period b. the
The Cherry Orchard
Judi Dench is one of those actors who rarely seem
to make a false move, handling wrenching drama, madcap farce, and witty comedy
with equal aplomb. Among the BBC productions of classic and original plays
available in the
The Judi Dench Collection,
she stars as Anya in Anton Chekhov's The Cherry Orchard, a 1962
production translated by, and starring, John Gielgud and, as Madame Ranesvky,
Peggy Ashcroft. Ashcroft is a hard act to follow, but Dench pulls it off in a
1981 production in which she assumes the role of the irresponsible aristocrat,
also included here. --Donald Liebenson
Moliere's classic tale is translated by Richard Wilbur for this excellent
production featuring Donald Moffat as the scoundrel Tartuffe, a master
hypocrite who uses his slick ways to win the confidence of Orgon, an affluent
member of the bourgeoisie. Once gaining Orgon's trust, Tartuffe attempts to
seduce his wife and daughter.
the first play of the Oreseteia-the oldesta surviving classical tragedy and still
universally accepted as teh masterpiece of masterpieces. The play opens as the
Watchman at King Agamemnon's palace sees the beacon announcing the fall of Troy.
The Chorus of Old Men tell the background to the story of the Trojan War. When
Agamemnon returns home after a 10-year absence at the Trojan War, his queen, Clytemnestra,
welcomes him but Cassandra (daughter of the vanguished Trojan king priam and now
Agamemnon's captive mistress) foretells his murder. The murder of Agamemnon will
be a double revenge: Clymnestra will avenge their daughter Iphigenia, sacrificed
by Agamemnon to secure a favorable wind toward Troy; Aegisthus, Clymnestra's lover,
will avenge the murder of his brothers by Agamemnon's father. This is the origin
of the blood feud that runs through Agamemnon, Choepori, and Eumenides.
is perhaps the most easily accessible of all the great classical tragedies, its
theme clear and contemporary; the conflict between moral and political law. Thus
the tale of Oedipus and his family comes to an end-he himself, his wife Jocasta,
his sons and now, at last, his daughter, all dead. Antigone is not the only victim
in this play; Creon too comes to a tragic downfall-although he repents in time,
bureaucratic ritual results in the deaths of Creon;s son and wife, burdening him
with guilt as well as grief.
Barefoot in Athens 無字幕,英文發音 EV/880/025B01
Classical Age, The
is devoted to the period between approzximately 500 BC and the death of Alexander:
the achievements of pericles, Thucydides, and Plato; the sahpe of Greek societies;
the nature of Athenian democracy; and the buildings, bronze and marble sculpture,
painted pottery, and other writings; and the consequences of the rivalry between
Syracuse and Athens.
Choephori (The Libation
Bearers) is the second play of the Oresteia-the oldest surviving classical tragedy
and till universally accepted as the masterpiece of masterpiece. The play opens
as Orestes, Agamemnon's son, return from exile with his friend Pylades and dedicates
a lock of his hair on his father Agamemnon's tomb. His sisterElectra and the Chorus
of Trojan Women come to offer libations at he tomb, and in a deeply moving scene
brother and sister recognize one another. They swear to avenge their father's
death, as they have been directed to do by Apollo. Disguised as strangers, Orestes
and Pylades enter Agamemnon's palace and Orestes first kills Aegishtus and then
his mother Clymnestra. Threatened by the Furies, he flees to seek Apollo's help.
The Classical Age
Aristophanes: Women in Power
Women in Power
The first part of this film, devoted to a substantial
section of Aristophanes' Ecclesiazusaw (Women in Power), shows what happens when
women, fed up with the stupidity and incompetence of men, organize to take over
the government. The second part introduces Roman comedy, with its sotck cahracter
types of the Vainglorious Soldier and the Clever Servant in Miles Gloriosus. The
two palys demonstrate the different concepts of "funny" and the differnte functions
of comedy in democratic Greece and autocratic Rome.
The Changing Classical
Audience for Theatre 無字幕,英文發音 EV/880/028B01
In the 50 years separating Aeschylus from the later works of Euripides,
theatre changed: plays had been performed in honor of the god Dionysus and for
the enjoyment of spectators; now they were targeted at spectators who took pleasure
in the spectacle itself. Where once the text itself set the stage and described
the scene, sets came into use-at first to stimulate imagination, later to imitate
it; in Roman times, there were troupes of travelling actors; and by 100 A.D.,
the theatre had acquired a permanent stage.
Circe the Sorceress 無字幕,英文發音
Having escaped from the Cyclops, the Greeks are made
welcome by Aeolus, King of th eWinds, who gives Odysseus a bag of iwnds that would
ohterwise blow him off course. Within sight of Ithaca, distrust overcomes his
men and they open the bag to see what treasures Odysseus is hiding. The ensuing
storm takes them to the Island of Circe, the sorceress who drugs men and turns
them into swine. Through the intervention o fHermes, messenger of the gods, Odysseus
is able to withstand the spell, free his men, and learn that, before he can reach
home, he must visit Tiresias in the Land of the Dead.
The Country of the
Dead 無字幕,英文發音 EV/880/018B01 V0032650
Arriving in Hades, Odysseus consults
Tiresias, the soothsayer of Thebes, to ascertain the cause of his many misfortunes
and learns that Poseidon is the father of the Cyclops. Meeting the shade of Agamemnon,
he inquires after the cause of the Argive's death and is in turn warned about
the fickleness of women. Arriving next on the Island of the Cattle of the Sun,
Odysseus' men disregard the warnings not to eat Apollo's cattle; disobeying, they
incur the wrath of the god and further delay their homecoming.
This program examines the chief Etruscan sites in Tarquinia and
Cervetri, showing the natural landscape in which th eEtuscans lived, and their
houses of the dead, where they were buried with some of the most hauntingly beautiful
statuary and frescoes of any period and any place.
Eumenides (The furies)
Eumenides (The furies)
his father's murder by killing his mother, Orestes-now pursued by the Furies because
he has commited matricide-takes refuge at the shrine of Apollo, who promises protection
and sends him to seek justice from Athena. Teh ghost of Clymnestra rouses the
Chorus of Furies to bring her murderer to justice. Athena, goddess of wisdom,
judges between Orestes, who murdered his mother to avenge his fahter, and the
Furies, who demand revenge for the murder of Clymnestra. Her decision reflects
the historical turning in Athens from personal retribution to community law.
Beginning, The EVR/880/011M11
This program presents ian introduction
to Greece and the Greeks. Broadly covering the period from the Mycenaean Age in
1300 BC to the death of Alexander the Great in 323 BC, it sets out the principal
historical landmarks and presents some of the work of the most important Greek
writers, philosophers, historians and politicians of the period.
Greek Epic EVR/880/021M11
presents an exploration of the two Homeric masterpieces, the Illiad (a tragedy)
and the Odyssey (a comedy). It explains the nature of epic and the Greeks's concepts
of honor and fame. Viewers survey the journeys of Achilles and Odysseus as Heroes'
quests for identity within the rich symbolic tradition of folklore and history.
The program provides a fundamentals understanding and appreciation of the Homeric
epics, and the key to reading them for edification and enjoyment.
and Roman Legends 無字幕,英文發音 EV/880/022B01
Greek and Roman Legends
This program inrodeuces the principal Greek and Roman Legends,
examinig the differences between Greek legends, which combine victory with difficulty
and loss, with those of Rome, which place nationalism, heroism and virtue above
any personal human ties. The stories covered are: the wedding of Peleus and thetis;
the judgement of Paris; the sacrifice of Iphigenia; the Trojan War; Achilles'
choice; Odysseus and the Trojan Horse; the legends of Theseus, etc.
rise of Greek trgedy, Sophocles: Oedipus the King EVR/822/037B01
film helps to explain Tragedy as a form and to acquaint audiences with what is
probably its foremost example, Oedipus the King. Photographed in the ancient Greek
theatre of Amphiaraion, using tragic masks, this production emphasizes the modernity
and the eternity of the play, as well as its lasting emotional impact.
Schliemann: The Rediscovery of Troy 無字幕,英文發音 EV/880/024B01 V0013069
program traces Schliemann's career: a troubled home, an ordinary education, a
self-awakened interest in the Greek past that he fueled throughout his successful
business ventures, his archaeological attempts and failures, the evidence he unwittingly
destroyed and deliberately falsified, the errors of identificatin, and the indisputable
fact proved by his work-that Homer described a historical event which occured
where the Ilias said it did, if we but read the text closely.
- Heroes and men EV880/013M11
This program concentrates in the work of
Homer, the blind epic poet, and Aeshylus, the world's first great dramatist, author
of hte Oresteia. Viewer's are taken on a tour of the sites of Athens, Mycenae
(where Agamemnon had ruled), Olympia (birthplace of the Olympic Games and sanctuary
of Zeus), Delphi (sacred to Apollo), and the great theatre at Epidauros.
Classic Books on Video The Iliad
A series of introductions to great works of literature. Each tape contains a
dramatization of key scenes from the novel, followed by an on-screen discussion
and analysis of the meaning and context of the entire work. Each tape is 40 mins.
The Odyssey 無字幕,英文發音 EV/880/002BO1
Slaying of the
Suitors, The EVR/880/020M11 V0007935
Odysseus and Telemachus are reunited,
and their plan almost undone by the old nurse who washes the feet of Odysseus-disguised
as a beggar-and recognizes the scar on his foot. penelope, too, is nearly at the
end of her ability to put off the suitors, her nightly unravelling of the robe
she is supposed to be weaving for her marriage having finally been betrayed. In
the contest to see who can bend the mighty bow of Odysseus, the suitors are slain
and Odysseus is reunited with his faithful Penelope.
One-Eyed Cyclops, The
A quick retelling of the fall of Troy (showing the
wooden horse), and the visit to the Land odf the Lotus-Eaters, where the desire
to dream sweet dreams overcame many of the Greeks until Odysseus had them forcibly
brought aboard his boats again. Crossing the wine-dark sea, they come to the Land
of the Cyclops where they come a-cropper of Polyphemus, the murderous giant who
disobeys the law of the gods to be hospitable to strangers. Only the cunning of
Odysseus saves the Greeks, and as the rosy-dfingered dawn approaches, they escape.
Oedipus The King EV880/004M11
Oedipus The King- a film for the
Humanities- this task has been accomplised by means of a new, aggresively contemporary
translation that remains true to the text; setting the plays in the past yet not
the distant past, an indeterminate past; and, dispensing with masks, using the
finest Britihsh classical actors. Sophocles often won the leading prize at the
Dionysia, the principal dramatic festival of Athens; but Oedipus the King was
a runner-up, winner of the second prize. Posterity, however, considers the
play second to none. This play recounts the beginning of the beginning of the
Oedipus saga, setting the stage and creating the characters who will continue
the story to its conclusion in Antigone.
Oedipus at Colonus (I) EV880/007M11
Bearer of an almost unspeakable, immutable fate, Oedipus yet feels himself
a man chosen-that is, favored-by the gods. Now an old man, blind and outcast,
he wanders through Greece guided by his daughter Antigone until he comes to Colonus,
where he knows he will die. Protected by the ruler of Thebes against eh armies
o fCreon who have come in pursuit, Oedipus curses his son Polynices for indiffernce
and ingratitude. Oedipus in this play is old and rails agianst the indignities
of old age. Sophocles, nearly 90 at the time of its composition, apparently wrote
the play to prove he was of sound mind; his son, it seems, was trying to claim
Sophocles' estate by accusing his father of senility.
Oedipus at Colonus
(II) VRE880/007 M11
Bearer of an almost unspeakable, immutable fate,
Oedipus yet feels himself a man chosen-that is, favored-by the gods. Now an old
man, blind and outcast, he wanders through Greece guided by his daughter Antigone
until he comes to Colonus, where he knows he will die. Protected by the ruler
of Thebes against eh armies o fCreon who have come in pursuit, Oedipus curses
his son Polynices for indiffernce and ingratitude. Oedipus in this play is old
and rails agianst the indignities of old age. Sophocles, nearly 90 at the time
of its composition, apparently wrote the play to prove he was of sound mind; his
son, it seems, was trying to claim Sophocles' estate by accusing his father of
Myth, History, and Drama 無字幕,英文發音 EV/880/027B01
History, and Drama EVR/880/027M11
The remains of ancient theatres are
spread across the territory of Greece, haunted by the shadows of Homer, of the
myths that fill the epics and the tragedies, of the not-so-distant past of human
sacrifice: a theatre built on a high acropolis, perhaps religious in character;
an amphitheatre in a major city of the Achaean League; the theatre of ancient
Psophis, scene of Euripides' Alcmeon in Psophis; the smallest theatre preserved,
at a site renowned in Homeric times.
The Rise of Greek Trusedian , The Sophecles:Oedipus
the King VE822/037B01
Role of Theatre in Ancient Greece, The EVR/880/030M11
This program looks at the theatres of Herodus Atticus, Epidauros,
Corinth (where Arion is said to have taught the dithyramb) and many others to
explain the design of the ancient theatre; the synthesis of art forms that was
ancient Greek drama; the origins of tragedy ; the audience in classical times;
the comparative roles of writer/director and actors; the use of the surrounding
landscape in many plays.
Scylla and Charybdis 無字幕,英文發音 EV/880/017B01
Forewarned by Circe, Odysseus has his men plug their ears with wax so they
will not hear the Siren's song, and himself lashed to the mast. Thus restrained
from responding to the lure of promised wisdom, Odysseus navigates between the
monstrous man-devouring beast Scylla and the wandering ship-shattering rocks of
Charybdis. Bemoaning the loss of yet more of his men, Odysseus progresses to the
next stage of his journey.
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the others (alphabetical)
Birth of Modern Theatre, The Chekhov:
Uncle Vanya EV/822/061B01
Birth of Modern Theatre,The Chekhov: Uncle
The effort to show the grnadeur of everyday life,
to see the devolution of life not as a climax of great events but as the accreation
of small non-happenings, the realization that people are composites of meanings
an dmotives-these constitute the vision fo modern theatre. In Chekhov, the movement
called Realism found its true voice, and nowhere better that in Uncle Vanya. This
film is devoted to the complete third act of what must be the most quintessentially
perfect performanace imaginable, with Laurence Olivier, etc.
Tales From the Decameron EV/820/025B01 V0031797
This marvelous new video
demonstrates what fun late medieval/early Renaissance literature can be. Chaucer
lifted the concept, tone, and even some of the stories for The Canterburry Tales
from the Decameron. Here are six of Boccaccio's tales executed with style and
wit, using live action animation of shaodw puppets. Teachers who would not offer
their classess "The Miller's Tale" unexpurgated should be forewarned that, while
the stories themselves and the visuals are the soul of propriety, the brilliant
and witty translations can be racy.
Comedy of Manners, The Moliere: The
Misanthrope EV/822/025B01 V0031268
A brilliant production of this most
successful example of the Comedy of Manners. It offers an authentically
baroque version of Richard Wilbur's artful translation, starring Edward Pehterbridge
in a thoroughly stylized, thoroughly modern, thoroughtly delightful rendition.
Chronicle of a death foretold=
Title: The Decameron
(LD, 1990, Image Entertainment Inc.) (Color, 111 mins; Italian with English Subtitles)
Category: Italian Literature
Pasolini could bring Boccaccio's classic tales of passion to the screen with all
their lusty fervor intact. Winner of the Sliver Bear at the Berlin Film Festival,
The Decameron is Pasolini's triumphant celebration of the flesh and the
spirit, the sacred and the profane. DOCTOR ZHIVAGO
from 14th century Naples, including the seducing nuns, the tree jealous
brothers who murder their sister's lover, the wizard who could change his wife
into a burro, and the story of a false saint. The first of Pasolini's 'Trilogy
of Life' films that sets the tone and tempo for the films to follow (" Arabian
Nights' and "The Canterbury Tales".)
Faust (Part I) 無字幕, 英文發音 EV/782/071B01
Faust (Part II)
無字幕, 英文發音 EV/782/072B01
Hunchback of Notre Dame (Hugo) EV792/592B01
Les Meserables (Hugo) EV792/394B01
Hedda Gabler, Ibsen EV/822/049B01
Hunchback of Notre Dame= 新鐘樓怪人 無文字幕,英文發音 EV/792/380B01 V0031502
of Notre Dame, The EV/792/592B01 V0032433
Les Miserables EV/792/394B01
Title: Madame Bovary (MGM/UA Home Video) (B/W, 1hr. 54mins, 1949)
Jennifer Jones, van Heflin and Louis Jourdan
star in this filmed adaptation of Gustave Flaubert's masterpiece--the story of
one ill-fated woman's revolt against conventional society.
and beautiful, convent-bred Emma (Jones) longs fervently for passion and change.
Knowing little of either, she marries stolid Charles Bovary (Heflin), expecting
matrimony to resemble the romantic novels and daydreams that have always afforded
her imaginary escape. But marriage and motherhood stifle her, and she soon takes
first one lover, Rodolphe (Louis Jourdan), and then another, Leon (Christopher
Kent). Ultimately, society's condemnations and her own delusions overwhelm her.
Polish Theatre of Viusal Narration and Stagecraft 1991
This tragic story is narrated by James Mason as author
Flaubert, who shows us "how Emma Bovary learned that life makes all people--even
beautiful women--pay for what they want." A remarkable treatment of a literary
work that rocked Europe in its time, Madame Bovary is a landmark of romantic cinema.
Theatrical Devices in Classical Theatre EV880/026M11
Violence, bloodshed, and horror took place off-stage; the ekkyklema, a platform
on wheels rolled to the edge of the orchestra to reveal perpetrators and victims,
and the deus ex machina, a crane mechanism to suspend gods above the stage; the
ladder of charos, fo ghosts from the underwolrd. The physical requirements of
New Comedy: painted panels, a raised stage, and, for the actors who now had to
project themselves in new ways, expressive masks, high-soled shows, padded shoulders.
The Three Sisters (Anton Chekov) 三姊妹
(Color, 172 mins; directed
by Laurence Olivier 勞倫斯奧利佛) (one set--two tapes) (主演：德瑞傑柯比、珍妮維特)
(Donated by Bro. Nicholas Koss) Three Sisters
= 三姊妹/ Paul Bogart Direct ; Shelley Winters Cast ; Sandy Dennis Cast (1965)
An all-star cast is featured in this filmed recreation of the NY
Actor's Studio production of the classic drama by
Anton Chekhov about
three sisters who live in illusion of their past and must face the reality
of their future.
This is a rarely seen videotape recording of the 1965 Broaway presentation of
Anton Chekhov's classic play
"The Three Sisters". Geraldine Page, Kim
Stanley, and Sandy Dennis are sensational in the title roles: three
unhappy women who believe their dreary lives will improve if they can just
return to their childhood home in Moscow. Shelley Winters co-stars as
their nagging, irritating sister-in-law who doesn't do much to make their
lives easier. All in all, this is a faithful rendition of the Chekhov play, but
the all-star cast is what makes the film so enjoyable. (review from
'Suddenly, there was a high voice screaming in
the darkness: "Pieces of eight! Pieces of eight! Pieces of eight!" It was
Long John Silver's parrot, Captain Flint! I turned to run...' But, young Jim
Hawkins does not escape from the pirates this time. Will he and his friends
find the treasure before the pirates do?
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