The Elephant Man | Copyright

These eNotes are an offprint from Drama For Students: Presenting Analysis, Context, and Criticism on Commonly Studied Dramas.

Drama For Students

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The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of Drama for Students (DfS). Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIALS IN DfS, VOLUME 9, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

America, v. 140, February 24, 1979. (c) America Press 1979. All rights reserved. Reproduced with permission of America Press, Inc.,106 West 56th Street, New York, NY 10019.—American Literature, v. 38, 1966. Copyright (c) 1966 Duke University Press, Durham, NC. Reproduced by permission.— Cahiers Elisabethains, v. 17, 1980 for ‘‘Shakespearian Reminiscences in Serjeant Musgrave’s Dance,’’ by Fernand Lagarde. All rights reserved. Reproduced by permission of the publisher and the authors.—English Studies in Africa, v. 6, March, 1963. (c) Witwatersrand University Press 1963. Reproduced by permission of the publisher and the author.—The Eugene O’Neill Newsletter, v. 6, Summer-Fall, 1982; v. 11, Summer-Fall, 1987. Reproduced by permission.—The Explicator, v. XXII, February, 1964, v. XXIV, April, 1966, v. 46, Summer, 1988, v. 54, Fall, 1995., v. 56, Spring, 1998. Copyright 1964, 1966, 1988,1995, 1998 by Helen Dwight Reid Educational Foundation. Reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 1319 18th Street, NW, Washington, DC 20036-1802.—Forum, v. XXVII, Winter, 1986. (c) 1986 Ball State University. Reproduced by permission.— The French Review, v. 41, 1967. Copyright 1967 by the American Association of Teachers of French. Reproduced by permission.—Literature/ Film Quarterly, v. 13, 1985. (c) copyright 1985 Salisbury State College. Reproduced by permission.— Modern Chinese Literature, v. 7, Fall, 1993. Reproduced by permission of Kirk Denton.— Modern Drama, v. 10, 1967, v. 14, February, 1972, v. 16, 1973, v. 26, March, 1983, v. 26, September, 1983, v. 40, Fall, 1997. Copyright (c) 1967, 1972, 1973, 1983, 1997 University of Toronto, Graduate Centre for Study of Drama. Reproduced by permission.— The Nation, New York, v. 178, May 29, 1954, v. 182, April 21, 1956. (c) 1954, 1956 The Nation magazine/ The Nation Company, Inc. Reproduced by permission.—Negro American Literature Forum, v. 9, 1975 for ‘‘‘For the Characters Are Myself’: Adrienne Kennedy’s Funnyhouse of a Negro’’ by Lorraine A. Brown. Copyright (c) 1975 by the author. Reproduced by permission of the publisher and the author.—The New Republic, v. 196, January 5 & 6, 1987. (c) 1987 The New Republic, Inc. Reproduced by permission of The New Republic.—The New Yorker, v. 62, December 8, 1986 for ‘‘Low Life in Chicago’’ Brendan Gill. (c) 1986 by The New Yorker Magazine, Inc. All rights reserved. Reproduced by permission of the Literary Estate for Brendan Gill./ v. 74, April 13, 1998 for ‘‘Present Absences’’ by John Lahr. (c) 1998 by The New Yorker Magazine, Inc. All rights reserved. Reproduced by permission of Georges Borchardt, Inc. for the author.—PMLA, v. 104, October, 1989. Copyright (c) 1989 by the Modern Language Association of America. Reproduced by permission of the Modern Language Association of America.—Queen’s Quarterly, v. 78, 1971 for ‘‘Serjeant Musgrave’s Dance: Form and Meaning’’ by Barry Thome. Copyright (c) 1971 by the author. Reproduced by permission of the author.—Revue Des Langues Vivantes, v. 4, Summer, 1975 for ‘‘Insular Typees: Puritanism and Primitivism in Mourning Becomes Electra’’ by Ronald T. Curran. Reproduced by permission of the author.—The Saturday Review, v. 29, October 26, 1946. (c) 1946 Saturday Review Magazine, (c) 1979 General Media Communications, Inc. Reproduced by permission of Saturday Review Publications, Ltd.— Scandinavian Studies, v. 40, August, 1968 for ‘‘Strindberg’s Biblical Sources for The Ghost Sonata’’ by Stephen C. Bandy. Reproduced by permission of the publisher and author.—Theater, v. 25, 1994. (c) 1994 by Alisa Solomon. Reproduced by permission of Duke University Press.—World Theatre, v. XVI, May-June, 1967. Reproduced by permission of Theatre Communications Group, Inc.

COPYRIGHTED MATERIALS IN DfS, VOLUME 9, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Berry, Jon M. From ‘‘Discourse and Scenography in The Ghost Sonata’’ in Strindberg’s Dramaturgy. Edited by Goran Stockenstrom. University of Minnesota Press, 1988. Copyright (c) 1988 by the University of Minnesota. Reproduced by permission.— Brown, John Mason. From Broadway in Review. W. W. Norton & Company, Inc., 1940. Copyright, 1940, by W. W. Norton & Company, Inc. Reproduced by permission of the Literary Estate of John Mason Brown.—Erlich, Victor. From ‘‘Truth and Illusion in Gorky: The Lower Depths and After’’ in Freedom and Responsibility in Russian Literature: Essays in Honor of Robert Louis Jackson. Edited by Elizabeth Cheresh Allen and Gary Saul Morson. Northwestern University Press, 1995. Copyright (c) 1995 by Northwestern University Press. All rights reserved. Reproduced by permission.— Greiff, Louis K. From ‘‘Two for the Price of One: Tragedy and the Dual Hero in Equus and The Elephant Man’’ in Within the Dramatic Spectrum: The University of Florida Department of Classics Comparative Drama Conference Papers, Volume VI. Edited by Karelisa V. Hartigan. University Press of America, 1986. Copyright (c) 1986 by University Press of America, Inc. All rights reserved. Reproduced by permission.—Jacobs, Susan Taylor. From ‘‘When Formula Seizes Form: Oscar Wilde’s Comedies’’ in Staging the Impossible: The Fantastic Mode in Modern Drama. Edited by Patrick D. Murphy. Greenwood Press, 1992. Copyright (c) 1992 by Patrick D. Murphy. Reproduced by permission of Greenwood Publishing Group, Inc., Westport, CT.—Meigs, Susan E. From ‘‘No Place but the Funnyhouse: The Struggle for Identity in Three Adrienne Kennedy Plays’’ in Modern American Drama: The Female Canon. Edited by June Schlueter. Fairleigh Dickinson University Press, 1990. Copyright (c) 1990 by Associated University Presses, Inc. Reproduced by permission.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN DFS, VOLUME 9, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Anouilh, Jean, 1971, photograph. AP/Wide World Photos. Reproduced by permission.—Arden, John, photograph, (c) Jerry Bauer. Reproduced by permission.— Bos, Sanneke in ‘‘The Lower Depts,’’ photograph. (c) Donald Cooper/PHOTOSTAGE. Reproduced by permission.—Brecht, Bertolt, photograph. Archive Photos, Inc. Reproduced by permission.— Briers, Richard as the Old Man and Geraldine Miewan as the Old Woman in ‘‘The Chairs,’’ (c) Donald Cooper/Photostage. Reproduced by permission.—Cukor, George, directing ‘‘The Philadelphia Story’’, with John Howard as George Kittredge, Katharine Hepburn as Tracy Lord, Cary Grant as C. K. Dexter Haven, Cukor is giving the actors a ‘‘What for’’ speech as he explains the action of a scene, 1940, photograph by James Stewart. M-G-M. The Kobal Collection. Reproduced by permission.—Finney, Albert in ‘‘Serjeant Musgrave’s Dance,’’ photograph. (c) Donald Cooper/ PHOTOSTAGE. Reproduced by permission.— Gorky, Maxim, photograph. The Library of Congress.— Hecht, Ben, photograph. The Library of Congress.— Hurt, John in film ‘‘The Elephant Man’’ (standing alone on a ship deck), photograph. Paramount Pictures/Archive Photos. Reproduced by permission.—Hurt, John in film ‘‘The Elephant Man’’ (standing by a mantle, looking at framed photographs), Paramount Pictures/Archive Photos. Reproduced by permission.—Ionesco, Eugene, photograph. The Library of Congress.— Johnson, Rebecca in ‘‘Lady Windermere’s Fan,’’ photograph. (c) Donald Cooper/PHOTOSTAGE. Reproduced by permission.—Lemmon, Jack (with Walter Matthau and unidentified actor) in the film ‘‘The Front Page’’, photograph. Universal Studios/ Archive Photos. Reproduced by permission.— O’Neill, Eugene G., photograph. The Library of Congress.—Pirandello, Luigi, photograph. AP/Wide World Photos. Reproduced by permission.—Playbill for ‘‘Funnyhouse of a Negro.’’ PLAYBILL® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.— Playbill for ‘‘Right You Are.’’ PLAYBILL® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.— Playbill for the 1946 production of ‘‘Antigone.’’ PLAYBILL® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.—Playbill cover for ‘‘Mourning Becomes Electra.’’ PLAYBILL® is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.— Stuart, Bill as the husband and Fiona Shaw as Shen Te in ‘‘The Good Person (Woman) of Szechuan,’’ photograph. (c) Donald Cooper/PHOTOSTAGE. Reproduced by permission.—Wilde, Oscar, photograph. The Library of Congress.—Willis, Jerome and Linda Marlowe in ‘‘The Ghost Sonata,’’ , photograph. (c) Donald Cooper/PHOTOSTAGE. Reproduced by permission. Wilson, Lanford, photograph. AP/Wide World Photos. Reproduced by permission.