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| | rocco |
 | | Throughout the play, vision is emphasized as an enigmatic force from the spectacle of the dance of the seven veils within the larger spectacle of the play, to the display of power in the gaze of the characters (Salomé gazing at the prophet, Herod gazing at Salomé). | | | Beckett's plays are absurd not for their absence of meaning-- if they had no meaning they would be irrelevant rather than absurd-- but because they put meaning on the agenda, tracing its history. | | | His work is dominated by the obsession with positive nothingness and by an equally obsessive concern with meaninglessness in its historical genesis. |
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http://www.eiu.edu/~modernity/rocco.html
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| | StreetSwing's Dance History Archives - Salome Dance Page - Main1 |
| | Oscar Wilde's play "Salomé" was banned in England and later reproduced in Paris by Sarah Bernhardt in 1894, then later a performance of Salomé was in 1896 in Paris at the de l'ceuvre theater. | | | Salomé's dance was very beautiful however, but because of what she did with her beauty and power of dance, most writers and movie producers gave it a more evil overtone. | | | That's not all though, later in Salome's life as she was crossing the frozen river of Sikoris, she fell through the ice in such a manner that her body floated in the water while her head stayed above the ice. |
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http://www.streetswing.com/histmain/z3salome.htm
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| | EPC/Douglas Messerli on Djuna Barnes 2 |
| | Until the final moment of the play, indeed, there is no action: it is all a dialogue of possession, a war of words between the true inheritors of the father's love and the woman who has stolen and squandered that love (she is now engaged to a Supreme Court judge). | | | As Barnes biographer Andrew Field has suggested of Barnes' comedy of 1918, Madame Collects Herself, the play has less to do with influences of the time, particularly those of her fellow playwrights of the Provincetown group – Eugene O'Neill, Susan Glaspell, and Edna St. Vincent Millay – than it does with Eugene Ionesco. | | | Accordingly, most of Barnes' early writing for theater, composed at the same time as the fiction she herself described as juvenilia, must be understood as experimentations in which she was working out in dramatic terms the theatrical influences of the day. |
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http://www.writing.upenn.edu/pepc/authors/messerli/essays/messerli_barnes_roots.html
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| | UEA, EAS, Undergraduate Unit, Representations of Women in Opera and Drama |
| | Comparing play or story with opera, or play or opera with film, etc., consider how any one of the works studied on this course has been transposed into another artistic medium. | | | With reference to at least TWO plays by different dramatists, consider how in practice the theatre might be seen to construct an image of the actress in roles designed specifically for the gaze of a male spectator. | | | Garelik, Rhonda, ‘Electric Salome: Loie Fuller at the Exposition Universelle in 1900’. |
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http://www.uea.ac.uk/menu/acad_depts/eas/people/robinson/womenopera03.shtml
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| | Oscar Wilde |
| | Sarah Bernhardt had orginally rehearsed Salomé in June of 1892 for production at the Palace Theatre, London, but the Lord Chamberlain had refused a licence on the grounds that the play introduced Biblical characters. | | | Wilde was declared bankrupt in July of that year, and his wife and children changed their name and went to live on the continent. | | | His postumous publications include De Profundis (London, 1905); Collected Works (London, Metheun, 1908, 2nd edition, 1909); Essays and Lectures (London, Methuen 1913); Charmides and other poems (Methuen 1919); and The Letters of Oscar Wilde, ed. |
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http://www.irishwriters-online.com/oscarwilde.html
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| | Oscar Wilde - biography |
| | He wrote another play, Salomé, in French, but it could not be performed because of restrictions against depicting Biblical characters in the theater. | | | At its premiere, he was re-introduced (Wilde had met him a year earlier) to Lord Alfred Douglas, nicknamed Bosie. | | | 1891 was a busy year for Wilde, as he published Intentions, Lord Arthur Savile's Crime, The House of Pomegranates, and The Picture of Dorian Gray, his only novel. |
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http://athena.english.vt.edu/~jmooney/3044biosp-z/wilde.html
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| | El Saxofon in Tejano and Norteno Music |
| | By the 1930s, a number of cabaret and municipal orquestas throughout the Mexican northeast were playing with one of more saxophones. | | | The son of a musician, Santos Ybarra finally convinced his municipal band director to let him play c-melody sax at age 15, after first forced to study the violin. | | | Alvaro Garza of Sabinas Hidalgo, N.L. played a c-melody sax, co-founded an outstanding group called Los Norteños de Nuevo Laredo, with his brother Salomón Garza. |
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http://userwww.sfsu.edu/~josecuel/sax.htm
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| | Biography of Nazimova, Alla |
| | In 1910 she rechristened the 39th Street Theatre ‘The Nazimova’, and became a highly popular dramatic actress, specializing in the plays of Ibsen, Turgenev, Chekhov, and O'Neill. | | | She also had a successful period in films, which included Camille, A Doll's House, and her own Salomé, based on the Beardsley illustrations to Wilde's play. | | | Such was the impression she made that she was asked to learn English to appear in New York City as Hedda Gabler in 1905. |
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http://www.allbiographies.com/biography-AllaNazimova-22601.html
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| | Part 6: The Artist's Studio |
| | Aubrey Beardsley was hired to illustrate the first English-language edition of the play after Wilde saw an earlier drawing he had done of Salomé for the Studio, and the results are these maniacal, sensuous drawings. | | | Ricketts and his lover, Charles Shannon were members of Wilde's circle and Wilde was a frequent visitor to their studio, The Vale. | | | Elkin Mathews & John Lane bought copies printed in France from Wilde for distribution in Britain. |
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http://www.nyu.edu/library/bobst/research/fales/exhibits/wilde/5studio.htm
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| | 2004 Montpellier Festival: Operas by Richard Strauss, Mariotte and Melani reviewed by Frank Cadenhead |
| | The final theater work of the pen of Richard Strauss, Des Esels Schatten, proved to be of little consequence and a "banned" opera of Antoine Mariotte, another treatment of Wildes play, Salomé, exhibited a painful lack of inspiration. | | | The much-anticipated performance of the 1852 work, Giuseppe of Pietro Raimondi (which, remarkably, featured three different oratorios performed at the same time!) was rescheduled for the following year for vague reasons. |
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http://musicweb-international.com/SandH/2004/May-Aug04/Montpellier2004.htm
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| | Information and Randomness : An Algorithmic Perspective. Forew. by Gregory J. Chaitin and Arto Salom: 紀伊國屋書店BookWeb |
| | Chaitin's Omega Numbers play a significant role: Chaitin classical results are complemented with very recent ones, e.g., the characterization of computable enumerable random reals, the construction of an Omega Number for which ZFC cannot determine any digits and the first succesful attempt to compute the exact values of 64 bits of a specific OmegaNumber. | | | by Gregory J. Chaitin and Arto Salom: 紀伊國屋書店BookWeb | | | Finally, the book contains a discussion of some interesting philosophical questions related to randomness and mathematical knowledge. |
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http://bookweb.kinokuniya.co.jp/htmy/3540434666.html
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Topic: Salomé (play)