#character: stephen tynan | Explore Tumblr posts and blogs

thechaosmuses · 10 months ago

Text

Below the cut is a list of all my original characters, from every fandom, organized by such. I figured I would go ahead and put this up, as well as a canon muse one, for my oc and canon starters so that way it's easier for y'all to see who is included without going to every separate muse list.

The Vampire Diaries

Elizabeth Haven Mikaelson Roman Ryker Mikaelson Erik Flynn Mikaelson Kareena Dawn Mikaelson Thyra Selene Mikaelson Karsyn Devyn Mikaelson Mateo Maxwell Mikaelson Serenity Faye Mikaelson Sawyer Finch Mikaelson Aurelia Nova Mikaelson Felix Ares Mikaelson Willow Luna Mikaelson Tobias Floyd Mikaelson Zephyr Raven Parker Zariyah Dove Parker Kennedy Taylor Parker Myles Zane Parker Mariana Joy Parker Paisley Juniper Parker Braeden Talia Salvatore Holden Atlas Salvatore Ezra Grant Salvatore Liberty Faye Salvatore Jensen Graham Gilbert Easton Reed Gilbert Jesse Jonathan Gilbert Elias Rhodes Gilbert Jazmyn Sophia Gilbert Atlas Rowan Petrova Titus Izaiah Petrova Kamen Maverick Pierce Natalie Adrianna Pierce Eleanor Marie Bennett Salem Elijah Bennett Gabriel Graham Gustin Belladonna Sharie Bennett Seraphina Rose Ward Theodore Joseph Brickenden Kaia Asherah Halloran Carter William Forbes Cameron Myles Lawrence Jameson Tyler Rosza Tatum Jaxson Lockwood Tatiana Jade Lockwood Taylor Jacob Lockwood Axel Madden Hughes Ashton Malik Hughes Sebastian Sawyer Sharpe Niall Nash Novak Montgomery Felix Langston Ophelia Esme Lovell Sapphire Lee McGuire Rami Calder McGuire Warren Jaxon Kingsley Jeremiah Michael Kenner Cecilia Jaklyn Labonair Rosemary Belle Whitlock Hadley Kamryn Fuller Kamryn Avery Marshall Lorella Diane St. John Andrew Kolton Rogers Blair Lilith Walsh Zachariah Cole Norwood Matthias Lucien Delacour Matias Camilo Garcia Cyrus Boyd Mikaelson (spn to tvdu) Harmony Iris Johnson (tw to tvdu) Chandler Matthew Rawlins (tw to tvdu)

Containment

Jubilee Fawn Ellison Carson Elijah Mayes Maddox Rhett Lancaster Malia Rayne Lancaster Makai Reid Lancaster Delilah Anne Malone Austin Blake Coleman Damian James Taylor

Teen Wolf

Aspen Bella Stilinski Adrian Archer Argent Addison Athena Argent Lyla Sage Martin Amaia Tala Alexander Malik Elias Hale Madelaine Emery Hale Isaiah Parker Lahey Amadora Constance Sharpe Callum Tate Raeken Dawson Cole Reynolds Jared Taylor Parrish Stephen Ezekiel Hemming

Supernatural

Amelia Mae Allen Melody Athena Hayes Lucilla Marie Nightstar Eden Faith Cruz Elijah Luke Cruz Valentina Rosalie Hart Adaliah Ember Darhk Alexandria Skye Earp Lillian Dahlia Campbell Adriel Xavier Grant Talon Colt Ashford Silas Kai Parker Josephina Jazmyn Walker Elyza Alice Pierson (tvdu to spn)

DC Comics

Kiera Jaylin Davis

Marvel

Kailee Elizabeth Holtz (hero and villain verse) Kaiden Edward Holtz (villain and hero verse) Camelia Waverly Maximoff Kaleb Jonas Barnes Maxine Josephine Rogers Melody Elizabeth Young Anastasia Sloane Lenkov Wren Nika Volkov Wynter Nadia Volkov Cordelia Ara Odinsdottir Amora Delphine Brantley Celeste Juliet Livingston Nikolai Nathaniel Novak (tvdu to mcu) Charmeine Ayla Hanlon (spn to mcu)

Stranger Things

Stella Blake Russell Scarlet Ember Ward Valerie Mae Henderson Mitchell Elliot Mayfield Meredith Eleanor Mayfield

Misc

Ambrosia Nyx Tartarus Acacius Nile Tartarus Duncan David Dalveron Damien Dawson Dalveron Brantley Cole Kline Rosalie Grace Anderson Rowena Greyson Andrews Ryker Grant Andrews Aviana Summer Archer Dylan Bryce Thatcher Sterling Atlas Ward

9-1-1

Evelyn June Buckley Ethan Jace Buckley Hazel Jayne Walker Hayes Jesse Walker Izaiah Edison Hendrix Waverly Chloe Hendrix Matilda Iris Monroe Fallon Pierce Richards

Book Babes

Cyra Lux Vespara Wilder Blaze Hawthorne Dion Ignis Vanserra Pyralis Jax Vanserra Warren Forrest Hayward Solana Aruna Meridian Anatole Cyrus Solari Althea Zaria Cadlawon Tynan Kerrell Visita Kirsi Gwyneira Nieves Lyall Colden Whittaker Caspian Calder Conway Maribelle Aelia Sommer

Zodiacs

Wyatt Keegan aka Aries Kianni Phoenix aka Sagittarius Leon Cyrus aka Leo River Mira aka Cancer Dylan Lucas aka Pisces Josephine Nova aka Scorpio Conrad Atlas aka Taurus Kailynn Amelia aka Capricorn Taron Sage aka Virgo Alice Skye aka Libra Aaron Micah aka Aquarius Adelaide June aka Gemini Arianna Rose aka Gemini

#[the chaos muses;]#[original character muses]#[oc muses]#[oc muse list]

0 notes

phatburd · 4 years ago

Text

My Notes from the Expanse NYCC Virtual Panel - a sort of live blog?

(Raw and unedited straight from Windows Notepad!)

OH it's starting

Soon soon soon soon

Dominique!

Dom: IF you haven't finished season 4 it's your own fault

Stephen!

Wes!

Shorheh!

Frankie!

Cara!

Naren!

Ty!

Abraham!

(No Cas so far, this looks good)

Dom: I think this is our best season

Dom: We have some spoilerrific Season 5 stuff today

Abraham: (Story seeds for Naomi)

We're fully going into Amos' past

Lydia Lydia Lydia Baltimore

How the Expanse scarily creates fiction relevant to reality

Do you consider yourselves modern day prophets?

Ty: I take credit for all the bad things that happen (nah, j/k)

No, it's just humans doing the same dumb stuff over and over again

Technology changes everything but humans don't change that much

Nemesis the goddess that punishes hubris

Naren: THe most epic and most personal season we've done so far

TRAILER

OMG

MARCO YOU FUCK

FRED

PERSONAL BUSINESS IN B ALTIMORE

FILIP

CAMINAAAAA

OPAS TYNAN

UNITE THE FACTIONS

ROCKS

(WHERE ARE YOU ANDERSON DAAAAAAAAAAAWES)

DECEMBER 16

FIRST THREE EPISODES at once

Then weekly

Holden's still got his eye on whomever killed the Ring Builders

Shohreh (Oh of course I would love her RL outfits): Chrisjen adrift

No matter what, she will get [bleep] done

Amos gets to confront his internal and external demons and he realizes how important the Roci crew is to him

Bobbie's journey in S5 and realizing there's more than Mars, and focused more on what's important than just what's important for Mars

Drummer is off on her own

Drummer's going after Marco (YES) but will she come to regret that?

Ashford's death is going to really impact Drummer, awww

Drummer + Ashford awww

Frankie likes Bobbie's relationship with her dad, and Bobbie had a pet rat named "Mouse"

Shohreh likes how Chrisjen still lives with her father's codes

Wes admire's Amos' loyalty to the Roci and the crew, although Wes questions whether he would follow Holden on repeated death missions

Stephen loves Holden's perseverance and goal to get Amos shot in every season, but no he really loves Holden's perseverance.

Cara read the Butcher of Anderson Station novella when first cast for the show and imagined if the unnamed female character with Dawes in the novella was actually Drummer

Ty jokes Mars ships are like Apple, UNN ships are like Windows and Belter ships are like LINUX (all these random scraps put together), each reflecting their own culture in their design

Wes vs Shohreh: who would win a race in high heels

Shohreh: Boy, bring it

High heel Easter eggs this season?\

Shohreh: this is one of the most diversified shows i've ever been on, its global

Cara: This is the most diverse show on TV right now

NO CAS MENTION (Good)

#the expanse #nycc #the expanse spoilers #hype hype hype #the expanse cast #stephen strait #wes chatham #dominique tipper #shohreh aghdashloo #naren shankan #cara gee #daniel abraham #ty franck #james s a corey #im so excited #text #EXCITED #get back in your fucking corner Cas

7 notes · View notes

cinema-tv-etc · 5 years ago

Photo

Franco Zeffirelli, revered Italian director, dies aged 96

Sat 15 Jun 2019

Italian equally celebrated as director of films, theatre and opera over 60-year career

Franco Zeffirelli, one of Italy’s most revered artistic figures, has died at the age of 96.

In a career spanning more than 60 years, Zeffirelli was staggeringly prolific and equally celebrated as a director of films, theatre and opera. Several of his stage productions became successes on screen – most notably a vibrant version of Romeo and Juliet which starred a young Judi Dench at the Old Vic in London and led to an Oscar-winning box-office smash in the late 1960s.

Shakespeare inspired other hit movies for Zeffirelli: The Taming of the Shrew with Elizabeth Taylor and Richard Burton, Hamlet with Mel Gibson and Glenn Close, and a film of Verdi’s Otello with Plácido Domingo. His lavish opera productions brought sensational performances by Joan Sutherland and Maria Callas; 25 years after the latter’s death he directed a biopic, Callas Forever, starring Fanny Ardant. His filmed operas reached large TV audiences and he was celebrated as a great populariser.

Zeffirelli believed he had inherited his passion for music from his grandfather, a conductor. He was born on 12 February 1923 and raised in Florence, the illegitimate son of a fashion designer, Alaide Garosi Cipriani, and wool merchant Ottorino Corsi, both of whom were married to other people. He was named by his mother after a line about zeffiretti (breezes) in a Mozart aria. Cipriani, whose career was damaged by the scandal, died when her son was six and he was taken in by his aunt.

His passion for theatre was sparked as a child during holidays spent in Tuscany where he saw performances by travelling players. “I’ve never believed anything at the theatre as much as the fantasies those storytellers brought us,” he wrote in his autobiography.

He attended a Roman Catholic school in Florence where he said he was sexually assaulted by a priest. When the second world war broke out, he joined the partisan effort, twice escaped death by firing squad and became an interpreter for the Scots Guards. In the postwar years he switched from plans to be an architect and began a career as an actor in radio productions, including a role alongside Anna Magnani in L’Onorevole Angelina. Many years later, he would direct Magnani’s return to the stage in the long-running show La Lupa.

Zeffirelli credited Luchino Visconti with changing his life. Visconti directed him in a small role in a stage adaptation of Crime and Punishment in Rome, then made him assistant director on his 1948 neo-realist classic La Terra Trema, filmed in Sicily using non-professional actors. Zeffirelli then assisted Salvador Dalí on his designs for As You Like It, directed by Visconti. His first task, he recalled, was persuading Dalí to use stuffed goats rather than real ones in the stage production.

In the mid-1950s, Zeffirelli directed Callas for the first time, at her request, in Rossini’s Il Turco in Italia. He went on to direct her in a series of spectacular operas including La Traviata in Dallas in 1958, which broke with tradition by opening with her character dying and then unfolding in flashback. He also directed Bellini’s Norma in Paris in 1964, featuring his own set designs, and Callas’s final operatic role, Tosca at Covent Garden in 1965.

The other soprano Zeffirelli enjoyed a lengthy collaboration with was Sutherland whose career exploded into stardom after he directed her in a blood-soaked version of Lucia di Lammermoor, conducted by Tullio Serafin, at the Royal Opera House in London in 1959.

Later that year, also at the ROH, Zeffirelli staged the short operas Cavalleria Rusticana and Pagliacci, giving them both an authentically realised Sicilian setting. These led to the Old Vic asking him to stage Romeo and Juliet with a similarly realistic Italian setting. Although anxious about directing Shakespeare in English and in England, Zeffirelli launched a youthful production of the tragedy, starring Dench and John Stride. It was dismissed by many critics but championed by the Observer’s Kenneth Tynan, who wrote that Zeffirelli: “approached Shakespeare with fresh eyes, quick wits and no stylistic preconceptions; and what he worked was a miracle … The director has taken the simple and startling course of treating [the characters] as if they were real people in a real situation.”

Zeffirelli’s film version of Romeo and Juliet was also a breath of fresh air. Starring teenagers Leonard Whiting and Olivia Hussey, it was partly shot outdoors, had an unstagy feel and reached a young audience. The film helped make Zeffirelli rich. For many years, he claimed, he had been getting by on freelance director fees and had supplemented his income by selling off a series of Matisse drawings given to him as a gift by Coco Chanel.

In between the theatre and film versions of Romeo, he staged a Sicilian-style Much Ado About Nothing at the Old Vic with Maggie Smith, Robert Stephens and Albert Finney, and shot The Taming of the Shrew with the combustible star power of Taylor and Burton. The couple partly funded the film, which was shot at Dino De Laurentiis’s studios in Rome.

Zeffirelli grew accustomed to stepping from one grandly ambitious project to the next, juggling theatre, TV and opera productions. In 1976, he directed Otello at La Scala with Domingo; the following year his epic TV film Jesus of Nazareth, with Robert Powell as Christ, Ian McShane as Judas Iscariot and Anne Bancroft as Mary Magdalene, was broadcast to a large audience. By 1978 he was preparing a remake of the sentimental drama The Champ, which would star Jon Voight and Faye Dunaway and become a box-office hit.

Further film projects included the 1981 romance Endless Love, starring Brooke Shields and released in an edit that upset Zeffirelli, a 1988 biopic of the conductor Arturo Toscanini and a 1996 adaptation of Jane Eyre with the title role shared by Anna Paquin and Charlotte Gainsbourg. The semi-autobiographical Tea With Mussolini (1999), starring Smith, Dench and Joan Plowright, was co-written by Zeffirelli and John Mortimer. The film followed Luca, a dressmaker’s son in Florence, who, like Zeffirelli, grows up playing with a toy theatre and has encounters with the partisans and Scots Guards during the second world war.

In 1994 Zeffirelli became a member of the Italian senate, representing Silvio Berlusconi’s Forza Italia party for seven years. He was made a Knight of the British Empire in 2004.

https://www.theguardian.com/stage/2019/jun/15/franco-zeffirelli-revered-italian-director-dies-aged-96

2 notes · View notes

threepennyopera-brecht-blog · 7 years ago

Video

youtube

Inside Three Penny

by Scoot Millar

background and analysis by Scott Miller

The Threepenny Opera focuses on the career criminal Macheath who plans to marry the innocent Polly, daughter to Mr. Peachum, the King of the Beggars, with the help of Mack’s friend Tiger Brown, the Chief of Police. So Peachum threatens to organize London’s beggars to ruin Queen Victoria’s coronation unless Tiger Brown arrests and hangs Macheath. Of course, at the last minute, the Queen pardons Mack, makes him a Baron and bestows a lifetime pension on him. Lots of double crosses and skullduggery combine into a scathing indictment of the dishonesty and cruelty of “polite society.”

But it all started way back in 1728, when Englishman John Gay wrote the ballad opera The Beggar’s Opera, a satirical comedy about corruption in London society, featuring many of the characters who would later appear in Threepenny. According to Richard Traubner’s Operetta: A Theatrical History, the original idea for the opera came from Jonathan Swift, who wrote to Alexander Pope in 1716, asking “…what think you, of a Newgate pastoral among the thieves and whores there?" Newgate (pronounced NOO-git) was London’s central prison.

Their friend John Gay decided that it should be a satire rather than a pastoral opera, and based his central characters on real people – the notorious criminals Jonathan Wild and Jack Sheppard became Jonathan Peachum and Capt. Macheath. In fact, it seems Peachum is really a mix of Wild and the pompous, long-serving prime minister Robert Walpole.

The story satirized politics, poverty and injustice, and everyday corruption at all levels of society. But The Beggar’s Opera is really more romantic comedy, laced with social commentary; while its descendant The Threepenny Opera is social commentary, laced with romantic comedy. (Laurence Olivier made a pretty decent film version of The Beggar’s Opera in the 1950s, which is now on commercial video.) Gay later wrote a sequel for Polly, set in the West Indies. The Beggar’s Opera continued to be revived for the next 200+ years.

In 1920, yet another revival of The Beggar’s Opera opened in London, and ran an impressive 1,463 performances, becoming a certified hit; then it played Austria, where it caught the attention of playwright Bertolt Brecht.

According to PBS.com:

Bertolt Brecht (1898-1956) offered a challenge to Aristotle’s ancient approach to theater as a spectator activity. He sought to stimulate the minds of his audience, integrating economics and politics into his plays, in hopes that those watching would respond with intellect, not emotion. As Eyre and Wright describe him, "He was a brilliant man of the theatre, highly receptive to the avant-garde of his day, quick to improve it and somewhat too precipitate to turn it into theory. He was a communist: not a left-winger, not a liberal, nor a humanitarian. From his twenties onwards, he thought and worked in terms of Marxist dialectic and he really wasn’t kidding.”

Over the course of his career, Brecht developed his so-called epic theater, in which narrative, montage, self-contained scenes, and rational argument were used to create a shock of realization in the spectator. To create a distancing effect, Brecht promoted acting and staging that would merely demonstrate what was being portrayed, thus giving the audience a more objective perspective on the action. In Brecht’s plays, say Eyre and Wright, “lucidity reigns: nothing is worse than a jumble of confused impressions.”

Throughout the 1960s and 70s, Brecht was revered by left-leaning theatricals as a sage whose slightest jottings could be relied on as a guide to morality, politics and life itself. In the 1990s the collapse of faith in Marxism put a stop to that. But although his Mao-like status hasn’t lasted, his plays (or some of them) have quietly entered the theatrical mainstream. Whether they’ve entered as what they are, or in disguise, is harder to say. Some productions get praised for following his thinking to the hilt, others get praised for throwing his boring theories out of the window. Sometimes both are said of the same production.

In the Beginning

After seeing The Beggar’s Opera, Brecht began to co-write with Elizabeth Hauptmann a new, contemporary, sociopolitical, satirically savage updating of the show called The Three-Penny Opera, with a dark, groundbreaking, jazz score by Kurt Weill (pronounced Wile by Weill himself, but usually pronounced Vile by others). Cultural historian Stanley Crouch has said that artists who want to express adult emotions, who want to move beyond adolescent emotions, use jazz. Musical theatre historian Cecil Smith later wrote, “It proves that a small musical show can be both engrossing and magnificently entertaining without sacrificing high imagination, acute intelligence, superbly unified and thoroughly artistic production, and an underlying sense of purpose.”

(An interesting side note: Elisabeth Hauptmann was originally listed as co-author of The Threepenny Opera, having purportedly written the majority of the text, and also having translated the English text of The Beggar’s Opera into German for Brecht and Weill to work on. But she gets virtually no credit today.)

Stephen Hinton writes in his book Misunderstanding The Threepenny Opera, “Weill conceived Die Dreigroschenoper as a work of experiment and reform. To use his term, it is a Zwischengattung, an ‘in-between genre,’ systematically between existing genres, historically a stepping-stone in a development toward a new type of musical theatre… It is not so much opera as opera about opera.” In other words, it’s a meta-musical, like many of the shows it later inspired. Hinton writes about “Weill’s implicit flouting of the traditions of nineteenth-century opera and music-drama. This is not full-scale, grand opera, but a cheap ‘threepenny’ version. The old grand operatic form is suppressed by [art song], cabaret song, and ballad.”

Very much like what Bat Boy and Urinetown did more recently.

Certainly, Three-Penny was a lot more adult than much of what had come before it. The show opened at the Theater am Schiffbauerdamm in August 1928. It was such a hit, additional companies were opened in Vienna, Budapest, Frankfurt, and Hamburg.

Bertolt Brecht was already forging a new kind of theatre in the early part of the twentieth century. He didn’t like the way most plays involved their audiences emotionally but not intellectually. Audiences laughed and cried but never thought about what was happening in the story. He wanted to create a theatre of ideas, a theatre of issues, and in order to encourage an audience’s intellectual involvement, he began to develop ways to continually remind the audience that they were in a theatre, to keep them from being too swept away by the story, to keep them from getting “lost” in the fictional reality that most other theatre writers strove to create and maintain.

Brecht would have actors step out of scenes to talk directly to the audience, and he would use songs that commented on what had just happened or was about to happen (again addressing the audience directly), rather than using only songs that sprang organically from the action. Today, this idea is not so revolutionary but when Brecht began to make theatre this way, it was bizarre. Today, concept musicals like Company, Follies, Kiss of the Spider Woman, Chicago, Evita, Assassins, Rent, Bat Boy, Urinetown, The Wild Party, Bloody Bloody Andrew Jackson, American Idiot, and perhaps most of all, Sweeney Todd, are all extremely Brechtian in their construction and style.

When the mid-1950s revival of Threepenny opened in London, critic Kenneth Tynan wrote, “A Brechtian, let me explain, is one who believes that low drama with high principles is better than high principles with no audience, that the worst plays are those which depend wholly on suspense and the illusion of reality; and that the drama of the future will be a wedding in which neither partner marries beneath itself.”

Dark, aggressive, and unrelenting in its social commentary, The Three-Penny Opera was a political satire for a new age and for a Germany on the brink of fascism and Nazism. The show also found success touring Europe, playing an estimated 10,000 performances over five years. One of Germany’s premier theatre critics, Herbert Jhering wrote in the Berliner Borsen-Courier:

The success of the Dreigroschenoper cannot be rated too highly. It represents the breakthrough into the public sphere of a type of theatre that is not oriented towards chic society. Not because beggars and burglars appear in it, without a thriller emerging, nor because a threatening underworld is in evidence which disregards all social ties. It is because the tone has been found that neither opposes nor negates morality, which does not attack norms but transcends them and which, apart from the travesty of the operatic model at the end, is neither parodic nor serious. Rather, it proclaims a different world in which the barriers between tragedy and humour have been erased. It is the triumph of open form.

Sounds a lot like Jerry Springer the Opera. The critic of Der Tag wrote:

Most important is what the thing as a whole attempts: to create from the dissolution of traditional theatrical categories something new that is all things at once: irony and symbol, grotesque and protest, opera and popular melody; an attempt which gives subversion the last word and which, leaving its theatrical claims aside, could represent an important phase in the otherwise directionless discussion about the form of the revue.

A decade later, Weill’s music publisher would write to him, “In certain private circles during the Nazi period, the songs of Die Dreigroschenoper were a kind of anthem and served as spiritual rejuvenation for many an oppressed soul.” The show’s opening song, “Die Moritat von Mackie Messer” (“The Ballad of Mack the Knife”) was based on a song form called “moritaten,” literally, murder-deed song. It soon became the most popular song in Europe.

A German film version was made, Die 3groschenoper, by Georg Wilhelm Pabst and starring original cast member Lotte Lenya (the original Jenny, the wife of the composer and, not incidentally, a former prostitute). The film was an interesting preservation of the piece but not a great film, disjointed, too stagey for film and too filmic to be just a recording of the stage play, it ended up wandering somewhere in the middle. Still, some considered it a masterpiece and the German government thought it might be good anti-capitalist propaganda.

The film version’s editor, Jean Oser, said in an interview, “Three-Penny Opera was a very hot property at the time: it had come out as a big theatrical hit; in fact in was almost phenomenal how much it influenced a complete generation. It formed the entire pre-Hitler generation until 1933; for about five years every girl in the country wanted to marry a man like Mackie. Apparently, the ideal man was a pimp.” The French made a film version, L’Opéra de Quat’Sous, filmed at the same time as the German film and on the same sets.

In 1933, Weill and Lenya were tipped off that they were on a list of Jewish intellectuals about to be arrested by the Gestapo. They escaped to Paris, and then to the U.S. Meanwhile, Hitler decided that Three-Penny was an attack on wholesome German family values and it was banned. In Hitler’s Museum of Degenerate Art (no kidding!), one room played songs from Three-Penny on an endless loop so that wholesome Germans could be outraged by them. But so many people came to listen to the great songs that the exhibit was hastily closed down.

The stage version of Threepenny (the hyphen now gone) was mounted in a total of 130 international productions already by 1933, when the show came to New York in a reproduction staging by Francesco von Mendelssohn. But New York was not yet ready for Brecht and it ran only twelve performances on Broadway. Critic Robert Garland wrote in The New York World Telegram, “A rebel of an operetta, it walks boldly and bitterly through the autumn in which we all reside, kicking up the leaves and applying lighted matches where lighted matches are sure to do the greatest harm. The trouble is that it does not laugh as it is doing so … You’ll know what I mean when I say that The 3-Penny Opera is as humorless as Hitler." Wow. No wonder it ran 12 performances!

Director Brian Kulick says, "America didn’t fully understand Brecht’s black humor until Vietnam and Watergate, and in a way we��ve caught up with his humor. It was always there, but we couldn’t hear it. His ironic, one might say cynical, outlook just didn’t fit with a Rodgers and Hammerstein world. And now, post all these horrible things that have happened in the twentieth century, we’ve learned how to laugh the way Brecht laughed.”

The show did better in Paris in 1937, in London in 1940, and in Milan in 1956. Desmond Vesey’s English translation of the show was preformed in America in 1945 and 1948, and later in a dual translation with Eric Bentley.

In 1934, fearing that his show would be misunderstood, Brecht wrote The Threepenny Novel, in which he expanded on his central themes, and gave us way more backstory of all the main characters. Brecht also continued to tinker with his show, making its satire, sharper, nastier, more truthful. After Kurt Weill’s death in 1950, fellow composer and lyricist Marc Blitzstein (who had written book, music, and lyrics for the very Brechtian The Cradle Will Rock, which he had dedicated to Brecht) decided to write a new translation of The Threepenny Opera. He had already worked on a few isolated songs from the score. With some strong nudging, Lotte Lenya agreed to allow a new production of Blitzstein’s translation. But they wanted her to recreate her original role of Jenny, and at age fifty-five, she didn’t think she could pull it off. Eventually she agreed to do it, and she became the cast’s stylistic advisor, teaching them Weill’s special style of speak-singing (sprechstimme), talking about the original production, about Weill and Brecht’s original intentions, and more.

The new Threepenny, directed by Carmen Capalbo, opened at the Theatre de Lys off Broadway in March 1954, using New York’s first thrust stage. Fifties Commie Hunter, Senator Joseph McCarthy, called Threepenny "a piece of anti-capitalist propaganda which exalts anarchical gangsterism and prostitutes over democratic law and order.“ Then the show was kicked out of the theatre after twelve weeks because of a prior booking. The public clamored for its return and so, a few months later, it came back to off Broadway in September 1955, and it ran 2,706 performances and six years, becoming the first off Broadway mega-hit, and causing a sea change in the philosophy of serious musical theatre in America.

Lotte Lenya won the 1956 Tony for her performance in Threepenny, even though the show ran off Broadway. The show itself was also given a Special Tony for "Distinguished Off Broadway Production.”

Before his death, Brecht read Blitzstein’s translation and called it “magnificent.” Weill’s widow Lotte Lenya mentioned in a letter to a colleague, “the admiration I have for [Blitzstein’s] work and my feeling that no other existing version gives a hint of Brecht’s poetry and power.” Hans Heinsheimer, head of the opera division at Universal Edition music publishers, said, “Marc Blitzstein’s English adaptation was so true to Bert Brecht’s German original that we are hearing essentially the same piece that had taken Germany by storm twenty-four years earlier.” Kim H. Kowalke writes in the Threepenny edition of the Cambridge Opera Handbooks series, “All in all, the final version of Blitzstein’s adaptation followed Brecht’s script more literally than it did Weill’s score. Although he had softened the tone of the original language in a number of places, made a few judicious cuts in the dialogue (the first preview still lasted nearly four hours), reordered some passages, and reinstated Gay’s opening to the brothel scene, Blitzstein’s script undermines the sense and shape of the 1928 libretto less obviously than does Brecht’s own literary version published in 1931 – the ‘authorized’ text, now often mistaken as the historically ‘authentic’ one.”

Blitzstein’s translation also gave the world one of its greatest pop hits, “Mack the Knife.” Unfortunately, stage censorship at the time prevented Blitzstein from being entirely faithful to the Brecht. Blitzstein’s version was also produced in London in 1956, and around the world since then, becoming the preferred translation. By the time it closed off Broadway, it had run longer than the longest-running Broadway musical at the time, Oklahoma! The Threepenny cast album had sold 500,000 copies, and “Mack the Knife” had forty different pop recordings, that had collectively sold over ten million copies.

In 1962 a lifeless, English-language film version was made called The Three Penny Opera (each version seems to have its own spacing and punctuation). In desperation, the producers tacked on a new, cheaply made opening to the film, in which Sammy Davis Jr. sang “Mack the Knife,” and then they sold the film as “starring” Davis.

Back in Germany, Brecht’s own Berliner Ensemble finally added Threepenny to its repertoire in 1960, four years after its playwright’s death. Director Erich Engel wrote about why he revived the show, “Today, as before, it is useful, by way of consciousness raising, to utilize such a satire in order to submit to the viewer’s critique the adulteration of life under capitalism.”

Threepenny returned to New York in 1976, starring Raul Julia, in a much grittier translation – free of 1950s censorship – for another 306 performances. Since that production, directors tend to cast “sexy” Macheaths, but that wasn’t what was intended. As Brecht himself wrote about his anti-hero, “He impresses women less as a handsome man than as a well-heeled one. There are English drawings of The Beggar’s Opera which show a short, stocky man of about forty with a head like a radish, a bit bald but not lacking dignity.”

An excellent 1989 film version, Mack the Knife, starring Raul Julia, rock singer Roger Daltry, Richard Harris, and Julie Waters didn’t do well either, but in many ways, this version was closer to Brecht’s philosophy and theories on theatre, and his famous distancing effect. There have been other high-profile revivals, one with Sting, one with Alan Cumming and Cyndi Lauper, but they weren’t particularly successful.

The Living Tool of Satan

One of the surprises audiences discover when they see Threepenny for the first time, is how different the original “Mack the Knife” is musically from the pop versions we’re all used to, and also how much darker the full lyric is. Sinatra and Bobby Darin didn’t sing about Little Susie’s rape.

Marc Blitzstein’s original stage translation starts by introducing the main character and the themes of the show.

Oh, the shark has pretty teeth, dear,

And he shows them pearly white.

Just a jackknife has Macheath, dear,

And he keeps it out of sight.

On a purely technical level, notice the sh sound repeated in the first two lines, and the ABAB rhyme pattern that’s set up, though the lyric won’t follow that consistently. These first four lines accomplish so much, in terms of content and structure. First of all, the show’s basic rules are set up right away. The Fourth Wall will be broken, the actors will directly address the audience, there will be story-songs, and there will be lots of dark, dark, dark irony.

Significantly, this very first image of the show is a shark. That tells you a great deal about what you need to know – this is a story about predators. But notice that the first line also invokes the idea of attraction with the word pretty, which acts as a hint at Mack’s seductive powers. As we watch the story unfold, we’ll remember this metaphor of a deadly predator to describe our (anti-)hero for the evening, Capt. Macheath. Then in a bit of delicious irony, we’re told that Macheath is less dangerous – he “just” has a jackknife, i.e., a switchblade, as if that’s not scary enough – and also that Mack is more discreet. Than a shark. He’s sort of bourgeois (and we’ll see more of that in the wedding scene). He doesn’t flaunt his weapon the way the shark shows off his. It’s the word just that gives this stanza its irony. There are lots of predators in the world, the lyric is saying; Macheath is the least of your worries…

But his discretion makes him all the more dangerous. You know the shark will get you. You never know when Mack will…

1 note · View note

breedaboyd · 10 months ago

Text

Summary: Professor Stephen Tynan is your Human Sexual Behaviour Professor and you've had your eye on him for quite some time. Realising this isn't the most appropriate setting to be crushing (hard) on a person, you decide to ask if you can switch classes. But will that make any difference? And what will Professor Tynan have to say about your intentions on leaving his class?

Tag(s): Angst and fluff and smut, body worship, cum swallowing, daddy kink, hurt/comfort, oral sex, teacher-student relationship, trans male character, vaginal fingering, vaginal sex.

A/N: This is a kind of redo/remix of the first Prof!Tynan fic, which I still love! But this fic is much more emotional and drama-based so it depends what you're in the mood for. Happy reading!

#character: stephen tynan #source: beckett #misc: chariot writes #type: reader

3 notes · View notes

ilovewhiteroses · 1 year ago

Text

Evolution of Boyd's bad boys:

2013: Out of the Furnace - Tattooed Guy

2014: Gone Girl - Jeff

2015: Run All Night - Danny Maguire

2016: Jane Got a Gun - Vic Owen

2017: Logan - Donald Pierce

2021: Beckett - Stephen Tynan

2022: The Sandman - The Corinthian

2023: Indiana Jones and the Dial of Destiny - Klaber

2023: Justified: City Primeval - Clement Mansell

(gifs by me)

254 notes · View notes

professionalwritingserviceu-blog · 7 years ago

Text

What is a ‘blood and guts’ scene?

Five Great Quotations close Book Critics\nIt is Business of report advantageous to an author that his apply should be attacked as hygienic as praised. Fame is a shuttlecock. If it be struck at unmatched end of the room, it will before long fall to the ground. To keep it up, it essential be struck at both ends. - Samuel Johnson\n\nPay no attention to what the critics say; no statue has ever been erected to a critic. - dungaree Sibelius\n\nWhen a objet dart publishes a book, thither are so many stupid things bear tongue to that he declares hell neer do it again. The praise is closely always worse than the criticism. Sherwood Anderson\n\nI have long felt that any reviewer who expresses furiousness and loathing for a fresh is preposterous. He or she is resembling a person who has on the dot put on full phase of the moon armor and attacked a bitter fudge sundae or banana split. - Kurt Vonnegut, Jr. \n\nA critic is a man who knows the way but go offt narrow in the c ar. - Kenneth Tynan \n\nNeed an editor? Having your book, short letter document or faculty member paper proofread or edited before submitting it foundation prove invaluable. In an sparing climate where you face overweight competition, your writing needs a second eye to stop you the edge. Whether you live in a speculative city give care Phoenix or a small townsfolk standardised Starr, South Carolina, I bed provide that second eye.\n\n+\n\nWhat is a crosscurrent and guts picture show?\nIn reputationtelling, 18plot and cases are entwined to the speckle that one really could not pull round without the other. Arguably, a story centers on the assistant (character) solvent a bother (plot). A story doesnt exist if theres if theres no character attempting to solve a problem or if the character has no problem to solve. \n\nIn around stories especially action-adventure and space opera house pieces how the protagonist must break apart the problem requires that he take pr imal. In short, the character is unembellished of convention, artifice and propriety, according to CSFWs David Smith. Such an event in a story is nicknamed a blood and guts shot, a term that Smith coined. \n\nA good example of a blood and guts scene in modern storytelling is Arnold Schwarzeneggers character in the photo Predator, when he is forced to take on the alien alone. He covers himself in mud (to screen himself from the aliens top executive to spot heat via infrared) and relies purely on his animal instincts to filter the day. \n\nLiterary works withal sometimes makes use of blood and guts scene. The climax of Stephen cranes The Red badge of Courage essentially shows the protagonist becoming primal so he fanny realise the courage to live with the battle.\n\nNeed an editor? Having your book, chore document or academic paper proofread or edited before submitting it can prove invaluable. In an frugal climate where you face laborious competition, your writing needs a second eye to give you the edge. Whether you come from a big city like Cincinnati, Ohio, or a small town like Cincinnati, Iowa, I can provide that second eye.

0 notes

professionalessaywritingse-blog2 · 8 years ago

Text

What is a ‘blood and guts’ scene?

cinque Great Quotations about book Critics\nIt is Business of Writing beneficial to an author that his book should be attacked as well as praised. Fame is a shuttlecock. If it be stricken at iodine cobblers last of the room, it will soon hail to the ground. To keep it up, it must be struck at two ends. - Samuel Johnson\n\nPay no attention to what the novices say; no statue has forever been erected to a critic. - Jean Sibelius\n\nWhen a man publishes a book, thither are so umteen stupid things said that he declares hell never do it again. The praise is almost evermore worse than the criticism. Sherwood Anderson\n\nI shoot long felt that either reviewer who expresses rage and execrate for a novel is preposterous. He or she is wish a person who has just post on full fit out and attacked a hot disconcert sundae or banana split. - Kurt Vonnegut, Jr. \n\nA critic is a man who knows the bearing but cant drive the car. - Kenneth Tynan \n\n subscribe an editor? Having y our book, business written memorial or academic musical composition proofread or edit before submitting it can certify invaluable. In an economic clime where you face heavy competition, your make-up needs a split minute eye to give you the edge. Whether you kick the bucket in a freehand city like genus Phoenix or a baseborn town like Starr, southern Carolina, I can set up that second eye.\n\n+\n\nWhat is a split and keystone scene?\nIn themetelling, 18plot and personas are entwined to the point that one really could not make it without the other. Arguably, a story centers on the hero (character) solving a worry (plot). A story doesnt exist if in that respects if theres no character attempting to wreak a bother or if the character has no problem to solve. \n\nIn some stories in particular action-adventure and space opera pieces how the protagonist must resolve the problem requires that he be get down primal. In short, the character is stripped of convention , invention and propriety, according to CSFWs David Smith. much(prenominal) an event in a story is nicknamed a strain and guts scene, a termination that Smith coined. \n\nA high-priced example of a beginning and guts scene in modern storytelling is Arnold Schwarzeneggers character in the movie Predator, when he is forced to take on the alien alone. He covers himself in mud (to mask himself from the aliens ability to tarnish heat via infrared) and relies purely on his animal instincts to carry the day. \n\nliterary works also sometimes makes use of blood and guts scene. The climax of Stephen Cranes The Red Badge of endurance essentially shows the protagonist meet primal so he can garner the courage to live through the battle.\n\n take in an editor? Having your book, business document or academic write up proofread or edit before submitting it can hear invaluable. In an economic humour where you face heavy competition, your pen needs a second eye to give you the edge. Whether you come from a big city like Cincinnati, Ohio, or a small town like Cincinnati, Iowa, I can run that second eye.

0 notes

mega-top5internetsourcescol-blog · 8 years ago

Text

What is a ‘blood and guts’ scene?

Five Great Quotations close Book Critics\nIt is Business of committal to writing advantageous to an author that his disk should be attacked as comfortably as praised. Fame is a shuttlecock. If it be struck at unrivaled end of the room, it will concisely fall to the ground. To keep it up, it must be struck at both ends. - Samuel Johnson\n\nPay no attention to what the critics say; no statue has ever been erected to a critic. - blue jean Sibelius\n\nWhen a human beings publishes a book, thither are so many stupid things utter that he declares hell never do it again. The praise is well-nigh always worse than the criticism. Sherwood Anderson\n\nI have long matt-up that any reviewer who expresses rabidity and loathing for a unfermented is preposterous. He or she is kindred a person who has righteous put on in full armor and attacked a tooth near fudge sundae or banana split. - Kurt Vonnegut, Jr. \n\nA critic is a man who knows the way but cigarett thrust the car. - Kenn eth Tynan \n\nNeed an editor? Having your book, crease document or pedantic paper proofread or edited before submitting it place prove invaluable. In an scotch climate where you face sullen competition, your writing needs a second eye to generate you the edge. Whether you live in a bountiful city wish well Phoenix or a small township standardised Starr, South Carolina, I place provide that second eye.\n\n+\n\nWhat is a telephone circuit and guts blastoff?\nIn flooringtelling, 18plot and percentages are entwined to the bakshis that one really could not come through without the other. Arguably, a story centers on the fighter (character) resolution a line (plot). A story doesnt exist if theres if theres no character attempting to solve a problem or if the character has no problem to solve. \n\nIn some stories especially action-adventure and space opera house pieces how the protagonist must unfreeze the problem requires that he ferment primal. In short, the chara cter is au naturel(p) of convention, artifice and propriety, according to CSFWs David Smith. Such an event in a story is nicknamed a blood and guts guess, a term that Smith coined. \n\nA good example of a blood and guts scene in modern storytelling is Arnold Schwarzeneggers character in the depiction Predator, when he is forced to receive on the alien alone. He covers himself in mud (to block out himself from the aliens air leader to spot heat via infrared) and relies rigorously on his animal instincts to scarper the day. \n\nLiterary works too sometimes makes use of blood and guts scene. The climax of Stephen stretchs The Red label of Courage essentially shows the protagonist becoming primal so he prat pull in the courage to live through the battle.\n\nNeed an editor? Having your book, business document or schoolman paper proofread or edited before submitting it can prove invaluable. In an sparing climate where you face dull competition, your writing needs a second eye to institutionalize you the edge. Whether you come from a big city like Cincinnati, Ohio, or a small town like Cincinnati, Iowa, I can provide that second eye.

0 notes

breedaboyd · 1 year ago

Text

Cruel and Unusual Torture ~ Stephen Tynan

(Gif by me.)

Pairing: Stephen Tynan ☓ Damien Brooks.

Word Count: 1.4k+

CW: Chastity cages, daddy kink, dom/sub, sounding, watersports.

It's very convenient that Damien's working with Stephen in the US embassy today. Very convenient.

He supposes Stephen was feeling particularly cruel today, doing what he did this morning. Sure, Damien's gotten used to having his dick in a cage when he's been bad. Sure, that's become a staple, but adding a sound? Of all the inhumane, cruel, unnecessary actions... So he had to endure Stephen sliding a long steel rod into his urethra and even locking the whole thing with a padlock. Sadistic prick. He can ignore his own cock, for the most part. But now he needs to piss and, fuck, it's ruining him.

"Something the matter, baby?" Stephen teases him, playing up being sweet and concerned. Damien huffs and tries not to whine because his stomach's aching and he has this cramp that won't fuck off. "I think I know what's wrong here, baby, but I want you to tell me." Stephen says, smiling that cocky fucking smile that makes the younger man want to simultaneously kiss him and punch his lights out. Fuck it, that'll have to wait. Right now, he needs relief.

"Hurts, Stephen." He gasps. "Please..." He isn't proud of sounding like some pathetic bitch desperate for a pity fuck but in this moment he feels like it. "It's...so fucking deep in there..." Stephen kisses his forehead, gently, so affectionately that Damien's shocked. The gesture sends a brief wave of comfort over him before he remembers just how dire his predicament is.

"What d'you need, baby?" Stephen asks, knowing damn well what Damien needs.

"Let me out." The younger man hisses and pouts. He squirms and wiggles his hips before wincing and grabbing at his groin. "Please, please, take it out. I need to piss. Fuck, take it out. It's... Fuck, it's deep, Stephen." Damien looks at him, fluttering his eyelashes and pouting his mouth so pitifully. Stephen gently kisses his lips. "Need to go so bad... You did this... Now let me go. Just for a few minutes. I can put it all back on after I've pissed. Th-Then I could suck your cock? Would you like that, daddy? Like for your baby boy to suck you off? C'mon, yeah? Please?" Stephen gets more convinced by each and every one of Damien's pleas, shaking his head. "Please, please, Daddy... F-Fuck, feels like it's in my stomach, Stephen. I... I needed to piss a few hours ago but I was a good boy. Now I need to go and can't. Please, let me out." The older man chuckles. He leans back in his chair and pats his lap.

Damien, jumping at the chance to please him, rounds the desk and seats himself in Stephen's lap. The American tugs up Damien's shirt to get to his abdomen, gently stroking his fingertips along the flesh with is ever so slightly distended. The younger man groans weakly and, biting his lip, leans into Stephen's touch. But then Stephen presses down, fingers kneading into his swollen abdomen, and all Hell breaks loose. His eyes go wide and he wiggles and writhes so suddenly. He cries out in disbelief and squirms to escape Stephen's hand.

"STEPHEN!" Damien whines. "Fucking take it out! God— Fuck! FUCK, TAKE IT OUT! Please, Stephen... I have to piss. Stephen, Daddy, c'mon. Please. Please..." His stomach aches and he fears what comes next if he can't have release. Stephen doesn't give him any respite, continuing to massage and prod at his bloated abdomen. He cries out again, this time gasping and panting. "P-Please... Don't fucking do that. Hurts so fucking bad..." Stephen just hums. He snakes his hand into Damien's trousers to grab and stroke at his locked-up cock. Damien shakes his head and tries to push him away, crying out as Stephen presses into his gut.

"You've made it this far, baby. Done so good. You can make it home."

"No, no, no, no, no. You can't. S'too far. Please, please, let me take it out. N-Not at home. Not at home. Take the sound out. I can't hold it 'til we get back." Stephen shakes his head, not planning on showing any more of this mercy. "Stephen, n-no! I won't be able to make it all the way—" Stephan presses into his abdomen again, hard, and Damien lurches forward with a stifled cry, grabbing onto the brunette's offending arm. "O-Okay... I'll make it home but...we need to go *now*. Please, Daddy..." He huffs, squirming again.

"Alright, we'll head home."

The ride home is just as torturous as Damien thinks it'll be. With every swerve of the car, his guts lurch, making him even more aware of how fucked he is. When he'd begun this relationship with his American he'd never imagined that things would get this twisted. God, he loves Stephen, of course he does, but Stephen...has quite the streak of cruelty in him that only seems to manifest itself at the worst times. It's why Damien often finds himself agreeing with him when Stephen reprimands him or calls him names. It's a bitch of a thing to know and admit to yourself, especially when he lets the Americans walk all over him like this. But, fuck, there's a part of him that loves it.

They pull into the garage and Damien practically leaps out, fumbling with the keys to get inside. When the door's unlocked, he leaves it open for Stephen and rushes to the bathroom, turning on the light. Shoving down his pants and boxers, he whines as he glances down at his caged dick. Stephen follows closely behind, getting on his knees as he fishes the key for the padlock out of his pocket.

"Shh, baby. Daddy's gonna unlock your cage." He coos, running one hand soothingly up and down the younger man's thigh.

"Fuck... Please, don't take too long..." Damien breathes, inhaling sharply as he feels Stephen cup his balls with his free hand. Stephen unlocks and discards the padlock, carefully removing the cock cage and throwing it aside. Damien whines again, this time with relief. "Mmph... Thank you, Daddy. Such a nice Daddy. F-Fuck, Stephen..." He rambles as Stephen grabs the end of the sound, slowly inching it out. Seems he's not completely had his fun because he sure as Hell takes his time working it free. "Stephen, please!" The younger man yelps, lurching forwards and placing his hands on either side of Stephen's head. He cries out again as it feels like half his length is pulled free. Slowly, slowly, it's worked free and the pressure in Damien's bladder gets harder to ignore. "Need to piss so bad. Need to piss, need to piss, need to piss. C'mon, Stephen..." He chants, dropping a hand to his cock.

Suddenly it's out and then the dam breaks. Damien doesn't even think to turn or push Stephen out of the way of the toilet. He can't stop it. Stephen just gazes up at him, rock hard in his pants, as a hot jet of piss catches him just below the corner of his mouth. His eyes flutter closed as he sticks his tongue out and Damien lets out a choked whimper. His piss just drenches Stephen, the American licking up some stray drops with a satisfied groan. And, damn, Stephen's too fucking good-looking for his own good, looking like that. And it just keeps coming. There's so much. He's so backed up.

Piss runs in hot streams down Stephen's neck, soaking into his dress shirt and vest, making them cling to his skin. He slides his hands up the younger man's thighs to his hips, holding on tight as piss splatters against his shirt and pants. Damien's whimpers and groans mixed with the splashing of his piss are all that fill the room. The younger man's thighs tremble under Stephen's grasp and he pants through the last few shuddering spurts.

When it's finally over, Stephen leans in to drag his tongue along the tender slit of Damien's cock. Fuck. Just fuck. He licks up every stray drop, sighing lowly at the heady, musky scent. A deep flush covers the younger man's face, neck, and chest.

"... F-Fucking filthy son of a bitch, Tynan." He growls. "You were waiting...for that...all day, weren't you?" He huffs.

"You did Daddy so proud today, baby." Stephen purrs and, God, his eyes are glazed over and hazy with lust. He looks fucking ruined; knelt on the floor, twitching in his pants, drenched in piss and sporting a prominent tent in his dress pants. "Just so glad you made it home. Looked so fucking good doing it, baby."

Christ, what a way to find out Stephen Tynan had a piss kink.

#character: stephen tynan #source: beckett #misc: chariot writes #type: oc

2 notes · View notes