Theatre in the Antebellum South, Volume 2 by Philip G. Hill
By Philip G. Hill
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As public tastes switch, so does the character of well known drama. within the 5th century BCE, Aristophanes' "Lysistrata" attracted censors for its topics of wifely uprising and intercourse. From the fifteenth to the 18th centuries, performs have been censored essentially for spiritual or political purposes. within the nineteenth century, social and sexual purposes for censorship emerged, and smooth moralists have objected to works by way of such playwrights as Arthur Miller, Eugene O'Neill, and Lillian Hellman.
Winner of 4 Pulitzer Prizes and the 1st American dramatist to obtain a Nobel Prize, Eugene O'Neill crammed his performs with wealthy characterization and leading edge language, taking the outcasts and renegades of society and depicting their Olympian struggles with themselves-and with future.
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This memoir is an strange contribution to the heritage of movie and cinema. At its centre is the tale of the making of the British movie vintage Western techniques, the 1st tale documentary in Technicolor, absolutely enacted through amateurs. It used to be nominated for the easiest movie from any resource Oscar.
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Additional resources for Theatre in the Antebellum South, Volume 2
Caldwell, notwithstanding, seceded from his duty to the Public, and his obligation to his employer on the second night of the representation of King Henry 8th. The very act of seceding from his duty, was a positive violation of his contract, independent of an express regulation of the Theatre, which for such an offence, gives the Manager the power of dismissing the Performer so offending. Without enforcing such regulations, how is it possible for a Manager to fulfill his duty to the Public? No man, I believe, feels that duty more strongly than myself; but a moment's reflection must produce the conviction, that unless a Manager possess the power to make Performers amenable to the rules of his Theatre, he must necessarily be unable to perform his duty to the Public.
The riot upon which the symposium focused was the culmination of a series of events stretching over many months. Joseph George Holman, manager of the Charleston Theatre, had brought James H. Caldwell from England to Charleston for what proved to be the start of a long American career. Within a few months, however, Caldwell and Holman quarreled, and eventually Caldwell resorted to the local newspapers to lay his case before the public. Caldwell was young, handsome, and popular, whereas Holman was imperious and distant, and the public rallied to Caldwell's cause.
All the after communications were verbal. I disgress to state this word verbal has been an unfortunate one for me; however, experientis docet, and I hope the ultimate will prove cheaply tooto that note Mr. H. verbally replied, he would in one week accede to the proposal contained in it. (I hope Mr. ) Now, altho' Mr. H. was "extremely anxious" to receive this proposal from me. Altho' he offered in the presence of a few friends, his noble blood, high elated with ripe Champaigne, to give me a check for $1000, if I would only make this proposal to him; and, anticipating the terms of my proposal, unhesitatingly asserting and declaring he would acceed to it instantly.