Found 9 collections related to Chekhov, Anton Pavlovich, 1860-1904

This bulk of the collection consist of manuscript copies, printed scores, parts, writings and correspondence belonging to the composer Erich Itor Kahn and his late wife Frida Kahn, who was a music teacher and a translator. Erich Itor Kahn was known for his use of difficult techniques of counterpoint and harmony less

The papers of Montgomery Clift consist of a small amount of correspondence, scripts, photographs, notes and scrapbooks. The strength of the collection is in the large number of annotated scripts which range from early drafts to final scripts. The annotations provide insight both to Clift's involvement in the development of the films and plays and the characters he portrayed. Some plays included are : THE SEA GULL (1954), THERE SHALL BE NO NIGHT (1940), YOU TOUCHED ME (1945) and YR. OBEDIENT HUSBAND (1938). Films include: THE BIG LIFT (1950), THE DEFECTOR (1966), FREUD (1962), FROM HERE TO ETERNITY (1953), JUDGMENT AT NUREMBERG (1961), THE MISFITS (1961), A PLACE IN THE SUN (1951), RAINTREE COUNTY (1957), THE SEARCH (1948), SUDDENLY LAST SUMMER (1959), WILD RIVER (1960) and THE YOUNG LIONS (1958), among others. Included as well is a manuscript for an unproduced screenplay written by Clift and Kevin McCarthy, Clift's friend and collaborator. less

Original set designs, working drawings and sketches, blueprints and notes by Mstislav Dobuzhinskiĭ for the following productions: Anne of England by Mary Cass Canfield and Ethel Borden adapted from Viceroy Sarah by Norman Ginsbury (1941); Boris Godunov opera by Modest Mussorgsky (n. d.); Don Giovanni music by Wolfgang Amadeus Mozart and with an Italian libretto by Lorenzo Da Ponte (1952); Das Dreimaderlhaus (House of the Three Girls) adapted into English language versions as Blossom Time and Lilac Time is a Viennese pastiche 'operetta' with music by Franz Schubert rearranged by Hungarian Heinrich Berte and a libretto by Alfred Maria Willner and Heinz Reichert (n. d.); Emilia Plater (Lithuanian National Theatre) (1939); Enough Stupidity in Every Wise Man by Alexander Ostrovski (1953); Eugene Onegin (opera) by P. Tchaikovsky (different productions 1923-1953); The Fair at Sorochinsk book by Nicolai Gogol, music by Modest Mussorgsky (1942); The Four Ruffians by Edward J. Dent adapted from I Quattro Rusteghi by Goldoni music by Ermanno Wolf-Ferrari (1951); Die Geburt der Salome (1944); Happy Endings by A. Chekhov (n.d.); Khovanshina by M. Mussorgsky (1948-1950); Love for three oranges (1949); Masked Ball music by G. Verdi (1940); A Month in the Country (1909); Queen of Spades by P. Tchaikovsky (1925-1931); Radvila Perkunas by Jurgis Karnavicius (1936); Wozzeck opera music by Allen Berg (1952). There are also a few designs for unidentified productions. Most of the designs and sketches are signed. less

Dr. Alexander Szogyi (1929-2007) was an American educator, author, and translator of literature from French and Russian. Many of his play translations were adapted into stage productions between 1960 and 1991. The collection dates from 1953 to 1995 and contains correspondence, theater programs, scrapbooks, scripts, essays, and other writings translated or written by Szogyi. less

Lloyd Burlingame, designer for the theater. Consists of six designs in watercolor and ink for the following productions of the Association of Producing Artists: three signed costume designs for TWELFTH NIGHT and one unsigned set design for each of the following: PENNY FOR A SONG, SCHOOL FOR SCANDAL, and THE SEAGULL. less

The New York Shakespeare Festival records (1954-1992) measure approximately 850 linear feet and consist of scripts, correspondence, inter-office memoranda, production materials, reports, financial records, photographs, and memorabilia. The records reflect the origin and activities of the New York Shakespeare Festival, its general administration, and the staging of its productions, including their creation, management, booking, and promotion. The files of the Casting Office, except in the form of carbon copies in other series, are not included in this archive. There are also gaps in the files of the Associate Producer. Contracts were removed and require special permission of the curator to access. Oral history materials in Series I and some correspondence in Series V are restricted until the year 2043 in order to protect the privacy of individual persons. Series XIV (Oversized Materials) is not fully processed and is currently unavailable for research. less