mccarthy william bernard (15 Ergebnisse)

Paperback. Zustand: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Zustand: Good. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Zustand: Very Good. Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects.

136 pp.; 27.8 x 21.4 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Exhibition catalogue published in conjunction with show held at The Jewish Museum San Francisco, San Francisco, March 7 - June 27, 2004. Traveled to Laguna Art Museum, Laguna Beach, July 24 - October 3, 2004 and Contemporary Art Center of Virginia, Virginia Beach, June 9 - September 4, 2005. Curated and with an introduction by John Baldessari and Meg Cranston. Essay by Thomas McEvilley. Artists included: Reverend Ethan Acres, Jo Harvey Allen, Terry Allen, Eleanor Antin, Brienne Arrington, David Askevold, Lillian Ball, Cindy Bernard, Andrea Bowers, Delia Brown, Edgar Bryan, Angela Bulloch, Chris Burden, Mary Ellen Carroll, Erin Cosgrove, Michael Craig-Martin, Jeremy Deller, Sam Durrant, Jimmie Durham, Nicole Eisenman, Katharina Fritsch, Jonathan Furmanski, Jeremy Gilbert-Rolfe, Liam Gillick, James Gobel, Jack Goldstein, Scott Grieger, Andreas Gursky, James Hayward, Micol Hebron, Damien Hirst, Rebecca Horn, Darcy Huebler, Christian Jankowski, Larry Johnson, Mike Kelley, Marky Kelly, Martin Kersels, Nicholas Kersulis, Martin Kippenberger, Rachel Lachowicz, Norm Laich, Liz Larner, Louise Lawler, Barry Le Va, William Leavitt, Roy Lichtenstein, Jen Liu, Thomas Locher, Daria Martin, T. Kelly Mason, Rita McBride, Paul McCarthy, Carlos Mollura, JP Munro, Jennifer Nelson, Eric Niebuhr, Leonard Nimoy, Albert Oehlen, Catherine Opie, Tony Oursler, Jorge Pardo, Simon Patterson, Hirsch Perlman, Luciano Perna, Renée Petropoulos, Raymond Pettibon, Paul Pfeiffer, Nicolette Pot, Richard Prince, Rob Pruitt and Jonathan Horowitz, David Reed, Victoria Reynolds, Gerhard Richter, Susan Rothenberg, Nancy Rubins, Glen Walter Rubsamen, Allen Ruppersberg, Ed Ruscha, Pauline Stella Sanchez, Kim Schoenstadt, Jim Shaw, Gary Simmons, Alexis Smith, Yutaka Sone, Thaddeus Strode, Diana Thater, Mungo Thomson, Thorvaldur Thorsteinsson in collaboration with Helena Jonsdottir, Jeffrey Vallance, John Waters, Marner Weber, William Wegman, Lawrence Weiner, Benjamin Weissman, James Welling, Eric Wesley, John Wesley, Franz West, and Chris Wilder. Includes an index of artists. Very Good / Fine. Light rubbing of cover corners and dust soiling to text block edge. Contents clean and unmarked. Due to size and weight of this publication additional shipping charges will be required for international orders.

1st ed. 1st edition, 1990. A clean, tidy copy Used - Very Good. VG hardback in VG dust jacket Used - Very Good. VG hardback in VG dust jacket.

Zustand: Very Good. Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects.

Paperback. Zustand: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: VG. Bloomington 1990 1st Indiana University. This book examines one of the largest collections of songs gathered during the golden age of ballad collecting in Scotland (1730-1830.) Octavo, 182pp., hardcover. VG in VG DJ.

Indiana University Press, 1990. Hardback, d/j, 8vo, x,182pp. A good copy. 0253337186 -1.

Zustand: Brand New.

Paperback. Zustand: Brand New. 514 pages. 9.25x6.00x1.50 inches. In Stock.

Paperback. Zustand: Brand New. 336 pages. 9.25x5.50x0.75 inches. In Stock.

Three typescripts from the papers of Lillah McCarthy (Lady Keeble). The first two both apparently unpublished are full of interest: they gives personal reminiscences of her work with William Poel, the 'pioneer of modern Shakespeare production', whom she considered the greatest influence on her career. She describes Poel's working methods, his lecture style, rehearsals, use of make up, modern influence (with reminiscences about Wolfit and Olivier), and even his death, at which she was present. The second item discusses Irving, with reference to those of his productions which she attended, and a meeting with him. The Poel items are 9 &8pp., the Irving, 4pp. 4toThe three items uniform in layout and paper stock, each printed on rectos and paginated, and each with the leaves stapled together at one corner. The three in good condition, lightly aged. All three items are scarce: no copies are listed on OCLC WorldCat, and the only copy of Item One traced is noted in Claris Glick, 'William Poel: His Theories and Influence' (1964), as at the 'Royal Shakespeare Library' (now part of the Birmingham Shakespeare Library?). ONE: 'NOTES FROM MEMORY OF WILLIAM POEL. | by Lillah McCarthy. (Lady Keeble).' 9pp, 4to. Begins: 'WILLIAM POEL 1895. | Director, Lecturer and Teacher of the Shakespeare Reading Society which still exists. | Founder, Director and Producer of the Elizabethan Stage Society.' Poel was, McCarthy begins, 'pre-eminently a keen Elizabethan scholar: his special subject: Shakespeare. His ambition was to produce Shakespeare's plays as they were produced and acted in Shakespeare's time, with the Apron Stage and the set scene. But as actresses were and had been very popular William Poel had no need to resort only to boy actors as in Shakespeare's day. Delivery of the verse, rapid and clear: perfect diction, rhythm, voice strong and resonant. | Gestures to be employed sparingly, only when really necessary to the action of play, but then strong and definite.' There follows a section on 'Make Up', with descriptions of that used for Lady Macbeth, Viola and Olivia. Of Lady Macbeth she writes: 'The hair or wig no matter what colour was needed for the part. The forehead must be built up high and broad. Hair dressed high, well back from the ears, swept high from the forehead and up from the neck.' Sections follow on 'Carriage Style' and 'Costumes'. She next turns to Poel's activities around the time when she became a member of the Shakespeare Reading Society in 1895. During weekly lectures Poel 'would stand at his desk on the platform and declare in emphatic tones his determination to get a public together that could appreciate Shakespeare for the genius as a playwright. | There was nothing academic about Poel's way of lecturing. He spoke excitedly, passionately and often violently.' She recalls how she took the part of Romeo in one of Poel's public readings: 'We the actors used to sit in a semi-circle in the way that the Theatre Francaise Presented Moliere, each of us standing up when our turn came. Though we knew our parts by heart; Poel saw to that we had to have the book in our hands because it was a "reading".' A page and a half are devoted to Poel's 'Rehearsals', during which he was 'ruthless': 'He rehearsed each of us one at a time. We were made to repeat after him our lines until we had got the rhythm and then the right expression of the passion or the tenderness or other essential of the part which the character demanded.' She performed three Shakespeare parts under Poel's direction, and 'also played the leading part in his production of Swinburne's LOCRINE. He also produced THE BACCHAE in which I played DIONYSUS.' She recalls how the Greek scholar Gilbert Murray, whose translation was used, was present at rehearsals. Returning to Shakespeare, she gives numerous examples of how 'Poel insisted on the YOUTH of Shakespeare's leading characters': 'Youth was exuberant in Shakespeare and old age only a dim background.' She states that while Poel 'was a lion and a tiger' at rehearsals, 'he was in himself charming, sensitive and kind. Never violent off stage but a fury on the lecture platform . . . A man of passionate beliefs and yet gentle withal. I, like every one of his pupils, am entirely grateful to Poel and every one of us recognised that he was a great master.' She explains why 'Poel's rehearsing of "Macbeth" was the most tremendous dramatic experience I have ever known.' She recounts how she was 'with him during his last days in his little home at Putney were he made poverty gracious. He died from bronchitis and wilst sleeping. Sitting by his side, looking at his beautiful sensitive face, I watched the power which had sustained the great pioneer ebb slowly away [] Poel was always a poor man, but he lived a rich life a Shakespearean life and he looked the part; a reincarnation of Shakespeare. His was a great achievement: to have made the British public of the declining years of the last century alive to the beauty of Shakespeare.' In a long footnote she describes how '[t]he influence of Poel is seen today in the acting of, among others, Donald Wolfit and Lawrence Olivier'. She describes an exchange with Wolfit after his 1944 'Lear' ('the finest I have ever seen'), and states that [in the celebrated 1935 production] 'Olivier WAS Romeo: Youth in love.' She also describes a conversation with 'Elsie Fogerty, the Founder and Principal of the Central School of Speech-training and Dramatic Art' on Olivier's performance. Poel's 'methods of production' were, she states, 'adopted at St. James's and Savoy Theatres [] but the 1914 war put a stop to all that'. TWO: 'SIR HENRY IRVING | in 1895 | from memory by Lillah McCarthy.' 4pp., 4to. Begins: 'Sir Henry Irving, so far as I remember, had no jealousy, nor prejudice. He encouraged and helped all members of his profession. I was a student under the direction of William Poel, who was at that time director of the Shakespeare Reading Society. Willia.