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Arthur Schnitzler, Translated by Eric Bentley Full Length, Comedy Characters: 5 male, 5 female By the author of the classic romantic romp The Loves of Anatol, Schnitzler's popular roundelay of love in old Vienna is told in ten interwoven scenes: two characters appear in each and one of these moves into the next. The soldier of the first scene leaves a prostitute to appear in the next scene with a parlor maid. The maid then departs to be with her wealthy employer. He, in turn
A simple silver bracelet travels through the lives of ten bold and desperate lovers, giving us a glimpse of the intrigue and heartache left in its wake. AMERICAN LA RONDE is a provocative and fully contemporary re-imagining of Schnitzler’s notorious play Reigen, known as its French translation, La Ronde. Sexy, literate, emotional, and highly theatrical.
This portrait of the human need for another boldly reimagines the infamous original to interrogate modern attitudes to gender, sexuality, and social status. With over three thousand different versions of the show, which story will you see? With four actors to play the cast of ten and roles selected with a roulette, our La Ronde embraces life's game of chance and the blindness of desire and fortune.
At the turn of the twentieth century, the proliferation of movies attracted not only the attention of audiences across America but also the apprehensive eyes of government officials and special interest groups concerned about the messages disseminated by the silver screen. Between 1907 and 1926, seven states—New York, Pennsylvania, Ohio, Virginia, Kansas, Maryland, and Massachusetts—and more than one hundred cities authorized censors to suppress all images and messages considered inappropriate for American audiences. Movie studios, hoping to avoid problems with state censors, worrying that censorship might be extended to the federal level, and facing increased pressure from religious groups, also jumped into the censoring business, restraining content through the adoption of the self-censoring Production Code, also known as the Hays code.But some industry outsiders, independent distributors who believed that movies deserved the free speech protections of the First Amendment, brought legal challenges to censorship at the state and local levels. Freedom of the Screen chronicles both the evolution of judicial attitudes toward film restriction and the plight of the individuals who fought for the right to deliver provocative and relevant movies to American audiences. The path to cinematic freedom was marked with both achievements and roadblocks, from the establishment of the Production Code Administration, which effectively eradicated political films after 1934, to the landmark cases over films such as The Miracle (1948), La ronde (1950), and Lady Chatterley’s Lover (1955) that paved the way for increased freedom of expression. As the fight against censorship progressed case by case through state courts and the U.S. Supreme Court, legal authorities and the public responded, growing increasingly sympathetic toward artistic freedom. Because a small, unorganized group of independent film distributors and exhibitors in mid-twentieth-century America fought back against what they believed was the unconstitutional prior restraint of motion pictures, film after 1965 was able to follow a new path, maturing into an artistic medium for the communication of ideas, however controversial. Government censors would no longer control the content of America’s movie screens. Laura Wittern-Keller’s use of previously unexplored archival material and interviews with key figures earned her the researcher of the year award from the New York State Board of Regents and the New York State Archives Partnership Trust. Her exhaustive work is the first to discuss more than five decades of film censorship battles that rose from state and local courtrooms to become issues of national debate and significance. A compendium of judicial action in the film industry, Freedom of the Screen is a tribute to those who fought for the constitutional right of free expression and paved the way for the variety of films that appear in cinemas today.
A Violin solo with Piano Accompaniment composed by Antonio Bazzini.. Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.
James Hillhouse was born in 1687/88 at Free Hall in Ulster, Ireland, the son of John and Rachel Hillhouse. He studied theology at Glasgow University, then returned to Ulster where he was ordained by the Reverend Presytery of Londonderry. He was living at Boston, Massachusetts, by 1720 and accepted a position at New London, Connecticut, in 1722. He married May Fitch, daughter of Captain Daniel and Mary Sherwood Fitch, in 1726. They had four children, 1726-1735. He died in 1740. Descendants lived in Connecticut, New York, Massachusetts, Georgia, North Carolina, Florida, Alabama, Louisiana, Nebraska, Missouri, and elsewhere.
Appendix 42 in the report of the minister of agriculture for 1874 consists of a Report of proceedings connected with Canadian archives in Europe, by H.A.J.B. Verreau.