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About the Book
Satire is a genre of literature where vi...)
About the Book
Satire is a genre of literature where vices, follies, abuses, and shortcomings in humans and their institutions are held up to ridicule with the intent of shaming individuals, corporations, government, or society itself into reform. While satire is generally meant to be humorous, its greater purpose is generally constructive social criticism.
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FACSIMILE: Reproduction Allison makes hay: FACSIMILE Originally published by Boston, W. H. Baker & co. in 1919. Book will be printed in black and white, with grayscale images. Book will be 6 inches wide by 9 inches tall and soft cover bound. Any foldouts will be scaled to page size. If the book is larger than 1000 pages, it will be printed and bound in two parts. Due to the age of the original titles, we cannot be held responsible for missing pages, faded, or cut off text. 180 pages.
The Flying Stag Plays for the Little Theatre. No. 4. Enter the Hero; A Comedy in One Act. As Played by the St. Francis Players
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About the Book
Satire is a genre of literature where vi...)
About the Book
Satire is a genre of literature where vices, follies, abuses, and shortcomings in humans and their institutions are held up to ridicule with the intent of shaming individuals, corporations, government, or society itself into reform. While satire is generally meant to be humorous, its greater purpose is generally constructive social criticism.
Also in this Book
Poetry is a literary form that uses aesthetic and rhythmic qualities of language (e.g. phonaesthetics, sound symbolism, and metre) to enhance the prosaic ostensible meaning, or generate an alternative meaning. Poetry uses numerous devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. Poetry's long history dates back to prehistorical times ehen hunting poetry was created in Africa.
And in this Book
Drama texts refer to the mode of fiction represented in the performance of a play in a theater, on radio or on television. Drama is viewed as a genre of poetry, with the dramatic mode being contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (335 BC). The term "drama" itself derives from the Greek word meaning "action”. In the English language the word "play" or "game" was a standard term used to describe drama until William Shakespeare's time. The enactment of drama in a theater, performed by actors on a stage before an audience is often combined with music and dance. In opera, the drama is generally sung throughout, whilst in musicals it includes both spoken dialogue and songs.
About us
Leopold Classic Library has the goal of making available to readers the classic books that have been out of print for decades. While these books may have occasional imperfections, we consider that only hand checking of every page ensures readable content without poor picture quality, blurred or missing text etc. That's why we:
• republish only hand checked books;
• that are high quality;
• enabling readers to see classic books in original formats; that
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Happy reading!
Theresa Helburn was an American playwright and theatrical producer. She was a co-founder and producer of New York's Theatre Guild for almost forty years.
Background
Theresa Helburn was born on January 12, 1887 in New York City, New York, United States. She was the daughter of Julius Helburn and Hannah Peyser. Her father, a leather merchant, spent the workweek in Boston while the rest of the family lived in New York City with Hannah Helburn's parents.
By Helburn's own account, two influences were key in her development: the example of her mother, whose activities ranged from encouraging aspiring painters to establishing an experimental elementary school, and her position as the youngest child in the family, which led her to try to excel the achievements of her older brother and cousins.
Education
Helburn attended private schools in New York and Boston, and in 1908 graduated from Bryn Mawr College, where she produced the class play each year. After graduating, however, she suffered a nervous collapse. This emotional pattern of frenetic activity followed by exhaustion apparently was characteristic; it might be termed a "manic-depressive" syndrome. However, it neither interfered with her enormous productivity over the years nor was it especially noticed by her associates.
Helburn recuperated from her illness at a Massachusetts farm that her mother and brother purchased for her. There she began to write. Subsequently she enrolled at Radcliffe as a graduate student and at Harvard University took George Pierce Baker's "English 47, " a theater course later renowned because of its illustrious graduates, one of whom was Eugene O'Neill.
Career
In 1910 Helburn returned to New York City. For the next four years she supported herself in various occupations. She published poetry in Century, Harper's, New Republic, and a number of poetry journals. She taught drama at Miss Merrill's Finishing School in Mamaroneck, New York (where Katherine Cornell was one of her students). She served as governess for the Herter family in New York and Paris, where, in 1913-1914, she was exposed to avant-garde art.
With the outbreak of World War I, Helburn returned to New York City. In the next few years two of her plays were produced unsuccessfully on Broadway; one of them, Enter the Hero, subsequently became very popular with amateur theater groups. For a time she served as drama critic for the Nation.
Helburn continued to use her maiden name professionally. In 1919 Helburn had become a play reader for the newly formed Theatre Guild, the creation of young Greenwich Village and uptown artists and intellectuals, many of whom had been associated with the prewar Washington Square Players and who, in rebellion against the commercialism of the Broadway theater, were determined to produce only plays of artistic merit.
In 1920, with the group's administration in disarray, Helburn became its temporary executive secretary. She expected to hold this position for only a few weeks, but as executive director she occupied it for nearly forty years. With Lawrence Langner, a patent lawyer and one of the Guild's founders, she almost literally held the organization together. The Theatre Guild was dependent on subscription audiences; eventually a season of repertory productions was expected each year; and, at the time, a woman theatrical producer was a rarity.
Yet the success of the Theatre Guild, particularly in acquainting the American public with the best recent American and European plays, was extraordinary. In the early years Helburn was criticized for producing too many European and too few American dramas; in the 1930s the charge was that commercialism rather than aestheticism dictated the choice of plays. Yet under her leadership the Theatre Guild premiered most of George Bernard Shaw's works of the 1920s and 1930s, and it regularly produced plays by Maxwell Anderson and Eugene O'Neill. Before the Great Depression and sound movies substantially reduced the number of theatergoers, the Theatre Guild had attracted subscription audiences in Baltimore, Cleveland, New York, Pittsburgh, and Philadelphia.
In addition to her executive duties at the Theatre Guild, Helburn is generally given credit for pairing Alfred Lunt and Lynn Fontanne on the stage, for having founded the innovative (though short-lived) Theatre Guild School, for encouraging young playwrights through the Bureau of New Plays and the Dramatic Workshop of the New School for Social Research, and for being the creative force behind the production of the 1943 musical Oklahoma! , which turned the American musical theater in a new direction through its combination of drama, music, and dance. Oklahoma! also assured the financial future of the near-bankrupt Theatre Guild.
Helburn, who remained active in the Theatre Guild until 1958, died at Norwalk, Connecticut.