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Aristophanes - Ecclesiazusae (part 1 of 4) Cast: Diana Rayworth, Margi Campi, Yvonne Dalpra, Roger Sloman, John Halstead, Sean Kelly, Richard Albrecht, Cheryl Campbell. Editor, Carlo Arcamone; narrator, George Rose; music, Larry Dunn. directed by Philip Hedley "A Parliment of Women" or "Women in power" or "Assemblywomen" or Ekklesiazousai ("Ecclesiazusae" is the latinized spelling of that Greek) 'Aριστοφάνης - Eκκλησιάζουσαι Tags: Aristophanes Ecclesiazusae Ekklesiazousai ancient-greek-comedy Αριστοφάνη Eκκλησιάζουσαι Assemblywomen spoof

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Shakespeare's Timon of Athens: start of play (1981 TV) William Shakespeare's "Timon of Athens", Act 1, scene one (Arden edition), line 1 to line 225 (225: Apemantus' "Then thou liest. Look in thy last work,/where thu hast feign'd him a worthy fellow") Stanley Wells, writes in "Shakespeare Quarterly" about these Johnathan Miller productionsSt: If production styles have not on the whole been especially illuminating or penetrating, they have nevertheless had their originalities and even their brilliancies...Still, more of a director's success was Jonathan Miller's handling of the first part of "Timon of Athens", a difficult because partially unrealized play. Dr. Miller's skillfully filled in the crevices of the text, setting the opening scene at a lavish reception which made an appropriate background to Jonathan Pryce's portrayal of Timon's touchingly obsessive generosity. A realistic, and voraciously devoured, banquet reinforced the recurrent imagery of food and eating which is an essential part of Shakespeare's exploration of false and true values; and the masque was an admirable, genuinely and relevantly educational piece of period reconstruction. This seemed to me to be the kind of directorial brilliance which serves the play, realization rather than self-assertive interpretation. Tags: Shakespeare Timon-of-Athens Jonathan-Pryce play theatre Johnathan-Miller performing arts

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Shakespeare's Henry V (Act I, scene 2) by Lawrence Olivier King Henry listens to Canterbury's arguments for the claim on French dukedoms, then receives tennis balls from the French Ambassador. This selection ends with Chorus' bit (with some lines cut, as in scene above) at start of Act 2 (Arden edition) Laurence Olivier ... King Henry V Nicholas Hannen ... Duke of Exeter Gerald Case ... Earl of Westmoreland Felix Aylmer ... Archbishop of Canterbury Ernest Thesiger ... The French Ambassador Leslie Banks ... Chorus From the film "The Chronicle Historie of King Henry the Fift with His Battell Fought at Agincourt in France" (1944) directed by Lord Olivier...Fine music by William Walton. words by William Shakespeare James Agee writes: ..Some people, using I wonder what kind of dry ice for comfort, like to insist that "Henry V" is relatively uninteresting Shakespeare. This uninteresting poetry is such that after hearing it, in this production, I find it as hard to judge fairly even the best writing since Shakespeare as it is to see the objects in a room after looking into the sun. The one great glory of the film is this language. The greatest credit I can assign to those who made the film is that they have loved and served the language so well. I don't feel that much of the delivery is inspired; it is merely so good, so right, that the words set loose in the graciously designed world of the screen, like so many uncaged birds, fully enjoy and take care of themselves.... Tags: Laurence-Olivier Shakespeare Henry-V fifth Felix-Aylmer William-Walton play theatre performing arts

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The Importance Of Being Earnest (Wendy Hiller) part 11 of 11 The Importance Of Being Earnest (Wendy Hiller) part 11 of 11 Tags: Oscar-Wilde Wendy-Hiller Gary-Bond Jeremy-Clyde play performing arts

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The Importance Of Being Earnest (Wendy Hiller) part 10 of 11 The Importance Of Being Earnest (Wendy Hiller) part 9 of 11 Tags: short film

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The Importance Of Being Earnest (Wendy Hiller) part 9 of 11 The Importance Of Being Earnest (Wendy Hiller) part 9 of 11 Tags: Oscar-Wilde Wendy-Hiller Gary-Bond Jeremy-Clyde play performing arts

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The Importance Of Being Earnest (Wendy Hiller) part 8 of 11 The Importance Of Being Earnest (Wendy Hiller) part 8 of 11 Tags: Oscar-Wilde Wendy-Hiller Gary-Bond Jeremy-Clyde play performing arts short film

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The Importance Of Being Earnest (Wendy Hiller) part 7 of 11 The Importance Of Being Earnest (Wendy Hiller) part 7 of 11 Tags: performing arts

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The Importance Of Being Earnest (Wendy Hiller) part 6 of 11 The Importance Of Being Earnest (Wendy Hiller) part 6 of 11 Tags: performing arts

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The Importance Of Being Earnest (Wendy Hiller) part 5 of 11 The Importance Of Being Earnest (Wendy Hiller) part 5 of 11 Tags: performing arts

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The Importance Of Being Earnest (Wendy Hiller) part 4 of 11 The Importance Of Being Earnest (Wendy Hiller) part 4 of 11 Tags: short film

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The Importance Of Being Earnest (Wendy Hiller) part 3 of 11 The Importance Of Being Earnest (Wendy Hiller) part 3 of 11 Tags: short film

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The Importance Of Being Earnest (Wendy Hiller) part 2 of 11 "The Importance of Being Earnest" by Oscar Wilde A 1985 TV broadcast featuring the formidable and hilarious Lady Bracknell by Dame Wendy Hiller. Gary Bond ... John Worthing, JP Jeremy Clyde ... Algernon Moncrieff Alan Hay ... Lane Gabrielle Drake ... Gwendolen Fairfax Directed by Michael Attenborough and Michael Lindsay-Hogg Tags: Oscar-Wilde Wendy-Hiller Gary-Bond Jeremy-Clyde play performing arts

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The Importance Of Being Earnest (Wendy Hiller) part 1 of 11 'The Importance of Being Earnest" by Oscar Wilde link below to playlist of all 11 parts of this "The Importance Of Being Earnest": http://www.youtube.com/view_play_list?p=749CF199F94D9B7F A 1985 TV broadcast featuring the formidable and hilarious Lady Bracknell by Dame Wendy Hiller. Gary Bond ... John Worthing, JP Jeremy Clyde ... Algernon Moncrieff Alan Hay ... Lane it was broadcasted here in 1985 (when I recorded this VHS tape) and that is the date given in several references, but looks like the copywrite at end of film sez 1981... Tags: Oscar-Wilde Gary-Bond Jeremy-Clyde play performing arts

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Hamlet - Act V: Scene 1 (Nicol Williamson) Gravedigger scene by William Shakespeare Roger Livesey ... Gravedigger Nicol Williamson ... Hamlet Gordon Jackson ... Horatio Michael Pennington ... Laertes Robert Murch ... Priest Judy Parfitt ... Gertrude Anthony Hopkins ... Claudius go here to see Kevin Kline in the Gravedigger scene: http://www.youtube.com/watch?v=TAx_q6be3pE go here to see Roger Livesey as Billy Rice in "The Entertainer" (1960) with Laurence Olivier: http://www.youtube.com/watch?v=quUGIMchORc Tags: William Shakespeare Hamlet Nicol-Williamson drama theatre Gravedigger performing arts

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Shakespeare's Taming of the Shrew - II.ii (John Cleese) The Taming of the Shrew (1980 TV), Act 1, scene 2-- Petruchio meets Katherine and woos her. excerpt starts with Petruchio's first meeting with Kate, Act II, scene 2, line 161 (Arden edition - Petruchio's "Now, by the world, it is a lusty wench") and continues through to just past Petruchio and Kate's exit, line 325. The actor Timothy West considered John Cleese's Petruchio to be "definitive". click below to hear audio of this scene with Peter O'Toole and Siân Phillips http://www.youtube.com/watch?v=5o9gKyuynaI John Cleese ... Petruchio Sarah Badel ... Katherine John Franklyn-Robbins ... Baptista Jonathan Cecil ... Hortensio Frank Thornton ... Gremio Anthony Pedley ... Tranio Directed by Jonathan Miller John Cleese was persuaded to undertake this role only after he was assured it would not be the typical sort of "Shrew" production he disliked, those which in his words, were "about a lot of furniture being knocked over, a lot of wine being spilled, a lot of thighs being slapped and a lot of unmotivated laughter." William James Rolfe: It is important that the formal character of this betrothal should be noted, as showing that Kate here accepts Petruchio as her future husband. The contract could not afterward be abrogated without the consent of both the parties. If Kate seriously intended to resist or decline the match, this was the time to do it, or ever after to hold her peace. It may be said that she yields to her father's authority, but this is not the case. In the preceding scene he has discouraged the suit of Petruchio rather than urged it on. When asked if he has not a daughter "called Katherina, fair and virtuous," he replies, "I have a daughter called Katherina," and in the next speech he says: "You 're welcome, sir ; ... But for my daughter Katherine, this I know, She is not for your turn, the more my grief;" and later, when the arrangements concerning the dowry are being made, and Petruchio proposes to draw up the legal papers, Baptista says: "Ay, when the special thing is well ohtain'd, That is, her love; for that is all in all." Much as he desires to have Kate married, he assumes that her love, or at least her consent, must first be gained. It is clear, then, that Kate is betrothed not against her will, though she says nothing at the time. We are to imagine her as taking Petruchio's hand in a sulky sort of way, and accepting him thus by act rather than word. If she had not accepted him, we should not have the prompt acknowledgment of her father and the witnesses that the ceremony was complete and valid. The passage is a good illustration of the necessity in certain cases of reading between the lines of the text — for the reader, I mean, as distinguished from the spectator in the theatre, where the actor of course fills the gap, or should do so. Here we have only three lines of text, but there is very important action between the first two. Petruchio has told Baptista to send out the wedding invitations, and the latter says, "I know not what to say; but give your hands." If the joining of hands had not followed at once, with no marked hesitancy on Kate's part, he would not have added, "God send you joy, Petruchio; 't is a match !" nor would Gremio and Tranio exclaim, "Amen, say we; we will be witnesses;" nor would Petruchio say, as he does," Father and wife, and gentlemen, adieu !" and start off for Venice to buy the bridal finery. As he goes out, he adds, "And kiss me, Kate, we will be married o' Sunday." If she had not kissed him, we may be sure that Petruchio would have waited until she did. She must be supposed to yield this point, though very likely in the same silent and ungracious way in which she has submitted to the formalities of the betrothal. The company evidently consider that all has been done in due form, as appears from their comments upon it after Petruchio and Kate have gone out. as part of the "Fawlty Towers" Shakespeare trilogy, go here to see Prunella Scales as Mistress Page in "The Merry Wives of Windsor": http://www.youtube.com/watch?v=oD79V3ZZtYA and here to see Andrew Sachs as Trinculo in "The Tempest": http://www.youtube.com/watch?v=8P-lNzgA7jI Tags: Shakespeare Taming-of-the-Shrew John-Cleese William-Shakespeare Petruchio play theatre performing arts

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Hamlet - Act 1, scenes 1 + 2 (1969 - Nicol Williamson) Nicol Williamson ... Hamlet Judy Parfitt ... Gertrude Anthony Hopkins ... Claudius Michael Pennington ... Laertes Gordon Jackson ... Horatio John Trenaman ... Barnardo Directed by Tony Richardson "O that this too too solid flesh would melt, Thaw, and resolve itself into a dew! Or that the Everlasting had not fix'd His canon 'gainst self-slaughter! O God! O God! How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on't! O fie! 'tis an unweeded garden, That grows to seed; things rank and gross in nature Possess it merely. That it should come to this! But two months dead!--nay, not so much, not two: So excellent a king; that was, to this, Hyperion to a satyr; so loving to my mother, That he might not beteem the winds of heaven Visit her face too roughly. Heaven and earth! Must I remember? Why, she would hang on him As if increase of appetite had grown By what it fed on: and yet, within a month,-- Let me not think on't,--Frailty, thy name is woman!" Tags: William-Shakespeare Hamlet Nicol-Williamson soliloquy drama theatre performing arts

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Antigone by Sophocles (1984 TV) Juliet Stevenson (part 11/11 click on link below to playlist of all 11 parts of this "Antigone": http://youtube.com/view_play_list?p=5321CB5DC1092F31 Sophocles' Theban Plays, directed and translated by Don Taylor for this production--go here to see Taylor's "Oedipus Rex": http://www.youtube.com/view_play_list?p=422B4AD5E82BE89A and here to view "Oedipus at Colonus": http://www.youtube.com/view_play_list?p=8FE646D5B08C3342 to see Irene Papas as Antigone (1961 film), go here: http://www.youtube.com/view_play_list?p=E1DCC63DB14EC61D Cast: John Shrapnel ... Creon Bernard Hill ... Messenger Patrick Barr ... Chorus Paul Daneman ... Chorus Donald Eccles ... Chorus Robert Eddison ... Chorus Patrick Godfrey ... Chorus Ewan Hooper ... Chorus Peter Jeffrey ... Chorus Noel Johnson ... Chorus Robert Lang ... Chorus John Ringham ... Chorus Frederick Treves ... Chorus John Woodnutt ... Chorus Produced by...Louis Marks Original Music by ....Derek Bourgeois Film Editing by ...Peter Reason Production Design by ...David Myerscough-Jones Costume Design by ...Jane Hudson Geoffrey Lewis .... classical advisor Sir Richard Jebb: The persons of the Sophoclean drama are at once human and ideal. They are made human by the distinct and continuous portrayal of their chief feelings, impulses and motives. Their ideality is preserved chiefly in two ways; first, the poet avoids too minute a moral analysis, and so each character while its main tendencies are exhibited still remains generic, a type rather than a portrait; secondly, and this is of higher moment, the persons of the drama are ever under the directly manifested, immediately felt control of the gods and of fate. Tags: Sophocles John-Shrapnel Antigone Αντιγόνη Creon Greek play theatre Theban Antigoni performing arts

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Antigone by Sophocles (1984 TV) Juliet Stevenson (part 10/11 click on link below to playlist of all 11 parts of this "Antigone": http://youtube.com/view_play_list?p=5321CB5DC1092F31 Sophocles' Theban Plays, directed and translated by Don Taylor for this production--go here to see Taylor's "Oedipus Rex": http://www.youtube.com/view_play_list?p=422B4AD5E82BE89A and here to view "Oedipus at Colonus": http://www.youtube.com/view_play_list?p=8FE646D5B08C3342 to see Irene Papas as Antigone (1961 film), go here: http://www.youtube.com/view_play_list?p=E1DCC63DB14EC61D Cast: John Shrapnel ... Creon Rosalie Crutchley ... Eurydice Bernard Hill ... Messenger Patrick Barr ... Chorus Paul Daneman ... Chorus Donald Eccles ... Chorus Robert Eddison ... Chorus Patrick Godfrey ... Chorus Ewan Hooper ... Chorus Peter Jeffrey ... Chorus Noel Johnson ... Chorus Robert Lang ... Chorus John Ringham ... Chorus Frederick Treves ... Chorus John Woodnutt ... Chorus Produced by...Louis Marks Original Music by ....Derek Bourgeois Film Editing by ...Peter Reason Production Design by ...David Myerscough-Jones Costume Design by ...Jane Hudson Geoffrey Lewis .... classical advisor John Churton Collins: In the depth and comprehensiveness of his insight into life and into human nature and in the steadiness with which he holds the mirror up to both, in his clear perception of the ubiquity and final supremacy of Heaven-appointed law and of the mischief and peril involved in running counter to it, he recalls our own Shakespeare. But while Shakespeare subordinates theology to ethics, Sophocles subordinates ethics to theology. Never did a poet devote his art to loftier purposes. In his hands, as in Pindar's, poetry became the means not merely of ennobling and purifying, but of consecrating life. Of all poets Sophocles is perhaps the most entitled to the epithet divine. The perfect harmony of his exquisitely balanced powers, the serene and luminous intelligence which is the atmosphere in which his genius moves, his lofty transcendentalism, the steadiness and clearness with which he discerns through obscuring accidents the Real and the True, and through change and change the Unchanging and Eternal — these are his characteristics. And therefore it was that Matthew Arnold, speaking of those teachers to whom he owed most, thus expressed himself: "But be his My special thanks whose even-balanc'd soul, From first youth tested up to extreme old age, Business could not make dull, nor passion wild; Who saw life steadily and saw it whole, The mellow glory of the Attic stage. Singer of sweet Colonus and its child." Tags: Sophocles Antigone Αντιγόνη Creon Greek Theban Antigoni performing arts

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Antigone by Sophocles (1984 TV) Juliet Stevenson (part 9/11) Go here to see Bernard Hill's superb Duke of York in Shakespeare's Henry VI, pt 3 --the big scene and death by Margaret: http://www.youtube.com/watch?v=3x3CmMX8O-s go here to see John Gielgud's Teiresias in Oedipus the King: http://www.youtube.com/watch?v=-XYeuZaQg0M click on link below to playlist of all 11 parts of this "Antigone": http://youtube.com/view_play_list?p=5321CB5DC1092F31 Sophocles' Theban Plays, directed and translated by Don Taylor for this production--go here to see Taylor's "Oedipus Rex": http://www.youtube.com/view_play_list?p=422B4AD5E82BE89A and here to view "Oedipus at Colonus": http://www.youtube.com/view_play_list?p=8FE646D5B08C3342 to see Irene Papas as Antigone (1961 film), go here: http://www.youtube.com/view_play_list?p=E1DCC63DB14EC61D Cast: John Gielgud ...Teiresias John Shrapnel ... Creon Bernard Hill ... Messenger Paul Russell ... Boy Rosalie Crutchley ... Eurydice Patrick Barr ... Chorus Paul Daneman ... Chorus Donald Eccles ... Chorus Robert Eddison ... Chorus Patrick Godfrey ... Chorus Ewan Hooper ... Chorus Peter Jeffrey ... Chorus Noel Johnson ... Chorus Robert Lang ... Chorus John Ringham ... Chorus Frederick Treves ... Chorus John Woodnutt ... Chorus Produced by...Louis Marks Original Music by ....Derek Bourgeois Film Editing by ...Peter Reason Production Design by ...David Myerscough-Jones Costume Design by ...Jane Hudson Geoffrey Lewis .... classical advisor John Churton Collins: Nothing can illustrate more strikingly the real complexity which underlies and is involved in the apparent simplicity of the art of Sophocles than the ethics of this drama. The central purpose is obviously the relation of the law which has its sanction in political authority and the law which has its sanction in the private conscience, the relation of the obligations imposed on human beings as citizens and members of the state, and the obligations imposed on them in the home and as members of families. And both these laws presenting themselves in their most crucial form are in direct collision. Creon was perfectly justified in issuing the edict which deprived Polyneices of his funeral rites. The young man had fallen in the act of committing the most heinous crime of which a citizen could be guilty, and Creon, as the responsible head of the state, very naturally supposed that exemplary punishment was the culprit's rightful due. The decree issued with its annexed penalty became law, and as the law it was incumbent on every citizen to obey it. In the case of Antigone the other law presents itself at the same crucial point. No private obligation was more sacred and more imperative in the eyes of the Greeks than the duty she undertook, and which, as the last of her race, Ismene excepted, she could delegate to no one else. She had a right to look upon it as a divine commission. She had a right to assert that in defying Creon's edict she was loyal to an unwritten law which had a higher sanction than man's will. Up to this point, then, both are in the right, and neither deserves punishment. Had reason and right feeling ruled Creon, he would have seen that Antigone was perfectly justified in disobeying his edict: had reason ruled Antigone, she would have seen that he was perfectly justified in issuing it. It is not till the interview with Teiresias that Creon transgresses in act and is guilty of sin. Tags: Sophocles John-Gielgud Antigone Αντιγόνη Creon Greek Theban Antigoni performing arts

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