Once in a Lifetime | Copyright

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

Drama For Students

Project Editor David Galens

Editorial
Sara Constantakis, Elizabeth A. Cranston, Kristen A. Dorsch, Anne Marie Hacht, Madeline S. Harris, Arlene Johnson, Michelle Kazensky, Ira Mark Milne, Polly Rapp, Pam Revitzer, Mary Ruby, Kathy Sauer, Jennifer Smith, Daniel Toronto, Carol Ullmann

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Acknowledgments

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 10, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:
American Theatre, v. 15, July-August, 1998; v. 15, December, 1998. Copyright © 1998 Theatre Communication Group. Both reproduced by permission.—Bulletin of the New York Public Library, v. 73, 1969. Reproduced by permission.— Cahiers Élisabéthains, April, 1985 for ‘‘The Progress of Trickster in Ben Jonson' s Volpone'' by Don Beecher. All rights reserved. Reproduced by permission of the publisher and the author.—The Classical Quarterly, v. 45, January-June, 1995 for ' 'Aristophanes, 'Lysistrata' 231’’ by W.G. Forrest. Copyright © Oxford University Press 1995. Reproduced by permission of the publisher and the author.—College Literature, v. 19, October-February, 1992. Copyright © 1992 by West Chester University. Reproduced by permission.—Commonweal, v. 124, March, 1997. Copyright © 1997 Commonweal Foundation. Reproduced by permission.—Comparative Drama, v. 30, Spring, 1996. © copyright 1996, by the Editors of Comparative Drama. Reproduced by permission.—Cross Currents, Dobbs Ferry, v. 42, Summer, 1990. Copyright 1990 by Association for Religion and intellectual Life. Inc. Reprinted by permission of the publisher.—The Drama Review, v. 14, 1970 for ‘‘LeRoi Jones' 'Slave Ship'’’ by Stefan Brecht. Copyright © 1970, The Drama Review. Reproduced by permission of the publisher and the author.— The Economist, v. 344, November, 1997. Copyright 1997 The Economist Newspaper Ltd. All right reserved. Reproduced by permission. Further reproduction prohibited. www.economist.com—English Studies, v. 71, June, 1990. © 1990, Swets & Zeitlinger. Reproduced by permission.—Maclean's Magazine, v. 106, June, 1993. © 1993 by Maclean's Magazine. Reproduced by permission.—Modern Drama, v. 7, May, 1964; v. 10, February, 1968; v. 11, 1968; September, 1976; September, 1987; Fall, 1995. Copyright © 1964, 1968, 1976, 1987, 1995, University of Toronto, Graduate Centre for Study of Drama. All reproduced by permission.—Modern Language Quarterly, v. XXIV, March, 1963. © 1963 University of Washington. Reproduced by permission of Duke University Press.—The Nation, New York, v. 178, May 29, 1954; v. 257, December, 1993. Copyright 1954, © 1993 The Nation magazine/ The Nation Company, Inc. Both reproduced by permission.—The New Republic, v. 194, April, 1986; v. 203, July, 1990; v. 209, November, 1993. © 1986, 1990, 1993 The New Republic, Inc. All reproduced by permission of The New Republic.—New York Magazine, v. 26, November 29,1993. Copyright© 1993 K-III Magazine Corporation. All rights reserved. Reproduced with the permission of New York Magazine.—The New York Times, June 16, 1978. Copyright © 1978 by The New York Times Company. Reproduced by permission.—Performing Arts Journal, January, 1994. Copyright © John Hopkins University Press 1994. Reproduced by permission of The Johns Hopkins University Press.—Race & Class, v. XXI, 1980. Reproduced by permission.—Renaissance Papers, 1978. Reproduced by permission.—Research in African Literatures, v. 24, Spring, 1993; v. 25, Spring, 1994. Copyright © Indiana University Press 1993, 1994. Both reproduced by permission.—SEL Studies in English Literature, 1500-1900, v. 19, 1979. © 1979 William Marsh Rice University. Reproduced by permission of The Johns Hopkins University Press.—The Theatre Annual, v. 23, 1967. Reproduced by permission.— Tulane Drama Review, v. 11, Spring, 1967. Copyright © 1967, Tulane Drama Review. Reproduced by permission of MIT Press, Cambridge, Massachusetts.—Twentieth Century Literature, v. 39, Winter, 1993. Copyright 1993, Hofstra University Press. Reproduced by permission.—U.S. News & World Report, v. 115, September, 1993. Copyright © 1993, by U.S. News & World Report, Inc. All rights reserved. Reproduced by permission.—Variety, v. 374, May, 1998; v. 371, June, 1998. Copyright © 1998 Cahners Publishing Company. Both reproduced by permission.

COPYRIGHTED MATERIALS IN DfS, VOLUME 10, WERE REPRODUCED FROM THE FOLLOWING BOOKS:
Bristow, Eugene K. From ‘‘Circles, Triads, and Parity in 'The Three Sisters'’’ in Checkhov's Great Plays. Edited by Jean-Pierre Barricelli. New York University Press, 1981. Reproduced by permission.—Cantu, Roberto. For ‘‘Understanding Federico Garcia Lorca's 'Bodas de Sangre/Blood Wedding:' From Dramatic Text to Theatrical Performance.’’ Los Angeles Bilingual Foundation of the Arts, 1999. Reproduced by permission of the author.—Chametzky, Jules. From From Hester Street to Hollywood: The Jewish American Stage and Screen. Indiana University Press, 1983. Copyright © 1983 by Indiana University Press. Reproduced by permission.—Grossvogel, David I. From Four Playwrights and a Postscript. Cornell University Press, 1962. Copyright © 1962 by Cornell University. Reproduced by permission.—Kramer, Karl D. From '' 'Three Sisters,' or Taking a Chance on Love’’ in Checkhov's Great Plays. Edited by Jean-Pierre Barricelli. New York University Press, 1981. Reproduced by permission.—Porter, David H. From Only Connect: Three Studies in Greek Tragedy . University Press of America, 1987. Copyright © 1987 by University Press of America, Inc. All rights reserved. Reproduced by permission.— Stark, John. From ' 'Camping Out: 'Tiny Alice' and Susan Sontag’’ in Critical Essays on Edward Albee. Edited by Philip C. Kolin and J. Madison Davis. G.K. Hall & Co., 1986. Reproduced by permission of The Gale Group.—Thalmann, William G. From Dramatic Art in Aeschylus's Seven Against Thebes. Yale University Press, 1978. Copyright © 1978 by Yale University. All rights reserved. Reproduced by permission.—Valgemae, Mardi. From ‘‘Albee's Great God Alice’’ in Critical Essays on Edward Albee. Edited by Philip C. Kolin and J. Madison Davis. G.K. Hall & Co., 1986. Reproduced by permission of The Gale Group.—Zeitlin, Froma I. From Under the Sign of the Shield: Semiotics and Aeschylus' Seven Against Thebes. Edizioni dell'Ateneo, s.p.a., 1982. 1982 © Copyright by Edizioni dell'Ateneo, s.p.a. Reproduced by permission.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN DfS, VOLUME 10, WERE RECEIVED FROM THE FOLLOWING SOURCES:
Act I from a Moscow Art Theater production of ‘‘The Seagull’’ by Anton Chekhov, 1905, photograph. From Konstantin Stanislavsky: Selected Works, compiled by Oksana Korneva. Raduga Publishers, Moscow, 1984.—Act III of a Moscow Art Theater production of ‘‘The Seagull’’ by Chekhov (with Stanislavsky, Lilina, and Roksanova), 1905, photograph. From Konstantin Stanislavsky: Selected Works, compiled by Oksana Korneva. Raduga Publishers, Moscow, 1984.—Anouilh, Jean (wearing plaid blazer, glasses with round lenses), 1971, photograph. AP/Wide World Photos. Reproduced by permission.—Aristophanes (body turned to his right), print. Archive Photos, Inc. Reproduced by permission.—Ashcroft, Peggy, as Irena, with Gwen Ffrangcon Davies, as Olga, a scene from John Gielgud's theatrical version of Anton Chekhov's play, ‘‘The Three Sisters,’’ the Queen's Theatre, photograph. The Kobal Collection. Reproduced by permission.—Buero Vallejo (pipe in mouth, wearing tweed suit), Madrid, Spain, 1986, photograph. AP/Wide World Photos. Reproduced by permission.—Characters from the film version of Anton Chekhov's play, ‘‘The Three Sisters,’’ photograph. The Kobal Collection. Reproduced by permission.— Chekhov, Anton, with the Moscow Art theatre troupe, reading his play ‘‘The Seagull,’’ 1899, Moscow, photograph. Austrian Archives/Corbis. Reproduced by permission.—David Warner and Irene Worth in Edward Albee's ‘‘Tiny Alice’’ © Donald Cooper/Photostage. Reproduced by permission.—Falk, Peter, Shelley Winters, a scene from the film version of Jean Genet's play, ‘‘The Balcony,’’ photograph. The Kobal Collection. Reproduced by permission.—From a theatre production of Robert Schenkkan's ‘‘The Kentucky Cycle,’’ Directed by Nina LeNoir, Scene Design by W. J. Langley, Jr., Costume design by Susan L. Hayes at Meyer Jacobs Theatre, Bradley University, 1997/98 Season, scene 'Fire in the Hole,' 1920, Howsen County, Kentucky with the company, photograph by Duane Zehr. BRADLEY UNIVERSITY THEATRE. Reproduced by permission.—From a theatre production of Robert Schenkkan's ‘‘The Kentucky Cycle,'' Directed by Nina LeNoir, Scene Design by W. J. Langley, Jr., Costume design by Susan L. Hayes at Meyer Jacobs Theatre, Bradley University, 1997/98 Season, scene 'Ties That Bind,' 1819, The Rowen Homestead with Shaun O'Keefe as Ezekiel Rowen, Isaiah E. Brooms as Jessie Biggs and Stephen Clark as Zachariah Rowen, photograph by Duane Zehr. BRADLEY UNIVERSITY THEATRE. Reproduced by permission.—From a theatre production of ‘‘The Memorandum’’ by Vaclav Havel, Directed by Rick Jones at The University of Kansas Theatre, October, 1996 with (l-r) Jennette Selig as Deputy Director Ballas, Jefferson R. Bachura as Stroll, Head of the Translation Center and Jamie Johnson as Chariman Helena, Stroll is reading a letter to Ballas and Helena, photograph. The University of Kansas Theatre. Reproduced by permission.—From a theatre production of ' 'The Memorandum' ' by Vaclav Havel, Directed by Rick Jones at The University of Kansas Theatre, October, 1996 with (l-r) Steve Willingham as Pillar/Column, Lawrence Eric Davis as Gross, Managing Director, Jennette Selig as Deputy Director Ballas, and Kari Wahlgren as Hana, Secretary to the Managing Director, Pillar/Column is standing with his arms raised while the others look on, photograph. The University of Kansas Theatre. Reproduced by permission.—Fugard, Athol, photograph. AP/Wide World Photos. Reproduced by permission.—Genet, Jean, photograph. Archive Photos, Inc. Reproduced by permission.—Havel, Vaclav, photograph. Reuters/ Corbis-Bettmann. Reproduced by permission. — James, Geraldine in the theatrical production of Aristophanes' "Lysistrata," the Old Vic Theatre, photograph. © Donald Cooper/Photostage. Reproduced by permission.—Kaufman, George and Moss Hart, photograph. AP/Wide World Photos. Reproduced by permission.—Kingsley, Ben (with unidentified man and Paul Scofield) in "Volpone," photograph. © Donald Cooper/PHOTOSTAGE. Reproduced by permission.—Lorca, Federico Garcia (left arm on armrest of chair, right hand in lap), photograph. Archive Photos/Popperfoto. Reproduced by permission.—McAuliffe, Nichola, as Erdal, scene from theatrical production of ‘‘The Wild Duck,’’ the Phoenix Theatre, photograph. © Donald Cooper/ Photostage. Reproduced by permission.—Ntshona, Winston (with John Kani) in play ‘‘Sizwe Banzi Is Dead,'' photograph by William L. Smith Published by Solters/Roskin, Inc. Museum of the City of New York/Archive Photos. Reproduced by permission.— Ntshona Winston (with John Kani) in the play ' 'Sizwe Banzi Is Dead,'' photograph by William L. Smith. Published by Solters/Roskin, Inc. Museum of the City of New York/Archive Photos. Reproduced by permission.—Oakie, Jack, with unidentified woman, a scene from ‘‘Once in a Lifetime,’’ photograph. The Kobal Collection. Reproduced by permission.—Playbill title page insert for production of the play ' 'Spike Heels’’ by Theresa Rebeck, directed by Michael Greif, at the Second Stage Theatre, New York. PLAYBILL (r) is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission.— Scene from the Moscow Art Theater production of ‘‘The Seagull’’ by Chekhov (man sleeping in wheelchair), 1898, photograph. From Stanislavsky: My Life in the Theatre, Academia, 1936, Soviet Union.—Schenkkan, Robert, photograph. Robert Schenkkan. Reproduced by permission.—Soyinka, Wole, photograph. Archive Photos, Inc./Trappe. Reproduced by permission.—‘‘The Wild Duck,’’ photograph. © Donald Cooper/Photostage. Reproduced by permission.

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