2000). LSU Historical Dissertations and Theses. 7163. https://digitalcommons.lsu.edu/gradschool_disstheses/7163 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor qualify illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. if Also,unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.