Pleasure Gardens. Performing Arts Resources, vol. 21. Edited by Stephen M. Vallillo and Maryann Chach. New York: Theatre Library Association, 1998; pp. 105. $30 cloth; Their Championship Seasons: Acquiring, Processing, and Using Performing Arts Archives. Performing Arts Resources, vol. 22. Edited by Kevin Winkler. New York: Theatre Library Association, 2001; pp. 142. $30 cloth.

2004 ◽  
Vol 45 (1) ◽  
pp. 133-135
Author(s):  
Victor Emeljanow

The annual publication of the Theatre Library Association is designed “to gather and disseminate scholarly articles dealing with the location of resource materials” relating to all media as well as popular entertainments, the evaluation of those resources, and to include as well “monographs of previously unpublished original material.” The volumes are slim ones, so we should not expect coverage of the many theatre collections available to scholars and practitioners, but rather a highly selective series of essays reflecting the priorities of the Association or of the individual volume editors. This certainly appears to be the case here: the 1998 volume concerns itself with eighteenth- and nineteenth-century American pleasure gardens, whereas, after a publication hiatus of three years, the 2001 volume is focused around the acquisition, scope, and use of four major archives—those of the Joseph Papp/New York Shakespeare Festival and of Lucille Lortel in the New York Public Library of the Performing Arts, the Lawrence and Lee Theatre Research Institute at Ohio State University, and the holdings of the Weill—Lenya Research Center in New York. As a consequence, the tones of the two volumes are very different, as is their utility. The first volume appears to be directed toward a disinterested readership; the second addresses those who might actually use the particular collections.

1995 ◽  
Vol 36 (2) ◽  
pp. 89-90
Author(s):  
GJW

For the well-received 1990 Bochum Schauspielhaus production of Shakespeare's Timon of Athens, Dieter Hacker, one of Germany's leading artists and stage designers, created fifty-four masks, including the one on the opposite page for Timon himself (Figure I). This mask, Hacker's designs, and photographs of the production were seen in the recent exhibition “Contemporary Stage Design from German and Austria” at the New York Public Library for the Performing Arts, Lincoln Center, presented in collaboration with the Goethe House and German Cultural Center in New York.


2014 ◽  
Vol 15 (1) ◽  
pp. 78-80
Author(s):  
Amy Chen

Trends in Rare Books and Documents Special Collections Management, 2013 edition by James Moses surveys seven special collection institutions on their current efforts to expand, secure, promote, and digitize their holdings. The contents of each profile are generated by transcribed interviews, which are summarized and presented as a case study chapter. Seven special collections are discussed, including the Boston Public Library; AbeBooks; the University of Illinois at Urbana-Champaign; Washington University of St. Louis; the Archives and Rare Books Library, University of Cincinnati; the Rare Books and Manuscript Library at The Ohio State University; and the Manuscript, Archives, and Rare . . .


Tempo ◽  
1972 ◽  
pp. 2-9
Author(s):  
Claudio Spies

During these summer months the New York Public Library has been holding an exhibition at the Research Library of the Performing Arts, Lincoln Center, of manuscripts, drafts, annotations, letters, photographs, posters, objets, objets d'art, and other memorabilia selected from Stravinsky's legacy, and lent by his widow. The exhibition is unprecedented with respect to the collection of objects on display—since, for one thing, it is presumably only after so public a figure's demise that an assortment of this kind becomes open to the possibility of being thus exhibited—although a number of items had been familiar in published form. It is also, I conjecture, the first in a potential succession of exhibitions (depending, primarily, upon the eventual location of, and time at which, the entire legacy of these materials may become, as is to be hoped, in the most positive sense, public property), and it was mounted in conjunction with a Stravinsky Festival celebrating the 90th anniversary of the composer's birth.


2006 ◽  
Vol 59 (2) ◽  
pp. 399-457 ◽  
Author(s):  
DAVID C. PAUL

Abstract Scholars have recognized that Henry Cowell was one of the most ardent promoters of Charles Ives, but the fact that Cowell's conception of Ives shifted over time has been overlooked. During the late twenties, Cowell portrayed Ives as a fundamentally social artist with the sensibilities of a musical ethnographer. By the fifties, in the writings Cowell coauthored with his wife Sidney, Ives came to be depicted as a paragon for the liberating power of individualism. Close scrutiny of Cowell's published writings, along with letters and manuscripts from the Henry Cowell Collection of the Music Division at the New York Public Library for the Performing Arts, reveals the factors that influenced this transition. Béla Bartók's theories about folk music authenticity were the impetus behind Cowell's earliest conception of Ives. Cowell maintained that Ives had created a definitively American art music by transcribing the performance idiosyncrasies of American folk musicians. The anxieties of the Cold War and a writing partnership with his wife caused Cowell to stress Ives's commitment to the individualism espoused by transcendentalist philosophers. The Cowells no longer equated Ives's Americanness with his ability to transcribe local practice, but instead with his solitary pursuit of the “Universal Mind.”


2020 ◽  
Vol 12 (2) ◽  
pp. 229-238
Author(s):  
Hiie Saumaa

In this short piece, I highlight the question of how to bring somatics skills acquired in a somatics class to bear upon other life contexts. I use the example of scholarly work: I show how I use somatic methods as I conduct research in the archives of the choreographer Jerome Robbins (1918–98), housed at the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts at Lincoln Center. I suggest that we need to pay more attention to the question of how students and practitioners could bring physical awareness into their various life scenarios and tasks. I propose that if we learn how to transfer our somatic knowledge into different life contexts, our lives can become more embodied and we can tap into the knowledge that emanates from the physical self.


2000 ◽  
Vol 41 (2) ◽  
pp. 51-70 ◽  
Author(s):  
Scott McMillin

An early stage in the writing of the Kern-Hammerstein musical Show Boat is captured in a typescript marked “from the Ziegfeld Collection” in the Theatre Collection at the New York Public Library for the Performing Arts. The script, #7430 in the Library numbering, is undated, but Paul Robeson, Elizabeth Hines, and Guy Robertson are penciled in for the roles of Joe, Magnolia, and Gaylord, with “Aunt Jemima” (Tess Gardella, in her famous blackface role) set for Queenie, Norma Terriss for Ellie, and Andy Tombes for Frank. These are principal parts. Magnolia is the ingenue who will fall in love with the dashing, undependable Gaylord, a gambler, in Act 1 and then will grow up to become a singing star after her marriage fails in Act 2; Ellie and Frank are performers on the show boat; Queenie is the boat's cook, and Joe—the part intended for Robeson—is her husband. As yet uncast are Julie, the leading actress who is forced off the show boat when it is discovered that she is mulatto, and Magnolia's parents, Cap'n Andy Hawkes and his shrewish wife Parthy.


2021 ◽  
Author(s):  
Olivia Fay Wong

This thesis explores decisions on access to collections with sensitive content through a case study analysis of the library principles and archival practices applied to the films from the Youth Film Distribution Center (YFDC). These films are overseen by the Reserve Film and Video Collection at The New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center. The Reserve Film and Video Collection has been the principal circulating audiovisual department for The New York Public Library since the 1950s. The objective of this thesis is to explore processing decisions for films with sensitive content (e.g. films promoting negative stereotypes of their subjects or featuring violent or sexually explicit content). The thesis offers an historical overview of the Youth Film Distribution Center and outlines the processing decisions surrounding levels of access for the YFDC title Seeing (1972).


Author(s):  
Raúl Sánchez-Reseco Mateos-Aparicio ◽  
María Jesús Mateos Mateos

En la New York Public Library for the Performing Arts, dentro de la Music Division, encontramos el fondo denominado Guide to the Neighborhood Playhuse Scores, 1919-1931 and undated [signatura 04-4019]. En él, se conservan unos papeles manuscritos por el músico alemán Kurt Schindler que contienen una transcripción del famoso himno al apóstol Santiago «Dum Pater Familias», perteneciente al Codex Calixtinus. Ante estos materiales, este artículo persigue tres objetivos claros. Primero, presentar estas fuentes inéditas que complementan los estudios sobre la relación de Schindler con España. Segundo, especular sobre el propósito de las mismas y su relación con la Neighborhood Playhouse de las hermanas Lewisohn. Tercero, comparar el himno de Schindler con otras transcripciones disponibles en la época, en busca del posible modelo utilizado por el músico alemán.


2021 ◽  
Vol 49 (2) ◽  
pp. 159-164
Author(s):  
RACHEL RETICA

This article introduces a newly re-discovered letter, now in the Pforzheimer collection at the New York Public Library, that Byron sent to Count Giuseppe Alborghetti on 11 December 1820. His letter is quick, business-like, and urgent, one of the many that sped between Byron and the Count throughout this period. Alborghetti was Byron’s neighbour in Ravenna and the secretary to the Papal Legate of Lower Romagna. Alborghetti was a political ally but not a revolutionary, a reader of Byron’s poetry, a confidante, and maybe also a friend. Their correspondence spotlights Byron in one of his most complex roles: as a political actor at once naïve and savvy, firing off reports, questions, and opinions on political affairs that entangled him, involved him, and yet found him always at a remove.


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