348 résultats
279p. Hardcover Good condition, spine taped, paper aged
528pp. 25 cm. Paperback Very good condition, small coffee stain on cover Review copy
Oversize 95p., illus. Photographs by Harold Lloyd, actor & grandfather of the editor. Packaged w/ a pair of 3-D viewing glasses. Hardcover Fine condition very good d.j. good
ISBN : 2914353472. Mango. 2003. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 237 pages. Illustré de nombreuses photos en couleur hors texte. Envoi manuscrit de l'auteur en page de faux-titre. De Bagdad au Loft. Préface de Malek Boutih.
Chez Raphael Maillol, Paris. 1937. In-12 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Plaquette de 12 pages illustrée de dessins en noir et blanc (portraits). 'Voix d'Artistes'. Dessins d'Henri ESCARRA.
Odette Lieutier. 1946. In-8 Carré. Broché. Etat d'usage. Couv. légèrement passée. Dos fané. Non coupé. 328 pages. Pages légèrement jaunies. (Rare) Diderot et le paradoxe du comédien. La technique et le métier. Le jeu...
L'Archipel - Seghers. 1974. In-8 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 398 pages. Illustré de nombreuses photos en noir et blanc hors texte. Collection dir. par Pierre Kyria. La formation traditionnelle. La gestuelle. Stanislavski. Réactions contre le naturalisme. Radio, Cinéma, Télévision...
Chez Et. Ledoux, Paris. 1925. In-8 Carré. Relié. Bon état. Couv. convenable. Dos satisfaisant. Quelques rousseurs. 335 pages. Titre et filets dorés sur le dos. Etiquette de code sur la couverture. Quelques tampons de bibliothèque. 'Collection des Mémoires sur l'Art dramatique'. Précédés d'une Notice sur cet acteur par M. ETIENNE. Le Comédien, par M. Rémond de SAINTE-ALBINE.
Librairie de Cournol, Paris. 1863. In-12 Carré. Broché. Etat d'usage. Plats abîmés. Dos fané. Quelques rousseurs. 303 pages. Papier muet encollé sur le dos, le consolidant. Etiquette de code sur la couverture. Quelques tampons de bibliothèque. Traces de colle sur le dos. Petits manques sur les bords des plats. La Champmeslé. Adrienne Lecouvreur. Clairon. Dumesnil. Duchesnois. Georges Weimer. Mars. Dorval. Rachel. Déjazet.
JUVEN F. ET CIE. 1896. In-8 Carré. Broché. Etat passable. Plats abîmés. Dos abîmé. Intérieur frais. 278 pages augmentées de nombreuses illustrations en noir et blanc dans et hors texte - 1 petite annotation sur la page de titre - Ouvrage partiellement desolidarisé - Papier encollé sur les plats et dos - VEN DU EN L ETAT.
400 pages. Index. Black and white photographic plates. "Colleen's life was one of indelible impressions and stunning influence." - from dust jacket. "Colleen's approach to acting was the same as her approach to life; Look the other person in the eye and tell the truth. She writes by this principle as well, and the legions of us who admired this extraordinary woman will welcome the intelligence and generosity of her memoir." - Candice Bergen. Very light wear. Clean, bright and unmarked. Dust jacket now in glossy new archival-grade Brodart cover. Lovely copy. Book
270p. illus. Hardcover Very good condition very good d.j. good
Ponthieu, Libraire, Paris. 1922. In-8 Carré. Relié. Bon état. Couv. convenable. Dos satisfaisant. Rousseurs. 387 pages. Titre et filets dorés sur le dos. Etiquette de code sur la couverture. Quelques tampons de bibliothèque. 'Collection des Mémoires sur l'Art dramatique'. Trad. de l'anglais par le traducteur des Oeuvres de Walter Scott.
Chez Et. Ledoux, Paris. 1923. In-8 Carré. Relié. Bon état. Couv. convenable. Dos satisfaisant. Rousseurs. 255 pages. Titre et filets dorés sur le dos. Etiquette de code sur la couverture. Quelques tampons de bibliothèque. 'Collection des Mémoires sur l'Art dramatique'. Avec une Notice sur les ouvrages de cet acteur.
Chez Et. Ledoux, Paris. 1925. In-8 Carré. Relié. Bon état. Couv. convenable. Dos satisfaisant. Rousseurs. 439 pages. Titre et filets dorés sur le dos. Etiquette de code sur la couverture. Quelques tampons de bibliothèque. 'Collection des Mémoires sur l'Art dramatique'. Précédés de Réflexions sur cet acteur, et sur l'art théâtral, par M. Talma.
Baudouin Frères, Libraires-Editeurs, Paris. 1823. In-8 Carré. Relié. Bon état. Couv. convenable. Dos satisfaisant. Rousseurs. 384 pages. Titre et filets dorés sur le dos. Etiquette de code sur la couverture. Quelques tampons de bibliothèque. 'Collection des Mémoires sur l'Art dramatique'. Revus, corrigés et augmentés d'une Notice sur ces deux comédiens par M. Ourry.
Signed by Author on title page. No other marks or inscriptions. A lovely clean very tight copy with bright unmarked boards and very minor bumping to some corners. Dust jacket not price clipped or marked or torn with very slight creasing to some corners. 128pp. The story commemorates the 50th anniversary of the Open-Air Theatre at Maynardville in Wynberg, Cape Town, and in particular the concerted effort of theatre enthusiasts and professional theatre practitioners to maintain the annual Shakespeare season so successfuly. Extremely scarce.
590 p. + Portrait plates + Added chromolithographed title page. Thick 8vo. 22 cm. Original deeply embossed cloth binding, somewhat worn at extremities. Some foxing and age stain. Private library labels. Olive Logan was the daughter of a famous actor, dramatist, and theater manager who was most active in Ohio and the mid-West. She was a child actress who went on to a long stage career. She suppleme nted her income by working as a journalist, and later as a lecturer. Some of her accounts of the stage were sensational. As she unfolds her memoirs she gives a great many little details about the art of stage craft and the state of the American theater in the latter half of the 19th century. Much of this is accomplished by her portrayals of the great stage personalities of the age. She also tries to redeem the actors' profession from the still wide-held belief that it was immoral and dishonorable. "If (my work) strips off some of the 'gauze and vanity' from the 'show world' I hope it a l so e xhibits that world in a fairer and juster light to many who have hitherto looked on it with ungenerous and unenlightened eyes" -- From the Preface. LOC :W140-148
16 pages. Direktion: Paul Wolz, Otto Reimann. Includes black and white photos of Otto Reimann, Paul Wolz, Kappellmeister Karl Furmann, Franz Zwonik, Rudolf Seibold, Els Brandstatter, Mizzi Seibold, Fritz Radant, Hans Imhof - Spielleiter und Ballettmeister, Karl Gullich, Martin Kerble, Mathias Olschinski, Anny Horst, Franzi Heubl and Otto Guhl. Bits of writing on pages 8 and 9. Average wear. A sound vintage copy. Book
(FT) Suede wraps. 4to. [4], 171, [2], 23 pages. 28 cm. First edition. In Yiddish and English. Added title-page: Ten years Artef; published for the tenth anniversary of the Artef, March, 1937. Extensively illustrated publication for the tenth year anniversary of the radical Yiddish theatre company: Artef, the radical Yiddish dramatic troupe based in New York during the heyday of the Yiddish theater in America. Begun in the mid-1920s as a study group of amateur worker-actors (at one time there were nine separate studios with over 120 students) , in the 1930s the troupe went professional, putting on at least two and often three new plays per season. With such plays as Jacob Mostel's Strike, Shmuel Godiner's Jim Kooperkop, Avrum Vevioka's Diamonds, and Maxim Gorky's Egor Bulychev and Dostigaev and Others, Artef spread propaganda to the masses. Ideologically Artef was far left; its hope was a Communist society here in America. As a troupe, its role was agit-prop, to agitate and propagandize, to serve as the cultural representative of radical workers. In fact, most of its tickets were pre-sold through worker unions and, at least in its early years, Artef gave presentations at political events. Its first large-scale production was Mass Play and Ballet of the Russian Revolution, which appeared at the Lenin memorial celebration in Madison Square Garden on January 21, 1928. Artef's greatest artistic and commercial successes were connected with the talented productions of director Benno Schneider. Schneider, who had been active in the Zionist Habima troupe in Moscow, wed aesthetic excellence to revolutionary ideology with his interpretation of Aristocrats, an adaptation of Sholem Aleichem's Mentshn. Incidentally, Schneider earned such a positive reputation with Artef that he received offers to direct on Broadway, a promotion that cost the radical Yiddish theater dearly. The end of the Artef was gradual, and its causes were closely associated with the reduced role of Yiddish in American life. But there were bright lights before the darkness. During the days of the Popular Front, when the Communists formed associations with less radical leftist parties, the Artef attracted a larger audience, which led to an optimistic expansion that later was responsible for huge financial losses. The darkness occurred at the end of the thirties, when the number of Yiddish speakers began to diminish. The last performance of the Artef was on July 7, 1941. (Review by Dr. Brian Horowitz of Yiddish Proletarian Theatre: The Art and Politics of the Artef, 19251940 written by Edna Nahshon) . Many of the actors and directors in Artef went on to establish solid careers on Broadway, Hollywood, and for those blacklisted, overseas. Subjects: Arbeiter theatre verband, New York. Jewish theater. Theater - New York (State) - New York. Artef - Anniversaries, etc. OCLC lists 29 copies worldwide. With previous owners bookstamp on endpage; that of Wolf Mercur, a playwright, actor, and director in Yiddish films and on Broadway. Very clean and fresh. Very good condition. (ART-18-15)
409p. illus. No. 28 of edition limited to 160 copies signed by the author. This copy has A.L.S. from author & playbill tipped in Hardcover Very good hinges rubbed 3/4 red calf
Amyot, Paris. 1859. In-4 Carré. Relié demi-cuir. Etat d'usage. Couv. convenable. Dos frotté. Quelques rousseurs. 528 pages. Gravure en noir et blanc en frontispice (portrait). Non illustré. Auteur, titre et filets dorés sur le dos. Epidermures sur le dos. Mademoiselle Rachel (Rachel FÉLIX) dans ses principaux rôles.
2 vols., 8vo., First Edition, with engraved portrait frontispiece (mildly age-soiled), some very light and inoffensive age-staining to text, neat pencilled nineteenth-century inscription of half-title of second volume; attractively bound in contemporary half calf, coarse-grain cloth sides ruled in gilt, backs with five raised bands, second and third compartments lettered and ruled in gilt, all other compartments framed and tooled in gilt, gilt edges, marbled endpapers, a very good, bright, crisp copy in wholly unrestored period binding. The UK edition is much scarcer than its US counterpart published in the same year, particularly as two volumes as originally issued. Kean died in 1833.
