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Books on the topic 'Theater guild'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Mulrooney, Deirdre. Tempest under the guild tradition of orientalism. University College Dublin, Graduate School of Business, 1991.

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2

Guild, Dramatists. The Dramatists Guild resource directory 2008: The writer's guide to the theatrical marketplace. Focus Pub. / R. Pullins & Co., 2008.

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3

Wagar, Monta. Bellingham Theatre Guild celebrates seventy five years: A "play" in four acts. Bellingham Theatre Guild, 2004.

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4

O'Neill's The iceman cometh: Reconstructing the premiere. UMI Research Press, 1988.

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5

God off-Broadway: The Blackfriars Theatre of New York. Scarecrow Press, 1998.

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6

Stages and playgoers: From guild plays to Shakespeare. McGill-Queen's University Press, 2002.

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7

Whipple, Enez. Guild Hall of East Hampton: An adventure in the arts, the first 60 years. Guild Hall of East Hampton, 1993.

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8

Walter, Zerlin, ed. The Farndale Avenue Housing Estate Townswomen's Guild Dramatic Society's production of A Christmas carol: A comedy. French, 1989.

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9

The Shakespearian playing companies. Clarendon Press, 1996.

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10

Evil and theodicy in the theology of Karl Barth. P. Lang, 1997.

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11

Wagar, Monta. Bellingham Theatre Guild: The first sixty years, 1929-1989. The Guild, 1989.

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12

Technology, guilds, and early English drama. Medieval Institute Publications, 1996.

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13

Brustein, Robert Sanford. Dumbocracy in America: Studies in the theatre of guilt, 1987-1994. Dee, 1994.

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14

Brustein, Robert Sanford. Dumbocracy in America: Studies in the theatre of guilt, 1987-1994. Dee, 1994.

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15

ATG eiga + Shinjuku: Toshi kūkan no naka no eigatachi. D Bungaku Kenkyūkai, 2007.

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16

Lewis, Todd. RT 2: Two scripts for readers theater : Guilt, the mark on humanity and The Christian pursuit of the trivial game. Lillenas Pub., 1990.

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17

Wiesel, Elie. The Sonderberg case: A novel. Alfred A. Knopf, 2010.

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18

Catherine, Temerson, ed. The Sonderberg case: A novel. Alfred A. Knopf, 2010.

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19

Langner, Lawrence. The Magic Curtain: The Story Of A Life In Two Fields, Theatre And Invention By The Founder Of The Theatre Guild. Kessinger Publishing, LLC, 2007.

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20

Vena, Gary. O'Neill's the Iceman Cometh: Reconstructing the Premiere (Theater and Dramatic Studies). Umi Research Pr, 1987.

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21

The Dramatists Guild Resource Directory 2012 The Writers Guide To The Theatrical Marketplace. Focus Publishing/R. Pullins Company, 2011.

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22

Whitmire, Ethelene. The Harlem Experimental Theatre. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038501.003.0006.

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This chapter explores Regina's involvement with the Harlem Experimental Theatre. Regina's participation in the little theater movement began with her involvement with the theater company founded by her friend W. E. B. Du Bois. Sometime during 1924, Du Bois contacted Supervising Librarian Ernestine Rose and asked for permission to use the basement of the 135th Street Branch for a theater group, named the CRIGWA (Crisis Guild of Writers and Artists) Players—which was later changed to KRIGWA. Du Bois wanted to use the basement stage to produce three or four plays in 1926 and from four to six plays in 1927. Both Regina and her husband Bill were members of the KRIGWA Players board.

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23

Eaton, Walter Prichard. Theatre Guild, The. Reprint Services Corp, 1999.

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24

Carter, Tim. Oklahoma! Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190665203.001.0001.

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Oklahoma! premiered on Broadway on 31 March 1943 under the auspices of the Theatre Guild, and today it is performed more frequently than any other Rodgers and Hammerstein musical. When this book was first published in 2007, it offered the first fully documented history of the making of the show based on archival materials, manuscripts, journalism, and other sources. The present revised edition draws still further on newly uncovered sources to provide an even clearer account of a work that many have claimed fundamentally changed Broadway musical theater. It is filled with rich and fascinating details about the play on which Oklahoma! was based (Lynn Riggs’s Green Grow the Lilacs); on what encouraged Theresa Helburn and Lawrence Langner of the Guild to bring Rodgers and Hammerstein together for their first collaboration; on how Rouben Mamoulian and Agnes de Mille became the director and choreographer; on the drafts and revisions that led the show toward its final shape; and on the rehearsals and tryouts that brought it to fruition. It also examines the lofty aspirations and the mythmaking that surrounded Oklahoma! from its very inception, and demonstrates just what made it part of its times.

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25

The Theatre Guild Presents Allegro. Hal Leonard Corp, 1986.

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26

Guild, Theatre. The Theatre Guild Anthology V1. Kessinger Publishing, LLC, 2007.

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27

Guild, Theatre. The Theatre Guild Anthology V2. Kessinger Publishing, LLC, 2007.

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28

The Theatre Guild Anthology Part Two. Kessinger Publishing, LLC, 2005.

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29

Guild, Theatre. The Theatre Guild Anthology Part One. Kessinger Publishing, LLC, 2005.

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30

Clark, Hicks and. The Bellingham Theatre Guild and Shelley's "the Cenci". Western Washington University, Center for Pac, 1986.

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31

Fischer-Lichte, Erika. Of Guilt and Archetypes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0008.

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Chapter 6, ‘Of Guilt and Archetypes: Post-War productions of Greek Tragedies in the 1940s and 1950s’, discusses three topics. The first centres on productions of Oedipus the King during the first post-war years, which did not elaborate a new aesthetics but were received as contributions to the issue of being ‘guiltlessly guilty’ (Hegel) and of ‘collective guilt’ (Karl Jaspers). The next two productions each developed a new aesthetics: Brecht’s Antigone in Chur, Switzerland, in 1948 elaborated a model for a philosophical theatre, which at the time went almost unnoticed. Gustav Rudolf Sellner’s productions of Greek tragedies in Darmstadt in the 1950s, in contrast, marked a quest for the ‘universal human’. The productions negated any relationship to the social and political situation. Instead, they took refuge in ‘archetypes’. While aesthetically innovative, the productions served a restorative tendency that was widespread during this period of the economic miracle, particularly among the Bildungsbürgertum.

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32

Williams, Sonja D. Moving On. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039874.003.0008.

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This chapter focuses on Richard Durham's efforts to find a new home for Destination Freedom once it ended its run at NBC. Perhaps inspired by his involvement with the Du Bois Theater Guild, Durham planned on writing “a major play” about Underground Railroad conductor Harriet Tubman. When NBC and the WMAQ radio station announced that they were reviving Durham's Destination Freedom series without his consent or input, Durham filed a lawsuit. Also during this time, his and Clarice's small apartment occasionally served as a gathering place for his politically active friends, including members of the United Packinghouse Workers of America (UPWA). In the UPWA's Anti-Discrimination Department, Durham found an outlet for his crusading desire to eradicate inequality and promote justice. He also championed women's rights issues. When the Congress of Industrial Organizations (CIO), UPWA's parent organization, engaged in merger negotiations with the American Federation of Labor (AFL), Durham was able to set up the election of several black officials to the merged leadership.

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33

Brustein, Robert Sanford. Dumbocracy in America: Studies in the Theatre of Guilt, 1987-1994. Ivan R. Dee, Publisher, 1995.

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34

Brustein, Robert Sanford. Dumbocracy in America: Studies in the Theatre of Guilt, 1987-1994. Ivan R. Dee, Publisher, 1990.

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35

Andreas, Ungerböck, Österreichisches Filmmuseum, VIENNALE, and VIENNALE, eds. Art Theatre Guild: Unabhängiges japanisches Kino 1962-1984 : eine Retrospektive der Viennale und des Österreichischen Filmmuseums, 4. bis 30. Oktober 2003 Österreichisches Filmmuseum, Wien. Viennale Vienna International Film Festival, 2003.

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36

Theatre Guild, Inc. of Winston-Salem, North Carolina., ed. Season's premiere: A collection of favorite recipes and seasonal party and decorating ideas from the Theatre Guild, Inc. of Winston-Salem, North Carolina. The Guild, 1986.

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37

Brown, Gwynne Kuhner. Performers in Catfish Row. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0009.

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This chapter challenges the assumption that George Gershwin's Porgy and Bess is something done by whites to blacks by highlighting the indispensable, active role played by African American performers in every critically successful production of the opera. Porgy and Bess has been the subject of controversy for decades owing to its depiction of African Americans. Many of the arguments against Gershwin's work casts African Americans as the victims of malevolent or thoughtless white actions. This chapter examines how Porgy and Bess came into being as an opportunity for productive interracial collaboration by focusing on the Theatre Guild production of 1935, one of several postwar productions of Porgy and Bess that have managed to bring performers and the director together. It also considers Gershwin's respect for his cast members as individuals and concludes with a discussion of five case studies that speak of the tension in the relationship between white directorial staff and black performers in Porgy and Bess, including the production of Samuel Goldwyn's 1959 Technicolor film about Catfish Row.

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38

McNaughton, James. Samuel Beckett and the Politics of Aftermath. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822547.001.0001.

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Samuel Beckett and the Politics of Aftermath explores Beckett’s creative response to the Irish Civil War and the crisis of commitment in 1930s Europe, to the rise of fascism and the atrocities of World War II. Grounded in archival material, the book reads Beckett’s letters and German Diaries to demonstrate Beckett’s personal attunement to propaganda and expectations for war. We see how profoundly Beckett’s fiction and theater engage with specific political strategies, rhetoric, and events. Deep into literary form, syntax, and language, Beckett contends with ominous political and historical developments taking place around him. More, he satirizes aesthetic and philosophical interpretations that overlook them. From critiques of the Irish Free State’s inability to examine its foundational violence to specific analysis of the functioning of Nazi propaganda, from exploring how language functions in conditions of authoritarian power to challenging postwar Europe’s conveniently limited definitions of genocide, Beckett’s writing challenges many political pieties with precision and force. He burdens all aesthetic production with guilt for how imagination and narrative form help to effect atrocity as well as cover it up. This book develops new readings of Beckett’s early and middle work up to Three Novels and Endgame.

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39

Paxman, Andrew. Jenkins of Mexico. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190455743.001.0001.

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William O. Jenkins (1878–1963) was a Tennessee farm boy who ventured to Mexico in search of fortune and became that country’s wealthiest and most infamous industrialist. Dropping out of Vanderbilt, Jenkins eloped with a southern belle and settled in Mexico in 1901. Driven by a desire to prove himself—first to his wife’s snobbish family, then to elites who disdained him as an American—Jenkins would spend the next six decades building an enormous fortune in textiles, property, sugar, banking, and film. Already a millionaire when the Revolution of 1910 broke out, Jenkins began speculating in property in his adoptive state of Puebla. He had a brush with a firing squad and later suffered a kidnapping by rebels, an episode that almost triggered a US invasion. After the war he developed Mexico’s most productive sugar plantation, before diversifying as a venture capitalist. During Mexican cinema’s Golden Age in the 1940s and 1950s, Jenkins lorded over the industry with a monopoly of theaters and a major role in production. Reputed as an exploiter of workers, a puppet-master of politicians, and Mexico’s richest industrialist, Jenkins became the gringo that Mexicans most loved to loathe. After the death of his wife, wracked by guilt at having abandoned her, Jenkins became increasingly dedicated to philanthropy, finally creating a charitable foundation to administer his $60 million fortune. Still operating today, the Mary Street Jenkins Foundation helped set up two prestigious universities and set a precedent for US-style foundations in Mexico.

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