In this memoir, rich with humor, a comedy writer guides us on his personal journey from the impoverished depths of the Great Depression to the top of his profession. Despite the ups and downs, the joys and sorrows, he helped produce laugh lines for performers from the gagster, Henny Youngman, to sketch writing for the brilliant comedienne, Carol Burnett. He also wrote for the Benson and Rhoda television series as well as numerous weekly variety shows and sitcoms, featuring such stars as Danny Kaye, Dom DeLuise, Fred Allen, Herb Shriner, Alan King, Nathan Lane, and countless others. As a Playwright, he wrote Broadway-produced plays in collaboration with his long-time partner, the late Carroll B. Moore, Jr. One such play, Send Me No Flowers, became a hit movie, starring Rock Hudson and Doris Day. He later wrote the bittersweet off-Broadway comedy Standing By, as a tribute to the courage of his daughter, Emily, in her battle against a serious disease. The Joy of Laughter also provides an intimate peek into some of the more hilarious behind-the-scenes professional and personal shenanigans of the Broadway/Hollywood/Beverly Hills show business community.
In this memoir, rich with humor, a comedy writer guides us on his personal journey from the impoverished depths of the Great Depression to the top of his profession. Despite the ups and downs, the joys and sorrows, he helped produce laugh lines for performers from the gagster, Henny Youngman, to sketch writing for the brilliant comedienne, Carol Burnett. He also wrote for the Benson and Rhoda television series as well as numerous weekly variety shows and sitcoms, featuring such stars as Danny Kaye, Dom DeLuise, Fred Allen, Herb Shriner, Alan King, Nathan Lane, and countless others. As a Playwright, he wrote Broadway-produced plays in collaboration with his long-time partner, the late Carroll B. Moore, Jr. One such play, Send Me No Flowers, became a hit movie, starring Rock Hudson and Doris Day. He later wrote the bittersweet off-Broadway comedy Standing By, as a tribute to the courage of his daughter, Emily, in her battle against a serious disease. The Joy of Laughter also provides an intimate peek into some of the more hilarious behind-the-scenes professional and personal shenanigans of the Broadway/Hollywood/Beverly Hills show business community.
A playwright decides to write a play about the death of his daughter, emotionally unable to deal with his grief in any other way. The play he writes is about a grieving father's involvement with a deceased daughter's college roommate. When in the course of directing the play, the vulnerable playwright is lured into an affair with an aggressive young actress, life suddenly parallels art in this play-with-in-a-play scenario. Meanwhile, the playwright's relationship with his wife and a surviving son is on the verge of falling apart, until long-held family secrets are finally revealed in a bruising but ultimately healing finale.
In the twentieth century, the pioneering work of such art historians as Erwin Panofsky and Edgar Wind heightened our awareness of the relationship between Renaissance literature and the visual arts. By focusing on that relationship in the work of such poets as Sir Philip Sidney, John Donne, Richard Crashaw, Edmund Waller, and Robert Herrick, Norman K. Farmer, Jr., convincingly shows that they and other writers of the late sixteenth and early seventeenth centuries in England wrote with a lively and creative sense of the visual—a sense richly informed by the theory and practice of Renaissance art. Farmer begins by describing the powerful visual matrix that underlies the narrative structure of Sidney's New Arcadia. He compares the role of the visual in the poetry of Donne and Ben Jonson, and demonstrates how works by both Thomas Carew and Lord Herbert exhibit poetic invention according to familiar Renaissance pictorial themes. Herrick's Hesperides is shown to be the major seventeenth-century poetic application of the Horatian idea ut pictura poesis. A special feature of this gracefully written and enlightening volume is Farmer's discussion of Lady Drury's oratory at Hawstead Hall. Published here for the first time are photographs of this uniquely decorated oratory, in which themes from a variety of English and Continental emblem books were painted on the walls of a room apparently designed for private meditation.
One of the world's most distinguished authorities on qualitative research establishes the connection of performance narratives with performance ethnography and autoethnography, the linkage of these formations to critical pedagogy and critical race theory, and the histories of these formations.
Siena, Florence and Padua were all major centres for the flowering of early Italian Renaissance art and civic culture. The three communities shared a common concern for the embelishment of their cities by means of painting, sculpture and architecture. The eleven papers in this volume re-examine and re-assess the artistic legacy of the three cities during the 14th century amd locate the various works of art considered within their broader cultural, social and religious contexts. Contributors include: D Norman (Patrons, politics and art) ; C Harrison (Giotto and the `rise of painting') ; C King (The arts of carving and casting) ; T Benton (The building trades and design methods) ; D Norman (Art and religion after the Black Death) ; C King (The trecento: New ideas, new evidence) .
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.