ellauri042.html on line 652: Pope's choice of new 'hero' for the revised Dunciad, Colley Cibber, the pioneer of sentimental drama and celebrated comic actor, was the outcome of a long public squabble that originated in 1717, when Cibber introduced jokes onstage at the expense of a poorly received farce, Three Hours After Marriage, written by Pope with John Arbuthnot and John Gay. Pope was in the audience and naturally infuriated, as was Gay, who got into a physical fight with Cibber on a subsequent visit to the theatre. Pope published a pamphlet satirising Cibber, and continued his literary assault until his death, the situation escalating following Cibber's politically motivated appointment to the post of poet laureate in 1730.
ellauri071.html on line 109: His biggest failure in this period was the play Sirocco (1927), which concerns free love among the wealthy. It starred Ivor Novello, of whom Coward said, "the two most beautiful things in the world are Ivor's profile and my mind". Theatregoers hated the play, showing violent disapproval at the curtain calls and spitting at Coward as he left the theatre. Taisi olla downright homostelua.
ellauri109.html on line 591: Roth began to hear that Miller was describing him as “manic-depressive.” The theatre critic and producer Robert Brustein, an old friend of Roth’s, reported back that Miller had told him, “He knows he’s writing shit now. It just lies there like a lox.” By the end of 2009, the arrangement and the friendship were over. So was Roths career.
ellauri115.html on line 433: Around this time, Rousseau started developing feelings of paranoia, anxiety, and of a conspiracy against him. Most of this was just his imagination at work, but on 29 January 1768, the theatre at Geneva was destroyed through burning, and Voltaire mendaciously accused Rousseau of being the culprit. In June 1768, Rousseau left Trie, leaving Therese behind, and went first to Lyon, and subsequently to Bourgoin. He now invited Therese to this place and "married" her, under his alias "Renou" in a faux civil ceremony in Bourgoin on 30 August 1768.
ellauri145.html on line 520: Elisabeth greatly admired Mussolini. In 1932 she persuaded the Weimar National theatre to put on a play written by him. Hitler showed up during the performance and presented her with a huge bouquet of flowers.
ellauri147.html on line 75: Ale Tyynni was a poet, author, literary and theatre critic, translator and Olympian. Tyynni won the gold medal in the literature category at the 1948 Olympic Games in London. In addition to her poetry collections, she published children’s fiction and essays. With her translations she acquainted a Finnish readership with lyrics from other countries, most notably France.
ellauri150.html on line 478: Arthur Hammond Harris aka Christopher Fry (18 December 1907 – 30 June 2005) was an English poet and playwright. He is best known for his verse dramas, especially The Lady's Not for Burning, which made him a major force in theatre in the 1940s and 1950s. Fry was born as Arthur Hammond Harris in Bristol, the son of Charles John Harris, a master builder who retired early to work full-time as a licensed Lay Reader in the Church of England, and his wife Emma Marguerite Fry Hammond Harris. While still young, he took his mother's maiden name because, on very tenuous grounds, he believed her to be related to the 19th-century Quaker prison reformer Elizabeth Fry. He adopted Elizabeth Fry's faith, and became a Quaker and a gay. In the 1920s, he met the writer Robert Gittings, who became a lifelong friend. Maybe William Wyler was another yet longer friend. Gore Vidal most certainly another.
ellauri180.html on line 222: `…Your patient C.D., aetat 7 months, has the prepuce with which he was born. You ask me with a note of persuasion in your voice, if it should be excised. Am I to make a decision on scientific grounds, or am I to acquiesce in a rate which took its origin at the behest of that arch-sanitarian Moses?…If you can show good reason why a ritual designed to ease the penalties of concupiscence amidst the sand and flies of the Syrian deserts should be continued in this England, land of clean bed-linen and lesser opportunity, I shall listen to your arguments ……(do you not) understand that Nature does not intend it (the foreskin) to be stretched and retracted in the Temples of the Welfare Centres or ritually removed in the precincts of the operating theatres…'.
ellauri189.html on line 212: satisfy man, must be situated somewhere in space (be present as a phenomenon), which on the one hand is represented as receding into an infinite distance, and on the other hand as a “theatre”, in which phenomena eternally repeat the same circular movement (only half of their orbit is visible against the background of the heavenly dome – the other half remains hidden in the dark).
ellauri197.html on line 217: Civilizations rise again, edifices like the Mariupol theatre are rebuilt with money from the ancient Rome, and new bullshit artists replace the old.
ellauri204.html on line 704: Antoine Marie Joseph Paul Artaud, better known as Antonin Artaud, was a French writer, poet, dramatist, visual artist, essayist, actor and theatre director. He is widely recognized as one of the major figures of the European avant-garde. In particular, he had a profound influence on twentieth-century theatre through his conceptualization of the Theatre of Cruelty. Known for his raw, surreal and transgressive work, his texts explored themes from the cosmologies of ancient cultures, philosophy, the occult, mysticism and indigenous Mexican practices. Hirveää scheissea.
ellauri210.html on line 1366: Joyce Mansour nee Joyce Patricia Adès, (25 July 1928 – 27 August 1986), was an Egyptian-French author, notable as a surrealist poet. She became the best known surrealist female poet, author of 16 books of poetry, as well as a number of important prose and theatre pieces. Ei ehtinyt mukaan Piha-Anteron humoristeihin, mutta Antero kirjoitti siitä erillisiä puffeja.
ellauri213.html on line 354: The Achille Lauro hijacking has inspired a number of dramatic retellings, including The Death of Klinghoffer (1991), an opera by John Adams and Alice Goodman after a concept of theatre director Peter Sellars. Its depiction of the hijacking has proved controversial. Controversy surrounded the American premiere and other productions in the years which followed. Some critics and audience members condemned the production as antisemitic and appearing to be sympathetic to the hijackers. Adams, Goodman, and Sellars repeatedly claimed that they were trying to give equal voice to both Israelis and Palestinians with respect to the political background. That kind of unpatriotic talk was effectively silenced with the Iraqi wars and the 9/11 incident. It is unpatriotic to be impartial.
ellauri219.html on line 434: George Bernard Shaw was an Irish playwright who helped shape modern theatre. The first person to receive both a Nobel Prize (in 1925, for Literature) and an Oscar (in 1939, for Best Adapted Screenplay, for Pygmalion). His works continue to be staged in the 21st Century.
ellauri254.html on line 389: ‘How often we wandered through the streets of the snowy city… All of the theatrical events that seemed so important in their time have grown dim in my memory. Acting at the theatre, which I loved so much, now seems to me far less exciting and bright than that game of masks in Blok’s circle. It is true that even at that time I did not look upon our meetings, gatherings, and strolls as mere entertainment. There is no doubt that others too felt the significance and creative value of it all, yet nonetheless we did not realize that the charms of Blok’s poetry almost deprived us all of our real existence, turning us into Venetian masqueraders of the north.’
ellauri257.html on line 47: Nikolai Vasilyevich Gogol (1 April [O.S. 20 March] 1809 – 4 March [O.S. 21 February] 1852) was a very short story writer and playwright of Ukrainian origin. Gogol was born in the Ukrainian Cossack town of Sorochyntsi, in the Poltava Governorate of the Russian Empire. His mother was descended from Leonty Kosyarovsky, an officer of the Lubny Regiment in 1710. His father was supposedly Vasily Gogol-Yanovsky, who died when Gogol was 15 years old, was descendant of Ukrainian Cossacks (see Lyzohub family) and belonged to the 'petty gentry'. His father wrote poetry in Ukrainian almost as well as in Russian, and was an amateur playwright in his brother's home theatre. As was typical of the left-bank Ukrainian gentry of the early nineteenth century, the family spoke Ukrainian nearly as well as Russian. As a child, Gogol helped stage plays in his uncle's home theatre.
ellauri301.html on line 84: The continent became a second home to him, and he spent a great deal of his life there after his success made it possible, founding and then running a theatre in Mozambique from 1986 onwards.
ellauri338.html on line 78: theatredirect.com/News/NewsBodyImage/news-body-image_17895.jpg" height="300px" />
xxx/ellauri121.html on line 323: James "Jim" Polk was the long time editorial director of House of Anansi Press and edited two books by Charles Taylor, as well as work by Margaret Atwood, George Grant, Northrop Frye, and many others. With a literature PhD (which Peggy never finished) he has taught at Harvard, Idaho, Ryerson and Alberta, and has written a comic novel, a stage comedy about Canadian publishing, articles, short stories, and criticism about Canadian writers and writing. As an advisor at the Ontario Ministry of Culture, he worked on grants for theatre and books, developed a tax credit for publishers and remodelled the Trillium Book Prize to include Franco Ontarian writing. He lives in Toronto and, trained as a pianist, still practices daily, playing classics and show-tunes in seclusion.
xxx/ellauri154.html on line 99: While there were many contemporary critics of her comportment, many people accepted her behaviour until they became shocked with the subversive tone of her novels. Those who found her writing admirable were not bothered by her ambiguous or rebellious public behaviour. Victor Hugo commented "George Sand cannot determine whether she is male or female. I entertain a high regard for all my colleagues, but it is not my place to decide whether she is my sister or my brother. I bet s/he doesn´t know her/himself." She engaged in an intimate romantic relationship with actress Marie Dorval. She was buried in sand behind the chapel at Nohant. In 1880 her children sold the rights to her literary estate for 125,000 Francs[28] (equivalent to 36 kg worth of gold, or 1.3 million dollars in 2015 USD). Quite a handsome net worth for a lady. Sand often performed her theatrical works in her small private theatre at the Nohant estate. Sand was all for the bourgeois revolution but no communist. Victor Hugo, in the eulogy he gave at her funeral, said "the lyre was within her, so no wonder nothing else could fit in."
xxx/ellauri165.html on line 308: Only a few months later she was unemployed again and moved to London in the autumn of 1777. She started to work for the Budd family in Chatham Place, Blackfriars, London, and began acting at the Drury Lane theatre in Covent Garden. She also worked as a maid for actresses, among them Mary Robinson. Emma next worked as a model and dancer at the "Goddess of Health" for James Graham, a Scottish "quack" doctor.
xxx/ellauri250.html on line 431: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view. When used cannily, it can convey ambiguous neutrality and looming mystery, but, more often, it suggests the merely functional recording of action, which is exactly what’s delivered in “Compartment No. 6,” opening in theatres on Wednesday. The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications. It’s heavy-handed, tendentious, and regressive—and it should come as no surprise that it’s on the fifteen-film shortlist for the Best International Feature Oscar.
xxx/ellauri320.html on line 218: She talked loudly throughout the performance. 'I was there when that happened,' she shouted at one point. In the interval, the theatre manager, who had received complaints from actors and members of the audience, asked her to be quiet.
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