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المجلس الإسلامي العربي / The Emirates Center for Strategic Studies and Research (ECSSR) hosted a lecture – The Dangers of Sectarian Conflicts and Means to Confront Them – delivered by His Eminence Sayyed Mohamad Ali El Husseini, Secretary-General of The Arab Islamic Council.
• الموضوع : The Emirates Center for Strategic Studies and Research (ECSSR) hosted a lecture – The Dangers of Sectarian Conflicts and Means to Confront Them – delivered by His Eminence Sayyed Mohamad Ali El Husseini, Secretary-General of The Arab Islamic Council. .
The Emirates Center for Strategic Studies and Research (ECSSR) hosted a lecture – The Dangers of Sectarian Conflicts and Means to Confront Them – delivered by His Eminence Sayyed Mohamad Ali El Husseini, Secretary-General of The Arab Islamic Council.
El Husseini :He told an audience of politicians, diplomats, media persons and an elite group of social and thought leaders that religion can only be used to attain political gains through misrepresentation, affirming that talk about Sunni Islam and Shia Islam is baseless because they are two schools divided by politics.
Sayyed Mohamad Ali El Husseini In his lecture titled ''The Dangers of Sectarian Conflicts and Means to Confront Them'', the scholar, known of his open political and intellectual stances, spoke about the serious dangers that sectarianism could inflict on the structure of communities and how it accelerates erosion and disintegration of communities from within, turning them into failed states that were plagued by wars and disagreements that deplete their resources and defame their stature.
In this context, sayed mohamad ali el husseini said,'' We find the phenomenon of "Islam within Islam", or those instigating strife within Islam, adhere to their own interpretation of the Holy Quran and the Prophet's Hadith that deviate from the genuine mission of peaceful Islam, and upon which they rely to promote their own fabricated version of Islam.'' In his view, Daesh were both seeking an alleged caliphate and leadership that justify coercion in the name of religion.
• ElHusseini said that the Islamic unity conference in Mecca brought together the nation s scholars on one word namely unity and rejection of all manifestations of extremism.


Some individuals are unable to leave their homes and therefore treatment may need to be made available in their homes. In other cases, it may be more therapeutic to provide treatment within the home setting. Under these circumstances, home sessions may be scheduled as needed.


text:
Ilya Repin, 'Portrait of Actress Eleonora Duse' (1891), via WikiArt
Source: Alice Meynell, 'Eleonora Duse', in The Colour of Life: and other essays on things seen and heard (London: John Lane, 1897), pp. 45-52
Text: The Italian woman is very near to Nature; so is true drama.
Acting is not to be judged like some other of the arts, and praised for a "noble convention." Painting, indeed, is not praised amiss with that word; painting is obviously an art that exists by its convention—the convention is the art. But far otherwise is it with the art of acting, where there is no representative material; where, that is, the man is his own material, and there is nothing between. With the actor the style is the man, in another, a more immediate, and a more obvious sense than was ever intended by that saying. Therefore we may allow the critic—and not accuse him of reaction—to speak of the division between art and Nature in the painting of a landscape, but we cannot let him say the same things of acting. Acting has a technique, but no convention.
Once for all, then, to say that acting reaches the point of Nature, and touches it quick, is to say all. In other arts imitation is more or less fatuous, illusion more or less vulgar. But acting is, at its less good, imitation; at its best, illusion; at its worst, and when it ceases to be an art, convention.
But the idea that acting is conventional has inevitably come about in England. For it is, in fact, obliged, with us, to defeat and itself by taking a very full, entire, tedious, and impotent convention; a complete body of convention; a convention of demonstrativeness—of voice and manners intended to be expressive, and, in particular, a whole weak and unimpulsive convention of gesture. The English manners of real life are so negative and still as to present no visible or audible drama; and drama is for hearing and for vision. Therefore our acting (granting that we have any acting, which is granting much) has to create its little different and complementary world, and to make the division of "art" from Nature—the division which, in this one art, is fatal.
This is one simple and sufficient reason why we have no considerable acting; though we may have more or less interesting and energetic or graceful conventions that pass for art. But any student of international character knows well enough that there are also supplementary reasons of weight. For example, it is bad to make a conventional world of the stage, but it is doubly bad to make it badly — which, it must be granted, we do. When we are anything of the kind, we are intellectual rather than intelligent; whereas outward-streaming intelligence makes the actor. We are pre-occupied, and therefore never single, never wholly possessed by the one thing at a time; and so forth.
On the other hand, Italians are expressive. They are so possessed by the one thing at a time as never to be habitual in any lifeless sense. They have no habits to overcome by something arbitrary and intentional. Accordingly, you will find in the open-air theatre of many an Italian province, away from the high roads, an art of drama that our capital cannot show, so high is it, so fine, so simple, so complete, so direct, so momentary and impassioned, so full of singleness and of multitudinous impulses of passion.
Signora Duse is not different in kind from these unrenowned. What they are, she is in a greater degree. She goes yet further, and yet closer. She has an exceptionally large and liberal intelligence. If lesser actors give themselves entirely to the part, and to the large moment of the part, she, giving herself, has more to give.
Add to this nature of hers that she stages herself and her acting with singular knowledge and ease, and has her technique so thoroughly as to be able to forget it—for this is the one only thing that is the better for habit, and ought to be habitual. There is but one passage of her mere technique in which she fails so to slight it. It is in the long exchange of stove-side talk between Nora and the other woman of "The Doll's House." Signora Duse may have felt some misgivings as to the effect of a dialogue having so little symmetry, such half-hearted feeling, and, in a word, so little visible or audible drama as this. Needless to say, the misgiving is not apparent; what is too apparent is simply the technique. For instance, she shifts her position with evident system and notable skill. The whole conversation becomes a dance of change and counterchange of place.
Nowhere else does the perfect technical habit lapse, and nowhere at all does the habit of acting exist with her.
I have spoken of this actress's nationality and of her womanhood together. They are inseparable. Nature is the only authentic art of the stage, and the Italian woman is natural: none other so natural and so justified by her nature as Eleonora Duse; but all, as far as their nature goes, natural. Moreover, they are women freer than other Europeans from the minor vanities. Has any one yet fully understood how her liberty in this respect gives to the art of Signora Duse room and action? Her countrywomen have no anxious vanities, because, for one reason, they are generally "sculpturesque," and are very little altered by mere accidents of dress or arrangement. Such as they are, they are so once for all; whereas, the turn of a curl makes all the difference with women of less grave physique. Italians are not uneasy.
Signora Duse has this immunity, but she has a far nobler deliverance from vanities, in her own peculiar distance and dignity. She lets her beautiful voice speak, unwatched and unchecked, from the very life of the moment. It runs up into the high notes of indifference, or, higher still, into those of ennui, as in the earlier scenes of Divorçons; or it grows sweet as summer with joy, or cracks and breaks outright, out of all music, and out of all control. Passion breaks it so for her.
As for her inarticulate sounds, which are the more intimate and the truer words of her meaning, they, too, are Italian and natural. English women, for instance, do not make them. They are sounds à bouche fermée, at once private and irrepressible. They are not demonstrations intended for the ears of others; they are her own. Other actresses, even English, and even American, know how to make inarticulate cries, with open mouth; Signora Duse's noise is not a cry; it is her very thought audible — the thought of the woman she is playing, who does not at every moment give exact words to her thought, but does give it significant sound.
When la femme de Claude is trapped by the man who has come in search of the husband's secret, and when she is obliged to sit and listen to her own evil history as he tells it her, she does not interrupt the telling with the outcries that might be imagined by a lesser actress, she accompanies it. Her lips are close, but her throat is vocal. None who heard it can forget the speech-within-speech of one of these comprehensive noises. It was when the man spoke, for her further confusion, of the slavery to which she had reduced her lovers; she followed him, aloof, with a twang of triumph.
If Parisians say, as they do, that she makes a bad Parisienne, it is because she can be too nearly a woman untamed. They have accused her of lack of elegance — in that supper scene of La Dame aux Camélias, for instance; taking for ill-breeding, in her Marguerite, that which is Italian merely and simple. Whether, again, Cyprienne, in Divorçons, can at all be considered a lady may be a question; but this is quite unquestionable—that she is rather more a lady, and not less, when Signora Duse makes her a savage. But really the result is not at all Parisian.
It seems possible that the French sense does not well distinguish, and has no fine perception of that affinity with the peasant which remains with the great ladies of the old civilisation of Italy, and has so long disappeared from those of the younger civilisations of France and England—a paradox. The peasant's gravity, directness, and carelessness —a kind of uncouthness which is neither graceless nor, in any intolerable English sense, vulgar—are to be found in the unceremonious moments of every transalpine woman, however elect her birth and select her conditions. In Italy the lady is not a creature described by negatives, as an author who is always right has denned the lady to be in England. Even in France she is not that, and between the Frenchwoman and the Italian there are the Alps. In a word, the educated Italian mondaine is, in the sense (also untranslatable) of singular, insular, and absolutely British usage, a Native. None the less would she be surprised to find herself accused of a lack of dignity.
As to intelligence—a little intelligence is sufficiently dramatic, if it is single. A child doing one thing at a time and doing it completely, produces to the eye a better impression of mental life than one receives from—well, from a lecturer.
Comments: Alice Meynell (1847-1922) was an English poet and essayist. Eleonora Duse (1858-1924) was an Italian actress of worldwide renown, the performances celebrated for the depth of their sensitivity. The plays in which she appeared mentioned here are Henrik Ibsen's Et dukkehjem (A Doll's House), Divorçons by Victorien Sardou and Émile de Najac, and Alexandre Dumas fils' La Femme de Claude and La Dame aux Camélias.
Posted in 1890s, France, Italy, Theatre and tagged Alexandre Dumas fils, Alice Meynell, Émile de Najac, Divorçons, Eleonora Duse, Essays, Et dukkehjem, Henrik Ibsen, La Dame aux Camélias, La Femme de Claude, Open-air theatre, Victorien Sardou on November 30, 2018 by urbanora. Leave a comment
Monkey Theater
Source: Walter Benjamin (trans. Howard Eiland), 'Monkey Theater' in Berlin Childhood around 1900 (Cambridge, Mass./London: The Belknap Press of Hadvard University Pres, 2006), pp. 142-143
Text: "Monkey Theater" – to the adult ear, this name has something grotesque about it. Such was not the case when I first heard it. I was still quite young. That monkeys must have looked rather strange onstage was a consideration wholly overshadowed by this strangest of all things: the stage itself. The word "theater" pierced me through the heart like a trumpet blast. My imagination took off. But the trail it pursued was not that which led behind the scenes and which later guided the boy: rather, my imagination sought the trace of those clever, happy souls who had obtained permission from their parents to spend an afternoon in the theater. The entry led through a gap in time – that uncovered niche in the day which was the afternoon, and which already breathed an odor of the lamp and of bedtime. On entered not in order to feast one's eyes on William Tell or Sleeping Beauty – at least, not only for this reason. There was a higher goal: to occupy a seat in the theater, among all the other people who were there. I did not know what awaited me, but looking on as a spectator certainly seemed to me only part of – indeed, the prelude to – a far more significant activity, one that I would engage in along with everyone else there. What sort of activity it was supposed to be I did not know. Assuredly it concerned the monkeys just as much as it would the most experienced theatrical troupe. And the distance separating monkey from man was no greater than that separating man from actor.
Comments: Walter Benjamin (1892-1940) was a German philosopher, essayist and cultural commentator. His idiosyncratic memoir of observational pieces on his Berlin childhood was not published in collected form in his lifetime, and not until 1989 in a form that most closely matches the author's intentions.
Posted in 1890s, Animals, Germany and tagged Berlin, Children, Memoirs, Walter Benjamin on March 2, 2018 by urbanora. Leave a comment
A Victorian Playgoer
The new Her Majesty's Theatre in 1897, via Wikipedia
Source: Kate Terry Gielgud (ed. Muriel St Claire Byrne), A Victorian Playgoer (London: Heinemann, 1980), pp. 51-52
Production: Gilbert Parker, The Seats of the Mighty, Her Majesty's Theatre, London, 28 April 1897
Text: London has a new theatre, and a very fine one, and Mr. Tree and all those who have worked in its production deserve the heartiest congratulations. No pains have been spared to ensure good views of the stage throughout, and to make the front of the house comfortable. The theatre is very wide and somewhat shallow in proportion, with the circles pitched very high. and the effect is extremely good.
Mrs. Tree in the gorgeous dress of a lady of Louis XV's Court stepped before the curtains and opened proceedings by delivering – very nervously – an ode especially composed by the Poet Laureate. It was very elaborate and patriotic but it really had not much to do with the theatre, and was not a brilliant piece of versification. Then came Miss Clara Butt and a choir to give a staccato rendering of the National Anthem, which took a very long time, and then, these forms and ceremonies being at an end we could settle down to enjoy and criticise the picture that Mr. Tree had thought fit to place first in this fine frame.
Since every one in the theatre-going world will inevitably go and see the new theatre, it cannot be wondered at that Mr. Tree should at first 'work off' a play that has not any very great individual attraction, keeping for later pieces of tho more importance. To be candid, Mr. Parker's play is a bit tedious. The long arm of stage coincidence stretches so abnormally far, the play bears such evident signs of compression, events are piled together – with first rate melodramatic situations – but they are bewilderingly compressed without being concise, there are rough edges and threads picked up from nowhere in particular. It is a novelist's play, the points are almost too dramatic for the stage except as lending themselves to triumphs of stage management, most impressive and praiseworthy on a previously untried field (excuse enough for the long waits, which, by the way, mattered nothing last night, as everyone wanted to look about the house and the audience.)
The plot is all very involved and hard to disentangle, and it seems a pity to waste so many dramatic moments in telling so invertebrate a story, for there is much that is good. Mr. Lewis Waller has an utterly bad part, a hero with never a chance being otherwise than passively heroic; he was most dignified and sympathetic and it is always a treat to hear him speak.
Making all allowance for the nervousness, the excitement of such a first night, I still think Mr. Tree has made too elaborate a study of Doltaire. He poses too perpetually, works his effects until they lost all spontaneity and, most important, he fails altogether to my mind, in presenting the strange fascination of the man. We cannot understand the secret of his power over then and women alike. His was the most artificial part in a palpably built-up play and I thought he accentuated rather than slurred over the artificiality. Mrs. Tree looked very well and acquitted herself well too, in no easy task. Her part begins with great promise; she has one good scene of cajolery and subsequent fury when Doltaire repels her advances, and then she drops out of the play – one of the ragged ends.
Miss Kate Rorke showed infinite tact and earnestness and made up in many ways for a a certain youthfulness that she lacks now. Her figure seemed the more matronly in juxtaposition with Mrs. Tree's slight and graceful one, but the contrasts of art and simplicity, diplomacy and love. were at the same time heightened thereby.
It was a memorable evening altogether and one I should have been very sorry to miss; and if as an actor Mr. Tree hardly came up to his usual standard, as manager he excelled himself.
Comments: Kate Terry Gielgud (1868–1958) was the daughter of actress Kate Terry, niece of Ellen Terry, and the mother of the actor John Gielgud. Between 1892 and 1903 she wrote accounts of her visits to the London theatre as letters to an invalid friend who was unable to visit the theatre. The Her Majesty's Theatre was built on the site of three earlier theatres. It was owned and managed by Herbert Beerbohm Tree, who also made the theatre his home. The opening play was an adaptation by Gilbert Parker of his popular novel The Seats of the Mighty, which Tree had previously presented in America in late 1896. Its subject is the British capture of Quebec under James Wolfe. The poet laureate was Alfred Austin.
Posted in 1890s, Theatre, United Kingdom and tagged Clara Butt, Gilbert Parker, Helen Tree, Her Majesty's Theatre (london), Herbert Beerbohm Tree, Kate Rorke, Kate Terry Gielgud, Letters, Lewis Waller, London, The Seats of the Mighty on March 19, 2017 by urbanora. Leave a comment
'Ghosts' at the Royalty
Source: Anon., 'Ghosts' at the Royalty, The Daily Chronicle, 14 March 1891
Production: Henrik Ibsen, Gengangere [Ghosts], Royalty Theatre, London, 13 March 1891
Text: Mr. J.T. Grein, the "founder and literary manager," and apparently general superintendent of "The Independent Theatre of London," has, perhaps unconsciously, done the Lord Chamberlain's department an exceedingly good turn. He last night at the Royalty demonstrated that there must be some value in an office that can save the general public — that is to say the public paying money at the doors of a theatre, and not always sure of the performance that is to be witnessed — from a domestic drama so revoltingly suggestive and so blasphemous as Ibsen's "Ghosts." By resorting to an invitation representation of this loathsome production, the disciples of the Norwegian playwright have at last carried out the idea they are believed to have long entertained, and the time has now arrived when it would be injurious to the interests of the English stage to do otherwise than speak plainly. The large audience, which included more females than might have been expected, considering the nature of a play of which very few persons knowing anything of the modern drama can be ignorant, consisted solely of members or guests of the "Independent Theatre" association, but this circumstance did not prevent one healthy-minded individual at the fall of the curtain on a deplorable picture of youthful insanity, constituting the inheritance of a father's unbridled passion (they call it in "Ghosts" "The joy of life"), exclaiming, "It's too horrible!" Mr. Grein, however, was loudly summoned by the more appreciative majority, and stating that he should like to explain his views respecting the "Independent Theatre," proceeded to say that he desired to foster a more literary species of drama than that now prevailing on the English stage, that he intended to bring forward masterpieces for the benefit of our younger dramatists, and that generally he wished to stimulate more artistic productions. The hopes of the advanced school of dramatic authors — by which we mean those who in one way or another may be anxious to emulate Ibsen — must have been considerably raised by Mr. Grein's further declaration that he should "stand firm" in his endeavour to elevate the literary standard of stage work. With a plea for help in his undertaking, and thanking the assemblage for their "gracious reception" of what he admitted was a terrible although artistic play, Mr. Grein retired. Some people appeared to consider this little march somewhat of a mistake, but there were others who were grateful to learn the speaker to which they are henceforward to look for the regeneration of the drama in this country.
We have alluded to "Ghosts" as revoltingly suggestive and blasphemous. Justification of the former term would involve a more detailed explanation of the relations of three of the characters towards each other than we care to enter upon; of the second charge it is sufficient perhaps to say that a vile elderly being, as distorted in person as he is in mind, whose darling design it is to employ a young girl — supposed by some to be his daughter, though he knows to the contrary — as a decoy at a "sailors' tavern," where there shall be "singing and dancing, and so forth," is allowed to say to an extremely simple-minded clergyman, whom he is partly befooling and partly threatening, that he knows "a man that's taken others' sins upon himself before now," emphasising the statement by raising his right hand to heaven. "Ghosts," however, as a play contains greater faults even than those of lack of decency or of respect for religious convictions. The characters are either contradictory in themselves, uninteresting, or abhorrent. The only really respectable individual in the piece, Pastor Manders, is nerveless just when courage is required, is an easy prey to schemers, and is rather too addicted to figuratively bringing the pulpit into private houses. To Mrs. Alving — the long-patient wife of a dissolute husband — we should by no means like to pin our faith. She has loved the pastor, and in the course of conversation with him makes one or two remarks that are certainly not in good taste respecting what might have been in the past had the clergyman succumbed to temptation when she left her drunken spouse and sought Manders's roof. Nor can we forgive her — although her life is bound up in that of her son — for not setting her face to the very end against the association of Oswald, "worm-eaten from his birth," with Regina. As the just and outspoken critic last night declared, "It's too horrible!" This Regina, it should be added, is quite as artful as Rebecca West in "Rosmersholm," though she is less constant and more self-seeking. She attempts to captivate the son of the kindly woman who has dragged her from a life of squalor and degradation, but when she learns that Oswald is ill, and that she cannot wed him, coolly throws him over, and says, with a shrug of the shoulders, "A poor girl must make the best of her young days, or she'll be left out in the cold before she knows where she is." This same minx, when she learns that her mother was betrayed by her employer, says, "So mother was that kind of woman after all." Of the reputed father of this girl and of the melancholy insane youth who persistently cries for "the sun" as the curtain descends, after he has striven to persuade his mother to give him a fatal dose of morphia to free him from the dread by which he is possessed, we have sufficiently spoken. The one is detestable in his craft and hypocrisy, the other a pitiful, mean, and abject creature in the exposition of the doctrine of heredity.
If anything could have made the play last night tolerable to those not stricken with the Ibsen fever it would have been the excellent acting it obtained. Few professional actresses could have given a more realistic or forcible impersonation of the distressed Mrs. Alving than Mrs. Theodore Wright; whilst the Oswald of Mr. Frank Lindo and the club-footed Jacob Engstrand of Mr. Sydney Howard were also embodiments that commanded approval for unswerving faithfulness to the cause in hand. Mr. Leonard Outram too did his best to avoid prosiness as the lecturing and eventually frightened Pastor Manders, and Miss Edith Kenward's representation of Regina had several meritorious points. The interpretation, indeed, far exceeded in harmoniously artistic quality the worth of the play from the theatrical aspect. There were times last night when laughter was evoked by the commonplace utterances of some of the characters, but on the whole the audience behaved decorously. As there is such a tendency in the Ibsen "social dramas" to throw a strong light upon "the seamy side of life," it is as well that occasionally — either purposely or by accident — excuse should be afforded for merriment. Finally, the experience of last night demonstrated that the official ban placed upon "Ghosts" as regards public performance was both wise and warranted.
Comments: Henrik Ibsen's Gengangere, given the title Ghosts by its English translator William Archer, was written in 1881 and first staged in Chicago in 1882 by a Danish touring company, after it had been rejected by Scandanavian theatre companies, alarmed by its themes of free love, syphilis, incest and its attacks on religion. It enjoyed some performances in continental Europe through the 1880s, but the first British production (using Archer's translation) was not until 13 March 1891, in a private performance by the subscription-based Independent Theatre Society (founded by critic Jacob Grien). It was held at the small Royalty Theatre in Soho, in defiance of the Lord Chamberlain's ban on the play. The outrage caused by the single performance is encapsulated in the above review.
Links: Copy at All About Henrik Ibsen (National Library of Norway)
Posted in 1890s, Theatre, United Kingdom and tagged Audiences, Edith Kenward, Frank Lindo, Gengangere Ghosts, Henrik Ibsen, Leonard Outram, London, Mrs Theodore Wright, Newspapers, Royalty Theatre (London), Speeches, Sydney Howard on February 3, 2017 by urbanora. Leave a comment
Postcard of the original Kabuki-za before it was rebuilt in 1911, via Wikipedia
Source: Junichiro Tanizaki (trans. Paul McCarthy), Childhood Years: A Memoir (London: Collins, 1990, orig. pub. 1957), pp. 147-148
Text: My guess is that, since our family finances had worsened greatly over the previous two years, going frequently to the Kabuki was a luxury we could no longer afford. According to the Yearbook the admission fees at the Kabukiza in those days were four yen fifty sen for a first-class box, three yen fifty for a good raised box in the orchestra, two yen fifty for an ordinary box in the orchestra, thirty-five sen per person for seats in a second-class box, and twenty sen per person for seats in the boxes on the third tier. And though Mother still seemed to go from time to time at my uncle's invitation, I was now included in these parties less and less often; presumably, as I got older and bigger, it became a nuisance to try to find space for me in one of the good raised boxes that we always rented.
I can still remember how it felt to go with Mother by rickshaw from Minami Kayaba-cho toward Tsukiji, where the Kabukiza was, my heart beating fast with excitement as we raced along. Mother still referred to Shintomi-cho, which in the 1870s had housed a licensed quarter called the 'New Shimabara,' by that name; and so, crossing Sakurabashi bridge, we passed through 'Shimabara,' where the Shintomi Theater now stood, turned south along the bank of the river just in front of Tsukiji bridge, and, approaching Kameibashi bridge, caught our first glimpse of the large, cylindrical section crowning the roof of the Kabukiza. The theater had been built in 1889, so it was only four or five years old at the time. Nearby were some eleven teahouses affiliated with the theater, and these displayed bright flowered hangings on their second floors whenever the Kabukiza was open. We always left our rickshaw at an establishment called Kikuoka and then, with hardly a moment to rest in the guest room, we were hustled off by the maids. Slipping into the 'lucky' rush sandals supplied by the teahouse, we crossed a wooden-floored corridor and entered the theater. I remember how, after we had slipped off our sandals and stepped up into the theater corridor, the smoothly polished wooden floors felt strangely cool even through the thick soles of my tabi socks. Generally one felt a kind of chill in the air as one came in, with a breath of wind as cool as mint entering from the sleeves and from below one's holiday kimono and prickling the underarms and nape of the neck. The slight sensation of chilliness was like the fresh, bright days of plum-blossom viewing in very early spring, making one shiver pleasantly.
'The curtain's going up!' Mother would call, and I would hurry so as not to be late, running down the cool corridors.
I remember that often as we returned from the play it was raining. Perhaps this made our visit to the theater all the more memorable for me. The rickshaw in which we rode was fitted out with an oilcloth awning – the same material as those table covers used in Chinese restaurants. The odors of the oilcloth and the oil in my mother's hair blended with the sweet fragrance of her kimono, filling the darkened cab. As I took in these smells and listened to the sound of the rain beating upon the awning, the images of the various actors we had seen on stage that day, the sounds of their voices, and the stage music came alive again for me there in that dark, enclosed world. On nights when I had watched scenes of a woman about the same age as my mother having to part with a beloved child, or stabbed by a furious husband, or driven to kill herself for the sake of fidelity or chastity, I asked myself what Mother would do if she found herself in such straits. Would she too abandon me or let me be killed for some principle? Thinking such thoughts, I passed along the streets that led toward home, swaying with the motion of the rickshaw.
Comments: Jun'ichirō Tanizaki (1886-1965) was a major Japanese novelist, author of Tade kuu mushi (Some Prefer Nettles), Yoshinokuzu (Arrowroot), Sasameyuki (The Makioka Sisters) and translations of The Tale of Genji. His childhood memoirs includes many references to theatrical entertainments in Tokyo, in particular visits to the Kabuki-za.
Posted in 1890s, Japan, Kabuki and tagged Boxes, Children, Junichiro Tanizaki, Kabuki-za (Tokyo), Memoirs, Prices, Tokyo on January 29, 2017 by urbanora. Leave a comment
Adventures and Letters of Richard Harding Davis
Source: Charles Belmont Davis (ed.), Adventures and Letters of Richard Harding Davis (New York: Scribner's, 1917), pp. 223-226
Production: Nellie Farren Testimonial Benefit Fund event, Drury Lane, London, 17 March 1898
Text: London, March 20, 1898
The Nellie Farren benefit was the finest thing I have seen this year past. It was more remarkable than the Coronation, or the Jubilee. It began at twelve o'clock on Thursday, but at ten o'clock Wednesday night, the crowd began to gather around Drury Lane, and spent the night on the sidewalk playing cards and reading and sleeping. Ten hours later they were admitted, or a few of them were, as many as the galleries would hold. Arthur Collins, the manager of the Drury Lane and the man who organized the benefit, could not get a stall for his mother the day before the benefit. They were then not to be had, the last having sold for twelve guineas. I got two the morning of the benefit for three pounds each, and now people believe that I did get into the Coronation! The people who had stalls got there at ten o'clock, and the streets were blocked for "blocks" up to Covent Garden with hansoms and royal carriages and holders of tickets at fifty dollars apiece. It lasted six hours and brought in thirty thousand dollars. Kate Vaughan came back and danced after an absence from the stage of twelve years. Irving recited The Dream of Eugene Aram, Terry played Ophelia, Chevalier sang Mrs. Hawkins, Dan Leno gave Hamlet, Marie Tempest sang The Jewel of Asia and Hayden Coffin sang Tommy Atkins, the audience of three thousand people joining in the chorus, and for an encore singing "Oh, Nellie, Nellie Farren, may your love be ever faithful, may your pals be ever true, so God bless you Nellie Farren, here's the best of luck to you." In Trial by Jury, Gilbert played an associate judge; the barristers were all playwrights, the jury the principal comedians, the chorus girls were real chorus girls from the Gaiety mixed in with leading ladies like Miss Jeffries and Miss Hanbury, who could not keep in step. But the best part of it was the pantomime. Ellaline came up a trap with a diamond dress and her hair down her back and electric lights all over her, and said, "I am the Fairy Queen," and waved her wand, at which the "First Boy" in the pantomime said, "Go long, now, do, we know your tricks, you're Ellaline Terriss"; and the clown said, "You're wrong, she's not, she's Mrs. Seymour Hicks." Then Letty Lind came on as Columbine in black tulle, and Arthur Roberts as the policeman, and Eddy Payne as the clown and Storey as Pantaloon.
The rest of it brought on everybody. Sam Sothern played a "swell" and stole a fish. Louis Freear, a housemaid, and all the leading men appeared as policemen. No one had more than a line to speak which just gave the audience time to recognize him or her. The composers and orchestra leaders came on as a German band, each playing an instrument, and they got half through the Washington Post before the policemen beat them off. Then Marie Lloyd and all the Music Hall stars appeared as street girls and danced to the music of a hand-organ. Hayden Coffin, Plunkett
Greene and Ben Davies sang as street musicians and the clown beat them with stuffed bricks. After that there was a revue of all the burlesques and comic operas, then the curtain was raised from the middle of the stage, and Nellie Farren was discovered seated at a table on a high stage with all the "legitimates" in frock-coats and walking dresses rising on benches around her.
The set was a beautiful wood scene well lighted. Wyndham stood on one side of her, and he said the yell that went up when the curtain rose was worse than the rebel yell he had heard in battles. In front of her, below the stage, were all the people who had taken part in the revue, forming a most interesting picture. There was no one in the group who had not been known for a year by posters or photographs: Letty Lind as the Geisha, Arthur Roberts as Dandy Dan. The French Girl and all the officers from The Geisha, the ballet girls from the pantomime, the bare-back-riders from The Circus Girl; the Empire costumes and the monks from La Poupee, and all the Chinese and Japanese costumes from The Geisha. Everybody on the stage cried and all the old rounders in the boxes cried.
It was really a wonderfully dramatic spectacle to see the clown and officers and Geisha girls weeping down their grease paint. Nellie Farren's great song was one about a street Arab with the words: "Let me hold your nag, sir, carry your little bag, sir, anything you please to give – thank'ee, sir!" She used to close her hand, then open it and look at the palm, then touch her cap with a very wonderful smile, and laugh when she said, "Thank'ee, sir!" This song was reproduced for weeks before the benefit, and played all over London, and when the curtain rose on her, the orchestra struck into it and the people shouted as though it was the national anthem. Wyndham made a very good address and so did Terry, then Wyndham said he would try to get her to speak. She has lost the use of her hands and legs and can only walk with crutches, so he put his arm around her and her son lifted her from the other side and then brought her to her feet, both crying like children. You could hear the people sobbing, it was so still. She said, "Ladies and Gentleman," looking at the stalls and boxes, then she turned her head to the people on the stage below her and said, "Brothers and Sisters," then she stood looking for a long time at the gallery gods who had been waiting there twenty hours. You could hear a long "Ah" from the gallery when she looked up there, and then a "hush" from all over it and there was absolute silence. Then she smiled and raised her finger to her bonnet and said, "Thank'ee, sir," and sank back in her chair. It was the most dramatic thing I ever saw on a stage. The orchestra struck up "Auld Lang Syne" and they gave three cheers on the stage and in the house. The papers got out special editions, and said it was the greatest theatrical event there had ever been in London.
Comments: Richard Harding Davis (1864-1916) was a celebrated American journalist and novelist, known for his war reporting and sharp eye for a sensational subject. Ellen 'Nellie' Farren (1848-1904) was a British actor and singer, renowned for her principal boy performances in Gaiety Theatre productions, which attracted a huge, chiefly male, following. She was forced to retire through ill health in 1892. On 17 March 1898 a performance in aid of the Nellie Farren Testimonial Benefit Fund at Drury Lane drew an unprecedented cast of late Victorian stage greats, and raised an estimated £7,000. The show included a production of Gilbert and Sullivan's one act comic opera Trial by Jury, with Gilbert himself playing the Associate. Other accounts of the event state that Dan Leno appeared in a scene from the Drury Lane pantomime with Herbert Campbell, and not a scene from Hamlet.
Posted in 1890s, Comic opera, Music Hall & Variety, Pantomime, United Kingdom and tagged Albert Chevalier, Arthur Roberts, Audiences, Ben Davies, Benefits, Charles Hayden Coffin, Charles Wyndham, Comic opera, Curtains, Dan Leno, Drury Lane Theatre (London), Duration, Edward Payne, Ellaline Terriss, Ellen Terry, Encores, Fred Storey, Galleries, Hamlet, Harry Plunkett Greene, Henry Irving, Kate Vaughan, Letters, Letty Lind, London, Louie Freear, Marie Lloyd, Marie Tempest, Music, Music hall, Musicians, Nellie Farren, Pantomime, Prices, Richard Harding Davis, Sam Sothern, Trial by Jury, Variety theatre, William S. Gilbert, William Shakespeare on January 28, 2017 by urbanora. Leave a comment
The Theatrical 'World' of 1895
(L-R) Allan Aynesworth, Evelyn Millard, Irene Vanbrugh and George Alexander, via Wikimedia Commons
Source: William Archer, The Theatrical 'World' of 1895 (London: W. Scott, 1896), pp. 456-60
Production: Oscar Wilde, The Importance of Being Earnest, St James's Theatre, London, 20 February 1895
Text: The dramatic critic is not only a philosopher, moralist, assthetician, and stylist, but also a labourer working for his hire. In this last capacity he cares nothing for the classifications of Aristotle, Polonius, or any other theorist, but instinctively makes a fourfold division of the works which come within his ken. These are his categories: (1) Plays which are good to see. (2) Plays which are good to write about. (3) Plays which are both. (4) Plays which are neither. Class 4 is naturally the largest; Class 3 the smallest; and Classes 1 and 2 balance each other pretty evenly. Mr. Oscar Wilde's new comedy, The Importance of Being Earnest, belongs indubitably to the first class. It is delightful to see, it sends wave after wave of laughter curling and foaming round the theatre; but as a text for criticism it is barren and delusive. It is like a mirage-oasis in the desert, grateful and comforting to the weary eye — but when you come close up to it, behold! it is intangible, it eludes your grasp. What can a poor critic do with a play which raises no principle, whether of art or morals, creates its own canons and conventions, and is nothing but an absolutely wilful expression of an irrepressibly witty personality? Mr. Pater, I think (or is it some one else?), has an essay on the tendency of all art to verge towards, and merge in, the absolute art – music. He might have found an example in The Importance of Being Earnest, which imitates nothing, represents nothing, means nothing, is nothing, except a sort of rondo capriccioso, in which the artist's fingers run with crisp irresponsibility up and down the keyboard of life. Why attempt to analyse and class such a play? Its theme, in other hands, would have made a capital farce; but "farce" is far too gross and commonplace a word to apply to such an iridescent filament of fantasy. Incidents of the same nature as Algy Moncrieffe's [sic] "Bunburying" and John Worthing's invention and subsequent suppression of his scapegrace brother Ernest have done duty in many a French vaudeville and English adaptation; but Mr. Wilde's humour transmutes them into something entirely new and individual. Amid so much that is negative, however, criticism may find one positive remark to make. Behind all Mr. Wilde's whim and even perversity, there lurks a very genuine science, or perhaps I should rather say instinct, of the theatre. In all his plays, and certainly not least in this one, the story is excellently told and illustrated with abundance of scenic detail. Monsieur Sarcey himself (if Mr. Wilde will forgive my saying so) would "chortle in his joy" over John Worthing's entrance in deep mourning (even down to his cane) to announce the death of his brother Ernest, when we know that Ernest in the flesh — a false but undeniable Ernest — is at that moment in the house making love to Cecily. The audience does not instantly awaken to the meaning of his inky suit, but even as he marches solemnly down the stage, and before a word is spoken, you can feel the idea kindling from row to row, until a "sudden glory" of laughter fills the theatre. It is only the born playwright who can imagine and work up to such an effect. Not that the play is a masterpiece of construction. It seemed to me that the author's invention languished a little after the middle of the second act, and that towards the close of that act there were even one or two brief patches of something almost like tediousness. But I have often noticed that the more successful the play, the more a first-night audience is apt to be troubled by inequalities of workmanship, of which subsequent audiences are barely conscious. The most happily-inspired scenes, coming to us with the gloss of novelty upon them, give us such keen pleasure, that passages which are only reasonably amusing are apt to seem, by contrast, positively dull. Later audiences, missing the shock of surprise which gave to the master-scenes their keenest zest, are also spared our sense of disappointment in the flatter passages, and enjoy the play more evenly all through. I myself, on seeing a play a second time, have often been greatly entertained by scenes which had gone near to boring me on the first night. When I see Mr. Wilde's play again, I shall no doubt relish the last half of the second act more than I did on Thursday evening; and even then I differed from some of my colleagues who found the third act tedious. Mr. Wilde is least fortunate where he drops into Mr. Gilbert's Palace-of-Truth mannerism, as he is apt to do in the characters of Gwendolen and Cecily. Strange what a fascination this trick seems to possess for the comic playwright! Mr. Pinero, Mr. Shaw, and now Mr. Wilde, have all dabbled in it, never to their advantage. In the hands of its inventor it produces pretty effects enough;
But Gilbert's magic may not copied be;
Within that circle none should walk but he.
The acting is as hard to write about as the play. It is all good; but there is no opportunity for any striking excellence. The performers who are most happily suited are clearly Mr. Allan Aynesworth and Miss Rose Leclercq, both of whom are delightful. Mr. Alexander gives his ambition a rest, and fills his somewhat empty part with spirit and elegance. Miss Irene Vanbrugh makes a charmingly sophisticated maiden of Mayfair, and Miss Evelyn Millard, if not absolutely in her element as the unsophisticated Cecily, is at least graceful and pleasing. Mrs. Canninge and Mr. H.H. Vincent complete a very efficient cast.
Comments: William Archer (1856-1924) was a Scottish theatre critic and translator of Ibsen. His reviews for the World were collected in annual volumes as The Theatrical 'World' of… The first performance of Oscar Wilde's The Importance of Being Earnest at the St. James's Theatre, London was on 14 February 1895. The cast included Allan Aynesworth (Algernon Moncrieff), George Alexander (John Worthing), Rose Leclercq (Lady Bracknell), Irene Vanbrugh (Gwendolen Fairfax), Evelyn Millard (Cecily Cardew), Mrs. George Canninge (Miss Prism) and H.H. Vincent (Canon Chasuble).
Posted in 1890s, Comedies, United Kingdom and tagged Allan Aynesworth, Audiences, Evelyn Millard, George Alexander, H.H. Vincent, Irene Vanbrugh, Laughter, London, Mrs George Canninge, Oscar Wilde, Periodicals, Rose Leclercq, St James's Theatre (London), The Importance of Being Earnest, William Archer on January 21, 2017 by urbanora. Leave a comment
A Wanderer in London
Dan Leno, from his autobiography Dan Leno, Hys Booke (1899)
Source: E.V. Lucas, A Wanderer in London (New York: The Macmillan company, 1918), pp. 62-64
Text: The ordinary low comedian of the Halls too often has only the machinery of humour and none of its spirit. It is when one thinks of so many of them that the greatness and goodness of poor Dan Leno, for so long the best thing that the Halls could give us, becomes more than ever to be desired and regretted. In Dan Leno England lost a man of genius whose untimely and melancholy end was yet another reminder that great wits are sure to madness near allied. Not that he was precisely a great wit: rather a great droll; but great within his limits he certainly was, and probably no one has ever caused more laughter or cleaner laughter.
That was, perhaps, Dan Leno's greatest triumph, that the grimy sordid material of the Music Hall low comedian, which, with so many singers, remains grimy and sordid, and perhaps even becomes more grimy and more sordid, in his refining hands became radiant, joyous, a legitimate source of mirth. In its nakedness it was still drunkenness, quarrelsomeness, petty poverty; still hunger, even crime; but such was the native cleanness of this little, eager, sympathetic observer and reader of life, such was his gift of showing the comic, the unexpected side, that it emerged the most delicious, the gayest joke. He might be said to have been a crucible that transmuted mud to gold.
It was the strangest contrast — the quaint, old-fashioned, half-pathetic figure, dressed in his outlandish garbs, waving his battered umbrella, smashing his impossible hat, revealing the most squalid secrets of the slums; and the resultant effect of light and happiness, laughter irresistible, and yet never for a moment cruel, never at anything, but always with it. The man was immaculate.
In this childlike simplicity of emotion which he manifested we can probably see the secret of his complete failure in New York. In that sophisticated city his genial elemental raptures seemed trivial. The Americans looked for cynicism, or at least a complete destructive philosophy — such as their own funny men have at their finger-tips — and he gave them humour not too far removed from tears. He gave them fun, that rarest of qualities, rarer far than wit or humour; and, in their own idiom, they had "no use" for it.
In the deserts of pantomime he was comparatively lost: his true place was the stage of a small Music Hall, where he could get on terms with his audience in a moment. Part of his amazing success was his gift of taking you into his confidence. The soul of sympathy himself, he made you sympathetic too. He addressed a Hall as though it were one intimate friend. He told you his farcical troubles as earnestly as an unquiet soul tells its spiritual ones. You had to share them. His perplexities became yours — he gathered you in with his intimate and impressive "Mark you"; and you resigned yourself to be played upon as he would. The radiant security of his look told you that he trusted you, that you could not fail him. You shared his ecstasies too; and they were ecstasies!
No matter what Dan did to his face, its air of wistfulness always conquered the pigments. It was the face of a grown-up child rather than a man, with many traces upon it of early struggles. For he began in the poorest way, accompanying his parents as a stroller from town to town, and knowing every vicissitude. This face, with its expression of profound earnestness, pointed his jokes irresistibly. I recollect one song in the patter of which (and latterly his songs were mostly patter) he mentioned a firework explosion at home that carried both his parents through the roof. "I shall always remember it," he said gravely, while his face lit with triumph and satisfaction, "because it was the only time that father and mother ever went out together." That is quite a good specimen of his manner, with its hint of pathos underlying the gigantic and adorable absurdity.
Irish (of course) by extraction, his real name was George Galvin: he took Leno from his stepfather, and Dan from an inspired misprint. His first triumphs were as a clog-dancer, and he danced superbly to the end, long after his mind was partially gone. But he will be remembered as the sweetest-souled comedian that ever swayed an audience with grotesque nonsense based on natural facts.
Comments: Edward Verrall Lucas (1868-1938) was a British essayist who wrote several books on London and held an opinion on many things. Dan Leno, born George Wild Galvin (1860-1904), was one of the great music hall and pantomime performers of the late Victorian era. He became particularly well-known for his appearances in the annual Drury Lane Christmas pantomime. Leno's performances in New York, for which he received mixed notices, were over a four week engagement at the Olympia Music Hall on Broadway in the Spring of 1897.
Posted in 1890s, Music Hall & Variety, Pantomime, United Kingdom and tagged Dan Leno, E.V. Lucas, London, New York, Travel on January 16, 2017 by urbanora. Leave a comment
Postcard of Sarah Bernhardt as Hamlet, via Wikimedia Commons
Source: Our Paris Correspondent, 'Sarah Bernhardt as Hamlet', The Era, 27 May 1899, p. 13
Production: William Shakespeare, Hamlet, Théâtre Sarah-Bernhardt, Paris, May 1899
Text: After triumphing brilliantly a couple of years ago as Alfred De Musset's youthful, effeminate Lorenzaccio – a Florentine Hamlet – Madame Bernhardt aspired to impersonate Shakespeare's towering hero, and through this venturesome ordeal, on which the courageous artiste set her heart, she has passed with truly remarkable success. Not that the performance leaves no room for criticism – quite the reverse – but it is attractive, curiously fascinating in its singularity and will doubtless create much interest at your side. Here the new Hamlet has been received with enthusiasm, the actress's thick and thin admirers going into the wildest ecstasies the first night, while succeeding audiences have cordially confirmed this favourable verdict. The new prose version of the play is to all intents and purposes a literal translation, written in sound style, and rather too accurate, perhaps, the close adhesion to the English text causing at times a certain amount of obscurity. But MM. Morand and Schwob's reading, if somewhat heavy, must be pronounced far and away more satisfactory than that of Dumas and Maurice, which is in verse, or than that of MM. Cressonois and Samson, also in verse, which we saw at the Porte-St.-Martin some thirteen years since, when, by-the-way, Madame Sarah Bernhardt played Ophelia to the Hamlet of M. Philippe Garnier, a part that did not suit her talent. Excessive length is a drawback to the new play. No fewer than fifteen scenes were presented on Saturday, witha pretty long wait between each, shifting being still in its infancy on our stage, so that half-past one had struck before the curtain fell. Pruning and splicing have since been adopted, three scenes have been cut out, but still, starting at eight, the close is not reached until a quarter past twelve. And during all that time the spectators have eyes and ears (or nobody but Madame Bernhardt, though Ophelia's mad scene, with Mdlle. Mellot's pretty singing, seems to please them. So poor is the rest of the cast that the celebrated actress forms the sole attraction, and it must be said she proves equal to the occasion.
As a general rule, Madame Bernhardt throws herself into a rôle for ten minutes in each act; during the remainder of the time she merely dallies with it. In the present instance her energy never flags, and apart from occasional want of action, a manifest reluctance to express passion otherwise than by voice, remaining stock still when she should move about – as in the comparison of the portraits, which are painted (very badly) on the wall, not in lockets – the actress exerts herself with an intensity so untiring that it is marvellous how she can bear the strain of such arduous efforts. Her interpretation shows, as I have said, attractive singularity. Far from being "fat and short of breath," the new Hamlet is a vivacious, excitable, almost fidgetty stripling, whose febrile agitation bears no resemblance to our ideal of the musing, melancholy Dane. I heard people say that this rendering of the part made it more comprehensible than any they had hitherto seen, and fully coincide in their view. The hesitation, the weakness, and the inability of such a slender youth to cope with the difficulties of the terrible task he has set himself are too obvious to need any explanation or reflection. They "jump to the eyes," as the French say, simplifying exceedingly the signification of the complex rôle. But is this nervous, impetuous Hamlet Shakespeare's? I think not. At Madame Bernhardt's hands he loses his earnestness, the dreamy, tristful features of his character as good as disappear. Nay, he becomes so waggish, that even in the dialogue preceding the play some his gamierie prompts him to pluck the cap off the head of the candle lighter! Despite, however, blemishes of the sort that render Madame Bernhardt's delineation untruthful, it is undoubtedly attractive. In the scenes with the Ghost she is admirably effective, and though the soliloquies – more especially the most famous of them – are delivered in the monotonous, clanking tones which the actress has adopted, her elocution is telling throughout, her attitudes and gestures are graceful. The performance is more emotional than impressive; feminine in its feverish restlessness and excessive juvenility.
Some of the "business" deserves notice. In the Play scene the King and Queen take their places on a sort of high dais, to which steps lead up on either side, the front resembling that of a pulpit, forming an inverted V with the point cut off. On the floor below Hamlet reclines on cushions by Ophelia's side, and raising himself to watch Claudius, screens his face with the girl's long flaxen tresses instead of with the traditional fan. In the end his excitement leads him to climb the barrier, and, when the conscience stricken monarch rises, Hamlet, seizing a torch from the footlights, thrusts it into the face of his father's murderer, who rushes off screaming with terror. This arrangement of the scene struck me as fantastic, for, by having to peer over the balustrade, Hamlet is obliged to betray his purpose before it is attained, but Claudius does not seem to notice him, being intent on the play beyond. In the Churchyard scene, neither Laertes nor Hamlet leap into the grave, and at its close the latter falls on the heap of newly dug earth. Laertes and the Prince are each armed with a rapier and dagger in the concluding scene, but do not employ the latter weapon. Hamlet, when pinked in the hand, takes off his glove, and, perceiving Laertes start and shudder on seeing the blood flowing from the wound, divines the treachery. Setting upon his adversary in a furious bout, he disarms him, and as Laertes hastens to pick up his sword, prevents him by placing himself before it, offering him his own rapier with a glance and gesture too significant to be denied, taking the poison weapon himself. This modification to the customary exchange "while scuffling" seems to me an improvement.
Little else need, I think, he said of the performance. Madame Bernhardt's company do not shine in it, and with the exception of Mdlle. Mellot, whose pleasing singing has been already noticed, but otherwise an insignificant Ophelia, there is not a name to mention, all being below mediocrity, provincial and stagy to a degree. The scenery is very handsome, the scenic arrangements faultless, and the costumes are in perfect taste, except that of the King, which is hideous; he looks like an old woman. Madame Bernhardt has fair hair falling low on the neck, and wears a short black satin tunic bordered with sable, long black hose, and a long, narrow silken black cloak which trails slightly. A soupçon of white ruffles on the breast is the only relief to this sombre garb, which makes the gifted actress look more slender than ever. Some impressive incidental music has been contributed by M. Gabriel Pierné, and Ophelia's song is pretty.
Madame Bernhardt, I should not omit to mention, is not the first French actress who has played the part of the Danish Prince, Madame Judith having obtained considerable success in the rôle some thirty years since, and in her case Shakespeare's hero was by no means a "Miss Hamlet."
Comments: Sarah Bernhardt (1844-1923) first played Hamlet on 20 May 1899 at the Théâtre Sarah-Bernhardt in Paris, in a prose translation by Eugène Morand and Marcel Schwob which ran for around four hours. The production moved to the Adelphi Theatre in London on 12 June, with a single performance at the Memorial Theatre in Stratford on 29 June. The duel scene from the play was filmed, with accompanying sound effects, for the Phono-Cinéma-Théâtre, which was an attraction at the Paris Exposition of 1900. Mme Judith played Hamlet in 1867. The Era was a British theatrical trade journal, hence the reference to "at your side".
Links: Copy at the British Newspaper Archive (subscription site)
Posted in 1890s, France, Tragedies and tagged Audiences, Costumes, Duration, Hamlet, Marthe Mellot, Paris, Sarah Bernhardt, Singing, Théâtre Sarah-Bernhardt, Times, William Shakespeare, Women playing men on January 4, 2017 by urbanora. Leave a comment

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Debt collectors are getting even more aggressive in the wake of the Great Financial Collapse of 2008. As more and more Americans lose their jobs, homes, and livelihoods, debt collectors have expanded their "playbook" to collect on the debts created by the moribund economic state.
The Chicago Tribune has posted an article describing the aggressive, and often illegal, tactics that debt collectors have employed since 2008. Some states, such as California, are pushing back through lawsuits, both public and private, as well as proposed new state laws to counter some of the more egregious tactics, including harassing phone calls, intimidation, and a flood of lawsuits where they mostly obtain judgments by default and seek to enforce their judgments by freezing assets or garnishing wages (if any).


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Rafa Benitez: There is more to come from Fernando Torres
LIVERPOOL boss Rafa Benitez saluted derby hero Fernando Torres - but insisted there is more to come from his two-goal striker.
James Pearce
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The Spanish hotshot, who scored on his derby debut at Anfield last season, rediscovered his form in his first appearance at Goodison Park.
These were Torres' first goals since his winner on the opening day at Sunderland and Benitez believes he is getting back to his best.
"It was important for Fernando and us that he has started scoring, so to get two in a derby is massive for him," Benitez said.
"Clearly, Fernando is a player who can change games and it is positive that he has confidence now.
"He's a threat for defenders and the only thing he is missing at the moment is his physical condition.
"When he came back from the European Championships it was important for him to rest and then train properly.
"He had an injury and he still has to improve physically. He is working so hard and he will get better – he will have more pace and be stronger.
"Fernando knows he can still improve a lot and the main thing for me is that his mentality is really good.
"He scored 33 last season but I haven't set him a target this season. If he scores 32 I will be pleased!"
Torres' heroics may have secured a third straight win over the Blues and helped the Reds keep pace with Chelsea at the top of the Premier League, but Benitez insisted it was a team effort.
"We were well organised, we knew what we had to do and it was a very positive performance," he added.
"Fernando was really good but also Keane, Gerrard, Kuyt, Riera. A lot of players were doing a really good job and the defenders also.
"With these type of games you have to play with passion but also with game intelligence, so you need to use your brain and also your muscles. We did both things really well.
"We are level on points with Chelsea at the top and I hope we can stay there for a long time.
"We have confidence and you can see the team is playing well and has a good balance.
"We are strong in defence and we know we can create in attack so that is very important. When we are playing well we know we can beat anyone."
Benitez was relieved that Xabi Alonso avoided serious injury after the challenge which led to Tim Cahill's dismissal.
"It could have been a lot worse for Xabi," he said.
"Cahill lost his head. He had a problem with Arbeloa just before and that challenge on Xabi was the consequence of this."
Barclay's Premier League


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Why FinServ Companies are Still Failing to Attract Female Customers
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Does your asset management firm struggle with a lack of female customers? If so, you're almost certainly not alone – many financial services companies are failing to attract women and while 17 percent of men have a stocks and shares individual savings account, the figure drops to 10 percent amongst female investors.
New research suggests that a very large part of the problem may be that asset managers aren't communicating with women effectively. That is, the language and imagery they use in advertising and marketing communications is geared towards only one demographic – older men, who might once have constituted the lion's share of the asset management sector's customer base, but who nowadays are more of a niche.
Britain Thinks, a consultancy commissioned by the Financial Times to investigate this issue, says that far too many asset managers' communications are over-complicated and full of jargon – some confuse women rather than inspiring their confidence, while others are downright alienating or even insulting.
Deborah Mattinson, the Britain Thinks director who conducted the research, told the paper that "women were literally shrieking at the investment and financial services advertisements we showed them". Women rarely feature in asset managers' adverts and marketing, she pointed out, and where they did they were unlikely to be women who reflected the reality of the potential customer base. Usually, asset managers came off as being interested only in men with substantial sums to invest, Mattinson said.
How, then, to do better? The Britain Thinks research found that women were more likely to question their own knowledge and experience – and that they therefore wanted help getting to grips with the sort of factors that might influence their financial planning decisions. Crucially, however, they didn't want to be patronised or talked down to.
Some parts of the wealth management industry have already begun to confront this challenge. For example, the stockbroking firm Killik & Co has launched face-to-face investment education seminars launched specifically at women. The sessions have been oversubscribed. Other firms are focusing their energies online, with video content aimed at women and presented by women.
Advertising is an important part of the mix in that it informs customers' generic perceptions of the firm. For example, the women in the Britain Thinks research singled out online investment platform Nutmeg as an example of an advertiser that appealed to them. Under the tagline "Investment millionaires don't look like they used to", Nutmeg featured pictures of young, entrepreneurial looking women, rather than older men.
Investment platform Nutmeg's female friendly advertising.
Another female-friendly marketing strategy appears to be to focus on people's investment goals, rather than the investment itself. For example, women in the research praised communications featuring what investments might achieve for children. The idea is that women are more likely to think of investment as a means to an end, while men may see investment as an end in itself.
It will also be crucial for asset managers to confront two key issues head on: trust and risk. Women appear to be more likely to regard financial services companies as not trustworthy or reliable; they are also twice as likely as men to feel uncomfortable with the idea of taking a risk in order to achieve a return.
According to research by the Scorpio Partnership women also tend to place a higher proportion of their assets with their primary wealth management firm and are more satisfied with the various aspects of their wealth management relationships.
On a scale of 0-10, how well is your primary wealth manager performing in each of these areas?
Finally, asset managers are also going to have to think about an even more fundamental issue – their own failure to appoint significant numbers of women to senior positions. Research published last month by the wealth management company Tilney BestInvest found that just 8.5 % of investment funds available to retail investors in the UK are run by women.
The Investment Association increasingly recognises that this is a real problem – it is backing the Diversity Project, a new initiative that aims to ensure the savings and investment industry recruits from a wider pool of people – and that such recruits rise to the most senior positions in their companies. In the meantime, however, there is plenty asset managers can do of their own accord.
Asset managers that fail to confront these issues are at serious risk of losing women customers to businesses that are more forward-thinking. All the more so given the emergence of increasing numbers of fintech firms in the asset management space, many of which are run by entrepreneurs (including female entrepreneurs) who haven't grown up in the male dominated financial services sector.
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These 11 Facts Of Johnny Lever's Life Inspiring Journey Will
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These 11 Facts Of Johnny Lever's Life Inspiring Journey Will Dec 5, 2016 5:27:39 GMT dancelover likes this
Post by abhik143 on Dec 5, 2016 5:27:39 GMT
We often read about the popular Bollywood celebs that are good-looking and rich, but very few of us may be reading about those actors whose contributions make films a big success. Johnny Lever is a respectable name in the film industry. He is one of the first stand-up comedians in India. Johnny was born and raised in Mumbai's King Circle area, Dharavi. The actor drew his career line in 1984 and has acted in more than 300 films.
Despite the hurdles in life, Johnny kept smiling with the sole purpose to make others happy by his aura. He is one of the most noted comedians in Bollywood, who has made people smile, cry, laugh, and happy by his brilliant acting. We have collected some highlight on Johnny's career life with the help of few pictures.
1. A Star With A Young Heart
Johnny pursued his studies in Andhra Education Society English High School; however he was a drop out due to financial constraints in his family. He studied till 7th grade. Johnny started to sell pens on the streets by dancing on popular tracks and imitating the Bollywood actors.
2. A Man with Funny Bones
Johnny spent many years in Yakutpura too. It is an old city of Hyderabad. This was a major movement in his career as he learnt their language and originated a different style of acting in comic genre.
3. A Hilarious Villain
Johnny's real name is John Prakasa Rao Janumala. Johnny worked in Hindustan Lever Factor with his father. Apart from working, he imitated an American Singer, Elvis Presley. Due to this skill, he was asked to perform at a function held by Hindustan Lever. It was the moment when his friends and seniors started calling him 'Johnny Lever.'
4. An Amazing Artist
Johnny began performing musical shows. This led him to good popularity. He then joined the group of Kalyanji-Anandji, the great music director duo. Johnny felt blessed and worked relentlessly to achieve his goals. Feelings of failure were slowly fading from Johnny's life, but the struggle continued for a while.
5. A Humorous Being
It was during 1980s when Johnny released his mimicry and comedy album, Hansee Ke Hungame. The album was a major hit globally and it took this amazing man to another level of recognition.
6. An Iconic Fighter
Johnny performed various shows with the music director duo, Kalyanji-Anandji. He felt blessed to have been given the opportunity for touring with Amitabh Bachchan in 1982. In the midst of his struggle,veteran actor Sunil Dutt noticed his hardships and talent; he offered Johnny his first movie, Dard Ka Rishta.
7. A Successful Star
Johnny's first hit was Baazigar, which was directed by Abbas-Mustan. After this movie, he was chosen for almost every alternate movie as a supporting actor or comedian. Despite a handful of movies, Johnny continued to perform live shows. By this time, Johnny was at the peak of his career, but challenges started to throw again at this amazing personality.
8. A Committed Man and a Lovely Father
Johnny got married to a beautiful lady, Sujatha and has two children out of their wedlock. His daughter, Jamie Lever is also a standup comedian and she appeared in Kapil Sharma's movie, Kis Kisko Pyaar Karoon as one of the lead actresses. Johnny couldn't complete his studies, but he got his daughter educated as Masters in Marketing Communications from the University of Westminster, London. That's commendable.
9. A Brave Personality
Johnny's son, Jesse was only 10 when he was detected with tumour. Despite all the struggles in his life, Johnny kept smiling and made others laugh. However, this one incident took away comedy from Johnny's life. He left comedy and did only one movie and one show a year. In one of the interviews Johnny expressed his helplessness by saying, "It was God's will. I had always been a religious person, but one incident changed my life. My son was diagnosed with cancer. I was helpless and turned to God for help. I stopped working in films and spent all my time praying for him. Ten days later, when he was taken for a test, the doctors were surprised because the cancer had vanished. It was the beginning of a new life for me."
10. A Religious Man
After his son's miraculous results of cancer, Johnny became extremely religious. He was born in a Roman Catholic family, but never read the Bible. However, after this major change in his life, he started believing in the almighty and read the Bible completely. He admitted that he is not really a holy person, but something drags him to god for prayers as he strongly believes in him now.
11. A Well-Accomplished Comedian
Johnny has acted in more than 300 movies. He did an amazing job in his recent movies, Dilwale and Housefull 3.Hope you liked this article and the story of this amazing man, Johnny Lever. FilmyMantra team salutes to this brave man who survived as a winner despite major storms in his life.
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dancelover: Chiloka is back as of Sept 17, 2022. This is Very Good, especially for Screenwriters! Sept 24, 2022 4:17:53 GMT
dancelover: Chiloka had not been updated since the beginning of 2017. ( Since Sept. 6, 2022, Chiloka has not been reachable. ( ((. Sept 11, 2022 18:00:58 GMT
dancelover: A very useful website for Kannadan updates has been Chiloka.com, a site maintained by some fans. Sept 11, 2022 17:56:35 GMT
dancelover: From the first such films thru the end of 1995, they needed lots of updating. Starting in Jan. 1996, someone else has been partially updating them, with Director, 3 Actors, confirmation they were in Kannadan, and sometimes Screenwriters. Sept 11, 2022 17:54:57 GMT
dancelover: Since January 2022 I have been updating IMDb's records of Kannadan-language films. Sept 11, 2022 17:50:20 GMT
dmitrirex: Been gone for a while but great to see that BollyWhat is alive and well! Feb 20, 2022 21:42:01 GMT
dancelover: I just got my first COVID shot - phizir vaccine. Apr 5, 2021 17:09:37 GMT
dancelover: Headline in Times Of India regarding recent U.S.A. events: "Coup Klux Klan!" Jan 11, 2021 14:29:31 GMT
dancelover: Hhhaaapppyyy Gnu Year!!!!!!! Jan 1, 2021 4:57:12 GMT
dancelover: Trump is Dumped! Nov 7, 2020 19:46:46 GMT
dancelover: Still here, working Malayalam films on IMDb. Now completing 1994 M. films. Oct 29, 2020 5:32:09 GMT
dancelover: They both keep growing, growing, growing, & coming at us! Jun 28, 2020 18:11:26 GMT
dancelover: The Covid-19 virus is the kudzu-vine of viruses! Jun 28, 2020 18:10:06 GMT
dancelover: I'm back! Dancelover is back!! Covid's quarantine kicked me off the internet for 14 weeks, but now I'm Back!!! Jun 24, 2020 22:19:19 GMT
dancelover: I have been busy filling in gaps in IMDb. Their records for South India films are shockingly incomplete. I have been working Malayalam, and some Kannadan. Dec 25, 2019 21:01:30 GMT
dancelover: finished Aarathi Sept 25, 2019 15:40:23 GMT
dancelover: Now working Aarathi, one of Vishnuvardhan's leading ladies. Sept 10, 2019 18:47:33 GMT
dancelover: done all I could re: Srividya 7/10/19. Now going to Vishnuvardhan, the Kannadan superstar. Jul 11, 2019 17:20:43 GMT
dancelover: finished Jayabharati. Now working Srividya May 13, 2019 15:57:17 GMT
dancelover: Starting Jayabharati (Malayalam actress). Apr 1, 2019 18:51:18 GMT


Okay, so the main reason we went to Cincinnati was those free nights at the FMCA campground but the secondary reason was to score some authentic Cincinnati chili.
Now, I should start by saying that I have no intention of offending anyone with regard to chili. I understand that chili is often dear to many people's hearts, and many people have a specific definition of chili. I like chili, and am all-inclusive in my affection for it. So I like chili con carne, chili with beans, chili with big cubes of steak in it, green chili, etc. I also like chili on lots of different things: chili-cheeseburgers, chili-dogs (known as Coneys in some parts of the country), chili-fries, chili-sizes, etc.
Gold Star Chili in Cincinnatti has an open kitchen and a counter, so you can watch what they make.
Okay, so on to the subject of Cincinnati Chili. Like all regional foods, there are many places that do this dish well in and around the city. And many people swear by their particular local place. On this food mission, Richard and I wanted to compare two chains that are local to the Cincinnati region: Gold Star Chili and Skyline Chili.
I should say that really, Richard was the only one of us able to make the comparison, since we only had the opportunity to go to one and he'd already had chili at Skyline. This left Gold Star Chili as our destination of choice. We'd read online that many people thought Gold Star to be spicier and meatier than Skyline. To some extent, Richard agrees.
I wanted to get Cincinnati chili partly as a tribute to my father. When I was younger, we went to Cincinnati to see the Reds play in the old stadium. My father was always very interested in seeing the classic old stadiums before they were replaced with new ones. We got Cincinnati chili at the ballpark, and I remembered how much we both enjoyed it.
The verdict? I am sure that some of the old school, belly up to the counter, non-chain places are better than either of these outlets. But the chili at Gold Star was tasty and quick. They packaged the cheese and the onions separately since we got the orders to go. We could have used the drive-in, but I wanted pictures. Happy eating all around.


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Seven things to do
Joyce Orlando
jorlando@shelbystar.com
Friday, Saturday and Sunday:
Greater Shelby Community Theater presents Graceland and Asleep on the Wind
For the start of its 2015-16 season, Greater Shelby Community Theater presents Graceland and Asleep on the Wind at the Mildred Keeter Auditorium at Cleveland Community College. Graceland tells of two Elvis Presley fans, Bev and Rootie, who camp out at the front gate three days before the estate is opened to the public. Asleep on the Wind is set ten years earlier, when Rootie learns news from her brother, Beau, that changes her life. Performances are scheduled for 7:30 p.m. on Friday and Saturday and a matinee at 2:30 p.m. on Sunday. Admission is $12 for adults and $10 for students and senior citizens.
Harvest at Banker's House
Local band Harvest will be playing at the Banker's House, 319 N Lafayette St, Shelby, from 7 to 9 p.m. on Friday. There is a $5 cover charge. Newgrass Brewing Company will be selling beer at the event and wine, provided by Dragonfly Wine and Beer Shop, will also be on sale. This is a family friendly event open to all ages. It is recommended to bring chairs.
Fly-in at Shelby-Cleveland County Regional Airport
From 10 a.m. to 2 p.m. on Saturday, there will be a fly-in at Shelby-Cleveland County Regional Airport. It is a free event. Jungle Aviation and Radio Service will have several airplanes and a helicopter to provide rides. The flights are $25 for airplane and $30 for helicopter. The flights last around 10 minutes. There will also be a flight instructor on hand to entertain questions. Compass Aviation, an airport tenant, will be displaying their business and services. Shelby Composite Civil Air Patrol Squadron will have a display of their services as well as recruiting new cadets and senior members.
Milk drum circle at First Baptist Church
From 5:30 to 6:30 p.m. on Saturday, SongHarper Music Circles will host a drumming event called the "Milk Drum Circle." This community drumming event is a family-friendly way to create music with people of all ages, backgrounds and ability levels. There will be a cash "love offering" collected with the intent to supply perishable items such as milk, orange juice and baby formula to the efforts of the Greater Cleveland County Baptist Association's Food Pantry. Professional drum circle facilitator and music educator, Justin Harper, will host the event to be held at First Baptist Church in Shelby on the corner of North Washington and Sumter streets. No experience is necessary. There will be some loaner drums available and extra chairs. You may arrive as early as 5 p.m. to set up.
Cleveland County Sheriff's Office Glow 5K
Join the Cleveland County Sheriff's Office at 7 p.m. on Saturday, for their Light the Night 5K run to raise funds for Special Olympics North Carolina. The race starts at the Cleveland County Sheriff's office at 100 Justice Plaza and ends at Shelby High School. Those wishing to register for the race may do it the day of from 5:30 to 6:30 p.m. The cost of the race is $30. Those who preregistered may pick up their race packets in The Star parking lot from 9 a.m. to 4 p.m. on Friday.
Earl Scruggs Center square dance and old-time music
From 6 to 9 p.m., The Earl Scruggs Center presents Phil Jamison and the Swannanoa Stringbreakers for a square dance event which combines the respect for old-time music with traditional square dance. The admission for adults is $12 and $6 for children. Earl Scruggs Center members receive a discounted rate of $8 for adults and $4 for children. Dress is casual. For information, call the Earl Scruggs Center at 704-487-6233 or visit EarlScruggsCenter.org. Light refreshments will be available for purchase.
Owl's Eye Vineyard and Winery
From 3 to 5 p.m. on Sunday at Owl's Eye Winery, 1414 Metcalf Road, Shelby, Jon Myer of the No Name Band will perform solo for the first time. Myer will play some experimental blues, jazz and classic rock. Owl's Eye is picnic and leashed-pet friendly. Small fruit and cheese plates will be available for purchase.
Contact Joyce Orlando, public safety reporter, at jorlando@shelbystar.com; 704-669-3341; Twitter @Star_J_Orlando


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Home » Companion » Taxonomy » Sports and Fitness
Feldenkrais, Pilates, Yoga
Carl Stough
Carl Stough (1926–2000) developed a way of approaching breathing which has similarities with the Alexander Technique. His method is used by some Alexander Technique teachers. Jessica Wolf, a teacher of the Technique, developed a teaching based on Stough's method called 'The Art of Breathing'. Writings and video 'Misconceptions about breathing' by Jessica Wolf.[1] 'Jessica Wolf's Art of Breathing' by Jessica Wolf.[2] Jessica Wolf's Art of Breathing: Rib animation [DVD].[3] References [1] '...
Fascial Unwinding
Fascial Unwinding (FU) is a therapy through which physical and emotional blocks can be released. 'An introduction to fascial unwinding' by Mika Hadar-Borthwick; the author has worked with Fascial Unwinding often in conjunction with the Alexander Technique.[1] 'Fascia release: Unlocking the psychophysical library' by Mika Hadar-Borthwick presents a seven step guide to fascia release which she regards as a complementary therapeutic tool to the Alexander Technique.[2] References [1] 'An introduction to fascial unwinding' by Mika Hadar-...
Feldenkrais Method
The Feldenkrais Method is a type of exercise therapy devised by Moshé Feldenkrais (1904–1984). Feldenkrais and F. M. Alexander Moshe Feldenkrais had lessons in the Alexander Technique with Walter Carrington in the 1940s. When Feldenkrais' book, Body and Mature Behaviour, came out in 1949, F. M. Alexander was alerted to it, and upon reading it, realised that many ideas were based, unacknowledged, on Alexander's books and work. Alexander had a brief conversation with Feldenkrais about it, and decided that Feldenkrais could have no more lessons.[1] For more details...
Laban movement analysis is a method and language for describing, visualising, interpreting and documenting movement. It is based on the work of Rudolf Laban (1879–1958), and developed and extended by Irmgard Bartenieff (1900–1981) and others. 'Body-mind therapies – A sensory based comparison of systems' by Aileen Crow reports on a meeting September 1985 of seven Alexander Technique teachers, some of whom are trained in Laban Movement Analysis.[1] References [1] 'Body-mind therapies – A sensory based comparison of systems' by...
Mézières Method (Postural Reconstruction)
Françoise Mézières (1909–91) was a French physiotherapist who developed her own method, which posthumously has been named 'Postural Reconstruction'. 'The use and abuse of anatomy' by Joel Carbonel, a teacher of the Alexander Technique, argues, like Mézières, that back musculature is too strong and shortened, and therefore it goes against the conclusions of Dr David Garlick's observations. (In the same issue David Gorman replies.)[1] References [1] 'The use and abuse of anatomy' by Joel...
Joseph Pilates (1880–1967) developed a system of exercises which puts emphasis on alignment, breathing, and developing a strong core, and improving balance. Pilates called his method 'Contrology' but it is today known as 'Pilates'. Writings – Books The Mind Body Workout – With Pilates and The Alexander Technique by Lynne Robinson and Helge Fisher.[1] Writings – Articles 'Teaching a Pilates mat class with an Alexander agenda' by Diane Young Sussman introduces Pilates and how the Alexander Technique can inform...
History of Alexander Technique and yoga The first yoga teachers to train in the Alexander Technique in the UK were Ken Thompson (starting April 1976), Chris Stevens and Ray Evans (starting September 1976).[1] Writings – Books Yoga and the Alexander Technique by David Moore.[2] Smart Yoga, by David Moore.[3] Yoga and the Alexander Technique by Karyn Chapman, Kate Morris.[4] Yoga (Know the Game) by Chris Stevens, mentions the Alexander Technique and advocates the semi-supine.[5] Are you a Natural Hatha Yogi by Ken Thompson does not mention the Alexander Technique but...