tag:blogger.com,1999:blog-78532526908841386412024-03-05T01:13:13.789-05:00World War One: Plays, Playwrights & ProductionsThis blog is devoted to plays, playwrights and theatre productions related <br> to WWI--1914-1918 as well as 1919-1934.Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.comBlogger148125tag:blogger.com,1999:blog-7853252690884138641.post-77358412633474839002023-12-29T16:03:00.000-05:002023-12-29T16:03:38.765-05:00THE LAST DAYS OF MANKIND<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 150%;">Karl Kraus (1874-1936)
lived in Vienna, and throughout the course of World War One he wrote </span><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Last Days of Mankind</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">.
This play is a Tragedy in Five Acts that also contains a Prologue and an
Epilogue as well as multiple scenes in every act—Act One contains thirty
scenes, Act Two has thirty-three, Act Four has forty-five and Act Five has
fifty-five scenes. Kraus began to write this huge verse play with at least 500
characters in 1914-15.<span style="mso-spacerun: yes;"> </span>It is reported
that he worked on this project daily throughout the war, concluding it in 1922.
<span style="mso-spacerun: yes;"> </span>A large percentage of the play’s
dialogue is actual comments that Karl Kraus either overheard on the streets of
Vienna, in the cafés during the war or taken from newspaper articles. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This post will discuss
the play’s epilogue titled “The Last Night” (<i>Die letzte Nacht</i>).<span style="mso-spacerun: yes;"> </span>The epilogue relates to all the horrors and
insanities of World War One and it serves as a summary of <i>The Last Days of
Mankind</i> since it contains many references to the events and realities of
the war that the major play depicts. In <i>The Last Night</i>, Kraus also presents
a distillation of situations and groups of characters represented from the
entire play. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Throughout the war, Kraus
was the editor and the only contributor of a daily self-published journal
titled <i>Die Fackel</i> (<i>The Torch</i>) which was a must read daily for the
Viennese intelligentsia.<span style="mso-spacerun: yes;"> </span>Kraus published
several segments of his play in <i>Die Fackel</i>, but the script never
appeared in its entirety. Kraus recognized that his play was not producible in
the theatre due to its length. He remarked that a performance “would take some
ten evenings in terrestrial time” and was therefore only fit “for a theatre on
Mars.”</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The setting for <i>The
Last Night </i>is a <i>Battlefield. Craters. Clouds of Smoke. Starless night.</i>
<i>A wall of flames on the horizon. Corpses. Dying soldiers. </i>This location
provides the backdrop for the entire epilogue. The sense of the war progressing
through its various phases is provided by the way in which the new and diverse
characters enter this setting, declare their immediate priorities and exit. This
also provides the many phases of the war. The first speaking characters who enter
in this scene are FEMALE GAS MASK and MALE GAS MASK.<span style="mso-spacerun: yes;"> </span>After they exit, <i>Two generals in flight,
in a car</i> enter the scene. One General describes how badly the war is
progressing at this point and they drive off as day is dawning.<span style="mso-spacerun: yes;"> </span>One <i>Dying Soldier</i> tries to receive
assistance from the passing characters but is not successful.<span style="mso-spacerun: yes;"> </span>This parade of entering characters includes
humans, various voices some of which come from “above” while others come “from”
below, named human vices (Glutton, Sweet Tooth), types of animals (Hyenas) and
in a separate group Cinema Projectionists. The final speaker is “The Voice of
God.”</span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Last Night</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
is the only segment of the entire play that was produced on stage and presented
to audiences during Kraus’s lifetime, and it is believed that he saw them both.
The first production was staged by Karl Forest (1874-1944) and Richard Wiener (????)
at the Neue Wiener Buhne Theatre in Vienna during 1923.<span style="mso-spacerun: yes;"> </span>This theatre was a center for Expressionist
drama in Vienna during the 1920s.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In 1930 the Epilogue was
staged in Berlin at the Theatre am Schiffbauerdamm.<span style="mso-spacerun: yes;"> </span>It was directed by Leo Reuss (1891-1946) and
music was created for this production by Hanns Eisler (1898-1962). It is
thought that Bertolt Brecht (1898-1956) used his influence to interest this
theatre in staging the Epilogue. Brecht was a friend of Kraus’s and in 1928 this
theatre had successfully staged Brecht’s <i>The Threepenny Opera</i>. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">For many decades <i>The
Last Days of Mankind </i>remained untranslated into other languages, therefore,
this drama remained little known to the majority of scholars and theatre artists.
This problem was somewhat remedied in 2004 when the first French translation of
the play appeared. Jean-Louis Basson and Henri Christophe took on the enormous
challenge of translating the entire drama. In 2015 the first English
translation was published. This project was undertaken by Fred Bridgham and
Edward Timms. While Bridgham and Timms translation project was in preparation,
there was another English translation being prepared by Michel Russell. I used Russel’s
2014 translation of the script for my reading related to this post. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I do not wish to imply
that <i><span style="mso-font-kerning: 0pt; mso-ligatures: none;">The Last Days of Mankind
</span></i><span style="mso-font-kerning: 0pt; mso-ligatures: none;">was totally
unknown in other countries prior to these translations. I have found evidence of
some productions such as the one offered in English by the Glasgow Citizens
performance at the Edinburgh Festival in August,1983.<span style="mso-spacerun: yes;"> </span>This was thought to be the British premiere
of Kraus’s drama. </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-font-kerning: 0pt; mso-ligatures: none;">On December 7,1990 an article titled “A Theatre For Mars”
appeared in The Guardian on page 25 relating to a production of “Last Days” in
Turin, Italy with a company of sixty Italian actors.<span style="mso-spacerun: yes;"> </span>Italian director Luca Ronconi (1933-2015)
produced and directed this production that was staged at the Teatro Stabile di
Torino. Ronconi’s Italian version of <i>The Last Days of Mankind</i> was staged
by him after the First Gulf War and its anti-war content appears to have been
in relationship to that conflict. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-font-kerning: 0pt; mso-ligatures: none;">A radio version of <i>The Last Days of Mankind</i> was
produced in December,1999 by the British Broadcasting Company Scotland.<span style="mso-spacerun: yes;"> </span>This English version was translated by Dave
Batchelor <span style="mso-spacerun: yes;"> </span>(1955-<span style="mso-spacerun: yes;"> </span>). The four hour long drama was directed by
Giles Havergal (1938-<span style="mso-spacerun: yes;"> </span>) and the
reviewer proclaimed it to be “as thrilling a piece of radio drama as I’ve heard
in years.”</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Also 2014 marked the hundredth
year since the playwright began to write “The Last Days of Mankind.”<span style="mso-spacerun: yes;"> </span>This event was celebrated in Vienna with two staged
productions. One was mounted at the Volkstheate and the second appeared at the Burgtheater.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Currently, it is possible
to experience a book that pictures a limited staged version of <i>The Last Days
of Mankind</i>.<span style="mso-spacerun: yes;"> </span>Deborah Sengl (1974-<span style="mso-spacerun: yes;"> </span>) an Austrian artist created the book
titled <i>The Last Days of Mankind – A Visual Guide to Karl Kraus’ Great</i> <i>War
Epic</i> that was published in 2018. <span style="mso-spacerun: yes;"> </span>Sengl
depicted the characters in the play as taxidermed white Trench Rats. The book
features her drawings as well as photographs depicting the scenes she created. Sengl
explains her decision for using the white rats since “I find that they are most
closely related to people. They bear a resemblance to us.” The rats stand
upright on their rear legs in the drawings and photos and their front legs work
as arms.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">There appears to be, yet
another contemporary work inspired by Kraus’s play. A group of musicians known
as The Tiger Lillies had twenty-two songs written for their four-hour musical
staged version of <i>The Last Days of Mankind. </i>This version was performed
in Scottland, Germany, and Poland in 2018. Some of the performances of these
songs are currently available for viewing on YouTube.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Karl Kraus’s fascinating drama
continues to find new audiences as well as diverse artists despite its length
and hard-hitting images of war. It is as relevant today as it was when it was
written.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> </span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-67780216402568906222022-10-12T20:49:00.002-04:002022-10-12T20:49:45.408-04:00ADRIAN CONSETT STEPHEN’S THE TRENCH MORTAR OFFICER—A Field Impression <p> </p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
Trench Mortar Officer </span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">has been labelled as a short story,
but I consider it to be a sketch since it has a considerable amount of dialogue.
Adrian Consett Stephen (1892-1918) was a young playwright with his four plays
produced prior and during World War One. His sketch maybe a likely idea for a
future play. He wrote this piece while he was in France during World War One.
Stephen was an acting Major in the British Royal Field Artillery when he was
killed in action at the age of twenty-five on March 14, 1918. Since the major
character in <i>The Trench Mortar Officer </i>is in the actual position that
Stephen held, this work may be somewhat centered on the events and his thoughts
of a particular day. Adrian Consett Stephen was born and educated in Australia.<span style="mso-spacerun: yes;"> </span>He was one of the few men from his country
serving in a British regiment.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjat2tqs-esTZqB8HMzayw1cay8Rb6prXgpOiZ5zvWndM_YIw2FGnsEIiHuhw0bal-3INvBep1H2XRroQOIe_fEj1rRiFPPxFsbO-OtW1SePWI355T1ONNK3_MsXlLLsIJXeYyHN2rh_Z4TeIW3knxm_PwDCZlzfXgkAFKD39m_82dRjY18UY-rlMdT/s712/Adrian%20Consett%20Stephen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="712" data-original-width="448" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjat2tqs-esTZqB8HMzayw1cay8Rb6prXgpOiZ5zvWndM_YIw2FGnsEIiHuhw0bal-3INvBep1H2XRroQOIe_fEj1rRiFPPxFsbO-OtW1SePWI355T1ONNK3_MsXlLLsIJXeYyHN2rh_Z4TeIW3knxm_PwDCZlzfXgkAFKD39m_82dRjY18UY-rlMdT/s320/Adrian%20Consett%20Stephen.jpg" width="201" /></a></div><p></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> ADRIAN CONSETT STEPHEN</span><br /></span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
initial setting for this piece, which commences before breakfast, is a dugout
on the French Front belonging to a Captain of a Trench Mortar division before breakfast.
Later the Captain is called to go to a trench—a second location. He goes to the
trench and gives the order to fire a mortar. When it lands in the German
trench, it does not explode since it is a dud. The Captain begins to return to
his dugout when several mortars are fired by the Germans and the bombs fall
into a trench near him. He hardly notices them since he is focused on his thoughts,
and he falls into a sump hole. “Life is not worth living” he gurgled.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">After
lunch in his dugout, he is given forms to complete by four o’clock. When
evening comes the officer steps out of the dugout. The scene has the moon shining
and softly through the silence floats some music. This moment of peacefulness
gives him some hope that ‘Life is worth living after all-even here.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Since
the Trench Mortar was a significant weapon during World War One, it is
important to know a bit about the type of weapon it was.<span style="mso-spacerun: yes;"> </span>The Trench Mortar was widely utilized during
WWI since it could be fired from a position in the trench, and it saved the
mortar crews from physically being exposed to the enemy.<span style="mso-spacerun: yes;"> </span>The Germans improved upon this older type of military
weapon, and they began to stockpile it before the war commenced on the French Front.
The Trench Mortar consists of a short tube designed to fire a projectile/bomb
at a steep angle.</span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: Times New Roman, serif;"><br /></span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ8q1PBWVCCgCPCj2s7_vS7bpW9l-mVvK9vWmKeqF_WGtwwsSGqrG68wpr2vi5kGSl2gD0f5REqBDIWTgiqf9pE8qNxdXtMAHHgkeSRMszPEFFuEi9WgZIMmbpQSx0zesGqS71RH9QtXoQsqdD7gPqSCj51jgknb24sJICRdyMyJvfhbfvUhw_BPiD/s764/Stokes%20Mortar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="753" data-original-width="764" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ8q1PBWVCCgCPCj2s7_vS7bpW9l-mVvK9vWmKeqF_WGtwwsSGqrG68wpr2vi5kGSl2gD0f5REqBDIWTgiqf9pE8qNxdXtMAHHgkeSRMszPEFFuEi9WgZIMmbpQSx0zesGqS71RH9QtXoQsqdD7gPqSCj51jgknb24sJICRdyMyJvfhbfvUhw_BPiD/s320/Stokes%20Mortar.jpg" width="320" /></a><span style="text-align: left;"> </span><span style="text-align: left;"> </span><span style="text-align: left;"> </span><span style="text-align: left;"> </span><span style="text-align: left;"> </span><span style="text-align: left;"> </span><span style="text-align: left;"> </span><span style="text-align: left;"> </span><span style="text-align: left;"> </span><span style="text-align: left;"> </span></div></div><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><p></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span></span></span></p> This photo shows the British Stokes Mortar <br /><p></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">When
World War I began, the British military was caught short by this old, but improved
war weapon which caused many British soldiers’ deaths as well as left many of
the troops with serious wounds. However, Great Britain began production in late
1915 on a greatly improved mortar weapon created by Sir Wilfred Stokes (1860-1927)
to be used by its army and its allied partners. By the end of the war, both
sides had developed a full range of highly efficient deadly mortar bombs that
could be fired at the rate of twenty-two bombs per minute with a range of 1,200
yards.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTDKAJrY7_73AbqsqlAgydlXpfdtkQofP0HsLu-HAwdAAeh_Sc00nr4MHLlnGLStUKaq93g7X-CUz4A50YFP_xrTntYFJjEHGUDd0OruOLWMCHvf3iccS_2-N7vSgsD7ttR_hk-9caOL37zdeko4inewobyu0vad9jB7eDOtSWGMOyXvjMt8pZ_ClT/s1142/American%20soldiers%20Loading%20a%20French%20Trench%20Mortar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="823" data-original-width="1142" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTDKAJrY7_73AbqsqlAgydlXpfdtkQofP0HsLu-HAwdAAeh_Sc00nr4MHLlnGLStUKaq93g7X-CUz4A50YFP_xrTntYFJjEHGUDd0OruOLWMCHvf3iccS_2-N7vSgsD7ttR_hk-9caOL37zdeko4inewobyu0vad9jB7eDOtSWGMOyXvjMt8pZ_ClT/s320/American%20soldiers%20Loading%20a%20French%20Trench%20Mortar.jpg" width="320" /></a></div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> U.S. Soldiers loading a Trench Mortar in 1918</span><p></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I
believe this sketch illustrates a significant aspect of trench warfare during World
War One that is lost to most individuals today. But I also think that had the
sketch been published while the war was in progress, it would have given an
insight into the battlefield that those at home did not know. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
Trench Mortar Officer</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> illustrates one day in the life of an officer
on the battlefield and the adverse conditions he continually battles that are
beyond one’s ability to alter.<span style="mso-spacerun: yes;"> </span>It
illustrates that these conditions can wear down even the strongest individual. <span style="mso-spacerun: yes;"> </span>The Trench Mortar Officer is the leader who had
a bad day, but lives to recognize by day’s end that life is still a gift.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> PHOTO: University of Sydney</o:p></span></p>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-44562825897816859792022-07-22T20:43:00.003-04:002022-07-23T16:20:31.395-04:00FRENCH LEAVE by Reginald Berkeley<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BcuIhgneYD0r5hubNzXoQwcbMOzun6FzLFVTbY4VncytvahpuCQhtpx4S5rxI-DDIwjvIECQPzEfH20EjDaHjOlC36iL0v4BCZs2fYEOMghB8bBfojk8MmPUhIHuyyRZ7OAGS58_rtFmnvt87niCEbSY6EO_EMxlvL4Rb81pVm56y7v7JF6Npuia/s549/REGINALD%20BERKELEY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="387" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BcuIhgneYD0r5hubNzXoQwcbMOzun6FzLFVTbY4VncytvahpuCQhtpx4S5rxI-DDIwjvIECQPzEfH20EjDaHjOlC36iL0v4BCZs2fYEOMghB8bBfojk8MmPUhIHuyyRZ7OAGS58_rtFmnvt87niCEbSY6EO_EMxlvL4Rb81pVm56y7v7JF6Npuia/w226-h320/REGINALD%20BERKELEY.jpg" width="226" /></a><span style="text-align: left;"> </span></div><p><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> REGINALD BERKELEY</span> </p><p><br /></p><p><span style="font-family: "Times New Roman", serif; font-size: 12pt;">The meaning of the title
“French Leave” dates to 1771. Its originally related to guests leaving a major</span></p><p><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> social event without saying goodbye to the host and/or hostess. The military
meaning of the term refers</span></p><p><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> to a leisurely absence from a military unit. </span></p><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">During the early summer of
1920, <i>French Leave</i>, was performed for four weeks in small cities and
towns throughout the English countryside. This comedy opened at London’s Globe
Theatre on July 15, 1920 and later transferred to the Apollo Theatre where it
played for a total London run of 283 performances. <span style="mso-spacerun: yes;"> </span>It was later reported in British newspapers
that the play was “honoured by a visit from every reigning monarch in Europe.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">French Leave </span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">is
a three-act play requiring six actors and two actresses.<span style="mso-spacerun: yes;"> </span>It is set “Somewhere in France.” The setting
for Act One is the sparsely furnished Mess Room for battle fatigued British Officers
of a designated Brigade resting out of the line. <span style="mso-spacerun: yes;"> </span>It is situated “in a ramshackle French house
in the village of Bogusvillers.”<span style="mso-spacerun: yes;"> </span>This
dwelling serves as the resting accommodation or Headquarters Mess for any British
Brigade that is in this area and on a few days leave from battle.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Dorothy
is the young, beautiful wife of Captain Harry Glenister.<span style="mso-spacerun: yes;"> </span>She has come to France to spend a weekend
with her husband while he is on leave. They were supposed to meet in Paris, but
his unit’s city leave was cancelled. Instead Glenister’s battalion is on rest
near the battlefield. Dorothy learned of his destination. She arrived early and
is posing as “Mademoiselle Juliette,” the daughter of the French woman who owns
the officers temporary dwelling.<span style="mso-spacerun: yes;"> </span>During
this act the three other officers who are at the house with Glenister, all meet
the attractive daughter of Madame Denaux. All the officers are smitten. There
are also two Mess soldiers with the officers, and the senior Mess soldier is
key to guiding the evolving situation before it reaches a serious conclusion.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act
Two is in the same room and it is after dinner. Dorothy has joined the Officers
and one is being overly aggressive while vying for her attention which aggravates
Glenister. The latter part of this act borders on becoming a full-blown farce since
several male characters are sneaking around in the dark to find Dorothy. </span> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1KrZNxsmsDqIKhf32l9r6sO54qwyyv0YiSwZ19HKyk9ScVe79P7wVucuHiAismIuqiux64c1DWFWXSFIY7Y4q3VhaUgF7h2yMfnWy1DjWzvIqykWnbniknrlaThHu1HXZHXUpEa0L-zgE8ZZ2pyBxqx7F7jn3oRW5h5Smu2Q9baLQIF2MEZ_wgakE/s1181/FRENCH%20LEAVE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="1181" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1KrZNxsmsDqIKhf32l9r6sO54qwyyv0YiSwZ19HKyk9ScVe79P7wVucuHiAismIuqiux64c1DWFWXSFIY7Y4q3VhaUgF7h2yMfnWy1DjWzvIqykWnbniknrlaThHu1HXZHXUpEa0L-zgE8ZZ2pyBxqx7F7jn3oRW5h5Smu2Q9baLQIF2MEZ_wgakE/w398-h191/FRENCH%20LEAVE.jpg" width="398" /></a></div><div><br /></div><div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> MADAME DENAUX'S entrance in ACT II</span></div>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act
Three takes place the next morning in the same room.<span style="mso-spacerun: yes;"> </span>Eventually the truth is revealed that the
“Landlady’s daughter is Captain Glenister’s English wife. Brigadier-General
Root must act with prudence over the situation, and he determines that Dorothy
must be sent back to Paris under military escort. Captain Glenister is
designated for that assignment.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The
production at the Apollo Theatre starred Renee Kelly (1888-1965) and M.R.
Morand (1860-1922). While <i>French Leave</i> was still playing at London’s
Apollo Theatre, it was produced in the United States by Marc Klaw (1858-1936).
It opened in New York City at the Belmont Theatre after a short tryout run in
Boston. Mr. Charles Coburn (1877-1961) and Mrs. Charles (Ivah Wills) Coburn (1878-1937)
starred in the production.<span style="mso-spacerun: yes;"> </span>He played
Brigadier-General Archibald Root and she played Mlle. Juliette (Dorothy). This
production played at the Belmont for fifty-six performances.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">While
<i>French Leave</i> was not a major success in the United States, it continued
to be popular in theatres throughout Great Britain. A new London production of <i>French
Leave</i> opened during January 1930 at the Vaudeville Theatre. This play
continued to be presented throughout the country during the entire decade. It
even changed a 300-year-old tradition at St. John’s College, one of the
thirty-one colleges at the University of Cambridge, when the Mummers presented
their annual play. Males had always played the female roles, but Dorothy/Juliette
was played by an actress. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">A
film version of <i>French Leave</i> was made in 1930 by D & H Productions,
a British Film Production Company. It was distributed in the United Kingdom
immediately before playing in the United States in 1931.<span style="mso-spacerun: yes;"> </span>Madeleine Carroll (1906-1987) starred as
Dorothy and the leading male role went to Sydney Howard (1884-1946) who played
the same character Charles Coburn had. Haddon Mason (1898-1966) played the husband,
Captain Harry Glenister. This film was directed by Jack Raymond (1886-1953).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">On
February 28, 1940, it was reported in the “Aberdeen Evening Express” that <i>French
Leave</i> was one of the first plays to be sent to the British Forces fighting
in France during World War Two. This tour was scheduled for two months.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal" style="line-height: 200%; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;">PHOTO: This photo appears in the 1922 Samuel French published edition of the script. Madame Deaux was played by Anna Russell (????-????)</span></span></p>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-25037006974971144672022-05-03T19:51:00.007-04:002022-05-04T16:39:20.387-04:00THE WHITE CHATEAU by Reginald Berkeley<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /> <p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Reginald Berkeley
(1890-1935) was an Englishman of multiple talents, who served in World War One
as a Captain in the British Rifle Brigade. He was awarded the Military Cross in
1916 for his “conspicuous gallantry in action.” Berkeley was a lawyer briefly before
he was elected to serve as a Member of Parliament in 1922, where he served
until 1924.<span style="mso-spacerun: yes;"> </span>He wrote <i>The White
Chateau </i>to be presented on the radio by the British Broadcasting Company
(BBC).<span style="mso-spacerun: yes;"> </span>It was aired throughout England on
Armistice Night in November 1925. It is the first play in English specifically
written for radio.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcwhswIP_9zIHJtPGi9EmMSSKA8rBip6rnjK1Uqj7ueC2VOSLb6D--PBgWYUr2bTqVlTOc6e9Q1bjhmc6GbSEgHSjgz_aff9Oyd4R8yUtQx0gdDtgDcDKi02Y6DNJhoFGvsOIKYAbijzEsz7jTtgxMPmW9onrtmZgSYlCm8pTcBhfsiAAhYDACQ34K/s549/REGINALD%20BERKELEY.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="387" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcwhswIP_9zIHJtPGi9EmMSSKA8rBip6rnjK1Uqj7ueC2VOSLb6D--PBgWYUr2bTqVlTOc6e9Q1bjhmc6GbSEgHSjgz_aff9Oyd4R8yUtQx0gdDtgDcDKi02Y6DNJhoFGvsOIKYAbijzEsz7jTtgxMPmW9onrtmZgSYlCm8pTcBhfsiAAhYDACQ34K/s320/REGINALD%20BERKELEY.jpg" width="226" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">REGINALD BERKELEY<span style="text-align: left;"> (1929) </span><span style="text-align: left;"> </span></div><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The White Chateau</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
is divided into six scenes. It has a cast of fourteen characters: four women
and ten men. An original music score was created by Norman O’Neill (1875-1934).
O’Neill also served as Musical Director for the BBC radio program.</span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The White Chateau</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
has a narrator, designated as THE CHRONICLER, who sets the focus for each
scene. He informs the audience that as SCENE ONE begins “This story of the
White Chateau” that was built centuries ago in Flanders plain, was burned down,
and rebuilt through succeeding years.<span style="mso-spacerun: yes;"> </span>It
would be destroyed once more and rebuilt again due to another war.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">When Scene One commences,
members of the Van Eysen family, who reside in the White Chateau, are having
breakfast when suddenly their meal is disrupted by men in uniforms. These soldiers
are not dressed in the color of their country’s military.<span style="mso-spacerun: yes;"> </span>Not only is the family’s breakfast disrupted,
but the family is plunged into an immediate tragic situation with the murder of
their son as World War One is sprung upon them by the invading German soldiers.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">SCENE TWO: <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">THE CHONICLER: informs
the audience that a war is raging:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">The
Grand Headquarters Over All<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Is
some great Mansion—once alight<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">With
children’s voices, loud and small—<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Now
bare and bleak, directs the fight…<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The
White Chateau is serving as headquarters for Germany’s military leadership in
this area.<span style="mso-spacerun: yes;"> </span>This scene reveals the issues
that the Chief of Staff and Commander-in-Chief have with the Minister for War.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">SCENE
THREE: <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">THE
CHRONICLER recounts the current situation at the Chateau: <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">An
army in long retreat,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">Trudge,
trudge of tired feet, . . .<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">Long
since departed G.H.Q.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%;">From
the Chateau (with its whiteness faded!)</span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 3pt; text-indent: 33pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">And
leaves the Chateau stark<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>In No-Man’s-Land.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">A
division of the British army arrives at the Chateau. The surrounding grounds of
the property have been further destroyed by German troops building trenches. Some
German soldiers remain at the Chateau and as the British division attempts to
take the Chateau the final rounds of shelling demolish the west wall of the
building.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">SCENE
FOUR: <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">THE
CHRONICLER ruminates about the normal activities for day and night, but
concludes with “The night—a nightmare from the Deeps of Hell, The Day—a worse
Damnation?”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This
scene announces the arrival at the ruined Chateau by American soldiers. They
must defeat the remaining German soldiers.<span style="mso-spacerun: yes;">
</span>The Americans come under enemy fire and the captain of the unit is
killed. A soldier named Philip is now in command of this American unit.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">SCENE
FIVE:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">THE
CHRONICLER laments the loss of the chateau and the land “on which no blade of
grass</span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">could grow---”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">A
Casualty Clearing Station is currently operating on the property. Philip is being
taken care by an American doctor.<span style="mso-spacerun: yes;"> </span>The
nurse is Diane, the sole surviving member of the Van Eysen family, who lived in
the Chateau in Scene One.<span style="mso-spacerun: yes;"> </span>She takes care
of Philip, and a romantic relationship develops between them.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">SCENE
SIX: <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">THE
CHRONICLER laments man’s need “to slay and slay and slay---” Philip and Diane
are married, and they are rebuilding The White Chateau. During this final scene
Diane has a dream in which “Voice” recounts to her the long history of war this
piece of land has endured, and a future filled with more wars. At the
conclusion of the play, there is hope expressed by the Voice of The Chateau for
there to be lasting world peace. Berkeley wanted the audience to realize that “Nothing
is to be gained by labouring the causes of the Great War and reviving the
animosities that it bred.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The
White Chateau</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> was published in 1925 as a book and again
in 1927. During these two years, six editions of the script were published. It
obviously was a popular drama to read. The Publisher was Williams and Norgate,
Ltd.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">In
March 1927, <i>The White Chateau</i> was staged at London’s Everyman’s Theatre.
It played for thirteen performances before it closed. This production was
reworked and basically recast prior to its next opening in late April 1927 at
St. Martin’s Theatre. The second London production received excellent reviews. Henry Oscar (1891-1969) was praised for his impressive elocution as the Chronicler in <u>The</u> <u>Illustrated London News</u> on May 7, 1927. Another news paper especially
noted the trench scenes that were staged with heightened effects that made
them harrowing.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUlWSiQdUxzEOcJntVmVrfO-m9iUSoQJeDZBEps0-JPEdVGCcsZT0EJeUqB3doy2zoBEeEZYwwFLsAneZhu0hwjqW2iY_hubs9ORWd1NdYEEYSj1NYdXJ0FMdTdwuq0Kd_lGnpUOXLZMuFn9rSvF3aiALrn799ONoRuk4S1g0fNifbWJnXKC8FHc5/s1240/WHITE%20CHATEAU%20scene.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="681" data-original-width="1240" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQUlWSiQdUxzEOcJntVmVrfO-m9iUSoQJeDZBEps0-JPEdVGCcsZT0EJeUqB3doy2zoBEeEZYwwFLsAneZhu0hwjqW2iY_hubs9ORWd1NdYEEYSj1NYdXJ0FMdTdwuq0Kd_lGnpUOXLZMuFn9rSvF3aiALrn799ONoRuk4S1g0fNifbWJnXKC8FHc5/s320/WHITE%20CHATEAU%20scene.jpg" width="320" /></a></div> TRENCH SCENE SAINT MARTIN'S THEATRE<p></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The
White Chateau</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> had another transformation in 1938 when
it was made into a film by the BBC.<span style="mso-spacerun: yes;"> </span>It
was released in England on November 11,1938 and it starred Peter Ashmore (1916-1997),
Claude Bailey (1895-1950) and Ivor Barnard (1887-1953).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">What
is unique about this play is how it relates to the effects of wars on the land
and the distinguished historic structures that help tell the story of western
civilization. It further recounts the human desire to rebuild even though “Men
have not learned the lessons of going to war.” It pleads through The Voice that
“There can be no more war. It is too wasteful, too uncivilized.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;">NOTES:</span></span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;">1. Reginald Berkeley's photo appeared in THE ILLUSTRATED LONDON NEWS 2/2/1929.</span></span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;">2. INFANTRY ATTACK photo appeared in THE ILLUSTRATED SPORTING & DRAMATIC NEWS.</span></span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 3pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"><br /></span></span></p>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-5169177806410194902022-03-02T20:27:00.012-05:002022-03-18T15:29:12.109-04:00TWO SCOTTISH ONE-ACT PLAYS<p> </p><p class="MsoNormal" style="line-height: 200%;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">THE HOME FRONT</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
by Hal D. Stewart<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 14pt; line-height: 200%;">Although this</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
play was written after World War One ended, it focuses on what life was like
during the war for women living in Scottish farming communities. It premiered
on January 27, 1931 in a production created by the Ayrshire Federation of
Scottish Women’s Rural Institutes in the city of Dunlop. The next production
was staged by the Scottish Players in the Lyric Theatre in Glasgow on the 24<sup>th</sup>
of March of the same year. Following those two productions, <i>The Home Front</i>
became a very popular play with Scottish women’s drama groups.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The cast is comprised of
seven female characters.<span style="mso-spacerun: yes;"> </span>It is set in
the light and airy kitchen of the Murdoch’s farm. The year is 1918. Billy
Ashmore is an enlisted member of the “Land Girls.” She is from Glasgow but was
assigned to work on this farm.<span style="mso-spacerun: yes;"> </span>Billy is
in her early twenties and dressed in her uniform of khaki tunic and breeches.
When she first arrived on the farm, Mrs. Murdoch’s son John was still at home. John
and Billy became engaged prior to his leaving to fight in France.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg2dU_aJKmGuoJ6v90BFcifngLzXKVsdBUKEwhjmQQiSu4lePZvjiIKWcyzFgfAYGxRZXP_g2WVg-JPE3Xqx4DfylLgQEtdfAotAnr-_VZb-psT0z2tQQG2ojP6E3jViPiK5f1DGEOwEHwJ667yF3djFSWlY70mAAGU6_LY1FCRaYct9Gq-xHZvv_GU=s538" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="371" data-original-width="538" height="221" src="https://blogger.googleusercontent.com/img/a/AVvXsEg2dU_aJKmGuoJ6v90BFcifngLzXKVsdBUKEwhjmQQiSu4lePZvjiIKWcyzFgfAYGxRZXP_g2WVg-JPE3Xqx4DfylLgQEtdfAotAnr-_VZb-psT0z2tQQG2ojP6E3jViPiK5f1DGEOwEHwJ667yF3djFSWlY70mAAGU6_LY1FCRaYct9Gq-xHZvv_GU=s320" width="320" /></a></span></div><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> A LAND GIRL AT WORK</span><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">On the day when the play
begins, Mrs. Murdoch and her two daughters are expecting John to come home for
a brief furlough. A problem suddenly develops among the town busybodies. Billy
had gone to a dance the previous evening that was held for the British soldiers
stationed in town.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt; mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">She danced with the
officer who is billeted at the Murdoch farm and the local farm ladies believe
that was not appropriate behavior for an engaged woman. It was much ado about
nothing, however, the play ends sadly with word of John’s death in France.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">When Stewart wrote this play,
there was a need for scripts with roles only for women. <span style="mso-spacerun: yes;"> </span>This casting underlines the fact that so many
men had either died or been severely wounded. Thus, males were in limited
supply for every type of work. <span style="mso-spacerun: yes;"> </span><i>The
Home Front</i> also clearly depicts how the local women frequently needed help
in the fields to produce food for market as well as coping with the
business responsibilities of running the farms. The British Women’s Land Army
of 23,000 females took the place of the 100,000 workers lost to the armed
forces. This play is a tribute to these women and a remembrance of their
service.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Hal D. Stewart
(1899-????) is remembered as a Scottish stage producer and director; however,
he also established a reputation in London theatre.<span style="mso-spacerun: yes;"> </span>His playwriting seems to be mainly focused
during the years between 1930 through 1950s.<span style="mso-spacerun: yes;">
</span><i>The Home Front</i> continued to be produced regularly for Drama
Festivals in Scotland into the middle of the 1980s.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">SYMPHONY IN ILLUSION </span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">by
James Wallace Bell<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Symphony in Illusion</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> was
written in 1931-32. Like <i>The Home Front</i>, it was written for a female
cast of seven women. This unusual play has a strong anti-war message, and it was
a unique script for the women’s drama clubs of Scotland. James Wallace Bell (????-1984)
was known as a theatrical producer as well as the acclaimed author of “Symphony.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Symphony in Illusion</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
is a drama that was conceived in the format of a symphonic composition.<span style="mso-spacerun: yes;"> </span>It is divided into three movements instead of
acts.<span style="mso-spacerun: yes;"> </span>Each movement is assigned a
musical term to designate the pace of the speech and movement. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">First Movement: <i>Allegro.</i>
<span style="mso-spacerun: yes;"> </span>Scene---A bare stage. One quickly
recognizes this play presents a contrast between reality and illusion since the
seven actresses engage in preparing the stage for the play. <span style="mso-spacerun: yes;"> </span>“SHE-WHO-PLAYS-THE-MAD-GIRL” is designated by
the playwright as the director of the play. The actresses argue over trifles as
they set up the scenic elements utilizing a brisk and lively pace. When the scenery
and props are in place, the actresses take their positions on the stage as the
lighting darkens to a black-out.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Second Movement: <i>Largo</i>.
The characters:<span style="mso-spacerun: yes;"> </span>A Woman, A Widow, A
Girl, A Wanton, An Old Woman, Mary, and A Mad Girl.<span style="mso-spacerun: yes;"> </span>The Scene—it is night. This segment of the
play is the war interlude. The major scenic elements include the broken steps
leading to the portal, without doors, of a war-ruined church. “The muffled rhythm
of distant guns is heard in the darkness; not loud, but terribly insistent.” The
women are weary and listless. They all wear drab peasant dresses, and have
shawls covering their heads and shoulders, except A Girl and the Wanton. The
characters are highly strung and nervous to the point of hysteria.<span style="mso-spacerun: yes;"> </span>The war has been in progress for four years.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This play shows how these
females relate to each other during these trying circumstances. The older
characters continue to harangue a young woman who had married a man from the
enemy country, before the war had commenced.<span style="mso-spacerun: yes;">
</span>They do not let her have any food since they treat her as an enemy. She
and her baby starve to death despite the character named Wanton, who pleads for
the young mother’s life. As the act concludes and the sounds of war cease, dawn
rises and Mary, the voice of reason in this drama, goes to bury her son.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Third Movement: <i>Andante
non troppo</i>. “All the lights click on, white and hard; the dawn becomes
merely a back-cloth.”<span style="mso-spacerun: yes;"> </span>Mad Girl (<i>with
a sigh of relief</i>) announces “And that’s that.” The other actresses start
talking about their characters and the ideas in the play as they begin to clear
the stage of the props and scenic elements. Shortly the overhead lights are
switched-off. Only the foot lights illuminate the stage. “Girl” continues to stare
out into the distance before running off. <span style="mso-spacerun: yes;"> </span>Mary and Wanton continue to collect the
crosses left on stage and exit as the footlight “quickly dim out.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This play was published in
1933 by Samuel French, Ltd., London. Like <i>The Home Front</i>, <i>Symphony in
Illusion</i> was also produced by many universities and Dramatic Societies throughout
Scotland during the 1930s and 1940s. It won first prize for those groups who
mastered the style of production and the truth of its message. It was a
well-known play during the period between World War One and Two. It is an unique
script.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">NOTE: To see more of The Women's Land Army in Pictures </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">visit www.iwm.org.uk/history/</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">the- womens-land-army-in-pictures</span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-35754417467729690782022-02-03T13:00:00.027-05:002022-02-09T20:31:14.102-05:00GILBERT EMERY’S THE HERO<p> </p><p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Hero</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">,<i>
</i>written in 1920, was Gilbert Emery’s (1875-1945) first play. Emery was
thirty- nine years old when he served during World War I as an American
Ambulance Driver. He was stationed in France for nine months during
1914-15.<span style="mso-spacerun: yes;"> </span>Emery was a multi-talented
person who acted in at least eighty films. He also wrote novels, poetry and had
seven of his plays produced on Broadway. </span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj21_LvwxI6DyH5foxAVOmJrv0tycS0sRBIuiqN1QsVnJPzB5-WETWh140R7Lb8oTwLvN9UHGtXZjEe1-CQ62iDA_bj1dUO0na6xZ8_IvJVa-tF-x9Q0pQW1bNwMdsCbtRqwt1HJgqY7C6eOlgjJ7omg2rjsTewPeSvCxJF2oYFmaS4ldBTJlUQgyHc=s990" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="655" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj21_LvwxI6DyH5foxAVOmJrv0tycS0sRBIuiqN1QsVnJPzB5-WETWh140R7Lb8oTwLvN9UHGtXZjEe1-CQ62iDA_bj1dUO0na6xZ8_IvJVa-tF-x9Q0pQW1bNwMdsCbtRqwt1HJgqY7C6eOlgjJ7omg2rjsTewPeSvCxJF2oYFmaS4ldBTJlUQgyHc=w212-h320" width="212" /></a></div> GILBERT EMERY<p></p><p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Hero</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
is a unique story that focuses on a soldier, Oswald Lane, who in 1919 returns
home to a small suburban town near New York City.<i> </i>His Mother, Sarah, and
older brother, Andrew, have not seen Oswald since he ran away from home twelve
years earlier at the age of sixteen. The family has had no contact with him
since that time.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Andrew, about forty years
old, works as an insurance clerk and is married to Hester who is twenty-six
years old. They have a six-year-old son named Andy. There are two other persons
who live with this family in their “small rented, jerry-built house.” Sarah
Lane is Andrew’s mother, who was a farm woman, and Marthe Roche, a young,
pretty orphan from Belgian. She helps with the household chores as well as
providing some care for Andy. Hester and Marthe are immediately enamored of
handsome, brave Oswald who returns unexpectedly from a hospital in France.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act Two is in the
“Sitting Room of the House.” It is three months after Oswald’s arrival home. He
had spoken at the church earlier this evening about his war experiences.
Oswald’s heroism is established in the minds of the people of this town, while
his character at home reveals a man who is without scruples. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act Three is in the same
location. It is 8 AM the next morning. Oswald is determined to leave this house
and return to France.<span style="mso-spacerun: yes;"> </span>He plans to steal
the church collection that resulted from his talk the previous evening. Since
Andrew oversees the church’s money, last night’s collection has been locked
away in his home. Oswald takes it and leaves. Just as he sets out to depart
from their small town for France, the kindergarten where little Andy goes to
school catches on fire. Once again Oswald proves to be heroic. This time it is
at the cost of his own life; however, Andrew can now neatly explain the loss of
the Church’s money so no further disgrace from Oswald’s latest misdeed falls
upon his family.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Hero</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
never openly discusses what is to be done with the man who is a “hero” in war
and an “undesirable citizen” when at home?<span style="mso-spacerun: yes;">
</span>But in acts two and three, Oswald’s attitude and actions strip him of
his former glory until the play’s conclusion. This is obviously an unusual and
unsentimental topic for the decade immediately following World War One.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Hero</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
premiered in New York City at the Longacre Theatre on March 14,1921, one year
after the end of the Spanish flu. It was a short engagement of five “special
matinee” performances.<span style="mso-spacerun: yes;"> </span>Its main
Broadway production opened at the Belmont Theatre on September 5, 1921, where
it ran for eighty performances. Sam H. Harris (1872-1941) was producer of both
productions as well as owner of the Longacre Theatre. There were only two
actors who appeared in both productions—Robert Ames (1889-1931) played Oswald and
Blanche Friderici (1878-1933) played Sarah Lane.<span style="mso-spacerun: yes;"> </span>The other four roles were recast, and Richard
Bennett (1870-1944) played Andrew Lane.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Hero </span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">was
published in Arthur Hobson Quinn’s “Contemporary American Plays” and in Burns
Mantle’s “Best American Plays of 1921-22.”<span style="mso-spacerun: yes;">
</span>During the 1920s, <i>The Hero </i>was produced in numerous American
cities. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">On January 1, 1923 an
American silent film was released and the storyline was based on <i>The Hero.</i>
It starred Oswalt Glass (18??-19?? ) as Oswald and Barbara La Marr (1896-1926)
as Hester Lane.<span style="mso-spacerun: yes;"> </span>When the film was
released in Great Britain during the second week in November 1923, its title
was changed to <i>His Brother’s Wife</i>. It had good reviews and played
throughout the country for three years. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">On April 8,1930 the
“Evening Express” newspaper in Los Angeles California reported “two of the
largest audiences ever to witness a legitimate stage play in California are
expected at the Shrine Civic Auditorium” to attend two performances of “The
Hero.”<span style="mso-spacerun: yes;"> </span>The seating capacity of this auditorium
was 6500 persons.<span style="mso-spacerun: yes;"> </span>This production
starring Broadway actor Grant Mitchell (1874-1957) was already being performed
in Los Angeles by the Civic Repertory Theatre at the Music Box Theatre, but the
entire cast and production were moved to the Shriner’s theatre and the two
performances were free of charge to the Shriners and their families.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">During March 2014, there
was an Off-Broadway production of <i>The Hero</i> at<i> </i>the Metropolitan
Playhouse. It opened on March 8 and closed on March 30<sup>th</sup>.<span style="mso-spacerun: yes;"> </span>Christian Rozakis played the </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">role </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">of Oswald.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><i style="font-family: "Times New Roman", serif; font-size: 12pt;">The New York Tim</i><span style="font-family: "Times New Roman", serif; font-size: 12pt;">es review on March 10</span><sup style="font-family: "Times New Roman", serif;">th</sup><span style="font-family: "Times New Roman", serif; font-size: 12pt;">
states:</span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><span style="mso-spacerun: yes;"> </span>There’s a lot to watch in “The Hero.”<span style="mso-spacerun: yes;">
</span>But the real action is under the surface.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><span style="mso-spacerun: yes;"> </span>This exceptional revival of Gilbert Emery’s 1921 play is steeped in
subtext <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><span style="mso-spacerun: yes;"> </span>and repressed emotions: confusion, regret, desire and despair. Here, the
silent<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><span style="mso-spacerun: yes;"> </span>moments are among the most moving.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The most recent
undertaking of this play was part of a celebration of Gilbert Emery’s life and
works in his birth city of Naples, New York. The Bristol Valley Theatre
presented a live stage reading of <i>The Hero</i> on October 24, 2021.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">There is something about
this play that lingers with you after even a single reading. The copy I read is
in “Modern American and British Plays” by S. Marion Tucker. (New York and
London: Harper & Brothers Publishers, 1931)<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com1tag:blogger.com,1999:blog-7853252690884138641.post-34953321751160068442021-12-29T20:04:00.001-05:002023-12-30T13:29:39.843-05:00PAUL RAYNAL’S THE UNKNOWN WARRIOR (Le Tombeau Sous L’Arc de Triomphe)<p> </p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The French title of Paul
Raynal’s 1924 play refers to the Tomb of the Unknown Soldier which was created
in Paris in1920. It is the grave for a World War One Unknown French Soldier located
beneath L’Arc de Triomphe. The French monument created an interest in other
countries to dedicate a similar single national site to commemorate a nation’s
unknown military dead, whose identities are “known but to God.” <b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Raynal (1885-1971) served
as a soldier of France for four years during World War I in Champagne and in the French
Army of the Orient. This special French unit was created in October 1915 after
the allies lost the Dardanelles Campaign. His military experience fueled Raynal
with the desire to write a trilogy of plays about World War One. <i>The Unknown
Warrior</i> written in 1923-24 is the first of these plays.<span style="mso-spacerun: yes;"> </span>It was followed by <i>La</i> <i>Francerie</i>,
a three act play that was performed in 1933 at the Comedie-Francise in Paris.
The third play, written in 1935, is titled <i>Le Materiel humain.</i> It was staged
after World War II. This third play was not a theatrical success; however, it
was published in 1946.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Unknown Warrior</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
is a tragedy in three acts.<span style="mso-spacerun: yes;"> </span>Act I consist
of five scenes. Acts II and III have one scene each.<span style="mso-spacerun: yes;"> </span>The cast is composed of three characters. The
French Soldier wears “the regulation uniform of an infantry regiment without
any badges or distinguishing marks, save a number on the collar.” His Father, who
is not described, and “Aude, a girl of twenty,” who is the Soldier’s fiancée. At
the opening of Act One, Aude and the Father are awaiting the arrival of The
Soldier for his first visit home. Aude has not seen him in fourteen months and
eight days.<span style="mso-spacerun: yes;"> </span>They plan to get married
during his four-hour visit. The date is October 8, 1915, and the time is 2 A.M.
“The setting is a house in the country, a day’s journey from Paris.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Over the course of the
Soldier’s brief visit, the reader is exposed to how the war is overshadowing
his youth, his love, and his life. <span style="mso-spacerun: yes;"> </span>Each
one of the characters represents a point of view regarding war. This places the
Soldier in conflict with his patriotic father who does not realize the hard
realities of the current war. His relationship with Aude is not as solid as he
hoped. She held the romantic idea of being attached to a soldier departing to
the Front. Additionally, the Soldier offered her the opportunity to move to his
farm, away from Paris, where she would live more safely. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Upon the Soldier’s return
home, Aude realizes his absence has dissolved her love for him. She gives
herself to him even though the planned marriage ceremony never takes place. The
Soldier is determined to live in the present during every moment of his home
visit and he succeeds despite the difficulties the other two characters
present. <span style="mso-spacerun: yes;"> </span>The Soldier was granted this four-hour
home visit since he volunteered for a dangerous assignment which is believed by
his Commanding Officers to lead to certain death.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The focus of the play is
on the Soldier. It shows the issues that soldiers must face to survive on the
battlefield.<span style="mso-spacerun: yes;"> </span>The attitude of the soldier
is one of endurance. Throughout the play the Soldier raises the question “what
is war?” and there are multiple answers—War is drudgery. War is uncertainty.
War is the anguish of waiting. War is learning how to accept bad news. War is
the faith that something positive is to evolve from all the sacrifice. These
are several of the insights. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Unknown Warrior</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> was
premiered on January 30, 1924 at the Paris National Theatre, the
Comedie-Francaise. Not every critic was positive about this play following its
initial performances. Some critics believed it was critical and disrespectful
of the common French soldier, but these points were eventually dismissed. <span style="mso-spacerun: yes;"> </span>The play was revived in 1929 at the Theatre de
l’Odeon, Paris.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Unknown Warrior </span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">was
first performed in England in 1924 at London’s Arts Theatre Club, but it was
not published in English until 1928.<span style="mso-spacerun: yes;"> </span>The
translation was done by Cecil Lewis (1898-1997) who was an ace English pilot
during WWI as well as one of the founders of the British Broadcasting Company
(BBC). These are but two among several other interesting activities that bear
his name. Lewis’s translation of <i>The Unknown Warrior</i> had ten editions in
its first year of publication.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">After its Paris premier, Raynal’s
play quickly attained popularity throughout Europe. During the years between
the two World Wars, it was staged in Berlin, Stockholm, Vienna, Moscow, and
many other continental cities. <span style="mso-spacerun: yes;"> </span>The American
production opened on Broadway the evening of October 29,1928. The cast
consisted of Tyrone Power, Senior (1869-1931) as the Father, Beatrix Thomson (1900-1936)
played Aude and Lester Vail (1899-1959) A French Soldier. <span style="mso-spacerun: yes;"> </span>The production was staged by Charles Hopkins
(1884-1953) who also owned and operated the theatre. The production was
produced by arrangement with Arts Theatre.<span style="mso-spacerun: yes;">
</span>It closed in November 1928. It received mixed newspaper reviews.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Maurice Browne
(1881-1955) a theatre producer born in England, brought his 1931 production of <i>The
Unknown Warrior </i>to open in New York City before touring Pacific coast cities.<span style="mso-spacerun: yes;"> </span>He had several motivations for doing this
including his deep belief in the play and his desire to play the leading role
of The Soldier. The tour started with four performances on Broadway at the
Morosco Theatre.<span style="mso-spacerun: yes;"> </span>It opened October
22,1931 and closed October 31<sup>st</sup>. Other cast members included
Rosalinde Fuller (1892-1982) as Aude and Daniel Reed (?) as the Father. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The next major production
occurred when BBC Television presented a live performance of this play on
November 11, 1951. Arthur Wontner (1875-1960) played The Father, Isabel Dean
(1918-1977) Aude and Peter Neil (1913-1994) The Soldier. This performance was
to commemorate the armistice that ended World War One.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">There was a
production of <i>The Unknown Warrior </i>planned for November, 2021 at the
Finborough Theatre in London to mark the centenary of the burials of the
unknown warriors in France and England. Unfortunately Covid 19 cancelled this production. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Along with <i>Journey’s
End</i>, <i>The Unknown Warrior</i> is considered by many critics and scholars
as one of the finest pieces of dramatic literature resulting from World War
One. <o:p></o:p></span></p>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-49039554810317681472021-09-12T20:08:00.013-04:002021-09-13T19:15:17.426-04:00R. C. SHERRIFF’S JOURNEY’S END<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNShKfjF4ZAEyjMGfrGxqOtcaG5FqO3gKOiv7hIQaFyvh8yui_W9poDSJBUfbu557xWu_76MG-3HfGnV-uscPeyUuv-nHn1cojVVljMKXkIf4Z0h1gjq9CQf8oIlyzUg5D04f_A_m9iyM/s563/Sherriff%252C+RC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="493" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNShKfjF4ZAEyjMGfrGxqOtcaG5FqO3gKOiv7hIQaFyvh8yui_W9poDSJBUfbu557xWu_76MG-3HfGnV-uscPeyUuv-nHn1cojVVljMKXkIf4Z0h1gjq9CQf8oIlyzUg5D04f_A_m9iyM/w175-h200/Sherriff%252C+RC.jpg" width="175" /></a></div><br /> <span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Robert Cedric Sherriff<!--[if gte mso 9]><xml>
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<p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">When I started planning this
blog, I quickly decided that since <i>Journey’s End</i> was the most well-known
World War One play in the English language, I would not write a post about it. What
changed that decision was the fact that I mentioned this play in my previous
post, Ernst Johannsen’s <i>Brigade Exchange.</i> I feel it is only fair to have
<i>Journey’s End</i> as an available post if a reader wants to have a quick
source at hand.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Robert Cedric Sherriff
(1896-1975) wrote <i>Journey’s End</i> in 1928 for his boat club’s annual
fund-raising event. He was required to have an all-male cast. Sherriff drew
upon his World War One experiences, while serving as a Captain in the British
armed forces at the age of twenty-one, to write this play. <br /></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Journey’s End</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
is set in a British dugout before Saint-Quentin, a town located in northern
France. Act One: Monday evening, March 18, 1918. This specific date relates the
action of the play historically to the major German Spring Offensive that began
on March 21, 1918. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The main room in the
dugout is lighted by candles set in two bottles on the table.<span style="mso-spacerun: yes;"> </span>The doorway frames several steps that lead up
to the parapet of a trench and a narrow strip of starlit sky. On the table is a
litter of papers and a bottle of whisky. Officer’s equipment hangs in a mass
from a nail in the wall. This is the Officer’s area and Captain Hardy is
waiting for a small new group of soldiers to arrive. After Hardy leaves, Second
Lieutenant Raleigh arrives to join this unit.<span style="mso-spacerun: yes;">
</span>Raleigh went to school with Captain Stanhope, the commander of this unit.
Raleigh is excited to be assigned to Stanhope’s unit. This act sets up the possibility
of an impending major enemy attack as well as demonstrating the relationships
between the officers and the only lower-class soldier in their dugout, Private
Mason, their cook.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act Two. Scene 1: Early Tuesday
morning. Officers Osborne and Raleigh are having breakfast as Second Lieutenant
Trotter enters. It is quiet in the trench where this platoon of soldiers has spent
the past six days. The British trench is a football field away from the German
trench which is approximately seventy yards long. Since the English believe the
Germans are planning an attack within forty-eight hours, this group of soldiers
must stay on duty.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act Two. Scene 2:
Afternoon of the same day. Stanhope believes the German’s major attack will be
on Thursday morning. The Colonel arrives with a special order for a small group
of Stanhope’s men to raid the German trench to grab a German soldier and bring
him back for interrogation.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act Three. Scene 1: Wednesday
afternoon, towards sunset.<span style="mso-spacerun: yes;"> </span>Osborne and
Raleigh are the two officers who will be directing the raid and they leave on
this assignment.<span style="mso-spacerun: yes;"> </span>They will select
several soldiers in the trench to go with them. There is the sound of
machine-guns and a smoke bomb explodes.<span style="mso-spacerun: yes;"> </span>Shortly
after the attack, a young German soldier is brought down into the dugout for the
Colonel to interrogate. The German attack for tomorrow is confirmed. Lieutenant
Osborne was killed during the raid.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act Three. Scene 2. Late
Wednesday evening.<span style="mso-spacerun: yes;"> </span>Dinner is over.<span style="mso-spacerun: yes;"> </span>There is a sense of jovial comradery among
the officers. Raleigh returns to the dugout after everyone except Stanhope
retires.<span style="mso-spacerun: yes;"> </span>Stanhope is angry with him
since he remained on duty rather than return for supper.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Act Three. Scene 3:
Thursday, towards dawn. The attack is expected shortly, and the officers are
awakened and quickly go into the trench.<span style="mso-spacerun: yes;">
</span>The final moments of the play involve Raleigh, who is mortally wounded,
and Stanhope.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This plot outline describes
the situation the playwright constructed. It illustrates how most of the
characters mask the fact they are in constant mortal danger. The intension of
this drama is to reveal to the reader/audience members the effects of war on frontline
military. Previously there had not been a drama that portrayed this situation
so realistically.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Following the boat club’s
staging of this play, Sheriff convinced the Incorporated Stage Society of
London to present two performances of his play for its thirtieth season at the
Apollo Theatre. These performances were presented December 9-10, 1928. Laurence
Olivier (1907-1989) played Stanhope and Maurice Evans (1907-89) played Raleigh.
After positive reviews, Producer Maurice Brown (1881-1955) transferred the Stage
Society’s production to London’s Savoy Theatre opening on 1/21/1929. The only
actor who could not assume his same role for Brown’s production was Olivier who
had to honor another commitment. Captain Stanhope was played by Colin Clive (1900-1937).
This production transferred to the Prince of Wales Theatre on June 3,1929 and
continue to be performed through June 7,1930. Its London run totaled an
impressive 593 performances.<span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrO16ZZbbdJreu-3kpOnhQ-K42dJNv6cSNWUfKzeOecz139fV3mTmeaHGJgK5zE0W1d_Sz1aM4dJplO_RfrMqjSgI61CXtfNNr7wO2w6LwyvjmQNoiKZpMtZsgxs03QHhUP8RgcNZpwqw/s433/Colin+Clive+02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="305" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrO16ZZbbdJreu-3kpOnhQ-K42dJNv6cSNWUfKzeOecz139fV3mTmeaHGJgK5zE0W1d_Sz1aM4dJplO_RfrMqjSgI61CXtfNNr7wO2w6LwyvjmQNoiKZpMtZsgxs03QHhUP8RgcNZpwqw/w141-h200/Colin+Clive+02.jpg" width="141" /></a></span></div><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Colin Clive <br /></span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Shortly after <i>Journey’s
End</i> opened in London, Maurice Brown, who had also been living part-time in
America, worked with Gilbert Miller (1884-1969) to stage an American
production.<span style="mso-spacerun: yes;"> </span><i>Journey’s End</i> opened
on Broadway in the Henry Miller Theatre on March 22, 1929 and closed May 17,1930
after its 485th performance. Brown arranged for British actors Colin Keith Johnson (1896-1980) to
play Stanhope and Derek Williams (1911-1988) as Raleigh to appear in the Broadway
production.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">There
were two later productions of <i>Journey’s End</i> on Broadway. The revival
opened at the Empire Theatre on September 18,1939 and closed after its
sixteenth performance on September 30<sup>th</sup>.<span style="mso-spacerun: yes;"> </span>British actor Colin Keith Johnson starred as Stanhope and Jack Merivale (1917-1990) played Raleigh. The most
recent Broadway production opened February 22, 2007 at the Belasco Theatre and
played 125 performances before closing on June 10, 2007. It starred Hugh Dancy
(1975-<span style="mso-spacerun: yes;"> </span>) as Stanhope and Stark Sands
(1978-<span style="mso-spacerun: yes;"> </span>) as Raleigh.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">On August 1, 1939, <i>The
Stage</i> reported that the English Players performing in Paris, France gave
their one hundredth performance of <i>Journey’s End</i>.<span style="mso-spacerun: yes;"> </span>This production performed in English was
slated to continue its run until the end of September when this company was
booked to tour in Switzerland, Germany and Holland.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">There have been three significant
British revivals of the play. <span style="mso-spacerun: yes;"> </span>To
celebrate <i>Journey’s End</i> seventy-fifth anniversary, David Grindley (no
dates available) directed this production. It opened in January, 2004 at London’s
Comedy Theatre and later was transferred to the Playhouse. Paul Taylor in <i>The</i>
<i>Independent</i> stated that it was a “Deeply affecting revival.”<span style="mso-spacerun: yes;"> </span>Grindley created in July, 2011 the second professional
theatre London revival. This production starred James Norton (1985-<span style="mso-spacerun: yes;"> </span>) as Stanhope. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The third production
mounted by MESH Theatre Company opened for a limited run October 10, 2017 and
it played through November 12, 2017. This production opened in Ypres, Belgium
and it was to recognize the 100<sup>th</sup> anniversary since the playwright
fought and was wounded in the Third Battle of Ypres. Sally Woodcock, the
director of this production and founder of MESH, returned to Flanders with her
theatre company in 2018 to present <i>Journey’s End</i> to mark the World War
One Armistice and again in November 2019 to perform in the Skindles Ballroom
that during World War One had served as the British officers’ club in
Poperinge, near Ypres.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">There were three major
films made of <i>Journey’s End</i>. The first one was released in April
1930.<span style="mso-spacerun: yes;"> </span>It was “AN ALL-TALKING PRODUCTION”
produced by Gainsborough Pictures and Tiffany Productions. It was filmed at the
Fine Arts Studios in Los Angeles, California. The production was directed by
James Whale (British,1889-1957). Colin Clive reprised his role as Stanhope and
David Manners (1900-1998) played Raleigh. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The second major film was
made for BBC TV in 1988. It was directed by Michael Simpson and stars Jeremy
Northam (1961-<span style="mso-spacerun: yes;"> </span>) as Stanhope and Mark
Payton (1960-<span style="mso-spacerun: yes;"> </span>) as Raleigh. The most
recent film of <i>Journey’s End</i> was released 12/14/2017 and it is still
available on Prime Video. It is a British production directed by Samuel Dibb (1968-<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>). It
stars English actors Sam Clafin (1986-<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>) as Stanhope with Asa Butterfield as Raleigh
(1997-<span style="mso-spacerun: yes;"> </span>).</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This drama is a must read
if you are interested in World War One.</span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-21294406687458806052021-07-04T20:35:00.000-04:002021-07-04T20:35:21.728-04:00ERNST JOHANNSEN’S BRIGADE EXCHANGE (Brigadevermittlung)<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In
1916 Ernst Johannsen (1898-1977) was drafted into the German military. Prior to
World War One, Johannsen had an apprenticeship as an electrician.<span style="mso-spacerun: yes;"> </span>This knowledge base may have been a factor
when he was sent to Verdun in early 1917 to serve with military radio
operators. His experiences during World War One had a major impact on his subsequent novels
and radio plays. These works convey an antiwar message.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Brigade
Exchange: A Telephone Story of the Great War</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> is a radio play
written in 1928-29 after Johannsen moved to Hamburg, Germany. It premiered
October 17, 1929 on Munich radio and <i>The Stage</i>, in its 20 February 1930
edition, reported that the German cast was composed of ex-service men. <i>Brigade
Exchange</i> became extremely successful on German radio prior to receiving
fifty other productions in eleven different European countries. The play was
also made available on gramophone records.<span style="mso-spacerun: yes;">
</span>With the popularity of this radio play in Germany and several other
European countries, Johannsen gained significance prominence.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">When
<i>Brigade Exchange</i> commences, the listeners are quickly plunged into the
chaos of battle. “The time is summer, 1918.<span style="mso-spacerun: yes;">
</span>Place: A sector held by a German division on the Western front: the
telephone post.” The radio program opens with an announcement that includes: “this
dramatization pictures a man’s memory of hours spent in a telephone dugout
behind the German lines.” There are twenty-one voices for named characters in
the script and nine other German voices designated by the letters A through I. <span style="mso-spacerun: yes;"> </span>In addition, there are nine different French
voices. The main voice operating the switchboard belongs to the character named
Schneider.<span style="mso-spacerun: yes;"> </span>He diligently strives to
handle the needs and requests of the soldiers and officers in the field.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Since
<i>Brigade Exchange</i> is a radio play one perceives the war through the
sounds of guns, fear in the voices of men, artillery firings, bombs exploding
and cries of wounded soldiers. Added to this chaos is the constant ringing of
the telephone switchboard. On every page of the script, the switchboard
receives at least one call. <span style="mso-spacerun: yes;"> </span>At the
beginning of the script, two soldiers, Mueller and Schmidt, receive a few
moments of relief from the business of war as they play cards in the telephone
dugout. This is the proverbial calm before the storm. Then the war begins to
bear down harder and harder on the location of the telephone switchboard.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
audience does not glean much information about each character, but Behnke
represents the youngest of men. He mentions in the script that tomorrow he will
celebrate his nineteenth birthday. <span style="mso-spacerun: yes;"> </span><i>Brigade
Exchange</i> does not focus on the lives of the soldiers or who they were in
civilian life.<span style="mso-spacerun: yes;"> </span>What it illustrates is
how each character reacts as the French army advances towards their location. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
Narrator provides the concluding images for the listening audience. “In the
corner of a dugout was found lying between his dead comrades, a badly wounded
telephone operator of a Brigade Exchange.”<span style="mso-spacerun: yes;">
</span>If the play has not convinced the audience that war is hell, the
Narrator provides one more image to hear. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Time has erased the
marks of the monstrous struggle.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>In the distance a
cemetery, at the roadside a few bent rails,</span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>tree stumps, a broken wall--that’s
all. Reflecting the wanderer</span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>rises, and gazes
toward the distant hills.<span style="mso-spacerun: yes;"> </span>As a pair of
brightly</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 2;"> </span><span style="mso-spacerun: yes;"> </span>colored butterflies flutter by he goes
slowly, down toward </span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> the<span style="mso-spacerun: yes;"> </span>cemetery to the ten
thousand dead comrades.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Brigade
Exchange</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> clearly illustrates the critical role that the
telephone played throughout World War One. It provided the only means of
instant communication for the different ground units. It was catastrophic when
the telephone communications were disrupted, and it frequently resulted in battles
being lost.<span style="mso-spacerun: yes;"> </span>Obviously, telephone
communication was a significant tool needed to win.<span style="mso-spacerun: yes;"> </span>When the play concludes with the loss of the
telephone dugout, it clearly prefigures the German loss of the war. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Brigade
Exchange</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> was banned and burned in 1933 after Hitler assumed
power.<span style="mso-spacerun: yes;"> </span>In 1939, Johannsen left Germany
to join his fiancée and son who in 1938 had moved to England.<span style="mso-spacerun: yes;"> </span>The initial English translation of this radio
play appeared in 1928-29, it was quickly called the German version of R.C. Sherriff’s
(1896-1975) play <i>Journey’s End</i> that premiered on the London stage in 1929.
</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Johannsen
lived in England from 1939 until 1957. He became associated with the British
Broadcasting Company (BBC) and his plays were translated and aired on radio.
The English version of <i>Brigade Exchange</i> was adapted for broadcasting by
Dulcima Glashy (a playwright and children’s author) and I.D. Benzie
(1902-1988). Isa Donald Benzie was a female BBC radio broadcaster.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Brigade
Exchange</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> was first aired by the BBC on March 25, 1930 and it
was described as a “A Sound Picture.”<span style="mso-spacerun: yes;"> </span>The
<i>Yorkshire Post</i> <i>and</i> <i>Leeds Intelligence</i> newspaper described
this program as “one of the most vivid war plays ever broadcast.”<span style="mso-spacerun: yes;"> </span>The cast of fifteen actors was headed by
Phillip Wade (1896-1950), Francis de Wolff (1913-1984) who I am guessing played
the role of Behnke whose nineteenth birthday was to be the next day, and Dennis
Arundell (1898-1988) whose actual WWI experience included being gassed.<span style="mso-spacerun: yes;"> </span>This broadcast continued to be aired
throughout England, Scotland, and Ireland during the 1930s. <i>The
Stage</i> reported on 30 June 1938 that <i>Brigade Exchange</i> will be
televised on July 3, 1938. I have not found another reference regarding a
television production.<span style="mso-spacerun: yes;"> </span>A more recent
production of <i>Brigade Exchange </i>was created in October, 2003 by the
London theatre group Two’s Company.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In
addition to <i>Brigade Exchange,</i> Johannsen wrote several novels and five
other radio plays between 1928 to 1970, but none of them achieved the level of
success enjoyed by this radio play.<span style="mso-spacerun: yes;"> </span>In
later life Johannsen turned his career to writing film scripts, and he is most
remembered for his achievements in film.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: .5in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">NOTES:<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 150%; margin-left: .75in; mso-add-space: auto;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 150%;">The
copy of <i>Brigade Exchange</i> I read was prepared by Will Jonson in 2013. It <span style="mso-spacerun: yes;"> </span>clearly states
that this “modern edition has been carefully prepared and is not a facsimile.”
The English text I used in this post is from this edition. <br /></span></p>
<p class="MsoListParagraphCxSpLast" style="line-height: 150%; margin-left: .75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;"> 2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 150%;">There
are a few articles that discuss how <i>Brigade Exchange</i> compares with <i>Journey’s
End</i>. Jonson discusses several of the “broad similarities” in his
“Introduction” to the script. </span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-68558208061017396672021-05-27T21:00:00.000-04:002021-05-27T21:00:57.542-04:00MALLESON’S TWO CENSORED ONE-ACT PLAYS<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Miles
Malleson (1888-1969) wrote ‘<i>D’ Company</i> in late 1914 when he was a Private
in a British Territorial battalion assigned to Malta. <i>Black ‘Ell</i> was
written in the Fall of 1916. These two one-act plays were published in a single
volume in November,1916. The book was available for sale at Hendersons, a
bookstore located on London’s Charing Cross Road. On the first day that this
book was available, the police accompanied with military members entered
Hendersons and confiscated all the books. The British Government then banned
the two plays from being staged in theatres. The rational for these two actions
was that the plays were deemed to be “a deliberate calumny of the British
soldier.” Malleson retorted “To write a deliberate calumny of the British
soldier was the last thing I wanted to do, yet the book was called that by a
cabinet minister who had not read it.” It was not until 1925 that these two
plays were cleared for publication and in 1926, they were each granted the
opportunity to be licensed for performance.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">From
today’s perspective it is easy to understand why these two plays, written from
a soldier’s point of view in the early years of World War One, would be banned
by the government. ‘<i>D’ Company</i> reveals a glimpse of what life was like
for recently inducted British soldiers, who were deployed to face the enemy in Malta.
The playwright specifically sets the time of this play as “October 1914” and “the
Great War is now in its third month.” <span style="mso-spacerun: yes;"> </span>Malleson states “It is, in one sense real:
there is scarcely a sentence in it that I did not hear, or an episode I did not
witness.” The play illustrates that the training these young soldiers received
was inadequate and haphazard. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
officer in charge of ‘<i>D’ Company</i> is Corporal Charles Joyner, he is about
fifty years old and his job in London was to mend roads. The soldiers are all
young, uneducated men who are “Very much English civilians under their khaki
uniforms.” There is one Cambridge University educated, upper class Private in
this unit named Dennis Garside. These young men are barely being prepared to
face an enemy in combat. It is a poignant theatre piece that would have been
distressing to readers and audiences in its time, and I found that it remains so
today. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Black
‘Ell</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">,
Malleson’s, other censored one-act play, dramatizes how war is perceived
differently by those on the home-front from the young soldiers engaged in the battles.
The situation revolves around Harold Gould, a soldier from an upper-class
background, who arrives home from the Front to receive the Distinguished
Service Order (DSO). This recognition is being given to him for extraordinary
service in combat. During one battle, Harold killed six enemy soldiers.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">While
his parents, girlfriend and others herald him a hero, Harold realized that the German
soldiers he killed were young men just like him who will be mourned by their
loved ones. Harold only remembers killing one soldier who, just prior to his
death, reached for a picture of his sweetheart that he wore around his neck.
Harold believes he may have done the same thing if he was dying. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Harold’s
other realization is that many of his fellow British soldiers never had a
chance to have a better life since they lacked education and opportunity. Harold’s
two perceptions suddenly put the war into a different perspective for him and
he believes that the war needs to cease immediately. He resolves not to return
to the Front and fight.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Black
‘Ell</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">’s
strong antiwar message became useful to the League of Nations Union. This
British organization was formed in 1918 and local chapters developed in cities
throughout the kingdom. The League’s major goal was to maintain a permanent
peace between nations. Many cities throughout England formed their own local
chapters of this organization. <i>Black ‘Ell</i> was presented by numerous
dramatic clubs all over Great Britain throughout the 1920’s and 1930’s. Many of
these productions were sponsored by the League of Nations Union. <i>Black ‘Ell</i>’
was also presented in Canada and the United States by numerous nonprofessional
dramatic organizations throughout this same postwar period.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 21.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">During
October 2003, ‘<i>D’ Company</i> and <i>Black ‘Ell</i> were presented in London
by Producer Graham Cowley under the general title of “Forgotten Voices From the
Great War.”<span style="mso-spacerun: yes;"> </span>A short article by Rob
Speight in <i>Stage</i> on October 23, 2003 stated that the producer and
directors of the plays “can be sure they will instill the real horror and
tragedy of war on unsuspecting audiences.”</span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-14213831165417113962021-04-06T15:40:00.002-04:002021-04-06T16:56:46.111-04:00LENNOX ROBINSON’S THE BIG HOUSE “Four scenes in its life” <p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
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</p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This play keeps
marinating in my mind. The more I think about <i>The Big House</i>, the more I
comprehend the after-effects World War One had on Ireland and the Irish people.<span style="mso-spacerun: yes;"> </span>Thus, it has taken me longer than normal to
seat myself in front of the computer to write this post. <i>The Big House</i>
was written in 1926 by Lennox Robinson (1886-1958). Robinson was an established
Irish playwright, who also served twice as Manager of the Abbey Theatre in
Dublin (1910-14 and 1919-23). </span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhto-ERDjx5hZeMq_I-pVVJBFiU_dhNCQXRIRjZLCz_5qJssUtRRKpcLzLOWJ-8ebE6Iaq2h4_gfFjdyfSLXVEpmNstipDCJdhdWDG_4yOofZKWEnYrb9ea2j8gCOA4JdYGbfcQZJ1bxgM/s660/Lennox+Robinson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="660" data-original-width="373" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhto-ERDjx5hZeMq_I-pVVJBFiU_dhNCQXRIRjZLCz_5qJssUtRRKpcLzLOWJ-8ebE6Iaq2h4_gfFjdyfSLXVEpmNstipDCJdhdWDG_4yOofZKWEnYrb9ea2j8gCOA4JdYGbfcQZJ1bxgM/s320/Lennox+Robinson.jpg" /></a><br /></div><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> <span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span> LENNOX ROBINSON<br /></span><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The title <i>The Big
House</i> refers to the grand country homes that had been built and owned for several
centuries by Englishmen who often lived on the income their Irish estates afforded
them. These families educated their sons in England, practiced Protestantism
and married their children to English citizens. There was little attempt by
these landowners to treat the Irish men and women, who paid rent to live on their
property and to work the land for their landlord’s profit as anything other
than servants. Robinson’s story is about a big house in County Cork named
Ballydonal House and the playwright immediately informs the reader that the
play represents: “Four scenes in its life.”</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene I. The large
drawing-room at Ballydonal House. It is a November morning in 1918, about 10:30
A.M. It is the day the Armistice is to be proclaimed at 11AM. Captain Despard
(English) is visiting the Alcock family and he is in love with Kate Alcock. Her
brother Ulick is Despard’s best friend. Kate admires Ulick because he cares
about the house and property as she does. She plans to work with him when he
returns from the war to restore the house and make the land more
profitable.<span style="mso-spacerun: yes;"> </span>As peace is declared, the
Alcock family learn that Ulick was killed in battle three days ago.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene II. Dining-room at
Ballydonal House. A June evening, 1921. The scene is set in the Dining Room and
dinner has concluded. Mr. & Mrs. Alcock are sitting at the table dressed in
formal attire.<span style="mso-spacerun: yes;"> </span>She is talking about
talking a trip.<span style="mso-spacerun: yes;"> </span>He will not go anywhere
since he is waiting till he is put out of his home or his house is burned down.
The Alcocks have very little financial resources since his ancestors sold most
of the valuables in the house over the past centuries. Alcock has no income
since the Irish tenants stopped paying their rent. Kate arrives pale and upset.
Kate speaks of being an outsider in Ireland. She wants to be accepted, since she
has known these Irish people all her life.<span style="mso-spacerun: yes;">
</span>She believes the problem is based on the thinking that is always “Them”
and “Us.” Captain Despard arrives to talk with Kate. Currently he is assigned
by the British government to the Auxiliaries, a counter-insurgency unit, until
the “Black and Tans” arrive in this area. He never desired to return to
civilian life after his service in WWI. <span style="display: none; mso-hide: all;">ouse. Nov\. <span style="mso-spacerun: yes;"> </span></span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene III. A February
night, 1923.<span style="mso-spacerun: yes;"> </span>Same room as previous scene
but room is somewhat changed. The mail has arrived and there are two letters
from Kate who is living and working in London. Unexpectedly, Kate arrives home and
she plans to stay. She was “too blatantly Irish” for the Londoners. Kate’s
parents reveal that they are broke. They have received no rents for three
years. Three Irish men in trench coats enter and tell the family that they have
five minutes to leave the house before Ballydonal House is blown up and burned.
The family leaves and the Leader tells his men to place the mines where Annie (the
maid) showed them.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene IV. A corner of the
garden early the next morning before sunrise. The cold light grows brighter as
the scene progresses. The corner of a summerhouse can also be seen.<span style="mso-spacerun: yes;"> </span>Reverend Brown and Atkins, the butler, enter
carrying a sofa. The family is in the coach-house. Everything in the Library
was lost to the fire, but some other items were saved.<span style="mso-spacerun: yes;"> </span>Mr. Alcock is relieved the fire has taken
care of his problems and stress. Mrs. Alcock has it all planned that the family
will go to Bournemouth, England where she will be happy. Kate will go with her parents
to get them settled and then she plans to return to Ballydonal. Kate believes: “Ireland
is not more theirs than ours.”<span style="mso-spacerun: yes;"> </span>The car
arrives and as the family begin to leave, Atkins calls Miss Kate back.<span style="mso-spacerun: yes;"> </span>He claims to have seen Master Ulick in the
summerhouse. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This play is a major
display of the characters’ attitudes (Them and Us) that helps provide some
understanding of the issues relating to Ireland’s struggle for independence. Robinson
also portrayed many of the circumstances faced by the Ascendancy families who
had lived in Ireland for centuries.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">However, equally
significant is some knowledge regarding the circumstances and relationship
between England and Ireland following World War One. This political background is
necessary to appreciate <i>The Big House</i> more fully. I selected several of
the historic points that are helpful.</span></p>
<p class="MsoListParagraphCxSpFirst" style="line-height: 115%; margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">Home
Rule/Irish self-government was promised in 1912 by the British Liberal
Government, but it was never implemented. The British promise was never an
acceptable idea by an Irish political group who became known as the Ulster
Volunteer Force. By 1914 when WWI started, Ireland seemed bound for civil war,
but the European crisis curtailed that movement.</span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 115%; margin-left: 0.75in; mso-add-space: auto;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;"> </span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 115%; margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">After
WWI ended in 1918, the Irish Republican Party won the general election and
declared Irish independence in January,1919. This declaration was never granted
by England.</span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 115%; margin-left: 0.75in; mso-add-space: auto;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;"> </span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 115%; margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">The
Irish War of Independence (1919-1922) was fought between the Irish Republican
Army and British forces. The Black and Tans were auxiliary British forces which
joined the fray in 1920 and these units were brutal. Many of the Black and Tan
recruits were former soldiers from British units that fought in WWI.</span></p>
<p class="MsoListParagraphCxSpMiddle"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;"> </span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 115%; margin-left: 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.25in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">Another
consideration that is alluded to in the play is the major loss of life for the
generation of men serving in both the British and Irish units. These young men were
the next generation who would have represented both countries and perhaps
provided different opinions as well as outcomes to the political situation.</span></p>
<p class="MsoListParagraphCxSpLast"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Big House</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
was first performed on September 6, 1926 at the Abbey Theatre in Dublin under
the direction of the playwright. <span style="mso-spacerun: yes;"> </span>It opened
in London at The Playhouse on February 21, 1934 staring Alison Leggatt
(1904-1990) as Kate. <span style="mso-spacerun: yes;"> </span><i>The Big House</i>
had been staged prior to its London premier in other English cities such as
Liverpool (1928), South Yorkshire (1929) and Manchester where it opened on
February 18,1929. The play was published in 1928 by Macmillan, London. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Abbey Theatre Irish
Players presented <i>The Big House</i> in the United States during its 1932-33
tour of the United States. The play had its New York City debut on January 2,
1933 at the Martin Beck Theatre. This tour presented <i>The Big House</i> in at
least seven other American cities.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The Big House</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> was
also presented on the British Broadcasting Radio during the Spring of 1939 by the
Abbey Theatre Irish Players. The April 10,1939 announcement in <i>The Guardian</i>
indicated that the program would be aired in London, North, Wales and Scotland
on that evening.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The most recent
production of <i>The Big House</i> opened on August 1, 2007 at the Abbey
Theatre in Dublin. This production was presented for five weeks. </span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">NOTE: </span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The photo of Lexxon Robinson was the promotional image for his first American lecture tour, October 1928-January 1929. <br /></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> <br /></span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-79436181160157105212021-02-06T11:42:00.000-05:002021-02-06T11:42:23.471-05:00VELONA PILCHER’S THE SEARCHER—A WAR PLAY <p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
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</p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Velona Pilcher’s
(1894-1952) service as a Red Cross Searcher in France during 1918-19 inspired
her to write a play in 1928-29 that shared some of her experiences and other
incidents she had witnessed. Pilcher was born in England. Her father was
British and her mother was American. Both of her parents had died by the time
she was seven years old. She was raised in the United States by an aunt. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">After Pilcher graduated
from Stanford University, she volunteered for war related work as a member of
the Stanford Women’s Relief Unit. This organization required its women serving
in Europe to be at least twenty-five years old, Pilcher was too young for the
assignment she desired. Eventually she was accepted for European service by the
British Red Cross. Pilcher’s Red Cross work took place in France close to the
Front at Bazeille-sur-Meuse where her primary assignment was to identify
missing soldiers. Her title was “Searcher.”</span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Searcher</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
is one of the most unusual scripts I have ever read. Normally I prefer to read
a play in one sitting.<span style="mso-spacerun: yes;"> </span>I found that I
had to stop reading after each one of the first three scenes, I needed time to
absorb the scene. There are eight scenes in the play and each one is written so
that a reader or an audience member experiences it through the eyes of
Searcher.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Pilcher’s instructions in the printed
version of the play state: </span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: .25in; text-indent: .5in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">There is no
interval in this performance and there is no silence</span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: .25in; text-indent: .5in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">during the seven
short rests between scenes, but across the moments of</span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: .25in; text-indent: .5in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">darkness a
theatrical kind of music—composed of the natural noises of war</span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: .25in; text-indent: .5in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">unnaturally
echoed, accented and anticipated—carries on the action, </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: .25in; text-indent: .5in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">bridging
the broken places with significant sound.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The reprinted version of
the script includes a photograph for each one of the nine wood-engravings by
Londoner Blair Hughes-Stanton (1902-1981).<span style="mso-spacerun: yes;">
</span>The first image is “The Curtain” and a different wood-engraving
introduces each scene. The wood-engravings contribute greatly to the reader’s
ability to envision the location and mood of each scene.<span style="mso-spacerun: yes;"> </span>The first edition of the <i>The Seacher</i> contains
photographs of the wood-engravings and it was published in 1929 by Doubleday,
Doran & Company, Inc. Garden City, N.Y. The book was initially released in New
York City and London bookstores on the same day. There have been at least four
editions published between 1929 and 2015. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Scene One commences as
Reveille is played. The setting is in the empty ward of an Evacuation Hospital.
The Red Cross Searcher enters as the day begins. She is met by a young Sergeant
who informs Searcher, a woman in her early fifties, of her duties which relate
to searching for missing soldiers among the patients as well as distributing
Red Cross supplies.<span style="mso-spacerun: yes;"> </span>She is also expected
to read and write all personal correspondence for incapacitated patients. The
patients begin to be brought into the ward and Searcher begins her duties for
the day. As the scene is ending, Searcher is reprimanded because she questioned
a regulation concerning not being allowed to give comfort to a wounded enemy
soldier.<span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> <br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJHet9UpGuNSCwlbkbdu2KwMCCuld_2OUiWJSJrArm8LQZFFA77EsxDpRJ_oCnJLQ7HvNXzfe9wWsvNg7LybMWG60oVjFQY9juAZDcxAW2ScPhLMYc45R1bv-wFDZ7sFgnucexO2IksXs/s1015/Searcher+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="762" data-original-width="1015" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJHet9UpGuNSCwlbkbdu2KwMCCuld_2OUiWJSJrArm8LQZFFA77EsxDpRJ_oCnJLQ7HvNXzfe9wWsvNg7LybMWG60oVjFQY9juAZDcxAW2ScPhLMYc45R1bv-wFDZ7sFgnucexO2IksXs/s320/Searcher+1.jpg" width="320" /></a></div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Scene One <br /><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It is through Searcher’s
eyes that one envisions and comprehends World War One. Searcher is increasingly
exposed to the difficulties and realities of a make-shift hospital located near
the Front. While the play is based on past events, there is a moment in Scene
Three that really resonates today. The entire staff is assembled quickly and
commanded to wear “influenza-masks” as a precaution against the “present
epidemic pestilence or plague” whenever they are in the hospital’s wards.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Searcher’s duties take
her to several locations throughout the play. Scene Three is a repeat location
of Scene One, but this time it is afternoon. During Scenes Two, Four and Six,
she has a small table to use as desk. This station is in the Cinema Hut. Scene
Five is muddy path outside between Huts. Scene Seven is the interior of an
ambulance train with two tiers of bunks lining the walls and Scene Eight is a
graveyard that also utilizes the strong perspective lines of a tunnel that is
suggested in the other locations.<span style="mso-spacerun: yes;"> </span>The
scenic and lighting design further illustrate that <i>The Searcher</i> is not a
realistic drama.</span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnllIRPrRy98_gKbu6atV6G-habSzsXW6P0hyphenhyphen5ilUM_TU6Wp2CGMIgHkc38uKTRatlm8WO4w1RKJuWubGeU9jkenI5va4z_M89rjRzO8GVTypf73IQsjvJGgzCNB1F76LMCaKAiGc7KIo/s976/Searcher+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="727" data-original-width="976" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnllIRPrRy98_gKbu6atV6G-habSzsXW6P0hyphenhyphen5ilUM_TU6Wp2CGMIgHkc38uKTRatlm8WO4w1RKJuWubGeU9jkenI5va4z_M89rjRzO8GVTypf73IQsjvJGgzCNB1F76LMCaKAiGc7KIo/s320/Searcher+2.jpg" width="320" /></a></div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Scene Two<span> </span><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKEhQebHeNbIndzt2dXbRgO4tT0hp_VI6iALlvMveuV2GmHpLqXijaMtP2G1IS7oqX4-GaltxikKSjEaiH28B7xCDNKESO7CXrzRKIX9UYKZ45Db-GnbeqCh_dLI0nebAf-1OjRaAGL6k/s877/Searcher+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="877" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKEhQebHeNbIndzt2dXbRgO4tT0hp_VI6iALlvMveuV2GmHpLqXijaMtP2G1IS7oqX4-GaltxikKSjEaiH28B7xCDNKESO7CXrzRKIX9UYKZ45Db-GnbeqCh_dLI0nebAf-1OjRaAGL6k/s320/Searcher+3.jpg" width="320" /></a></div><span> </span><span> </span><span> <span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Scene Three <br /></span><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVCORr-1kR04p6TNW_1RghyQ05gbBIRkJ3LvM8szQoCKcJziAYHuMYs9HuQNIJ2bMEgc93UC8DPGb4MGXPlXZbJWp701KnhXNS-RxdCR84wE2BZYx7s0EukYsBXamDkcTfjYQW2yIGPQ/s946/Searcher+7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="659" data-original-width="946" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVCORr-1kR04p6TNW_1RghyQ05gbBIRkJ3LvM8szQoCKcJziAYHuMYs9HuQNIJ2bMEgc93UC8DPGb4MGXPlXZbJWp701KnhXNS-RxdCR84wE2BZYx7s0EukYsBXamDkcTfjYQW2yIGPQ/s320/Searcher+7.jpg" width="320" /></a></div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Scene Seven<span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0sjOCAYdNpGwwNXEFml3s4eYnX-Z5q7RYcPLNTqxEKYhtXcsGnUSgy0HXmCWUmkgiJG9g61zEFcGME6feKTvmD7g44UgKElpNz_-Blf-jXMAjY6bsTgtQQsV_ezFrH_CXc0R2ayuMGkA/s859/Searcher+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="740" data-original-width="859" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0sjOCAYdNpGwwNXEFml3s4eYnX-Z5q7RYcPLNTqxEKYhtXcsGnUSgy0HXmCWUmkgiJG9g61zEFcGME6feKTvmD7g44UgKElpNz_-Blf-jXMAjY6bsTgtQQsV_ezFrH_CXc0R2ayuMGkA/s320/Searcher+8.jpg" width="320" /></a></div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> Scene Eight</span> <p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This script has many
elements that place it in the category of Expressionism, but the story Pilcher
tells drives the style rather than the reverse.<span style="mso-spacerun: yes;">
</span>All the scenes in <i>The Searcher</i> have vivid descriptions of the
sound effects. Pilcher emphatically details all the staging elements. I found while
reading the play that several times the sound descriptions caused me to have a
sensation of being hammered by overwhelming noise. The play requires the
constant sounds of war throughout, just as Pilcher stipulated for the short
intervals between scenes.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">While words of songs are
in the script there is no mention of the music. There was an original score
written for the 1930 London production. It was created by Edmund Rubbra
(1901-1986), who later in his career became a renowned composer. The <i>Northampton
Mercury </i>in its March 28, 1930 edition mentions that “young Edmund
Duncan-Rubbra” was commissioned to write the music. It stated that the
production “will to be on very Modernist lines as the whole of it will be
rhythmic like a ballet. The orchestra is a curious one, a piccolo, violin,
double base, piano, side drum, tympanum, Chinese cymbal and tambourine.” It is
my understanding that this is the only work of Rubba’s that has never been
published or recorded.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Searcher</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
opened on May 23,1930 at London’s newly established Grafton Theatre located in
Tottenham Court Road. Judith Wogan (circa:1888-1966) had an old cinema remolded
for this experimental theatre that was managed entirely by women. The Grafton
was a small theatre with 250 seats. A modest sized revolving stage was
installed to create rapid scene changes.<span style="mso-spacerun: yes;">
</span>This would have been a great asset for staging <i>The Searcher</i>.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The June 19,1930 issue of
<i>The Stage</i> reported that the schedule at the Grafton Theatre for <i>The
Searcher</i> would change to one evening performance and one matinee each week.
I have no information regarding how long this play remained in the repertory.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Prior to the London
premier of <i>The Searcher, </i>Yale University’s School of Drama staged a
production in March,1930. It was directed By George P. Baker (1866-1935), the
faculty member who served as one of the founders the Yale School of Drama.<span style="mso-spacerun: yes;"> </span>The set was designed by Donald Oenslager
(1902-1975) a young Yale faculty member, who became one of the most recognized
names in American scene design during the twentieth century.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In July of 1930, a story
circulated in newspapers throughout the United States and Canada titled “Female
‘Journey’s End’ Bows.” It mentioned that <i>The Searcher</i> was following the
ideas of R.C. Sherriff’s <i>Journey’s End</i>, but from a female point of view.
</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I read about two
productions of this play performed since 2000. A workshop production of <i>The
Searcher </i>was presented in 2003 by London’s Two’s Company. It was part of
this theatre’s Forgotten Voices series that featured plays related to World War
One. This theatre designated its production of <i>The Searcher</i> as part of
Greenwich Theatre’s Musical Futures.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In 2008, Two’s Company
again staged <i>The Searcher</i> at London’s Greenwich Theatre. It was directed
by Graham Cowley (????-<span style="mso-spacerun: yes;"> </span>). Two’s
Company had joined with Nitro in 2008, a group developed in 1979 that created
opportunities for black artists in Great Britain. I have neither found any
additional information that would add to an understanding of this production,
the length of its run, its major participants nor reviews of the presentation.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Searcher</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
is a gripping play that draws the reader into its emotional energy as well as
its storyline. </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">NOTE:</span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: .5in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">Further
reading: Purkis, Charlotte. “The Mediation of Constructions of Pacifism in
Journey’s End and The Searcher, two Contrasting Dramatic Memorials from the
Late 1920’s.” <u>Journalism Studies</u> 17<span style="mso-spacerun: yes;">
</span>February 2016: 1-15.<span style="mso-spacerun: yes;">
</span></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;"> </span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-22687739912568496372020-12-07T21:01:00.006-05:002020-12-20T14:18:39.608-05:00FLEISSER’S PIONEERS IN INGOLSTADT (PIONIERE IN INGOLSTADT)<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">During
the summer of 1926, Bertolt Brecht (1898-1956) convinced Marieluise Fleisser (1901-74)
to return to her hometown of Ingolstadt, Bavaria. He went with her to observe
the impact a company of Pioneers (the German term for military engineers) had
on her hometown of Ingolstadt. Brecht was particularly interested in observing
the effect the young engineers had on the local teenage females.<span style="mso-spacerun: yes;"> </span>The Pioneers were in Ingolstadt to build a
wooden bridge over the Danube River. Brecht’s goal was to direct Fleisser’s play,
however, he envisioned the story could lend itself to an evolving style of
theatre that would later become known as Epic Theatre.<span> </span></span></p><p class="MsoNormal" style="line-height: 200%; margin-top: 12pt; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span> </span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZ5QSdlgFi9smBqqrjhyphenhyphenuRAmDiG86YcOTy5Ehz1m-Ib4njFzZs9fH-vhmNE8lMB5CUggTIYAmkq-h9rghRAg6Yvk4ArFDLKn4Ukk3CMpiIZYMJc2jvlP1hjtsaETkO8jGT2fMxDzy1S4/s1261/Marieluise+Fleisser.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1261" data-original-width="978" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZ5QSdlgFi9smBqqrjhyphenhyphenuRAmDiG86YcOTy5Ehz1m-Ib4njFzZs9fH-vhmNE8lMB5CUggTIYAmkq-h9rghRAg6Yvk4ArFDLKn4Ukk3CMpiIZYMJc2jvlP1hjtsaETkO8jGT2fMxDzy1S4/s320/Marieluise+Fleisser.jpg" /></a></span></span></div><div style="text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span> MARIELUISE FLEISSER</span></span><br /></div><div><p></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The
plot of this play focuses on two separate groups of individuals and what
happens when they are placed together in the small walled city of Ingolstadt—population
of about 27,000. Each group has its own rules and regulations as well as
desires. One group consists primarily of the citizens of Ingolstadt, mainly
teenagers both males and females.<span style="mso-spacerun: yes;"> </span>The
second group is the Pioneers who are there to build a wooden bridge over the
Danube River. The adolescents desire to break out of their normal routines and
taste life, while the Pioneers want to enjoy life through sexual adventures,
alcoholic consumption and forgetting the tensions created by their overly
strict Sergeant. This play also demonstrates life in a small German city after
World War One. It illustrates the absence of adult guidance as well as the lack
of opportunities for the youth. <span style="mso-spacerun: yes;"> </span>The peace
treaties following World War One war had abolished Germany’s ability to have trained
military units. However, the strict military style of management continued to
exist for Pioneer units. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The
play is described as “A Comedy in 14 scenes.” This play is a very dark comedy. Several
of the scenes are composed of a variation on the idea of a French Scene.<span style="mso-spacerun: yes;"> </span>In “Pioneers” these scenes have a single
location, but a different set of characters enter after the previous ones have exited.
</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
One is “Near A City Gate.” (This is one of the scenes described above.) Each
segment of this scene is designated in the script by a Roman numeral:<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoListParagraphCxSpFirst" style="line-height: 150%; margin-bottom: 8.0pt; margin-left: .75in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 8pt 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">I.<span style="font: 7pt "Times New Roman";"> </span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%;">The Pioneers march on stage to music and
drill while they parade. Eventually they begin to set up a camp kitchen. Berta
and Alma, two teenagers, who are maids in local homes, watch them with
interest.<span style="mso-spacerun: yes;"> </span>They talk about the Pioneers
and want to meet them. Then Berta and Alma walk off.</span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 150%; margin-bottom: 8.0pt; margin-left: .75in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 8pt 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">II.<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%;">Zeck and Fabian are talking about meeting
girls and how to get to know them.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 150%; margin-bottom: 8.0pt; margin-left: .75in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 8pt 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">III.<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%;">Berta and Alma are sitting on a park
bench, singing a kitchen-girl song.<span style="mso-spacerun: yes;">
</span>When the Pioneers start to enter Alma stands-up. Berta stops her for a
moment, but then each girl goes in the opposite direction.<span style="mso-spacerun: yes;"> </span>Two of the Pioneers stop—Munsterer and
Rosskopt. They are interested in meeting girls when Alma returns.<span style="mso-spacerun: yes;"> </span>Munsterer and Alma interact a bit before he
leaves with Rosskopt. Jager arrives pushing his bicycle and he talks with Alma.
She gets on the bike behind him and they exit. <span style="mso-spacerun: yes;"> </span>The Sergeant enters and proclaims: “The town
isn’t friendly.” He exits.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoListParagraphCxSpLast" style="line-height: 150%; margin-bottom: 8.0pt; margin-left: .75in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 8pt 0.75in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">IV.<span style="font: 7pt "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 150%;">Korl, a Pioneer, and Berta enter and sit
on bench. They talk, but she is not ready for his advances.<span style="mso-spacerun: yes;"> </span>He leaves.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Two. Unertl’s household. “A covered balcony, with wash hanging from it.” Unertl
is sitting in a rocking chair and Fabian, his teenage son, is looking at the
rooftops. Berta is Unertl’s teenage maid.<span style="mso-spacerun: yes;">
</span>He is angry that she is gone from the house without his permission. Unertl
talks about the kind of woman he would marry.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Three. Swimming Pool in a Men’s Sports Club. Fabian and Zeck are talking about
females. They are eventually joined by Bibrich.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Four. <span style="text-transform: uppercase;">A </span>Beer Tent. This is one of
the longer scenes that shows the interaction between the local males and the
Pioneers. Berta and Alma arrive at the tent and the tension increases. There is
also a developing situation since some of the wood needed to build the bridge
is missing.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Five is set in the same local as Scene Three.<span style="mso-spacerun: yes;">
</span>The local police come to the club and ask Zeck and Bibrich about the
missing wood.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Six is at the Building Site.<span style="mso-spacerun: yes;"> </span>It is
night, just before last post. The skeleton of the bridge is visible. Korl, a Pioneer,
is upset with his Sergeant who has given him extra marching duty as
punishment.<span style="mso-spacerun: yes;"> </span>He is loosening some of the
bolts on the bridge as his revenge.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Seven is Unertl’s household. Berta who has finished the housework for the day desires
to leave the house.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Eight is the “Building site of the Bridge.” Morning mist and the Pioneers are
working. The Sergeant tells them that they will also start working a night
shift.<span style="mso-spacerun: yes;"> </span>When he finds bolts loosened on
the bridge, the Sergeant makes the Pioneers march with heavy wooden beams as
punishment.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Nine is an empty stage with a bed swaying in the air.<span style="mso-spacerun: yes;"> </span>Pioneers voices are heard swearing an oath of
truth.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Ten is in the Park on a Sunday. This scene has seven segments that illustrate
the developing relationships between the various Pioneers and local teenage females
as well as several local males.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Eleven is a street near the Danube.<span style="mso-spacerun: yes;"> </span>It
is getting dark. Two of the Pioneers are slightly drunk and are rolling a
barrel in front of them.<span style="mso-spacerun: yes;"> </span>Rosskopf wants
to have fun with a “civvy.” Both Pioneers decide to engage the civvy who is walking
behind them--Fabian. They trick him into climbing into the barrel and put on
the lid.<span style="mso-spacerun: yes;"> </span>When they leave, Fabian emerges
from the barrel.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Twelve is on the bank of the Danube. Fabian is standing on the bank. Noise of
oars from the Pioneers’ rowboat is heard as well as voices including the
Sergeant’s. When the anchor is heard being unwound, there is a scream.<span style="mso-spacerun: yes;"> </span>Fabian hears the conversation from the boat
about cutting the anchor’s cable. Fabian confronts the Pioneers when they land
without the Sergeant, but they ignore him.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Thirteen is in the Park. Alma wants to know if the Pioneers really attacked
Fabian. This short scene concludes with Alma agreeing to have sex with Fabian
and they go “into the bushes.”</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene
Fourteen is the bridge building site. Spotlights light the night sky so the
finishing touches can be made to the bridge. The Pioneers are to leave Ingolstadt
by dawn. They are scheduled to have completed this bridge project. The Pioneers
are working when Berta arrives.<span style="mso-spacerun: yes;"> </span>She
wants to talk with Korl, who she thinks loves her and will take her with him.
He flings “himself with her into a bush.” When he emerges, the Pioneers jeer
and whistle. A photographer comes to take a photo of the Pioneers who built the
bridge and then they line-up to leave this city. Korl arranges for Berta to get
a copy of the photo. The Pioneers start to sing as they begin to march away.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">When
Fleisser attended a dress rehearsal of the play, she became upset with Brecht’s
changes to the script and she left the theatre.<span style="mso-spacerun: yes;">
</span>She never returned to see the play and did not retain a script. <span style="mso-spacerun: yes;"> </span>Brecht’s production of <i>Pioneers in
Ingolstadt</i> premiered in 1929 at Berlin’s Schiffbauerdamm Theatre. He had
cast a young actor named Peter Lorre (1904-1964) to play the role of Fabian. In
a 1942 syndicated newspaper article titled “M.‘M’ Moves Up” by Dee Lowrance that
appeared in newspapers across the United States, Lorre claimed that “the very
day after it opened I was a star.</span></p><p class="MsoNormal" style="line-height: 200%; margin-top: 12pt; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS62WPZPiuaIgyENf10hwBzCp4hlmq48Q1ZWE_36cJ_8Bt5P6gi_hQtZmR6cYG7VdW-5CHFof8cu9OrPtAJSZcDJFTTd3eCGHSww_qdgYi-etAwZ8Jwn23C3SyJK5BbaxPnLlAsLSIjI/s1139/Peter+Lorre.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1139" data-original-width="592" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS62WPZPiuaIgyENf10hwBzCp4hlmq48Q1ZWE_36cJ_8Bt5P6gi_hQtZmR6cYG7VdW-5CHFof8cu9OrPtAJSZcDJFTTd3eCGHSww_qdgYi-etAwZ8Jwn23C3SyJK5BbaxPnLlAsLSIjI/s320/Peter+Lorre.jpg" /></a></span></div><p style="text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> PETER LORRE as FABIAN<br /></span></p><p></p><p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span></span><span> </span><span></span>Fleisser’s
story is different.<span style="mso-spacerun: yes;"> </span>The play created a
scandal involving her reputation since Brecht made the play provocative. Many
of the people in her hometown of Ingolstadt were enraged and supposedly her
father’s home was stoned.<span style="mso-spacerun: yes;"> </span><i>The
Observer</i> in London ran a story on October 23, 1929 that the Mayor of
Ingolstadt had written to editors of several leading German newspapers and his
letters were printed. Fleisser sued the Mayor, but the court upheld the view
that the mayor was justified and even doing his duty to defend local
reputations and the “good name of the city.” This ended Fleisser’s career in
theatre for four decades.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">However,
<i>Pioneers in Ingolstadt</i> was the vehicle that allowed Brecht to develop some
of his early ideas relating to Epic Theater. The cinematic effect of the scenes
where the location remains the same, but the characters change was an
innovation. Scene nine is a bit expressionistic in style, but it does have its
own nuanced manner. The two scenes where a girl was pulled into the bushes for
sex had to be shocking and executed in a manner Brecht was developing. Since
the script I read was revised from Brecht’s version, there is no way to know exactly
how his version read. </span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">It
was in 1967-8 when a copy of Brecht’s version of <i>Pioneers in Ingolstadt</i> was
found by Rainer Werner Fassbinder (1945-1982). Fassbinder a young film director
wanted to stage a production of the play.<span style="mso-spacerun: yes;">
</span>Fleisser was against his project, but eventually she was won over to his
production concept and she revised Brecht’s script. She had a different insight
into the script four decades after it was conceived and left some of Brecht’s
revisions. On March 1,1970 Fleisser’s new version of <i>Pioneers in Ingolstadt</i>
opened in Munich at the Residenztheater.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Fassbinder
adapted the play into a film that was made in November,1970 and it was
commissioned for television. His film premiered on May 19, 1971 on German
television and it was also shown at the 24<sup>th</sup> Cannes Film Festival
and later at the New York Film Festival.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Fleisser’s
revised version of <i>Pioneers in Ingolstadt</i> was published in Germany in
1971 with her other five plays. Twenty years later, this play was translated
into English by Elizabeth Bond-Pable and Tinch Minter.<span style="mso-spacerun: yes;"> </span><i>Pioneers in Ingolstadt</i> was presented in
London at the Gate Theatre opening on February 22, 1991. The play was also
presented on British Radio (BBC) and it was aired in both Ireland and England
as the “Sunday Play.” <i>Pioneers in Ingolstadt</i> was aired on BBC radio periodically
from 1991-1995.</span></p>
<p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">PHOTOS: </span></p><p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">1. Marieluise Fleisser: photo was in numerous sources including MARIELUISE FLEISSER SOCIETY INGOLSTADT eV.</span></p><p class="MsoNormal" style="line-height: 200%; margin-top: 12pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">2. Peter Lorre: 1929 Vintage pro ullstein bild saved by Winnie Cappucci.<br /></span></p>
</div>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-91061050424042325232020-10-31T17:29:00.007-04:002020-12-20T14:11:17.596-05:00MARIELUISE FLEISSER’S PURGATORY IN INGOLSTADT<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Marieluise Fleisser (1901-74) was born in the
Barvarian (German) city of Ingolstadt situated on the banks of the Danube
river. This is the city that she frequently left to seek the next stage of her
life, but to which she always returned. Ingolstadt is a walled city with a long
history. It was also known for having a military base that served as a basic
training facility and maintained a stockade. <span style="mso-spacerun: yes;"> </span>Following World War One, the military training
center and prison were closed as required of Germany by the peace treaties
signed during 1919 and 1920.</span></p><p class="MsoNormal" style="line-height: 200%; text-align: left;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHHo-TYAa76_jO72BhNxMgHLq5qOgQy9ngf8ktctQo68K2vD1d4Qqw6JXhyphenhyphenQeXh9hwgW1LbD0vZA_eCpm1gHl_lGMJfyHkK3OEiwCLcg7MyB_pUMItD2aSpO0GfAc4MHYKR0rSI_5cwTw/s1261/Marieluise+Fleisser.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1261" data-original-width="978" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHHo-TYAa76_jO72BhNxMgHLq5qOgQy9ngf8ktctQo68K2vD1d4Qqw6JXhyphenhyphenQeXh9hwgW1LbD0vZA_eCpm1gHl_lGMJfyHkK3OEiwCLcg7MyB_pUMItD2aSpO0GfAc4MHYKR0rSI_5cwTw/s320/Marieluise+Fleisser.jpg" /></a></span></div><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span> MARIELUISE FLEISSER</span><br /><p></p><p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Purgatory in Ingolstadt</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
(<i>Fegefeuer in Ingolstadt</i>) was Fleisser’s first play written in 1924 and it reflects teenage angst and
relationships in Ingolstadt several years after World War One concluded. The
play illustrates the lack of adult authority during this period with the two
families in the play having only one parent each. The childhood of these
teenagers was perverted by World War One and they gain their strength by
banning together to be either against anyone that is different or any situation
they do not comprehend.</span>
</p><p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Purgatory in Ingolstadt</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">
is a play written in six scenes. The characters in the first scene are the Berotter
family members: three teenage children (Olga, the older daughter, Clementine,
and Christian) and their father, Berotter. The other characters in this scene include
Roelle, a teenage boy in love with both Olga and religion, Roelle’s Mother and
Peps, Olga’s boyfriend who is the father of her unborn child. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene One takes place in
the living room of Berotter’s home. Berotter is with his daughters Olga and
Clementine. Soon Christian arrives home and joins the disputatious family discussion.
The scene is less about story and more about revealing dysfunctional
relationships between members of the family as well as among several of their
teenage companions.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene Two is later the
same day.<span style="mso-spacerun: yes;"> </span>Olga, Peps, Hermione and Roelle
are heard talking from backstage. Within two short speeches Peps forcefully
drags Roelle on stage and he is followed by the two girls.<span style="mso-spacerun: yes;"> </span>They appear to be just out and about since no
specific location is indicated. The city of Ingolstadt also had a long
tradition of being devoutly Catholic. The characters in the play have been
educated by nuns and priests. Roelle is exceedingly influenced by the religious
teachings.<span style="mso-spacerun: yes;"> </span>This scene reflects these
characters various levels of religious beliefs. Despite Peps education, he orders
Olga to have an abortion. He declares “a child’s no use to me.” This scene as
well as others in the play feature the unfiltered emotions and desires of
teenage characters who are without plans for their future. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene Three takes place
on “an avenue.” Protasius, a teenage boy who Olga fears, is pestering her and
she is afraid. He wants her to be his contact with Roelle since Protasius has
been ordered not to contact him. A Doctor Hahne wants to observe Roelle’s
religiosity. Olga will not carry Protasius’s message to Roelle.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene Four is in a side
alley at a fair. Roelle and Two Altar Servers are behind a gypsy’s caravan.
Roelle is trying to prepare himself to appear before an audience at the fair.
He is to demonstrate hearing the voices of angels.<span style="mso-spacerun: yes;"> </span>When a frightened Roelle fails to communicate
with the angels, stones are thrown at him until he collapses.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene Five is on a
balcony between roofs at Berotter’s house. Roelle’s head is bandaged with blood
seeping through. Olga, Clementine, Christian, Peps and Hermione are also in the
scene and they are drinking wine.<span style="mso-spacerun: yes;">
</span>Christian continuously goads Roelle. Eventually Olga starts to defend
him. The bickering among the character subsides when Berotter arrives. Olga
tells him she is having a child and he collapses. The teenagers leave. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Scene Six is a meadow on
the bank of the Danube River. The scene starts with Protasius telling another
boy that Olga has thrown herself into the river, but Roelle pulled her out.
Protasius plans to go to a newspaper reporter and give him the story. After he
leaves the scene, the other boys arrive including Olga and Roelle. The boys
hassle both Olga and Roelle until Roelle’s Mother arrives and blames Olga for
her son’s problems. Olga leaves and Roelle’s Mother fails to help her son who then
turns against her.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This play clearly
illustrates the dysfunctional family structure with neither any sense of
parental authority nor idea of how to cope with the occurring radical social
changes. There is antagonism between the generations and no structure to help the
teenagers build a better future. It clearly illustrates that there is little or
no hope for them to have a prosperous future. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Lion Feuchtwanger
(1884-1958) a significant literary person in Germany during the 1920s,
introduced Marieluise Fleisser to Bertolt Brecht (1898-1956). Brecht was three
year older than Fleisser and gaining recognition for his early plays. Fleisser
had read Brecht’s plays had been impressed. She was pleased when Brecht asked
to produce “Purgatory.” <span style="mso-spacerun: yes;"> </span>He asked Moriz
Seeler (1896-1942) who had founded the Junge Buhne (Young Stage) to direct this
production for a single, showcase performance in his Berlin theatre. The play
was premiered on April 25, 1926. Seeler changed the title of the play from “The
Washing of the Feet” to <i>Purgatory in Ingolstadt</i>. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Fleisser’s plays were
banned in 1935 by the Nazis, but Fleisser had already retired from being a
playwright and was a housewife living in Ingolstadt. “Purgatory” and several
other of her plays were rediscovered in Germany during the early 1970’s. Prominent
German directors began to stage these newly discovered works and they were
favorably received. However, Fleisser’s plays were not available in English
until 1990, when “Purgatory” was produced in London at the Gate Theatre. It
premiered on March 1, 1990 to critical acclaim.</span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">PHOTO: Numerous sources including MARIELUISE FLEISSER SOCIETY INGOLSTADT eV.<br /></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> <br /></span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com1tag:blogger.com,1999:blog-7853252690884138641.post-57421583186334060732020-09-27T14:55:00.007-04:002020-12-20T14:55:10.542-05:00CAPTAIN BAIRNSFATHER’S THE BETTER ‘OLE<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Bruce Bairnsfather
(1887-1929) was huddled in a trench on the Western Front when he began to pass the
quiet time by drawing cartoons. His cartoons made his fellow soldiers laugh.<span style="mso-spacerun: yes;"> </span>They identified with his various characters
and their situations. By the end of March 1915, the British magazine “The
Bystander” published one of his cartoons. It was so well received that the
magazine’s editor asked Bairnsfather to send a cartoon for each of its issues. During
his time in the trenches, Bairnsfather would draw two cartoons a week for
publication. It took him about two days to complete one. <span style="mso-spacerun: yes;"> </span>Bruce Bairnsfather’s cartoons helped the
British people put a comic face on tragic circumstances that were part of their
everyday lives. He became the most famous cartoonist of World War One. <span style="mso-spacerun: yes;"> <br /></span></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmDTKKcUGxned0T9YTXr93Oxp0quApuJyg13rK4bYBVuz8MiG0q7cvdbEJzylDq2kknjx4auHgA_aFaTA4_QitFBFsPnEZx4iVG0eVVgq5DpWOzNk7fCLiMheyUTGeOf1VlnKd4WKKKD8/s690/Captain+Bruce+Bairnsfather.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="690" data-original-width="511" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmDTKKcUGxned0T9YTXr93Oxp0quApuJyg13rK4bYBVuz8MiG0q7cvdbEJzylDq2kknjx4auHgA_aFaTA4_QitFBFsPnEZx4iVG0eVVgq5DpWOzNk7fCLiMheyUTGeOf1VlnKd4WKKKD8/s320/Captain+Bruce+Bairnsfather.jpg" /></a></div><p><br /><span style="mso-spacerun: yes;"></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">In 1917 Bairnsfather and
Arthur Eliot (1874-1936) adapted several of his widely known cartoons into a
play format for the stage.<span style="mso-spacerun: yes;"> </span> </span></p><p class="MsoNormal" style="line-height: 200%; margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> <span> </span><span> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirmTFNoMhoIkc2_JqDfH7QeQzPJ__2qGYnAvHaj8TrMod-Cb_9nBSQP6M1ZJrXvgxjR_i2KUd4dgFCqf3Vd1Qtlb1oxjlbMFabMRkUo44mOYjJlXcYuLNz9B4dbPHOgRwGr-5_a1GYIYM/s543/ARTHUR+ELIOT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="504" data-original-width="543" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirmTFNoMhoIkc2_JqDfH7QeQzPJ__2qGYnAvHaj8TrMod-Cb_9nBSQP6M1ZJrXvgxjR_i2KUd4dgFCqf3Vd1Qtlb1oxjlbMFabMRkUo44mOYjJlXcYuLNz9B4dbPHOgRwGr-5_a1GYIYM/s320/ARTHUR+ELIOT.jpg" width="320" /></a></span></div><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><span> ARTHUR ELIOT </span></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The play was
titled “The Better ‘Ole.”*<span style="mso-spacerun: yes;"> </span>This was the
name by which Bairnsfather’s most famous cartoon of World War One was also known. <br /></span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhknK7ppUbKzC9j3ZUaDl6g7-aUkNjqSewUY4Fw-tYWGP9O8sqyp7WugmsndqgF3CTaUQ2msLuVeU-O8FTzvVqNHgNzQMocuMawaYbOhzx3y8ctoH3-m_Pj5kzllyl8Wis0zTvfZaejFDI/s704/A+Better+%2527Ole.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="704" data-original-width="501" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhknK7ppUbKzC9j3ZUaDl6g7-aUkNjqSewUY4Fw-tYWGP9O8sqyp7WugmsndqgF3CTaUQ2msLuVeU-O8FTzvVqNHgNzQMocuMawaYbOhzx3y8ctoH3-m_Pj5kzllyl8Wis0zTvfZaejFDI/s320/A+Better+%2527Ole.jpg" /></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">This comedy was based on
Bairnsfather’s war experiences which he had turned into popular cartoon images.
Since the major character in his cartoons was named Old Bill, he became the
central character in the play. The play was broken into segments instead of
acts and scenes. Each segment was developed from selected cartoons—two segments
featured situations related to explosions, seven were fragments that were
termed “Splinters” and the were developed from one or more popular cartoons
and the last</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">segment was a gas attack. The
settings for the segments were somewhere in France and England</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> before November 10, 1918.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">An example of one of the
splinters is Splinter Three: The setting is a “Billet” located behind front
lines in France where the British soldiers rested after returning from the
trenches. There are French girls in this scene and the action commences when
Old Bill finds a German spy’s plans. <span style="mso-spacerun: yes;"> </span>Old
Bill attempts to foil the spy’s plans by blowing up the bridge before the
Germans do; however, he nearly executes himself. <span style="mso-spacerun: yes;"> </span>He gets into serious trouble, but at the last
moment a beautiful French female named Victoria saves him. Bill is awarded the
Legion of Honor for foiling the German plot. He returns to his wife in England
and visits his favorite pub named The Better ‘Ole. The Better ‘Ole was the actual
name of Bairnsfather’s favorite pub in London.</span></div>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">A musical score was
created for the play. The music was composed by Herman Darewski (1883-1947) and
the lyrics were by Percival Knight (1873-1923) and James Heard. When the script
was completed, Bairnsfather went to Italy to create war cartoons for Italian
publications. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Arthur Eliot remained in
London and searched for a theatre manager who would produce this unique theatre
piece. Charles B. Cochran (1872-1951) agreed to produce “The Better ‘Ole” at
the Oxford Music Hall. The original London cast starred Arthur Bourchier
(1863-1927) as Old Bill and French actress Edmée Dormeuil (1896-1983) as the
female lead. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Charles Cochran was a
showman who knew how to engage his audiences. For this production he wanted audiences
to experience a bit of the battlefield environment, so he created the
atmosphere of the Western Front. The box office looked like a dug-out and there
were sandbags all around the theatre’s foyer. Inside the theatre’s lobby, the
band for the production played popular contemporary war songs such as “Tipperary.”
There were also slides projected on the walls featuring many popular
trench/battlefield cartoons by Bairnsfather.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">“The Better ‘Ole” opened in
London on August 4, 1917 and continued to play twice daily for more than a
year. The storyline contained “three hundred of the best jokes enacted during
the war” and it included three of Bairnsfather’s major cartoon characters--Old
Bill, lively Alf, lady’s man Bill. These three characters represented the
optimistic attitude of the regular British soldier known as “Tommy.” Bairnsfather
also portrayed Tommy while he was in conflict, but without any false heroics.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">“The Better ‘Ole” racked
up a total of 811 performances making it one of the most popular British war
plays. Once the production closed in London, there were three to five touring
companies performing it in the cities across England where it was advertised as
“Greatest attraction and biggest draw of the day.”</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Shakespearean actor Charles
Coburn (1877-1961) and his wife Mrs. Charles (Ivah Wills) Coburn (1882-1937)
produced “The Better ‘Ole” in New York City. It opened at the small Greenwich
Village Theatre on October 19, 1918. This production moved to three other
theatres always seeking larger seating capacity. It closed on October 4, 1919
after playing 353 performances. Charles Coburn starred as Old Bill for the
American audiences. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The October 21, 1918 “New
York Times” review of the play stated that “if one may judge by the quality of
the performance and the gales of laughter which swept through the little
audience, it is destined to move uptown and recreate on Broadway the success it
has already scored in London.” The unnamed reviewer also believed the play had
“the utmost freshness and delight” as well as a “rollicking spirit.” He
believed everyone fortunate to see it would be swept off their “feet by the
sheer force of sincerity.”<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Coburn also arranged for
several touring theatre companies to take this play to major American and
Canadian cities. Eventually there were twelve touring companies performing “The
Better ‘Ole” not only in the United States, Canada and England, but also in
Australia, India and Africa.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Two film versions of “The
Better ‘Ole” were made. The first one was a silent film made in 1918 by a
British Company and Charles Rock (1866-1919) starred as Old Bill. Warner
Brothers made the second film of “The Better ‘Ole” and it was released in the
United States during the Fall of 1926. It starred Syd Chaplin (1885-1965) as
Old Bill. Syd was Charlie Chaplin’s older brother. It was the second film to
employ Vitaphone sound so it has a synchronized musical score and sound
effects. This film is available currently on DVD. The “New York Times” reviewer
believed the screen version was weaker in characterization and atmosphere than
the stage production, but it is still “The Better Ole.”</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p>
<p class="MsoListParagraphCxSpFirst" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">*
<i>‘ole</i> is the Cockney pronunciation for the word “hole.” This accent drops</span></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>the initial “h” sound from a word. A listener can
quickly identify that the speaker</span></p>
<p class="MsoListParagraphCxSpLast" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>is an English person from the greater London
area.</span></p><p class="MsoListParagraphCxSpLast" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;"> </span></p><p class="MsoListParagraphCxSpLast" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">PHOTOS:</span></p><p class="MsoListParagraphCxSpLast" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">Captain Bruce Bairnsfather: photo from his book titled FROM FRANCE. New York and London: G.P. Putnam's Sons, 1917.</span></p><p class="MsoListParagraphCxSpLast" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">"The Better 'Ole": same as above.</span></p><p class="MsoListParagraphCxSpLast" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;">Arthur Eliot. ELIOTSOFPORTELIOT.com <br /></span></p><p class="MsoListParagraphCxSpLast" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;"> </span></p><p class="MsoListParagraphCxSpLast" style="line-height: 115%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 115%;"><br /></span></p>
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Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
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</p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">On September 4, 1913 J.M.
Barrie’s three act play titled <i>The Adored One</i> opened in London at the
Duke of York’s Theatre with Mrs. Patrick Campbell (1865-1940) playing the leading
role. Act One received excellent reviews calling this act “delicious,” “exquisite”
or “delightful.” <span style="mso-spacerun: yes;"> </span>Unfortunately, the remaining
two acts did not delight either audiences or reviewers.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Barrie quickly revised the
script and <i>The Adored One</i> continued playing in London before opening on
Broadway at the Empire Theatre in January 1914 under the title <i>The Legend of
Leonora</i>. The popular American actress, Maude Adams (1872-1953) starred in
this production and it played for 136 performances. After the production closed
in New York, Maude Adams toured <i>The Legend of Leonora</i> to many cities
throughout the United States. <span style="mso-spacerun: yes;"> </span>Her tour
played until the middle of 1916. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">On April 7,1917, a
revised first act of <i>The Adored One</i> appeared on stage at the New Theatre
in London as a one-act play titled <i>Seven Women</i>. This play shared the
bill of one-acts with Barrie’s <i>The Old Woman Shows Her Medals</i> and A.A.
Milne’s <i>Wurzel-Flummery</i>. <span style="mso-spacerun: yes;"> </span>Irene
Vanbrugh (1872-1949) played the role of Leonora. This program was popular with
audiences and it played for eight weeks.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Seven Women</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
is set in a drawing-room in Chelsea that is decorated in the Adams style. This
is the home of Mr. and Mrs. Tovey who have invited Captain Rattray to dinner so
he can meet Leonora. The play is set in 1913. Captain Rattray, a hero who
earned his reputation chasing<span style="mso-spacerun: yes;"> </span>unauthorized
submarines near British waters, arrives at eight o’clock which is a half hour
early. Mr. Tovey, who twenty years earlier went to school with the Captain,
tells him about the other dinner guests by describing seven different
personality traits. Rattray believes there will be seven different women for
him to meet. Another guest named Leonora arrives early and is left alone with
Rattray while Tovey leaves the scene to dress for dinner.<span style="mso-spacerun: yes;"> </span>As the scene progresses, Rattray tries to
decide which one of the seven traits represents Leonora.<span style="mso-spacerun: yes;"> </span>Eventually he realizes that she is seven
women in one—no sense of humor, too much sense of humor, politician who wants
males to treat her as an equal, old-fashioned clinging kind as well as
obedient, motherly type, murderess and coquette.<span style="mso-spacerun: yes;"> </span>He is beguiled by Leonora and delighted to
learn she is a widow.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">You may be wondering why
I selected to write this post about <i>Seven Women</i> since the comic plot sounds
like the beginning of a love story. When Barrie reworked this piece as a
one-act play, he included details that clearly illustrated aspects of London life
in 1913. These specific moments illustrate how the British government and its
citizenry were gearing themselves for the possibility of a war. The male lead,
Captain Rattray of the Royal Navy, is a celebrity due to his naval achievements
against foreign submarines. Prior to the start of World War One, the British
were extremely concerned about German submarines blocking access to their ports
as well as endangering ships in and near their waters. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">When Leonora tells
Rattray about her fifteen-year old son, she states that he is away at school
and “He is in the O.T.C.” This would have been a junior division unit of the
Officers’ Training Corp at the secondary school level.<span style="mso-spacerun: yes;"> </span>Universities had O.T.C. senior division
training. Obviously, Leonora is proud that her son is involved in this activity
and it indicates that Britain was introducing adolescent males to military discipline.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Barrie is very specific
about the setting for this play since it clearly establishes the period before
World War One. He specifies that the décor of the drawing-room is “in the Adams
style.” While this style originated in the eighteenth century and was replaced
after 1795 by the Regency style, the Adams style with its light and elegant
furniture style and specific color choices for walls as well as furniture went
through a revival in the late nineteenth century. It became an extremely
popular style with the expanding middle class prior to World War One. The Adams
style lost its popularity in Britain by the end of World War One. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Leonora is a woman who is
not dependent on having a male in her life. She is capable, intelligent,
persuasive, and charming. She is a prime example of how women could prove
themselves to be productive individuals during difficult times. This play is also
a delightful, nostalgic reminder for audiences about their lives just prior to
the war. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">After <i>Seven Women</i>
closed at the New Theatre, it opened in July,1917 at London’s Coliseum Theatre which
was the city’s largest theatre with 2,359 seats. There were several other short
plays that shared the same bill. <i>Seven Women </i>was a success and several
actresses play Leonora during the run which was still playing during the fall
season of 1918. Lillah McCarthy (1875-1960) played Leonora prior to Diana
Wilson (1897-1937) who took over the role in August,1918. These actresses had a
heavy schedule since the Coliseum offered three matinee performances a week in
addition to the evening performances.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In Great Britain, <i>Seven
Women</i> has a long stage history and it was popular through the late 1950’s. It
gained additional fans when it was produced several times by the British Broadcasting
Corporation (BBC) radio. There was a March 7,1941 radio presentation. BBC aired
a new radio production on June 5, 1948. Leonora was played by Scottish born actress
Madeline Christie (1904-1996). A third production mounted for BBC radio aired
on September 21, 2005. It featured Benedict Cumberbatch (1976-<span style="mso-spacerun: yes;"> </span>) as Mr. Tovey.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This delightful one-act
play is still charming and amusing. I read the 1928 Acting Edition of <i>Seven
Women</i> published by Hodder and Stoughton, London. I was unable to access
copies of <i>The Adored</i> <i>One</i>, which I understand Barrie never allowed
it to be published, and <i>The Legend of Leonora</i>. I am curious about the
revisions as well as how <i>The Legend of Leonora</i> differed from <i>The
Adored</i> <i>One</i>. </span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com1tag:blogger.com,1999:blog-7853252690884138641.post-19165617966828878762020-08-07T16:03:00.002-04:002020-08-07T20:10:22.250-04:00EUGENE BRIEUX’S DAMAGED GOODS (LES AVARIES)<p> <!--[if gte mso 9]><xml>
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Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hashtag"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Unresolved Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</p><p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">In 1901, French
playwright Eugene Brieux wrote “Les Avaries.”<span style="mso-spacerun: yes;">
</span>I had not planned to discuss any play on this blog written more than
three years before the start of World War One, but “Les Avaries” gained
recognition as a significant work of drama in the early years of the war. It suddenly
became an important play to read, to see in theatres as well as on movie
screens.</span></p><p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;"> </span></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-DxJKxmCEFvZ4X3KTKMhNEGrIBf4htP9vGuuX7_Y8mfuvOG325MIDdMBQKBZqEb1docELmFT9yBi2tKaOorpoW9Szr5Z-q5fHtUi_WWqDg1J2fUE6ne73PB88YYBZEoEiLhYuFTdOGU/s1009/EUGENE+BRIEUX.jpg" style="display: block; padding: 1em 0px;"><img border="0" data-original-height="1009" data-original-width="547" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-DxJKxmCEFvZ4X3KTKMhNEGrIBf4htP9vGuuX7_Y8mfuvOG325MIDdMBQKBZqEb1docELmFT9yBi2tKaOorpoW9Szr5Z-q5fHtUi_WWqDg1J2fUE6ne73PB88YYBZEoEiLhYuFTdOGU/s640/EUGENE+BRIEUX.jpg" /></a></div> EUGENE BRIEUX<br /><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">When “Les Avaries” was initially
submitted to the censor, it was banned from appearing on the Paris stage.<span style="mso-spacerun: yes;"> </span>“Damaged Goods” discusses the medical and
social ramifications of syphilis. This disease was not considered to be an
appropriate topic to discuss on a public stage.<span style="mso-spacerun: yes;">
</span>In 1902 Brieux was granted permission to present a private reading of
the play in Paris’s Theatre Antoine.<span style="mso-spacerun: yes;">
</span>This could easily have been the end of the story had not John Pollock
(1878-1963) translated “Les Avaries” into English in 1905 under the title of
“Damaged Goods.”</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">In 1906-07 Mrs. George
Bernard Shaw (Charlotte F. Shaw:1857-1943) became acquainted with Brieux’s play
titled Maternite that was written in 1904 (the English title is “Maternity”). Charlotte
Shaw wanted to translate this drama into English. She knew John Pollack wanted
to have his translation of “Damaged Goods” published.<span style="mso-spacerun: yes;"> </span>She secured Brieux’s permission to have three
of his plays published in English—the third play is titled “The Three Daughters
of M. Dupont.”<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">After Eugene Brieux was
made a member of the French Academy in 1910, Charlotte Shaw increased her
pursuit to have Brieux’s plays published for English language readers.<span style="mso-spacerun: yes;"> </span>In May 1911, the book titled “Three Plays by
Brieux” was published and simultaneously released in London (publisher: A.C. Fifield)
and New York (publisher: Brentano’s).<span style="mso-spacerun: yes;"> </span>Mrs.
Shaw wrote the Forward for the book and George Bernard Shaw wrote the Preface
that focused on the significance of “Damaged Goods” since be believed this play
was an essential educational tool to lessen the spread and tragic effects of
syphilis.<span style="mso-spacerun: yes;"> </span>The book was an instant
success in both countries. Two editions quickly sold so a third edition was published
in 1914 as was a fourth one in 1917.<span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">By
this time, an earlier ban issued by the British Censor preventing the play from
being staged in England had been lifted. <span style="mso-spacerun: yes;"> </span>“Damaged Goods” was playing in theatres all
over England as well as appearing on movie screens.<span style="mso-spacerun: yes;"> </span>The censor originally had written: “This play
will never be licensed.” His ban was revoked in 1916 due to pressure from British
military officials since syphilis was rapidly spreading throughout the armed
services. The British government believed this play provided significant educational information for the troops and sent theatre companies to perform "Damaged Goods” at military installations.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">Act One is set in the
doctor’s consulting room. “The room is sumptuously furnished and literally
encumbered with works of art.” George Dupont, twenty-six years old, awaits the
doctor.<span style="mso-spacerun: yes;"> </span>The Doctor, forty years old,
wears the ribbon of the Legion of Honor in the buttonhole of his frock coat. He
informs George that there is no doubt about his “case.” He explains to George
that at least one man in seven has the same “condition.” George proclaims he
will kill himself, but eventually the doctor convinces him to take the medicine
instead. Brieux wanted to illustrate that this disease is usually met with
ignorance and fear. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">George’s immediate situation
is complicated by the fact that he is to marry and there is a monetary issue
connected to the marriage. The doctor emphatically tells George that he cannot
marry for three or four years since that is how long it will take for him to be
cured.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">Act Two takes place in
George’s study about eighteen months after Act One.<span style="mso-spacerun: yes;"> </span>George has been married to Henriette,
twenty-two years old, for the past twelve months. They have a baby girl, three
months old, who was taken to the countryside by George’s Mother. Mother Dupont
suddenly returns to George’s home with the baby who is ill. She has also
brought a wet nurse from the country with her. Mother Dupont consulted a
country doctor and he believed the baby must be bottle fed since she is
suffering from a condition that might become “very serious.” Mother Dupont has also
stopped to see a Paris specialist before coming to George’s home. This is the
doctor George had seen in Act One.<span style="mso-spacerun: yes;"> </span>Doctor
arrives at George’s home and eventually the cause of child’s illness is related
to George and the entire situation is revealed to his wife, who has become
infected with syphilis. Mother Dupont and George show little regard for the
health of the others involved with the baby and they only care about
maintaining their status and reputation while avoiding “a horrible scandal.”
This play’s secondary focus illustrates the total indifference of the wealthy
toward those who do not belong to their social class.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">Act Three is “The
doctor’s room in the hospital where he is chief physician.” Doctor enters with
a medical student. There is a Monsieur Loches, Henriette’s father, waiting to
see Doctor. <span style="mso-spacerun: yes;"> </span>The doctor educates the
irate Monsieur Loches about how he could have saved Henriette from her
misfortune. While Loches inquired about all aspects of Dupont’s character and
monetary standing, he never questioned Dupont’s health. Doctor is an advocate
for requiring a health certificate with every marriage as a means of decreasing
the rate at which syphilis was being passed to innocent women and their newborn
children. He also educates Loches, who is a Deputy in France’s Chamber of
Deputies, regarding the need to inform people about the disease as well as to
have laws that help to curb it. To summarized what this play teaches: 1. It tells
what syphilis is.<span style="mso-spacerun: yes;"> </span>2. How the disease is
acquired. 3. How it may affect a future child.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">“Damaged Goods” was first
presented on stage in the United States on March 14, 1913 at the Fulton
Theatre, New York City. This was a special matinee for the members of the
Sociological Fund. This production was created by Richard Bennett (1870-1944)
who also played the role of George Dupont. He was very careful to develop
approval for this play before it was presented to the public. The next
performance was given at the National Theatre in Washington, DC on April 6,1913.
It was a Sunday afternoon performance attended by the highest officials in the United
States government. To add to this distinguished audience were the most renown Washington
clergymen. This esteem audience’s endorsement of the play led the way for Mr.
Bennett to stage the play in New York City for the public. The play officially
opened in New York on May 14, 1913 at the Fulton Theatre. </span><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">It
was scheduled to play fourteen performances, but a $10,000 advance sale of
tickets lengthened the engagement to sixty-six performances. <span style="mso-spacerun: yes;"> </span>Bennett also took “Damaged Goods” on a tour of
the United States. The play was staged in each large city under the auspices of
the principal medical society of that community. It created a national
sensation for the remainder of the war years. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">“Damaged Goods” was restaged
on Broadway in May 1937 at the 48<sup>th</sup> Street Theatre.<span style="mso-spacerun: yes;"> </span>It was staged by Henry Herbert (1879-1947) a well-known
Broadway actor and producer. Herbert had modernized John Pollock’s translation
and the newspaper reviews claimed that the drama failed to please.<span style="mso-spacerun: yes;"> </span>It played for eight performances.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">In 1913, Upton Sinclair
(1878-1968) an American activist writer, novelized “Damaged Goods” with the
approval of Eugene Brieux. “Damaged Goods” appealed to Sinclair’s concern with
social injustice as well as its educational value related to the most dreaded
social disease of its time. Sinclair strived to include most of the play’s dialogue,
description of settings and character development.<span style="mso-spacerun: yes;"> </span>This novelized version is still available.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">The first performance of
Brieux’s “Damaged Goods” in England was given at London’s Little Theatre on
February 16, 1914. This performance was arranged by an association named the
Authors’ Producing Society. <span style="mso-spacerun: yes;"> </span>The play was
banned in England from public performances until 1917, when it was produced at
St. Martin’s Theatre where it ran for nearly a year. Theatre companies toured
“Damaged Goods” all over the country for several years. </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">“Damaged Goods” was
revived in London at Whitehall Theatre in latter part of 1943. It was a
slightly reworked updated version. It did not have a long run since films had
also been made from the original script.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">In September 1914
“Damaged Goods” was released as a silent film that basically used Brieux’s
script. It played for years in the United States and American World War One military
members were invited to see it free of charge. Their uniforms served as their
ticket of admission. Richard Bennett starred as George Dupont so this film
version must have been relatively true to the original stage script. </span></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg1jsX24YcV3hwSp-E6nk4IRTyji9x5xj-iKnobSDsNaJcb-5SI4x4SOu-Z5J7lWpn69FgEPfZNmIacHgHH-8AnZlRJLfMJXQ8iRJjeL36-_0AokQarTtauIk6zycGxqSttRPtG9g80ic/s564/Damaged+Goods+film.jpg" style="display: block; padding: 1em 0px;"><img border="0" data-original-height="564" data-original-width="499" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg1jsX24YcV3hwSp-E6nk4IRTyji9x5xj-iKnobSDsNaJcb-5SI4x4SOu-Z5J7lWpn69FgEPfZNmIacHgHH-8AnZlRJLfMJXQ8iRJjeL36-_0AokQarTtauIk6zycGxqSttRPtG9g80ic/s0/Damaged+Goods+film.jpg" /></a></div>There was
also a 1937 film version of “Damaged Goods” that basically used Brieux’s script
as it appears in Sinclair’s novel. The release of this film coincided with the
Broadway revival of the play.<p></p>
<p class="MsoNormal" style="line-height: 200%;"><span face="" style="font-family: "times new roman", serif; font-size: 12pt; line-height: 200%;">“Damaged Goods” is still
a worthwhile play to read.</span></p>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-85126209962747072952020-06-22T16:04:00.002-04:002020-06-22T16:04:31.801-04:00AUGUST STRAMM’S AWAKENING (ERWACHEN)
<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">August Stramm (1874-1915)
was born in Munster,Westphalia. In 1896-97, he fulfilled his year of compulsory
military service in the German army.<span style="mso-spacerun: yes;"> </span>It
was this prior military service that resulted in Stramm being conscripted as an
officer into the German army in August,1914 although he was nearly forty
years old.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT81Rx-zEgRFrxbQfWOe9srY1xICVJ_0KoAcTTQcuncZAyXSNIKsAs9yEQ5TbAsXI8DL7K342p-3S31Ke_7DWLW4ZV0bUHu6twJQy7VuG0fqIsyJtwtKfOCr4zL78raxSerThCUteeNeM/s1600/August+Stramm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="691" data-original-width="609" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT81Rx-zEgRFrxbQfWOe9srY1xICVJ_0KoAcTTQcuncZAyXSNIKsAs9yEQ5TbAsXI8DL7K342p-3S31Ke_7DWLW4ZV0bUHu6twJQy7VuG0fqIsyJtwtKfOCr4zL78raxSerThCUteeNeM/s320/August+Stramm.jpg" width="282" /></a></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> AUGUST STRAMM (1915)</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Stramm had begun writing both
poetry and plays in 1902. His writing style became more experimental and in 1913
several of his expressionistic poems were published in <i>Der Strum</i> (<i>The</i>
<i>Storm</i>) an avant-garde journal founded in 1910 by Herwarth Walden
(1879-1941).</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It was during Stramm’s military
service that he wrote the one-act play <i>Awakening</i> (1914). Throughout World
War I, Stramm’s poems did not reflect patriotism as did the work of many other
German poets.<span style="mso-spacerun: yes;"> </span>Instead he expressed his
hatred of the war and “this great awareness of the terrible.” Stramm’s truest
feelings about the war were expressed in some of his letters to his wife, Else
Krafft (1877-1947) who was a journalist and novelist, as well as to his editor
and friend Herwarth Walden.<span style="mso-spacerun: yes;"> </span><i>Awakening</i>
does not express the realities of war as did Stramm’s poems.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Awakening</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> is
set in a hotel room furnished with two single beds side by side. Valises and articles
of clothing are scattered over chairs and bed-side tables. On the wall opposite
the beds are double doors. HE and SHE are the guests, SHE is awake. They are
lovers. SHE is distraught but when HE awakens, SHE will not explain why. Part
of the scenery collapses about HE as he rages at SHE.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">There is knocking on the
door. The door quickly gives way to the blows from the people trying to gain
access to the room. The MANAGER bursts into the room. Everything is in a state
of chaos. The situation outside the window quickly supersedes the dispute
between the MANAGER and HE. A storm has created a torrent of river water that
is starting to flood the city. A crowd rushes into this hotel room. SHE is
recognized as the wife of a local businessman. Chaos takes over the situation
with the crowd both against SHE as well as fearful of the flooding river.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This short play contains
threats, a craving for money, sudden death as well as a confrontation between a
male and female. Suddenly as the city is about to be destroyed, HE solves the
problem by telling the people to “Let the water in! Open the dam.” The city is
saved from destruction and HE tells the crowd “Rebuild!” Everyone rushes away,
except GIRL, who is left in the room with HE. GIRL is SHE’s younger sister. HE
is proclaimed by the returning crowd as “Our master builder.” HE and GIRL
proclaim their love for each other. “THE STAR (a scenic element) <i>flares up
brilliantly</i>.” It announces a new future to be created by HE as the couple
embrace.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Awakening</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
was published in <i>Strum’s</i> book series number 5, November/December 1915.
This play was written in an evolving style of Expressionist drama. Stramm had
previously written lyrical plays as well as one that was naturalism. <i>Awakening</i>
was a totally new approach for Stramm. The most unusual aspect of <i>Awakening</i>
was the stylized use of language. There are numerous one, two, or three-word
sentences plus exclamations. It reminded people of the style of writing used in
telegrams—short and to the point with a staccato effect. Perhaps this occurred
to the public since Stramm’s commenced his long career in 1893 with the German Post
Office administration. His new style of writing associated with <i>Awakening </i>is
labelled <i>Telegrammstil</i>. Language had become one of the main elements
used in experimental ways and this new telegram style fit with the other
elements of drama that became labelled as Expressionism.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Awakening</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> incorporates
another new feature labelled “New Man.” This visionary character would later
become used exclusively in expressionistic drama. In <i>Awakening</i>, HE is
the savior of this town and his vision will create its future. THE STAR
proclaims that promise.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HE also has a new life
ahead of him with his true love. GIRL in one English translation that I read is
named IT. <span style="mso-spacerun: yes;"> </span>GIRL neither incurs the wrath
of the local citizenry nor does she inflame their bourgeois values. Thus, there
is a sense that a new level of morality has been reached among this town’s
population. <i>Awakening</i> moves from chaos and discontentment to a brighter
future. It is possibly Stramm’s vision for when the war concluded.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Another expressionist
trait Stramm employed in <i>Awakening </i>is labelling his characters instead
of giving each one a Christian name. This element became exclusively identified
with theatrical expressionism. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Stramm, was awarded the
Iron Cross for his bravery on the French Front in January 1915. He was soon
transferred to the Russian Front where he died in combat on September 15,1915.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>Stramm’s legacy was that his poetry and drama influenced
writers for the following two decades. <span style="mso-spacerun: yes;"> </span>The
poetry appears to be the best remembered of his writings currently, but his
plays are also of significance. His 1914 one-act play titled <i>Sancta Susanna</i>
was the basis for the 1921opera by the same titled composed by Paul Hindemith
(1895-1963).<span style="mso-spacerun: yes;"> </span><i>Awakening</i> was of
importance to later German Expressionist playwrights since it introduced and
refined several signature elements that further defined the style.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Two Resources for more consideration of
this playwright and his work:</span></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: normal; margin-left: 30.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Wasserman,
Martin.<span style="mso-spacerun: yes;"> </span><i>Poets of Crisis</i>: <i>August
Stramm and Maria Berl-Lee</i>. Xlibris, 2020.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-left: 30.0pt; mso-add-space: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>(This book includes some of Stramm’s
thoughts regarding the war and many of</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-left: 30.0pt; mso-add-space: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>his poems.)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; margin-left: 30.0pt; mso-add-space: auto;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="line-height: normal; margin-left: 30.0pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Richie,
J.M. & Garten, H.F. <i>Seven Expressionist Plays</i>. London: Calder and
Boyars, 1968.</span></div>
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<![endif]-->Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-79135055676925708772020-05-04T20:16:00.000-04:002020-05-04T20:16:42.257-04:00PEACE by GEORGE CALDERON<!--[if gte mso 9]><xml>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">George Calderon
(1868-1915) was born in London, but his father’s family was descended from one
of Spain’s foremost dramatist Calderon de la Barca (1600-1681). George’s father
was an artist. George was a capable visual artist, talented as a theatre
director and playwright as well as an expert on Slavonic languages. George
Calderon was the first person to translate Anton Chekhov’s plays into English.
It was his translations of <i>The Cherry Orchard</i> (first published in 1912
with its London premier performance in 1925) and <i>The Seagull</i> that
introduced the English-speaking world to this Russian master.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWu2KpRQT9v62YTVtMwlLPM4VzQzTEf8wLeRBcyCbNBJrmpih33iIqyv3iBP2z57sjMvdmOcrmS0a1Pxu13G6_PR63KJAzxGKH0ZoYFySliJ1jHClMa3qIz4T5TM84i4IuljR88buag4g/s1600/George+Calderon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="245" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWu2KpRQT9v62YTVtMwlLPM4VzQzTEf8wLeRBcyCbNBJrmpih33iIqyv3iBP2z57sjMvdmOcrmS0a1Pxu13G6_PR63KJAzxGKH0ZoYFySliJ1jHClMa3qIz4T5TM84i4IuljR88buag4g/s320/George+Calderon.jpg" width="237" /></a></div>
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> GEORGE CALDERON </span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">When Great Britain
entered World War I, Calderon was 45 years old. He was too old to join the
military, but he was determined to become a soldier. As a result, he worked
diligently to fill every requirement to become a military interpreter. He
succeeded in qualifying for this position with the Royal Horse Guards and was
sent to Flanders in October 1914. <span style="mso-spacerun: yes;"> </span>His
desire to be a soldier was fulfilled in January 1915, when he transferred to
the Oxfordshire and Buckinghamshire Light Infantry and was promoted to
Temporary Second Lieutenant. (This battalion was commonly referred to as the Ox
and Bucks.) In May 1915, Calderon was reassigned to the King’s Own Scottish
Borderers (K.O.S.B.) Infantry. His battalion landed in Gallipoli on June 4,1915.
Many British, American, and Canadian newspapers reported during the second week
of July,1915 that Calderon had been seen severely wounded during the first
assault on Gallipoli and he was listed as missing in action. On May17,1919 the
London <i>Times</i> officially reported George Calderon was presumed dead
following a long investigation on whether “he might prove to be a prisoner in
Turkey.”</span></div>
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<br /></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">PEACE</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">,
A Farce in One Act, was written prior to Calderon’s departure for the
battlefields of World War One. The scene takes place in the evening at the
residence of Sir Blennerhassett Postlethwaite, who is a Member of Parliament.
Sir Postlethwaite is at home preparing his speech for the following day when he
expects to be “called upon to take the chair at the Meeting of the Peace
Society.” Postlethwaite is widely recognized for his preaching about universal
peace.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Burglar enters Postlethwaite’s
room by the window and pulls up his ladder which he leans against the bookcase.
He is surprised to see Postlethwaite there. Postlethwaite immediately
tells<span style="mso-spacerun: yes;"> </span>Burglar to “Get away from here or
I’ll shoot you.” When Burglar recognizes who he is confronting, their antagonistic
political relationship commences. After Burglar gains control of
Postlethwaite’s pistol, these two men engage in a debate about war and peace
from each man’s point of view. <span style="mso-spacerun: yes;"> </span>While
Burglar intends to escape with some of Postlethwaite’s treasures, he also obtains
a check from the politician for The Navy League. Still not satisfied, Burglar also
pushes Postlethwaite to admit “that violence will beget violence,” a position
that the politician opposes. Eventually a Policeman arrives, but Postlethwaite
decides not to expose the real intensions of<span style="mso-spacerun: yes;">
</span>Burglar. As Burglar is about to leave with his loot, Postlethwaite
demands to know his name so he may curse him. Burglar: “Oh, my name’s Peace.
Charlie Peace.”</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Obviously, this play is
character centered and it creates an exaggerated, humorous situation<span style="mso-spacerun: yes;"> </span>with deliberate absurdity. While this play
is meant to be entertaining, it clearly illustrates an immediate clash of the
two different positions regarding how England should be preparing for the
possibility of war with Germany. Unfortunately, there is little of the comedic
essence of this play in my short recount of the plot<i>. PEACE</i> is worth
reading. The script is included in “Eight One-Act Plays” by George Calderon. It
was originally published by Grant Richards LTD. London:1922. This book is
currently available as a Scholar SELECT reprint through Amazon.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I have not found any information
regarding a staged production of <i>PEACE; </i>however, there was a radio
production aired on May 7,1925 presented by The London Radio Repertory.<span style="mso-spacerun: yes;"> </span>Ashton Pearse played SIR BLENNERHASSETT POSTLETHWAITE
and Raymond Trafford was BURGLAR. George Skillan (1893-1975) was POLICEMAN.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Calderon was a prolific
author/playwright but many of his works remained unpublished during his
lifetime. Throughout the 1920s many of his unpublished plays and books were
published. Starting in 1921 his book titled <i>Tahiti</i> was published. It related
to Calderon’s 1906 trip to the island and contains his observations about the
culture he encountered. Percy Lubbock in his book titled: <i>George Calderon: a
sketch from memory</i>,<i> </i>published in London 1921, claims that Calderon
was affected very deeply by his days in Tahiti. “They gave him perhaps the most
penetrating experience he ever had till the war.”<i> </i><span style="mso-spacerun: yes;"> </span><i>Tahiti</i> was highly praised in the <i>Pall
Mall Gazette</i> on August 5, 1921 as “the best story of a Polynesian people
that has been given us.”</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Two volumes of Calderon’s
one-acts and full-length plays were published in 1922 followed in 1924 by his
translations of <i>Two Plays by Anton Chekhov and One by Alfred de Musset</i>. This
publication led to the London productions<i> </i>of the two Russian plays.
Calderon’s translations were credited with introducing Chekhov as a new force
to English theatre. During George Calderon’s forty-six years of life, he demonstrated
his amazing versatility and accomplishment. His plays were frequently produced
in England throughout the 1920s.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Percy Lubbock states in <i>George
Calderon: a sketch from memory</i>: </span></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>He
seemed to be just as much of a poet, a maker, a creator, whether he was</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>championing a political cause or writing a
comedy or learning the songs of a </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>South sea islander—and not less so, it was
very clear to see, when he fought</span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"> and fell in the war. </span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 115%;"> </span></div>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-51392745471697452442020-04-03T21:05:00.000-04:002020-04-03T21:05:21.815-04:00BUCHANAN’S CIVILIAN CLOTHES<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The first American World
War One play to deal with a “returning soldier” story was <i>Civilian Clothes</i>
written in 1919 by Thompson Buchanan (1877-1937). During the early 1920’s, <i>Civilian
Clothes</i>, a comedy, was a popular play throughout the United States.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Thompson Buchanan moved
to Louisville, Kentucky to start his career in journalism. <span style="mso-spacerun: yes;"> </span>It was in his adopted city that he set <i>Civilian
Clothes</i>. This three-act play begins in the Library of the Lanham’s
“handsome old-fashion home.”<span style="mso-spacerun: yes;"> </span>It is a
winter afternoon in 1919.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Sam McGinnis, twenty-seven
years old, arrives at the Lanham home to claim his bride. Florence Lanham,
twenty-one years old, and Sam were married in France during his one week leave
from the Western Front.<span style="mso-spacerun: yes;"> </span>While Buchanan
does not specify what Florence was doing in France besides serving coffee, Sam
states that he tried to contact “<i>Miss Florence Lanham</i> of the Red Cross.” </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The American Red Cross had
women volunteers on the frontlines doing support work for the armed services.
The organization also operated canteens that served meals and beverages to
service men in towns located behind the front-lines.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Sam was a brave, handsome
Army Captain in the American Expeditionary Forces.<span style="mso-spacerun: yes;"> </span>Shortly after their marriage and honeymoon week,
Florence received word that Sam had been killed in battle. Since she never had
informed her family about the marriage, she decided not to disclose it when she
returned home. When Sam unexpectedly arrives at Florence’s family Louisville
home, she is being courted by several men.</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5FVral_p64_BhXtimQLzX7O_2ST88s6gtjWrmq5UL-eptJGiZtQeh3g63uHgeM3j9hyphenhyphenOcGz_QqMjgC2oWEqKu2X8-h8WPK4k0rkeTr8VBxGYnyS9JWVMv8iXEPU73DoIDJftv9HeLDVY/s1600/Civilian+Clothes+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="729" data-original-width="908" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5FVral_p64_BhXtimQLzX7O_2ST88s6gtjWrmq5UL-eptJGiZtQeh3g63uHgeM3j9hyphenhyphenOcGz_QqMjgC2oWEqKu2X8-h8WPK4k0rkeTr8VBxGYnyS9JWVMv8iXEPU73DoIDJftv9HeLDVY/s320/Civilian+Clothes+1.jpg" width="320" /></a></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> ACT ONE</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Sam is no longer the
dashing Captain looking smart in his uniform. He is dressed in a poor-fitting,
ready-made suit of loud design, a bright tie, a shirt with a turn-down collar. His
outfit is further enhanced by very yellow shoes known as “nobby” a prototype
for the sneaker. A brightly colored handkerchief shows in his upper left-hand
coat pocket. Florence, a socialite, is shocked that he is among the living and
she wants nothing to do with this unstylish vision of manhood. Sam persuades Florence
to allow him to be hired as the family’s butler, since the family is advertising
for one. He wants to prove to Florence that he can become a socially acceptable
husband.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Act Two, scene 1 takes
place in the Lanham's dining-room. It is one month later than the previous act
and just prior to a formal dinner party. Sam McGinnis, who is now the family’s
butler known as “Dodson”, is dressed in a black dress coat with brass buttons,
satin knickers and silk stockings. Dodson has become the most coveted butler among
the members of Louisville society.<span style="mso-spacerun: yes;"> </span>During
the dinner, one of the guests, General McInerny recounts a heroic war story
from the French battlefield.<span style="mso-spacerun: yes;"> </span>It tells of
the brave actions that a Captain McGinnis had taken and whose valor was
recognized when the United States Army awarded him the Distinguished Service Cross.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5q1V_VI3ucDukVb2I08Dh7i5JFtlhKINvv_TZCiLgoox1v63vMIze7olbs1SFON-iBDpohp4oUb8Yam1jUFuCpm_hYaiy3JOTw2LUO5VpUK1ZqJBuj83EABgkyB30VBwshCosYgo5RDk/s1600/Civilian+Clothes+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1156" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5q1V_VI3ucDukVb2I08Dh7i5JFtlhKINvv_TZCiLgoox1v63vMIze7olbs1SFON-iBDpohp4oUb8Yam1jUFuCpm_hYaiy3JOTw2LUO5VpUK1ZqJBuj83EABgkyB30VBwshCosYgo5RDk/s320/Civilian+Clothes+2.jpg" width="320" /></a></div>
<br />
ACT TWO (Dodson standing on the left)</div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Scene 2 is in the dining
room following the departure of the diners. One of the guests, Zach Hart, returns
to congratulate Dodson/Sam’s bravery during battle. He also offers Sam a
high-salaried job as a civil engineer. Hart wants Sam to direct a railroad
building project in South America. <span style="mso-spacerun: yes;"> </span>Sam,
who was educated as a civil engineer, refuses the position. The original salary
offered is increased each time Sam refuses the position. Eventually, the salary
becomes too good to refuse. Sam knows he will be able to provide Florence with
the lifestyle to which she is accustomed. The rest of the scene becomes a
frolicking comedy that involves Florence running away with Billy, one of her
current suitors.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Act Three is set in a parlor
of Hotel Grunewald, a popular hotel in New Orleans during that era. It is
evening, two days after the previous scene. <span style="mso-spacerun: yes;"> </span>Zack Hart is sitting in the parlor reading the
newspaper. He questions a Bell Hop and learns that the train from Louisville is
twenty hours late. He further hears that Billy and Florence have each wired the
hotel requesting a room. Hart is at the hotel since he and Sam are on their way
to South America. Sam’s father arrives and learns that his son is married.<span style="mso-spacerun: yes;"> </span>Florence has a change of heart about Sam and
there is a happy ending.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Oliver Morosco
(1875-1945) a Broadway Impresario who owned the rights to this play, decided to
hold his tryout production in Los Angeles, California instead of on the east
coast of the United States. This production opened on June 29, 1919 with
Thurston Hall (1894-1951) and Marion Vantine playing the two leading roles. The
play had a successful run in Los Angeles before it moved to the Morosco Theater
in New York City where it opened on September 12, 1919. It closed on January
17, 1920 and then toured to many cities throughout the United States.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Civilian Clothes</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">
had multiple companies touring this play in the United States all contracted by
Morosco during the early years of the 1920’s.<span style="mso-spacerun: yes;">
</span>He also opened <i>Civilian Clothes </i>with a new cast at his Broadway
theatre in September,1920--a year after the original run closed. The new production
starred William Courtenay (1875-1933) and Dorothy Dickson (1893-1995).<span style="mso-spacerun: yes;"> </span>Several of the original Broadway cast members
were also in this production.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>In 1920 a silent film version of <i>Civilian
Clothes</i> was produced by Famous Players-Lasky and distributed by Paramount
Pictures.<span style="mso-spacerun: yes;"> </span>It starred Thomas Meighan
(1879-1936) as Sam and Martha Mansfield as Florence (1899-1923). This
successful film with its lesson advertised as “Elope in Haste, Repent at
Leisure” was released in the United States on September 5, 1920.<span style="mso-spacerun: yes;"> </span>It later was released in several European
countries including Denmark in December,1921 and France on June 2, 1922.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The last major stage performance
that I found relating to <i>Civilian Clothes</i> was presented in London. This
production was staged at the Duke of York’s Theatre and it opened on July 7,1923.
It ran for eleven performances closing on August 4, 1923. The cast was a
mixture of British and American actors. Thurston Hall reprised his role as Sam
and British actress Olwen Roose (1900-????) played Florence.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">There was a hint of
renewed interest in producing this play on stage and on film in 1944-45 as
World War Two was ending. There may have been non-professional productions of <i>Civilian
Clothes</i> at that time, but it did not have a major stage or screen revival.</span><br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">PHOTOS: original New York production. These photographs appear in the original published script</span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> released by Samuel French of New York. </span></div>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-82861143381810187062020-02-09T14:08:00.003-05:002020-02-16T13:09:27.440-05:00HENRI-RENE LENORMAND’S THE COWARD (LE LÂCHE)<!--[if gte mso 9]><xml>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henri-Rene Lenormand (1882-1951)
was born in Paris, France. He began writing <i>The Coward</i> in 1914 and completed
it in 1918. He was a soldier during the early years of World War One, however
he received a medical discharge. Lenormand spent the remainder of the war in a
Swiss sanatorium. <i>The Coward</i> is considered by some scholars to be a
personal work in which Lenormand attempted to “exorcize his own problems.” It
was believed that Lenormand was a malingerer.</span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRnPw4rc4XdOupI_pkgkFXzMBfki48gscjdhNOlwQC30K6yoZOUbdG0brW1inYEDOXcI4-MUvyK34KLejik9C1WeNxfCCDgiQMQOb4r0JUmB4_se4bwt41wotbndFUOP0OsLEAnHIGmw/s1600/HENRI-RENE+LENORMAND.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="411" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRnPw4rc4XdOupI_pkgkFXzMBfki48gscjdhNOlwQC30K6yoZOUbdG0brW1inYEDOXcI4-MUvyK34KLejik9C1WeNxfCCDgiQMQOb4r0JUmB4_se4bwt41wotbndFUOP0OsLEAnHIGmw/s320/HENRI-RENE+LENORMAND.jpg" width="320" /></a></div>
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<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> HENRI-RENE LENORMAND</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The Coward</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">
is a play in four acts and ten tableaux (scenes). The first six tableaux are set
in a Swiss mountain resort that is being used as a convalescent facility. The
play takes place during the years of World War One. <span style="mso-spacerun: yes;"> </span>Lenormand’s protagonist’s (Jacques) behavior is
subconsciously motivated by his guilt for being a coward. <i>The Coward</i> is one
of France’s earliest psychological dramas.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Act One, tableau 1 takes
place on the sun-terrace of a hotel in Selvas, Switzerland. There is a lot of
snow on the ground; however, the invalids, in fur bags, are lying in the open
air on deck chairs. Jacques enters with his wife Therese. He is a French artist,
thirty-two years old, who believes he is suffering with consumption. He did not
pass his army medical examination.<span style="mso-spacerun: yes;"> </span>Therese
spends time with him every day. The patients discuss their doctors, each other
and the war.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tableau 2 is set on a
different sun terrace.<span style="mso-spacerun: yes;"> </span>It is four
o’clock on a January afternoon. The patients are considering when “America is
going to declare war on Germany.” (This could denote that it is 1917, it was in
April of that year when the USA declared war on Germany.) The Professor (a
German, aged fifty) who is also staying at the hotel, begins to discuss Jacques
with some of the other patients. They snub Jacques when he arrives.<span style="mso-spacerun: yes;"> </span>Therese tries to convince Jacque to change
hotels, but he will not.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tableau 3 takes place on
“A snow covered mound at an altitude of 2,000 meters.” Jacques and Therese are
alone and dressed in furs. They are lying on a rug.<span style="mso-spacerun: yes;"> </span>Jacques shares his recurring nightmare of
being threatened by a French soldier.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>Act Two, tableau 4 is set in a small
three-cornered salon of the hotel.<span style="mso-spacerun: yes;"> </span>The
characters discuss Jacques, the weather and various remedies.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tableau 5 is in the same
salon. The original occupants leave the room after discussing the fête planned
for that evening as well as each other. Therese and Jacques enter the empty
room. Jacques shares with Therese that he is afraid to attend the fête.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tableau 6 is in a windowless
drawing-room with crimson hangings in a different Selvas hotel. It is the fête and
all the guests are dressed in formal attire. The time is near dawn. Most of the
guests of various nationalities including Jacques and Therese leave. Charlier
from Paris is a twenty-eight year old patient, who is really a malingerer.<span style="mso-spacerun: yes;"> </span>He is a recruiter of spies for France.
Charlier meets with “The Individual” when everyone else leaves the room. The
Individual is interested in Jacques and he wants Charlier to recruit him for a
secret mission. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Act III, tableau 7 is set
in Jacques’s bedroom. It is ten o’clock on a gray morning and Jacques is
reading in bed. Therese arrives and they discuss that consumption is
“practically unknown” in this region. Jacques finally consents to consult a
doctor.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tableau 8. Same bedroom
at nine o’clock in the evening. Guns of war can be heard from afar. A new
Doctor examines Jacques and confirms his illness is consumption. He suggests
that Jacques move to his sanatorium. After both the Doctor and Therese have left
for the evening, Charlier comes to visit Jacques.<span style="mso-spacerun: yes;"> </span>The purpose of his visit is to recruit Jacques
to spy on “The Professor”.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tableau 9 takes place in The
Professor’s room in the same facility. Jacques is there to steal some
documents. The Professor suspects Jacques intentions and confronts him after Jacques
pockets several papers. Jacques is afraid and agrees to collaborate with him
for the Germans.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Act IV, tableau 10. <span style="mso-spacerun: yes;"> </span>The promenade by the lake in front of the
villa where Jacque and Therese are currently living. Charlier meets “The Man in
Gray”, who was disguised as “The Individual” in an earlier scene. The Man in
Gray is here to nab Jacques because he collaborated with the Professor. The results
of Jacques German collaboration caused two French agents to be caught and
secret documents to be seized. Jacques meets these two men and leaves his villa
with them unaware of his fate.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The Coward</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> premiered
December 1, 1925 at Le Théâtre des Arts in Paris and played for eight performances
before it was cancelled.<span style="mso-spacerun: yes;"> </span>Paris audiences
took umbrage with the play’s premise that some young Frenchmen were cowardly.
However, <i>The Coward</i> gained an international reputation as it was staged
in Berlin, Vienna as well as opening in London on July 26, 1926. It was staged
at the Scala Theatre for a one week run.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The Theatre Guild in New
York City purchased the rights to stage <i>The Coward</i> in the summer of
1929. Several years earlier the Theatre Guild had produced another play by
Lenormand, titled <i>The Failures</i>. <i>The Coward</i> was eventually staged
at the Westport Country Playhouse in July, 1935. This regional summer theatre in
Westport, Connecticut was founded by Lawrence Langner (1890-1962) who was also
the founder of the Theatre Guild. The summer production was directed by
Worthington Miner (1900-1982) and featured Frances Fuller (1907-1980) as Therese.</span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I read several reviews of
this summer theatre production that were particularly favorable to the play. It
was thought that the play was not Broadway material, but it was considered “an
interesting play.” The basis for this opinion is that <i>The Coward</i> is more
than a spy thriller and more than a psychological study of a single individual.
<i>The Coward</i> also portrays several of the behind the scenes war activities
that were practiced by French, German and British nationals in neutral
Switzerland during WWI. </span><br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NOTE: The English translation that I read of this play is in TWENTIETH CENTURY PLAYS.</span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> Edited by Chandler, Frank W. and Cordell, Richard A. </span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> New York: Thomas Nelson & Sons, 1934. </span></div>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-34884743989322042992019-12-09T21:22:00.000-05:002019-12-09T21:22:35.217-05:00TWO WORLD WAR I COMEDIES by SHAW<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">George Bernard Shaw
(1856-1950) wrote two one-act comedies during World War One which continue to be
humorous: <i>The Inca of Perusalem</i> (1915) and <i>Augustus Does His Bit; A
True-to-Life Farce</i> (1916). Each play provides a comedic portrait of an
unusual person involved with World War One.</span></div>
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<br /></div>
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<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Inca of Perusalem</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
portrays Kaiser Wilhelm II (1859-1941) of Germany, who ruled during World War
One. Shaw states in his introduction to the first printed copy of the play
(1919):</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>I must remind the reader that this playlet
was written when its principal character, </span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span> far from being a fallen foe and virtually a
prisoner in our victorious hands, was</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> still<span style="mso-spacerun: yes;"> </span>the
Caesar whose legions we were resisting with our hearts in our mouths. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Shaw wanted audiences immediately
to identify his character named the Inca of Perusalem with Kaiser Wilhelm II.<span style="mso-spacerun: yes;"> </span>The most obvious physical facial
characteristic was the Kaiser’s mustache.<span style="mso-spacerun: yes;">
</span>This not only informed the audience, but also identified the character
of the Inca to Ermyntrude, the drama’s “fashionable and handsome” leading lady.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4lpE7MyzyczCs4RWZQoN464kq027hCggENU0Wuu0pDLjHcRyudLIUZPm26MVemoougqvrHMghVl_0jO6aewHW5R8r5mEY7I9jQXXTzlkRdJdwpvGzlOwgKJKEcYJruPOO8bfPyrh9hcQ/s1600/Kaiser+Wilhelm+II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="980" data-original-width="775" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4lpE7MyzyczCs4RWZQoN464kq027hCggENU0Wuu0pDLjHcRyudLIUZPm26MVemoougqvrHMghVl_0jO6aewHW5R8r5mEY7I9jQXXTzlkRdJdwpvGzlOwgKJKEcYJruPOO8bfPyrh9hcQ/s320/Kaiser+Wilhelm+II.jpg" width="253" /></a></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> KAISER WILHELM </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The play begins with a
Prologue staged in-front of the stage curtain. The Archdeacon is upset with his
adult daughter, Ermyntrude, who is a widow of a rich American.<span style="mso-spacerun: yes;"> </span>Unfortunately, she is an extravagant woman left
with only one hundred and fifty pounds a year. Her father tells her that she
“had better become lady’s maid to a princess until you can find another
millionaire to marry you.”</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><i>The Inca of Perusalem</i> is set in the
living room of a suite in a mid-range London hotel.<span style="mso-spacerun: yes;"> </span>A helpless, spinster Princess is currently a guest
in this hotel; however, the suite is below her usual standard of accommodations.
Ermyntrude presents herself to the Princess and immediately commences to be an
invaluable aid to her royal highness. As a result, Ermyntrude is quickly hired
to serve as the Princess’s majordomo. <span style="mso-spacerun: yes;"> </span>The
Princess requests Ermyntrude to meet with an officer who has arrived to
interview her on behalf of the Inca of Perusalem. The Inca desires to have the
Princess marry one of his sons.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The major segment of this
play deals with the Inca’s officer named Captain Duval, who is the Inca in
disguise, and his flirtatious session with Ermyntrude, who is pretending to be the
Princess. The boastful Inca tries to win Ermyntrude with gifts and
pretentiousness. She wittily and arrogantly avoids all his advances and gifts.
However, both pretenders eventually claim to have recognized each other from
the onset and regard their visit as enjoyable.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Inca of Perusalem</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
was premiered by the Birmingham Repertory Theatre on October 9, 1916. The
production was directed by John Drinkwater (1882-1937) with Gertrude Kingston
(1862-1937) starring as Ermyntrude and Felix Aylmer (1889-1979) as the Inca.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">A production opened in
Dublin on March 12, 1917.<span style="mso-spacerun: yes;"> </span>It was a hit
and the reviewer in the <i>Freeman’s Journal</i> called it “a very transparent
secret.”<span style="mso-spacerun: yes;"> </span>He mentioned that it was
“Horrid fun.<span style="mso-spacerun: yes;"> </span>All I ask is for more of
it.”</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The first London
production opened on December 16, 1917 at the Criterion Theatre. It was
produced by the Pioneer Players, a London theatre society, starring Randle
Ayrton (1869-1940) with Gertrude Kingston recreating the role of Ermyntrude.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Inca of Perusalem</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
was originally presented on Broadway at the Maxine Elliott Theatre opening on
November 14, 1916. It played for forty-two performances closing on December 30,
1916. This production was presented by The Gertrude Kingston Company from
London.<span style="mso-spacerun: yes;"> </span>Kingston toured this play and
two others to American cities during many of the remaining years of World War
One.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Inca of Perusalem</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
remained popular in the United States long after the war ended. The play was
seen nationally during a live National Broadcasting Company’s television
production on July 3, 1955. Sir Cedric Hardwicke (1893-1964) starred as the
Inca and his wife Mary Scott (1921-2009) as Ermyntrude.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In<i>
</i>1916, Shaw wrote <i>Augustus Does His Bit: A True To-Life Farce.</i> This
one-act play pokes fun at British men of the governing class,<i> </i>who are
serious about helping to win the war, but are too inept to be of actual
assistance. Lord Augustus Highcastle, who heads a tiny military office in the small
English town of Little Pifflington, learns that a female German spy is coming
to steal an important document he possesses.<span style="mso-spacerun: yes;">
</span>The Lady, as she is called in the script, arrives at Augustus’s office
and flatters him. She easily outwits Augustus and secures the real document;
however, the entire caper is a sham rigged by Augustus’s brother known as
“Blueloo” who desires to expose Augustus’s incompetence.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In
January of 1917, the Stage Society of London had secured the rights to perform
“Augustus.” This group took this one-act play to Flanders for the soldiers to
enjoy. Shaw also had been invited to be there by the Commander-in-Chief. Shaw
states that this play “opened the heart of every official to me.” He claimed
that he was told by them “We are up against Augustus all day.” Shaw said that
the government departments knew their problem was “how to win the war with
Augustus on their backs, well-meaning, brave, patriotic, but obstructively
fussy, self-important, imbecile, and disastrous.”</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
Stage Society performed the play in London at the Court Theatre on January
21,1917. Augustus was played by F.B.J. Sharp (1873-1964) and The Lady was Lalla
Vandervelde.<span style="mso-spacerun: yes;"> </span>The <i>Stage</i> in its
January 25, 1917 edition had a review of this production that ended with this
comment: The play “was by no means received with enthusiasm at the Court.”
However, this play frequently appeared on stages across Great Britain
throughout the rest of the twentieth century. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> </span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtkbU6KBi6bhjzyq47Is0U5gTZzEMeVk4o8hTztc5UudCeaUOP2aPf00WctSlWWL305IbKHOubgz8DdwNb2ilbNshlzq-i7zndcSTuDDBczbjQkmtNYKGdy5rH5K8DbpqSP4-Dt4MzFIw/s1600/Lalla+Vandervelde.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="481" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtkbU6KBi6bhjzyq47Is0U5gTZzEMeVk4o8hTztc5UudCeaUOP2aPf00WctSlWWL305IbKHOubgz8DdwNb2ilbNshlzq-i7zndcSTuDDBczbjQkmtNYKGdy5rH5K8DbpqSP4-Dt4MzFIw/s320/Lalla+Vandervelde.jpg" width="193" /></a></div>
LALLA VANDERVELDE <br />
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Augustus
Does His Bit</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> was premiered in the United States by the
Drama League Players in Washington, D.C. at Poli’s Theatre on December 10, 1917.
Although this was not a production performed by Broadway stars, it was
mentioned in newspapers across the country. The article was titled “How
Officers Helped Augustus to “Do His Bit.”’ There were English officers seated
in the theatre’s left-hand box. When they saw that the actor playing Augustus
standing in the wings was not dressed in an English regulation uniform, one
officer quickly gave the actor his regulation coat and another provided his
khaki collar.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">On
March 12, 1919 a professional production opened in New York City at the Comedy
Theatre. It played for five performances starring Hubert Druce (1870-1931) as
Augustus and Merle Madden (1887-1984) as The Lady.<span style="mso-spacerun: yes;"> </span>This play was billed in the newspaper
advertisement as “G. Bernard Shaw’s Latest Trifle.”</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
play was popular throughout the United States and NBC-TV aired its television version
nationally on October 31, 1966.<span style="mso-spacerun: yes;"> </span>This
television production continued to be shown periodically over the next three
years.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Both
plays sparkle with wit and insights. They remain good fun and would be a
delight to see today.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PHOTOS:</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Kaiser's photo by T.H. Voigt on 31 December 1901</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Portrait of Lalla Vandervelde by Roger Fry, Painted in 1917 </span></div>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-30153673398427444132019-11-09T20:42:00.000-05:002019-11-09T20:42:08.741-05:00SHAW’S BACK TO METHUSELAH<!--[if gte mso 9]><xml>
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Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">George Bernard Shaw (1856-1950)
spent the final years of World War I and a bit beyond writing his longest play
titled <i>Back to Methuselah </i>(1918-1921).<span style="mso-spacerun: yes;">
</span>It is really a five-play cycle under one title that portrays humanity
from life in the Garden of Eden to the year 31,920 A.D.<span style="mso-spacerun: yes;"> </span>For this post, my discussion relates to the
first two plays--PART I titled IN THE BEGINNING and PART II THE GOSPEL OF THE
BROTHERS BARNABAS.<span style="mso-spacerun: yes;"> </span>It is in Part I, Act
II that Shaw discusses what motivates man to kill and in Part II Shaw examines the
aftermath of World War One. I do not intend to discuss these two plays as they
relate to Shaw’s major thesis for the cycle—the political inadequacy of
humankind and how humans need creatively to evolve beyond their present
considerations. <span style="mso-spacerun: yes;"> </span>The only lens I will use
for these two plays is their relationship to World War One.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Part I, Act I titled “In The
Beginning” is Shaw’s version of how Adam and Eve were introduced to the idea of
procreation. <span style="mso-spacerun: yes;"> </span>Act II is set “A few
centuries later.”<span style="mso-spacerun: yes;"> </span>The time is “Morning”
and the location is “An oasis in Mesopotamia.”<span style="mso-spacerun: yes;">
</span>It is the simple living area where the very old Adam and Eve currently
reside.<span style="mso-spacerun: yes;"> </span>Even though Cain’s parents have
not forgiven him for slaying his brother Able, he arrives to visit his parents.
It is Cain’s discussion with Adam and Eve that reveals his rational for
battling and killing other men.<span style="mso-spacerun: yes;"> </span>Cain
believes fighting is important to feeling alive “life lived to the very marrow”
as well as fighting makes man the master of woman. However, Eve counters with
“she makes you fight to bring her the ornaments and treasures of those you have
slain.”<span style="mso-spacerun: yes;"> </span>Cain believes “There is
something higher than Man. There is hero and superman.” Cain also claims: “I
have striven with a man: spear to spear and shield to shield.<span style="mso-spacerun: yes;"> </span>It is terrible; but there is no joy like
it.<span style="mso-spacerun: yes;"> </span>I call it fighting.<span style="mso-spacerun: yes;"> </span>He who has never fought has never lived.”</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The scene continues as he
educates his parents about war and the trophies it brings. His list includes the
bonus of other individuals to work for him. Also Cain claims: “Without danger I
cannot be great.” <span style="mso-spacerun: yes;"> </span>He proudly acknowledges
knowing “the craft of fighting and of hunting: in a word, the craft of
killing.”<span style="mso-spacerun: yes;"> </span>He proclaims: “Woman is the
creator and man is the destroyer.” Eventually Adam is won over by Cain’s
arguments for killing, but Eve never buys into the rationale. Shaw’s version of
how man evolved into the warrior/hero illustrates that continuing to have wars is
inevitable as long as the ideas expressed by Cain and his war trophies are desirable.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PART II THE GOSPEL OF THE
BROTHERS BARNABUS is set during the first years after World War One. It is a
fine afternoon in spring. <span style="mso-spacerun: yes;"> </span>The setting is
“a well-furnished spacious study” located in “Hampstead Heath towards London.” It
is the home of “The Clerical Gentleman” (Franklyn) who is the brother to “The Tweeded
Gentleman” (Conrad) a professor of biology at Jarrowfields University. These
two men are the Brothers Barnabas, who spread their gospel for “creative
evolution” as a means of stopping wars. Mr. Haslam, the newly appointed young
rector, arrives, but he is a “very unwelcome” guest.<span style="mso-spacerun: yes;"> </span>He has really come to see Franklyn’s daughter
named Savvy, who considers herself a “Simple-Lifer.” This term refers to a
lifestyle that existed from 1913 and throughout the years of the war. It refers
to a person who claims to live a simple life often connected to nature. It was
not unusual for these individuals to have an income that sustained their
lifestyle and allowed them neither to care about social considerations nor to
what was currently fashionable.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Shaw used this play to
illustrate his sense of society’s condition following the war. The politicians
who visit the Brothers Barnabas, just bicker about how their various proposed policies
have not succeeded. The characters named Mr. Burge and Mr. Lubin revisit the
problems resulting from the war. Audiences in the 1920s would have found Mr. Lubin recognizable as H. H. Asquith
(1852-1915) and Mr. Burge as David Lloyd George (1863-1945). Asquith and George
served consecutively as Prime Minister of the United Kingdom during the years
1908-1922. Shaw makes the point that politicians as well as the church failed
to make progress in solving the warring state of humans and their countries.<span style="mso-spacerun: yes;"> </span>At one point, Shaw sums up the early 1920s as
“A world without conscience that is the horror of our condition.” </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Franklyn and Conrad tell
the visiting politicians that they are just leading the country into another
war. <span style="mso-spacerun: yes;"> </span>The solution that the Brothers
Barnabus advocate is beyond politics. It relates to humans having a long enough
lifespan to evolve into better human beings. The Brothers Barnabus believe it
would take extending human life to at least three hundred years since currently
humans “are just beginning to have a glimmer of the wisdom and knowledge needed
for their own government.”</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The remaining three plays in the cycle illustrate Shaw’s vision for creative evolution that could provide
humans with the wisdom to stop all killings and wars.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This cycle of five plays
subtitled by Shaw “A Metabiological Pentateuch,” has an interesting production
history. The premier performance was undertaken by the Theatre Guild in New
York City where it was presented at the Garrick Theatre. It opened on February
22, 1922 and closed in March,1922 after playing for twenty-five performances.
Since <i>Back to Methuselah</i> took at least ten hours to see it in its
entirety, the Theatre Guild presented the entire cycle of five plays over the
course of three consecutive nights before starting again with Part I.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The first production in
England was presented by the Birmingham Repertory Theatre and it opened on October
9, 1923. Barry Jackson (1879-1961) founder of this theatre, was determined to
gain the rights to this play.<span style="mso-spacerun: yes;"> </span>When Shaw
met Jackson, Shaw revealed that he “had discarded all though of production
until perhaps fifty years after my death.”<span style="mso-spacerun: yes;">
</span>Shaw did not know that Birmingham Repertory Theatre had produced his
plays for years. Shaw finally gave his permission for Jackson to stage <i>Back
to Methuselah</i>.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Birmingham Repertory
Theatre brought its original Birmingham production to London. <i>Back to
Methuselah</i> opened with Part I at the Court Theatre on February 18,1924.
Each play in the cycle opened on a different night. Part II opened February 19<sup>th</sup>,
Part III the following night, Part IV on the 21<sup>st</sup> and Part V on the
22<sup>nd</sup>.<span style="mso-spacerun: yes;"> </span>Each Part was repeated four
times and the production closed following the March 6, 1924 performance of Part
V. Audiences were curious and interested in this play. It was considered a bold
experiment.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Birmingham Repertory
Theatre brought back its production of <i>Back to Methuselah</i> to London’s
Court Theatre on March 5, 1928.<span style="mso-spacerun: yes;"> </span>Once
again, each part was staged on separate consecutive evenings for a total of ten
times each. Colin Keith-Johnson (1896-1980) played Adam as he had done in the
1923-24 production.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>A National British radio version of <i>Back to
Methuselah</i> Part I was aired on January 2, 1935. Part I starred Gwen Ffrangcon-Davies
(1891-1992) who also played Eve in the original Birmingham Repertory Theatre production.
I do not know if other plays from the cycle were aired on later dates.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The National Broadcasting
Company (NBC) in the United States produced a seventy-five minutes radio
version in 1937 of <i>Back to Methuselah.</i> This version of the play was
prepared by Shaw and it was broadcast in Canada as well as the United
States.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Theatre Guild mounted
a second Broadway production of <i>Back to Methuselah</i> that opened at the
Ambassador Theatre on March 26, 1958. It played for twenty-nine performances
before it toured throughout the United States. This successful production had been
cut from 90,000 words in the original script to 30,000 words by Arnold Moss
(1910-1972). This version of <i>Back to Methuselah</i> was a two-act play. Moss
also appeared on stage playing Bernard Shaw. Moss used this role to keep the
play moving by chatting about it in a witty and charming Shavian manner.<span style="mso-spacerun: yes;"> </span>Celeste Holm (1917-2012) and James Daly (1918-1978)
starred throughout the drama in multiple roles as did other well-known actors.<span style="mso-spacerun: yes;"> </span>This version was directed by Margaret Webster
(1905-1972).</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>In 1969 Canada’s Shaw Festival presented <i>Back
to Methuselah, </i>Part One. A more complete version of the play was presented
during the Shaw Festival’s 1986 season.</span></div>
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<br /></div>
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Back to Methuselah</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> was initially
published in 1921 by Constable and Company Limited, London.<span style="mso-spacerun: yes;"> </span></span>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-66624279943955000602019-09-07T17:18:00.000-04:002019-09-07T17:25:03.810-04:00STANISLAW WITKIEWICZ’S THE CUTTLEFISH<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Stanislaw Ignacy
Witkiewicz (1885-1939) was an artist of many talents.<span style="mso-spacerun: yes;"> </span>He was a playwright, painter, novelist and prose
author.<span style="mso-spacerun: yes;"> </span>He belonged to no movement, ism
or group.<span style="mso-spacerun: yes;"> </span>When World War One started in
1914, Witkiewicz went to St. Petersburg, Russia and enrolled in officer’s
training school. During the war he served as an officer in the renown Pavlovsky
Regiment. In 1918 Witkiewicz returned to Poland, his country of birth, to
continue his work as an artist and playwright/author.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">It was at this time that
he began to use the name Witkacy to distinguish himself from his famous father,
who had the identical name. His father was an author and a renown painter, who
died in 1915. Witkacy is a composite of Stanislaw’s last and middle names.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Witkacy focused on
writing plays upon his return to Poland. <span style="mso-spacerun: yes;"> </span>Over the next twenty years he was highly
productive as a playwright and a painter. <span style="mso-spacerun: yes;"> </span>It was in 1922 that he wrote <i>The
Cuttlefish, or the Hyrcanian Worldview.</i> <span style="mso-spacerun: yes;"> </span>Beneath the title of the play is printed “Motto:
Don’t give in even to yourself.” This one-act drama was published the following
year. Its premier performance was staged in Cracow, Poland in 1933 at the
avant-garde artists’ Cricot theatre. This production was created primarily by
painters and musicians, who interpreted the character of Hyrcan IV to look and
act like Hitler.<span style="mso-spacerun: yes;"> </span>Hyrcan, a self-created
dictator, whose style of leadership is to be in complete control. The Cricot interpretation
made the script and production timely.</span></div>
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<br /></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The Cuttlefish </span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">depicts
the plight of an artist in the contemporary world who is buffeted between the
conflicting demands of his art and his country. He does not have confidence in
either because he has lost faith in himself. The setting is an artist studio
“with black walls with narrow emerald green designs.” There is a black pedestal
on the left and Alice d’Or, a twenty-eight year old blonde dressed in an
alligator printed tight-fitting sheath, lies on her stomach on the pedestal;
she is referred to in the script as Statue. When the scene commences, artist
Paul Rockoffer is pacing back and forth, clutching his head in his hands. He is
a nonrealistic painter as was Witkacy. This drama has a cast of ten persons: five
major characters, two minor and three incidental ones.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul Rockoffer is 46 years
old.<span style="mso-spacerun: yes;"> </span>His fiancée named Ella, is a pretty
eighteen-year old, who is the play’s cuttlefish.<span style="mso-spacerun: yes;"> </span>“A cuttlefish is any soft and insidious
predator that, once having attached itself with sucking tentacles, will not let
go.” Obviously, she is an overly possessive person. Rockoffer is in deep
mourning and very disturbed since on the previous day every one of his paintings
were burned and his ideas scorned by the government. Paul feels he has lost his
identity.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Pope Julius II, a sixteenth
century Pope, pays a visit to Rockoffer’s studio. This historic character
represents past aristocrats, warriors, papal power and patron of the arts. This
first section of the play is devoted to problems relating to art. Eventually
Ella arrives and tries to cheer up Rockoffer. She is overflowing with plans and
new items for their future home and life.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Later Hyrcan IV
arrives.<span style="mso-spacerun: yes;"> </span>He attended school with
Rockoffer and he has proclaimed himself the ruler of an imaginary kingdom named
Hyrcania. He is attired in a purple cloak and sports a golden garment beneath
it. On his head is a helmet with a red plume.<span style="mso-spacerun: yes;">
</span>He carries a large sword in one hand.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Eventually Hyrcan suggests
that Rockoffer should accompany him to Hyrcania. Rockoffer is briefly tempted.
Eventually Hyrcan is stripped of his physical pretensions and loses his sense
of control/power. He kills Ella with one blow from his sword and leaves the
scene muttering threats to everyone. Rockoffer proclaims he will prove that the
artist is qualified to rule this world and he imagines a new life for himself
as the ruler of Hyrcania.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">This latter section of
the play with the would-be dictator and his idea of totalitarianism was
Witkacy’s vision of Europe’s future. I have simplified the plot and barely
suggested the fabric of several major characters while totally omitting the
minor and incidental ones. <i>The Cuttlefish</i> presents a complex group of
characters, philosophies and surprising events that I have not addressed.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Due to the rise of Hitler
and his policies, the Cricot’s production of <i>The Cuttlefish</i> was the last
professional production of Witkacy’s plays in the playwright’s lifetime. In
1939, Witkacy committed suicide immediately following the invasions of Poland
by the German and Soviet regimes.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In 1956, when the
liberation of the arts in Poland from Stalinist control commenced, the “Cricot 2”
theatre company opened in Cracow with a new production of <i>The Cuttlefish.</i>
Tadeusz Kantor (1915-1990) founded Cricot 2 with a group of visual artists, who
were interested in creating an experimental theatre group.<span style="mso-spacerun: yes;"> </span>Cricot 2 performed in many theatres
throughout Poland as well as abroad. Kantor, who was a visual artist as well as
a theatre director, found several of Witkacy’s thirty remaining plays to be the
appropriate material for his revolutionary theatrical style. It was Kantor who
introduced Witkacy’s dramas to a new generation of Polish audiences and he
assured Witkacy’s work would have a significant influence in the evolving
avant-garde Polish theatre.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In 1970 <i>The Cuttlefish</i>
was translated and published in English. Daniel Gerould’s book titled <i>Witkacy</i>
was published in 1981 and it generated more interest in this playwright. I have
found mention of two productions of <i>The Cuttlefish.</i> <i><span style="mso-spacerun: yes;"> </span></i>The Ensemble Studios Rep. Theatre located
in Sydney, Australia presented in October, 1984 a production of <i>The
Cuttlefish</i>.<span style="mso-spacerun: yes;"> </span>It played every Friday
night throughout the month.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In April, 2019 LA MAMA
Theater in New York City presented COFFEEHOUSE CHRONICLES #153 WITKACY. This
event also celebrated not only some of the works by Witkacy, but also the newly
published four volumes of Stanislaw Ignacy Witkiewicz’s collected plays
including <i>The Cuttlefish. </i>This event and the publication recognize that <i>The
Cuttlefish </i>and its playwright continue to be meaningful in today’s world.</span></div>
Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0tag:blogger.com,1999:blog-7853252690884138641.post-43278701501879951802019-07-22T20:20:00.000-04:002019-07-22T20:42:39.801-04:00CANGIULLO’S TWO MINUTE FUTURIST PLAY<!--[if gte mso 9]><xml>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Francesco Cangiullo
(1884-1977) was an Italian author, playwright and painter who after he met the
movement’s founder, Filippo Tommaso Marinetti (1876-1944), became actively
engaged in the development of Futurism.<span style="mso-spacerun: yes;">
</span>The year when this initial meeting took place in Naples was 1910, but
Cangiullo’s official entry into Futurism is recorded in 1913.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">It was 1915 when Cangiullo wrote his play <i>Detonation
(Detonazione)</i>. The entire script for this</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">play appears below:</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">______________________________________________________________________________<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 4;"> </span></span></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">DETONATION</span></b></div>
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<b><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;">
</span>Synthesis of All Modern Theater</span></b></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 5;"> </span>CHARACTER</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A BULLET</span></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Road at night, cold,
deserted.</span></i></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A minute of silence. –A
gunshot.<span style="mso-spacerun: yes;"> </span></span></i></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 4;"> </span><span style="mso-spacerun: yes;"> </span>CURTAIN</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I believe <i>Detonation</i>
was written to provide an example of the criterion for the perfect Futurist Synthetic
Theatre drama.<span style="mso-spacerun: yes;"> </span>In 1915 the manifesto
titled THE FUTURIST SYNTHETIC THEATRE was written by Marinetti, Emilio
Settimelli (1891-1954) and Bruno Corra (1892-1976).<span style="mso-spacerun: yes;"> </span>The manifesto stressed modernity
through sensations, speed, movement and industrial development. The idea was to
compress the entire drama into a few minutes while the play created for the
viewer multiple situations, sensations, ideas, symbols and facts. The Futurists
wanted to destroy the theater inherited from Ancient Greece and replace it with
“creating synthetic expressions of cerebral energy that have THE ABSOLUTE VALUE
OF NOVELTY.”<span style="mso-spacerun: yes;"> </span>The Futurists also wanted their
theatre to excite audiences who were to forget
the monotony of daily life by being swept through a labyrinth of sensations
that were combined in unpredictable ways.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The Futurists also had a
political agenda for their dramatic presentations. Their aim across all their
artistic endeavors was to express themes of war and conflict.<span style="mso-spacerun: yes;"> </span>These broad themes were to urge
Italy to immediately enter the war since Futurists, like the Expressionists, believed
war would provide a social cleansing.</span></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Detonation</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> not
only fulfills the philosophic and artistic requirements of the Futurists, but
it expresses several of the basic impulses the Futurists wanted audience
members to experience. Did hearing a single gunshot during the night in 1915,
signal the start of war for Italy? Did it mean war had entered one’s city? Did
it make some individuals want to join the battle? Did it make audience members
want to hide or flee? This moment of theatre had the potential for audience
members to generate many individual reactions.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The Futurists held their
theatrical events in large regional cities (Naples, Rome, Venice, Florence,
etc.) and the performances were widely publicized. The plays and speeches were
held outdoors in large public spaces. Martinetti believed that in 1915 ninety
percent of the Italian population attended theatrical performances while only the
remaining ten percent read books. He wanted audiences to forget the monotony of
their lives and become swept away with the novelty, energy and ideas that
Synthetic Theater provided.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Since <i>Detonation</i>
appears to possess all the elements desired for successful Synthetic Theatre
and the timing for its creation being 1915, I imagine it as the perfect piece
to present during the year that Italy entered the conflict one step at a time. Italy
was a member of the Triple Alliance with Germany and Austria-Hungary, but on
May 3, 1915 it revoked its membership. On May 23, 1915 the Italian government
declared war on Austria-Hungary but deferred any declaration regarding Germany; August
20, 1915 declared war on Turkey; October 15, 1915 declared war on Bulgaria and
August 28, 1916 declared war on Germany. It was this slow pace of inching in to the major war
fronts that frustrated the Futurists and prompted them to keep pushing their agenda to
the Italian citizenry.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Were these plays
successful in their time? Obviously, the Futurists were never able to destroy
conventional theatre as they desired.<span style="mso-spacerun: yes;"> </span>I
have not read any reviews about these Futurist performances, however, John H.
Muse in his book titled <i>Microdramas: Crucibles For The Theater and Time</i>
states: “Professional theater critics rarely took the Futurists seriously
enough to bother attending their events, so responses come primarily from other
newspaper staff.” </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Apparently, the
Futurists’ evenings provided curious, thought-provoking free entertainment to
keep attracting audiences throughout Italy. However, Professor Muse comments:
“audiences complained that performances of the <i>sintesi</i> were too
slow.”<span style="mso-spacerun: yes;"> </span>This refers to the entire evening
of these plays since “the plays were very short and the intervals very long.” <span style="mso-spacerun: yes;"> </span>It is hard to hold an audience when the total
length of ten plays during an evening was approximately thirty minutes while
the length of the entire program was two hours.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">This structure for an
evening of plays may have occurred from time to time; however, I am under the
impression that other Futurist events such as political speeches, visual art
presentations, etc. filled the time that it took to set-up the next short
play.<span style="mso-spacerun: yes;"> </span>It is also possible that the
programing for the Futurist evenings may have varied from one city to the next.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;">The initial movement
of Futurism was concluded by the end of World War One.<span style="mso-spacerun: yes;"> </span></span>Rhoda-Gale Pollackhttp://www.blogger.com/profile/14793090113543907098noreply@blogger.com0