title: Andrés de Santa Maria

texts:
<mask> (December 16, 1860 – April 29, 1945) was the most internationally known Colombian painter of his time and the pioneer of impressionism in Colombia. His work in solitary as a vanguardist painter frames the beginnings of modern art in Colombia. <mask>'s search for new artistic expressions generated rejection and controversies around his work. He lived a great part of his life in Europe. Early life
<mask> was born in Bogotá, Colombia on December 16, 1860. He was the third son of <mask> and Manuela Hurtado. He belonged to a well off family that was politically connected.Both his grandfather and his father worked for several years in high official positions for the Colombian government. In 1862, when he was two years old, his parents took him to Europe. The family lived in London until 1869 when they moved to Brussels. In 1878, his father obtained a position at the Colombian Embassy in France and his family settled in Paris. <mask>'s desire to be a painter faced the strong opposition of his parents who forced him to follow a career in finances. For a time, he worked as a banker, but at the death of his father in 1882, he was finally able to study painting. He entered the School of Art in Paris and worked in the workshops of Ferdinand Jacques Humbert (1842–1881) and Henri Gervex (1852–1929).Prince Eugen of Sweden and the Spanish painter, Ignacio Zuloaga y Zabaleta, studied with him under Gervex's guidance. The impressionist art movement had a great influence on his career, but <mask> was also interested in social subjects shown in the work of Alfred Roll and through him, he was influenced by the realism movement and the paintings of Jean-François Millet and Gustave Courbet. <mask> first obtained recognition when he won a first prize and was accepted to participate in the salon of French Artists in 1887 with his painting Launderers of the Seine. This large and ambitious painting already shows impressionist elements in the use of the reflection of light and his interest in social subjects. He took part in the salons of 1888, 1889 and 1890. In this early period, <mask> painted a variety of works with a refined liking for realism in the style of Courbet in works as: The shooters (1885), The reading (1886) and Salomón F. Koppel (1889). These paintings also show <mask>'s clear command of the rules of the academy.In 1891, he exhibited his painting: The tea party, at the Artistic union of Paris. The tea party is one of the best works of his early period that concludes when he left Europe to go back to Colombia. Colombia

<mask> <mask> married Amalia Bidwell Hurtado on January 25, 1893, in Saint-Jean-de-Luz. They had eight children. In 1894, the couple decided to come back to Colombia, where they lived for almost two decades. Shortly after arriving at Bogotá, <mask> was appointed professor of landscape at the Escuela Nacional de Bellas Artes (English: The National Academy of Fine Arts), where he brought the experience he had learned in France. However, his work as a vanguardist artist breaking with the traditional academic painting in Colombia was controversial.During the Colombian Civil War called, the Thousand Days War, the Academy was closed and <mask> made a long trip to Europe. In Paris, he took part in the French salon  with his painting los dragoniantes de la guardian inglesa,  which received a congratulation letter from the jurors. At the end of the Thousand Days War, he came back to Colombia, where in 1904, he was appointed director of the Academy of Arts,  a position he held for the rest of the years he lived in his native country (until 1911). He was invited by the president of the republic, general Rafael Reyes, to perform an exhibition with the writers Sanín Cano, Hinestroza Daza and Max Grillo. In 1906 he painted the triptych of the National Capital, in this represented Simon Bolivar directing the liberation campaign. While in charge of the Academy, he also founded the school of decorative and industrial arts, in which other artistic techniques like pottery, wood and stone carving and smelting were taught. In 1910, he organized an exhibition commemorating the centenary of the Independence of Colombia in which he exhibited forty-six of his works .As an artist, <mask> did not enjoy great recognition and his work as director of the academy was controversial. Under a cloud of criticism, he decided to resign to his post and left Colombia to never return. On finishing his work as director of the School of Fine Arts, he returned again to Europe and settled in Brussels. Later life
<mask> left for Europe in 1911. With his family, he traveled to England, the Netherlands and France before settling in Brussels. At the outbreak of World War I, he moved to Paris where he established a friendship with the sculptor <mask>. During the war he traveled to London; he finally settled in San Sebastian, where he remained until 1918.At the end of the war, he came back to Brussels. During this, the third period of his career, he earned distinctions as a painter in exhibitions in 1936 in Brussels and in 1937 in London (Burlington Gallery, displaying 125 paintings made over a 30-year period from 1907). He captured the modern tendencies of the European art, but was inspired by the great master like el Greco. Until the last years of his life, <mask> remained active and held many exhibitions of his works. <mask> <mask> died on April 29, 1945, of kidney infection. He was eighty-five years old. After his death, there have been many exhibitions of his works, most notably at the Colombian National Museum  in 1949 and the Museo de Arte Moderno de Bogotá in 1971, when 126 of his paintings were exhibited.Style and legacy
His paintings can be divided into three different periods of evolution. In his early works, executed while living in France, light and color have great importance. His second period began with his return to Colombia. It is characterized by a style within the divisionism, a method of painting that uses pure color, harmony and contrast. His last period began when he was back in Europe. He used a richer pictorial language, employing knives and spatulas to apply thick layers of paint. The forms became denser and more vibrant.<mask>'s work was in essence, impressionist in character and his work influenced modern painting in Colombia. Sometimes, this impressionism however would take passage to postimpressionist and other influences. He influenced the work of later artists such as Fídolo Alfonso González Camargo and Roberto Páramo. In Latin America, one can draw parallels of his work with the Venezuelan Armando Reverón and the Uruguayan Pedro Figari. The greatest collection of his works amounting to some 30 oil paintings is conserved by the National Museum of Colombia in Bogota. The museum owns emblematic pieces such as "En la Playa de Macuto" (Ca. 1907).His other works are in museums such as Colección de Arte del Banco de la República, the Biblioteca Luis Ángel Arango, Museo de Arte Moderno de Bogotá and the Museo de Antioquia in Medellín, Antioquia. Notes

Bibliography
 Martinez Betancour, : William, <mask>  <mask>, Biblioteca Virtual del Banco de la República, 2004. <mask>  <mask>maria, : Exh. cat. Museo Nacional de Bogotá and  Musée Marmottan, Paris. 1986

External links
Biblioteca Luis Ángel Arango at www.lablaa.org
https://web.archive.org/web/20070928104136/http://www.villegaseditores.com/loslibros/8084096/7.php
<mask> de Santa María at ColArte

1860 births
1945 deaths
19th-century Colombian painters
19th-century male artists
20th-century Colombian painters
20th-century male artists
Colombian male painters

masks:
Andrés de Santa Maria
Santa Maria
Andrés de Santa Maria Hurtado
Andrés de Santa Maria Rovira
Santa Maria
Santa Maria
Santa Maria
Santa Maria
Santa Maria
Andrés de
Santa Maria
Santa Maria
Santa Maria
Santa Maria
Santa Maria
Antoine Bourdelle
Santa Maria
Andrés de
Santa Maria
Santa Maria
Andrés
de Santamaria
Andrés
de Santa
Andrés


title: Michael Hordern

type: original

texts:
<mask> CBE (3 October 19112 May 1995) was an English actor whose career spanned nearly 60 years. He is best known for his Shakespearean roles, especially that of King Lear, which he played to much acclaim on stage in Stratford-upon-Avon in 1969 and London in 1970. He then successfully assumed the role on television five years later. He often appeared in film, rising from a bit part actor in the late 1930s to a member of the main cast; by the time of his death he had appeared in nearly 140 cinema roles. His later work was predominantly in television and radio. Born in Berkhamsted, Hertfordshire, into a family with no theatrical connections, Hordern was educated at Windlesham House School in Pulborough, West Sussex, where he became interested in drama. He went on to Brighton College where his interest in the theatre developed.After leaving the college he joined an amateur dramatics company, and came to the notice of several influential Shakespearean directors who cast him in minor roles in Othello and Macbeth. During the Second World War he served on HMS Illustrious where he reached the rank of lieutenant commander. Upon his demobilisation he resumed his acting career and made his television debut, becoming a reliable bit-part actor in many films, particularly in the war film genre. Hordern came to prominence in the early 1950s when he took part in a theatrical competition at the Arts Theatre in London. There, he impressed Glen Byam Shaw who secured the actor a season-long contract at the Shakespeare Memorial Theatre where he played major parts, including Caliban in The Tempest, Jaques in As You Like It, and Sir Politick Would-Be in Ben Jonson's comedy Volpone. The following season Hordern joined <mask>'s company at the Old Vic where, among other parts, he played Polonius in Hamlet, and the title role in King John. In 1957 he won a best actor award at that year's British Academy Television Awards for his role as the barrister in John Mortimer's courtroom drama The Dock Brief.Along with his theatrical responsibilities Hordern had regular supporting roles in various films including Cleopatra (1963), and A Funny Thing Happened on the Way to the Forum (1966). In the late 1960s Hordern met the British theatre director Jonathan Miller, who cast him in Whistle and I'll Come to You, which was recorded for television and received wide praise. <mask>'s next major play was Jumpers which appeared at the Royal National Theatre at the start of 1972. His performance was praised by critics and he reprised the role four years later. His television commitments increased towards the end of his life. His credits include Paradise Postponed, the BAFTA award-winning Memento Mori, and the BBC adaptation of Middlemarch. He was appointed a CBE in 1972 and was knighted eleven years later.Hordern suffered from kidney disease during the 1990s and died from it in 1995 at the age of 83. Life and career

Family background

Hordern's mother, Margaret Murray, was descended from James Murray, an Irish physician whose research into digestion led to his discovery of the stomach aid milk of magnesia in 1829. The invention earned him a knighthood and brought the family great wealth. Margaret grew up in England, and attended St Audries School for Girls in Somerset. Hordern's father, Edward, was the son of a Lancastrian priest who was the rector at the Holy Trinity Church in Bury. As a young man Edward joined the Royal Indian Marines and gained the rank of lieutenant. During a short break on home-leave he fell in love with Margaret, after they were introduced by one of his brothers.The courtship was brief and the young couple married in Burma on 28 November 1903. They had their first child, a son, Geoffrey, in 1905, followed by another, Peter, in 1907. Early years

Four years after the birth of Peter, a pregnant Margaret returned to England, where <mask>, her third son, was born on 3 October 1911 in Berkhamsted, Hertfordshire. Still stationed abroad, Edward was promoted to the rank of captain, for which he received a good salary. The family lived in comfort, and Margaret employed a scullery maid, nanny, groundsman, and full-time cook. Margaret left for India to visit her husband in 1916. The trip, although planned only as a short term stay, lasted two years because of the ferocity of the First World War.In her absence, <mask> was sent to Windlesham House School in Sussex at the age of five. His young age exempted him from full-time studies but he was allowed to partake in extracurricular activities, including swimming, football, rugby and fishing. After a few years, and along with a fellow enthusiast, he set up the "A Acting Association" (AAA), a small theatrical committee, which organised productions on behalf of the school. As well as the organisation of plays, <mask> arranged a regular group of players, himself included, to perform various plays which they wrote, directed, and choreographed themselves. He stayed at Windlesham House for nine years, later describing his time there as "enormous fun". Hordern was 14 when he left Windlesham House to continue his schooling as a member of Chichester House at Brighton College. By the time of his enrolment, his interest in acting had matured.In his 1993 autobiography, A World Elsewhere, he admitted: "I didn't excel in any area apart from singing; I couldn't read music but I sang quite well." There he helped organise amateur performances of various Gilbert and Sullivan operas. The first of these was The Gondoliers, in which he played the role of the Duchess. The tutors called his performance a great success, and he was given a position within the men's chorus in the next piece, Iolanthe. Over the next few years, he took part in The Mikado as a member of the chorus, and then appeared as the Major-General in The Pirates of Penzance. It was a period which he later acknowledged as being the start of his career. When the war ended in 1918, Edward, who was by now a port officer in Calcutta, arranged for Margaret to return to England.With her, she brought home an orphaned baby girl named Jocelyn, whom she adopted. The following year, Edward retired from active service and returned to England, where he relocated his family to Haywards Heath in Sussex. There, <mask> developed a love for fishing, a hobby about which he remained passionate for the rest of his life. In his autobiography <mask> admitted that his family showed no interest in the theatre and that he had not seen his first professional play, Ever Green, until he was 19. Around this time he met Christopher Hassall, a fellow student at Brighton College. Hassall, who also went on to have a successful stage career, was, as Hordern noted, instrumental in his decision to become an actor. In 1925 <mask> moved to Dartmoor with his family where they converted a disused barn into a farm house.For Hordern the move was ideal; his love of fishing had become stronger and he was able to explore the remote landscape and its isolated rivers. Early acting career (1930–39)

Theatrical beginnings

Hordern left Brighton College in the early 1930s and secured a job as a teaching assistant in a prep school in Beaconsfield. He joined an amateur dramatics company and in his spare time, rehearsed for the company's only play, Ritzio's Boots, which was entered into a British Drama League competition, with Hordern in the title role. The play did well but conceded the prize, a professional production at a leading London theatre, to Not This Man, a drama written by Sydney Box. So envious was he of the rival show's success that Hordern supplied a scathing review to The Welwyn Times calling Box's show a "blasphemous bunk and cheap theatrical claptrap". The comment infuriated Box, who issued the actor with a writ to attend court on a count of slander. Hordern won the case and left Box liable for the proceeding's expenses.Years later the two men met on a film set where Box, much to <mask>'s surprise, thanked him for helping to kick-start his career in film making, as he had received a lot of publicity as a result of the court case. With the death of his mother in January 1933, <mask> decided to pursue a professional acting career. He briefly took a job at a prep school but fell ill with poliomyelitis and had to leave. Upon his recuperation, he was offered a job as a travelling salesman for the British Educational Suppliers Association, a family-run business belonging to a former school friend at Windlesham House. As part of his job he spent some time in Stevenage where he joined an amateur dramatics company and appeared in two plays; Journey's End, in which he played Raleigh, and Diplomacy, a piece which the actor disliked as he considered it to be "too old-fashioned". Both productions provided him with the chance to work with a cue-script, something which he found to be helpful for the rest of his career. That summer he joined a Shakespearean theatre company which toured stately homes throughout the United Kingdom.His first performance was Orlando in As You Like It, followed by Love's Labour's Lost, in which he co-starred with Osmond Daltry. <mask> admired Daltry's acting ability and later admitted to him being a constant influence on his Shakespearean career. In addition to his Shakespearean commitments, <mask> joined the St Pancras People's Theatre, a London-based company partly funded by the theatrical manager Lilian Baylis. <mask> enjoyed his time there, despite the tiresome commute between Sussex and London, and stayed with the company for five years. By the end of 1936 he had left his sales job in Beaconsfield to pursue a full-time acting career. He moved into a small flat at Marble Arch and became one of the many jobbing actors eager to make a name for themselves on the London stage. London debut

Hordern's London debut came in January 1937, as an understudy to Bernard Lee in the play Night Sky at the Savoy Theatre.On nights when he was not required, <mask> would be called upon to undertake the duties of assistant stage manager, for which he was paid £2.10s a week. In March, Daltry, who had since formed his own company, Westminster Productions, cast <mask> as Ludovico in Othello. The part became <mask>'s first paid role as an actor for a theatre company. The play was an instant hit and ran at the People's Theatre in Mile End for two weeks. It also starred the English actor Stephen Murray in the title role, but he became contractually obliged elsewhere towards the end of the run. This allowed <mask> to take his place for which Daltry paid <mask> an extra £1 a week. After Othellos closure, Daltry undertook a tour of Scandinavia and the Baltic with two plays, Outward Bound, and Arms and the Man.He employed Hordern in both with the first being the more successful. It was a time that the actor recognised as being a turning point in his professional acting career. On his return to London, and after spending a few weeks in unemployment, he was offered a part in the ill-fated Ninety Sail. The play, about Sir Christopher Wren's time in the Royal Navy, was cancelled on the day Hordern was due to start work, with "unforeseen problems" cited as the reason by its producers. Bristol repertory theatre

In mid-1937 the theatre proprietor Ronald Russell offered Hordern a part in his repertory company, the Rapier Players, who were then based at Colston Hall in Bristol.Hordern, p. 50. Hordern's first acting role within the company was as Uncle Harry in the play Someone at the Door. Because of the play's success, Russell employed him in the same type of role, the monotony of which frustrated the actor who longed to play the leading man.It was whilst with the Rapier Players that <mask> fell in love with Eve Mortimer, a juvenile actress who appeared in minor roles in many of Russell's productions. <mask> considered his experience with the Rapier Players to be invaluable; it taught him how a professional theatre company worked under a strict time frame and how it operated with an even stricter budget. He was allowed two minutes to study each page of the script, but because of the frequent mistakes and many stalled lines, rehearsals became long and laborious. <mask> described the company's props as being made to a very high standard, despite being bought on a shoe-string budget. After a brief holiday with Eve in Scotland in 1938, Hordern returned to London, where he appeared in Quinneys, a radio play broadcast by the BBC in June of that year. The main part went to Henry Ainley whom Hordern described as "a great actor, who, sadly, was past his best". <mask> then made a return to Bristol to prepare for the following season with the Rapier Players.One production singled out in the Western Daily Press as particularly good was Love in Idleness, in which Hordern played the lead character. A reporter for the paper thought that the play "had been noticed" among theatrical critics and that the players "filled their respective roles excellently". By the end of 1938 <mask>'s father had sold the family home and had bought a cottage in Holt, near Bath, Somerset. The arrangement was convenient for the young actor, who used the premises as a base while he appeared in shows with the Rapier Players. One such piece was an adaption of Stella Gibbons's Cold Comfort Farm, which starred Mabel Constanduros, who had adapted the book with Gibbons's permission. Hordern was cast in the supporting role of Seth, a part he described as being fun to perform. The modernised script was "adored" by the cast, according to Hordern, but loathed by the audience who expected it to be exactly like the book.Second World War and film debut

Hordern and Eve left Bristol in 1939 for Harrogate, where Eve joined a small repertory company called the White Rose Players. After a brief spell of unemployment, and with the outbreak of war, Hordern volunteered for a post within the Air Raid Precautions (ARP). He was accepted but soon grew frustrated at not being able to conduct any rescues because of the lack of enemy action. He decided that it was "not a very good way to fight the war" and enlisted instead as a gunner with the Royal Navy.Hordern, p. 59. While he was waiting to be accepted he and Eve responded to an advertisement in The Stage for actors in a repertory company in Bath. They were appointed as the company's leading man and lady. Their first and only engagement was in a play entitled Bats in the Belfry which opened at the city's Assembly Rooms on 16 October.Hordern's elation at finally becoming a leading man was short-lived when he received his call-up that December. In the interest of helping to boost public morale, Hordern sought permission from the navy to allow him to complete his theatrical commitment in Bath and to appear in his first film, a thriller called Girl in the News, directed by Carol Reed; his request was accepted, and he was told to report for duty at Plymouth Barracks in the early months of 1940 when the show had finished and he was free from filming responsibilities. In 1940, after a minor role in Without the Prince at the Whitehall Theatre, Hordern played the small, uncredited part of a BBC official alongside James Hayter in Arthur Askey's comedy film Band Waggon. "Band Waggon (1940)", British Film Institute, accessed 4 July 2015. Soon after, he began his naval gunnery training on board City of Florence, a defensively equipped merchant ship (DEMS) which delivered ammunition to the city of Alexandria for the Mediterranean Fleet. "Sir <mask>" , Fleet Air Arm Archives (1939–1945), accessed 12 February 2015. He found that although his middle class upbringing hindered his ability to make friends on board the ship, it helped with his commanding officers.Hordern, pp.66–67. By 1941 radar was slowly being introduced to the Navy and <mask> was appointed as one of the first operatives who communicated enemy movements to the RAF. He later said the post was owed to his clear diction and deep vocal range. His commentary impressed his superior officers so much that by early 1942 he had been given the job as a Fighter Direction Officer and then first lieutenant on board . Shortly after the departure of his superior, he was promoted to lieutenant commander, a rank which he held for two years. Alongside his naval responsibilities, he was also appointed as the ship's entertainment officer and was responsible for organising shows featuring members of the crew. Marriage and post-war years

During a short visit to Liverpool in 1943, <mask> proposed to Eve; they married on 27 April of that year with the actor Cyril Luckham as best man.After the honeymoon, <mask> resumed his duties on Illustrious while Eve returned to repertory theatre in Southport. In the months after the end of the war in 1945, he was transferred to the Admiralty where he worked briefly as a ship dispatcher. The Horderns rented a flat in Elvaston Place in Kensington, London, and he began to seek work as an actor. After a short while, he was approached by André Obey who cast him in his first television role, Noah, in a play adapted from the book of the same name. Hordern was apprehensive about performing in the new medium and found the rehearsal and live performance to be exhausting; but he was generously paid, earning £45 for the entire engagement. Hordern's first role in 1946 came as Torvald Helmar in A Doll's House at the Intimate Theatre in Palmers Green. This was followed by the part of Richard Fenton, a murder victim, in Dear Murderer which premiered at the Aldwych Theatre on 31 July.The play was a success and ran for 85 performances until its closure on 12 October. Dear Murderer thrilled the critics and Hordern was singled out by one reporter for the Hull Daily Mail who thought that the actor brought "sincerity to a difficult role". The following month Eve gave birth to the couple's only child, a daughter, Joanna, who was born at Queen Charlotte's Hospital in Chelsea. That Christmas he took the role of Nick Bottom in a festive reworking of Henry Purcell's The Fairy-Queen. The play was the first performance by the Covent

masks:
Sir Michael Murray Hordern
Michael Benthall
Hordern
Michael Hordern
Hordern
Hordern
Michael
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Hordern
Michael Hordern
Hordern
Hordern
Hordern


title: Michael Hordern

texts:
 Garden Opera Company, which later became known as The Royal Opera. Towards the end of April 1947, Hordern accepted the small part of Captain Hoyle in Richard Llewellyn's comic drama film Noose. Two other roles occurred that year: as Maxim de Winter in a television adaption of Daphne du Maurier's novel Rebecca, followed by the part of a detective in Good-Time Girl, alongside Dennis Price and Jean Kent.The following year he took part in three plays: Peter Ustinov's The Indifferent Shepherd, which appeared at the newly opened Q Theatre in Brentford, West London; Ibsen's Ghosts; and an adaptation of The Wind in the Willows at the Shakespeare Memorial Theatre in Stratford-upon-Avon in which he portrayed the part of the blustery, eccentric Mr Toad. "Wind in the Willows: Costume design", Victoria and Albert Museum, accessed 22 January 2016. In early 1949 <mask> appeared as Pascal in the <mask>-directed comedy A Woman in Love, but disliked the experience because of the hostile relationship between Redgrave and the show's star, Margaret Rawlings. Next, he was engaged in the minor role of Bashford in the critically acclaimed Ealing comedy Passport to Pimlico, a performance which he described as "tense and hyperactive". 1950–1960s

Ivanov and Saint's Day

By the 1950s Hordern had come to the notice of many influential directors. In his autobiography, the actor recognised the decade as being an important era of his career. It started with a major role in Anton Chekhov's Ivanov in 1950.The production took place at the Arts Theatre in Cambridge and excited audiences because of its 25-year absence from the English stage. The writer T. C. Worsley was impressed by Hordern's performance and wrote: "Perhaps an actor with star quality might have imposed on us more successfully than Mr <mask>, and won our sympathy for Ivanov by his own personality. But such a performance would have raised the level of expectation all round. As it is, Mr Hordern is rich in intelligence, sensitivity and grasp, and with very few exceptions, the company give his impressive playing the right kind of support." The title character in Macbeth, directed by Alec Clunes, was Hordern's next engagement. Critics wrote of their dislike of Clunes's version, but the theatre reviewer Audrey Williamson singled out Hordern's performance as being "deeply moving". The dramatist John Whiting, trying to make a name for himself in the theatre after the war, was called by Clunes to take part in a theatrical competition at the Arts Theatre in London in 1951, for which he entered his play Saint's Day.Several other amateur directors also competed for the prize, which was to have their play funded and professionally displayed at the Arts. Having seen him perform the previous year, Whiting hired <mask> for the lead role of Paul Southman, a cantankerous old poet who fights off three rebellious army deserters who threaten the tranquillity of his sleepy country village. The play proved popular with audiences, but not so with theatrical commentators. Hordern liked the piece, calling it "bitter and interesting", but the press, who extensively reported on the competition throughout each stage, thought differently and condemned it for winning. This infuriated the actors Laurence Olivier and John Gielgud, who wrote letters of complaint to the press. Shakespeare Memorial Theatre

Hordern cited Saint's Days negative publicity as having done his career "the power of good" as it brought him to the attention of the director Glen Byam Shaw, who cast him in a series of plays at the Shakespeare Memorial Theatre in 1951. Among the roles were Caliban in The Tempest, Jaques in As You Like It, and Sir Politick Would-Be in Ben Jonson's comedy Volpone.<mask> claimed to know very little about the bard's works and sought advice from friends about how best to prepare for the roles. The same year, he travelled down to Nettlefold Studios, Walton-on-Thames, to film Scrooge, an adaptation of Charles Dickens's A Christmas Carol, in which he played Marley's ghost. Reviews were mixed with The New York Times giving it a favourable write-up, while Time magazine remained ambivalent. The Aberdeen Evening Express echoed the comments made by an American reviewer by calling Scrooge a "trenchant and inspiring Christmas show". The author Fred Guida, writing in his book Christmas Carol and Its Adaptations: A Critical Examination in 2000, thought that Marley's ghost, though a "small but pivotal role", was "brilliantly played" by Hordern. With the first play of the season imminent, the Horderns moved to Stratford and took temporary accommodation at Goldicote House, a large country property situated on the River Avon. The first of his two plays, The Tempest, caused Hordern to doubt his own acting ability when he compared his interpretation of Caliban to that of Alec Guinness, who had played the same role four years earlier.Reassured by Byam Shaw, Hordern remained in the role for the entire run. A few days later, the actor was thrilled to receive a letter of appreciation from <mask>, who thought Hordern's Caliban was "immensely fine, with all the pity and pathos... but with real terror and humour as well". More praise was received as the season continued; an anonymous theatre reviewer, quoted in Hordern's autobiography, called the actor's portrayal of Menenius Aggripa "a dryly acute study of the 'humorous patrician' and one moreover that can move our compassion in the Volscian cameo", before going on to say "we had felt that it would be long before Alec Guinness's Menenius could be matched. The fact that <mask>'s different reading can now stand beside the other does credit to a player who will be a Stratford prize." The Old Vic

Hordern's contract at the Shakespeare Memorial Theatre lasted until mid-1952, and on its expiration, he secured a position within <mask>'s theatrical company at the Old Vic in London. The company's first play, Hamlet, starred Richard Burton, Claire Bloom, and Fay Compton, and opened on 14 September 1953. Hordern called it "the perfect play with which to open the season" as it featured "fine strong parts for everyone and [was] a good showpiece for an actor's latent vanity".Shortly after opening, it was transferred to Edinburgh, where it took part at the Fringe before returning to London. For his role of Polonius, Hordern received mixed reviews, with one critic saying: "He was at his best in his early scenes with Ophelia... but towards the end of the performance he began to obscure less matter with more art". After Edinburgh, Benthall took Hamlet on a provincial tour and the play had a successful run of 101 performances. In mid-1953 the Danish government invited Benthall and his company to Helsingør (Elsinore) to perform Hamlet for the Norwegian Royal Family. The play was well received by the royals. On the whole, the actor enjoyed his time in Hamlet but behind the scenes, relations between him and Burton were strained. Hordern noted his colleague's "likeability, charm and charisma" but thought that Burton had a tendency to get easily "ratty" with him in social situations.<mask> described their working relationship as "love-hate" and admitted they were envious of each other's success; Burton of Hordern because of the latter's good reviews, and <mask> of Burton who received more attention from fans. When Burton left for Hollywood years later, he recommended Hordern to various casting directors; <mask> was subsequently engaged in six of Burton's films. King John was next for Benthall's company and opened on 26 October 1953. The lead character initially went to an unknown and inexperienced young actor, but the part was re-cast with <mask> in the role. <mask> described King John as being "a difficult play in the sense that it has no common purpose or apparent theme". Simultaneously to this, he was commuting back to Pinewood Studios where he was filming Forbidden Cargo. The hectic schedule brought on a bout of exhaustion for which he received medical advice to reduce his workload.Theatre Royal, Brighton

In early 1955 <mask> was asked by the British theatre manager and producer Binkie Beaumont to take the lead in André Roussin's comedy Nina, directed by Rex Harrison. The play, which starred Edith Evans, Lockwood West, and James Hayter, transferred from Oxford to the Theatre Royal in Brighton. Beaumont's request came at short notice because <mask>'s predecessor had proved inadequate. The play was cursed with bad luck: Evans fell ill and was replaced midway by an understudy who neglected to learn her lines; Harrison frequently upset the cast, which resulted in reduced morale. When Evans did return, she walked off stage and left after seeing empty seats in the front row. <mask> regretted his decision to take part in Roussin's Nina, but admitted that the allure of appearing alongside Evans had got the better of him. Harrison held auditions to replace his leading lady and settled on the Australian-American actress Coral Browne.<mask> and Browne grew close, aided by their mutual dislike of their disciplinarian director. They fell in love and had an affair which lasted for the duration of the run. Years later <mask> confessed: "I kept falling in love. It is a common complaint among actors. You cannot be at such close quarters, mind and body, without being sorely tempted." <mask> and Harrison's dislike for one another was evident to the rest of the cast. One night, after a performance of Nina in Eastbourne, and having felt that he had "acted [his] socks off", <mask>, along with the rest of the cast, were berated by Harrison who accused them of producing a piece "not fit for the end of a pier".Nina transferred to the Haymarket Theatre, London, not long after the incident but it was unsuccessful and closed after five weeks. "The play was fine", opined Hordern, "it was a disaster because of Rex Harrison." <mask> and Browne's relationship ended shortly after the play closed and Hordern set about rebuilding his marriage with Eve, who had long known of the affair. Films and 1950s theatre

Hordern viewed the 1950s as a good decade to appear in film, although he did not then particularly care for the medium. Writing in 1993 he said: "With cinema one has to leap into battle fully armed. From the start of the film the character has to be pinned down like a butterfly on a board. One does not always get this right, of course, sometimes starting at the beginning of shooting a film on a comedic level that cannot be sustained."He disliked his physical appearance, which he found to be "repulsive", and as a result loathed watching back his performances. He preferred radio because the audience only heard his voice, which he then considered his best attribute. Another reason was his recognition of the differences between his sense of personal achievement within a theatre compared to that on a film set: "You get a certain sort of satisfaction in delivering what the director wants of you, but the chances of being emotionally involved are slim." He acknowledged his good ability at learning lines, something which he found to be especially helpful for learning film scripts which frequently changed. He enjoyed the challenge of earning as much value as possible out of a scene and revelled in being able to hit "the right mark for the camera". With the experience of Nina still fresh in his mind, <mask> took a break from the stage and decided to concentrate on his film career. <mask> was appearing in three to four films a year by 1953, a count that increased as the decade progressed.In 1956 he took a leading part in The Spanish Gardener for which he spent many months filming in southern Spain alongside Dirk Bogarde, Cyril Cusack, and Bernard Lee. The New York Times called Hordern's role of the strict and pompous Harrington Brande "an unsympathetic assignment", but thought the actor did "quite well" in his portrayal. By the mid-1950s Hordern's name was becoming one of reliability and good value; as a result, he was offered a clutch of roles. In 1956 he appeared as Demosthenes in Alexander the Great, and Commander Lindsay in The Night My Number Came Up. He appeared in two other films the following year; the medical drama No Time for Tears, and the thriller Windom's Way. The Second World War was a popular genre for filmmakers during the 1950s. Hordern said the conflict took up a large part of people's lives; "whether it be one of love, loss, nostalgia or tragedy", everybody, according to the actor, had a story to tell and could relate to the situations that were being depicted before them on screen.He found his earlier naval experience to be an asset when cast in many war films, including The Man Who Never Was, Pacific Destiny, The Baby and the Battleship, all in 1956, and I Was Monty's Double two years later. <mask> was cast in John Mortimer's 1957 play The Dock Brief in which <mask> played the barrister. The story centres on a failed lawyer who is hired at the last minute to defend a man on a charge of murder. <mask> played the barrister opposite David Kossoff's murder suspect. After some positive comments from the theatrical press, the play transferred to radio in May the same year. It was broadcast on television in September, and earned Hordern a Best Actor Award at the 1958 British Academy Television Awards. "Television Actor in 1957: <mask>", British Academy of Film and Television Arts (BAFTA), accessed 1 October 2019.The Horderns moved to Donnington, Berkshire in 1958 where they renovated three cottages into one; the property became the family home and is where Hordern and Eve remained until their deaths. The year 1959 was professionally disastrous for Hordern. He made a return to stage at the Old Vic in Arthur Wing Pinero's The Magistrate in which he played Mr. Posket. The play was not particularly successful and received mixed reviews: According to the author and theatre critic J. P. Wearing, <mask> was miscast, while a reporter for The Stage, thought he gave a "convincing portrayal". Wearing believed that overall the play was not "played briskly enough", while a critic for The Times thought that it had "durable theatrical quality". The role was followed with a part of Pastor Manders in Ghosts opposite Flora Robson. The Sunday Times published an unenthusiastic notice, and thought Hordern's character had "an anxious air" about him.He received equally critical notices when he took to the stage to play the title character in Macbeth, opposite Beatrix Lehmann. The press wrote of <mask>'s "unintended comic interpretation" when characterising the evil king: "Half his time on stage he cringed like an American carpet seller in an ankle-length black dressing gown of fuzzy candlewick" thought one reviewer, who went on to say "he would make a sinister Shylock, a frightening Fagin. But this Thane of Cawdor would be unnerved by Banquo's valet, never mind Banquo's ghost." On 9 October 1959, <mask> made his debut on Broadway at the Cort Theatre in Marcel Aymé's comedy Moonbirds, alongside the comedian Wally Cox. The play was a disaster and closed after only two nights and three performances. Little was offered in the way of praise, although critics singled out <mask>'s performance in particular as being good. He was unsure why the play failed, and attributed it to clashes of personality between cast and management.Cleopatra and the 1960s

In 1960 <mask> played Admiral Sir John Tovey in the British war film Sink the Bismarck!, based on the book Last Nine Days of the Bismarck by C. S. Forester and with a plot reminiscent of his naval days. With a few smaller roles in between, <mask> started work on the American epic historical drama film Cleopatra. It was made in 1962 and according to the actor, was "the most extraordinary piece of film-making in which I had the pleasure to take part". He played the Roman orator Cicero and was hired on an eight-week contract which due to various setbacks, including cast sickness and adverse weather conditions, was extended to nine months. Much to Hordern's annoyance, the film would require him to work once again with Rex Harrison, who was cast as Caesar. Despite the animosity between them, they agreed to endure each other's company for the sake of the film. The agreement was short-lived; Harrison made a drunken quip at a cast dinner about Nina which prompted Hordern to assault him.The incident almost resulted in <mask>'s dismissal, but the matter was quickly resolved by producers and the two were kept separate in between filming. In 1993 <mask> claimed the incident had "cleared the air" between them and they eventually became friends. After Cleopatra'''s release, <mask> made a return to films, appearing in The Spy Who Came In from the Cold (1965), Khartoum (1966, as Lord Granville), How I Won the War (1967), Where Eagles Dare (1968), and Anne of the Thousand Days (1969, as Thomas Boleyn). He also featured in the Roman farce A Funny Thing Happened on the Way to the Forum in 1966. <mask> first met the British theatre director Jonathan Miller in 1968. Miller, who had long been an admirer of Hordern, offered him the part of the agonistic Professor Parkin in his forthcoming television drama Whistle and I'll Come to You. <mask>, who had heard positive things of Miller from theatrical friends, likewise thought highly of the director, and was quick to take up location filming in Norfolk that year.He came to like Miller's way of working, such as having the freedom to improvise instead of adhering to the strict rules of a script; the actor wrote in his autobiography that he had never experienced that degree of professional freedom. The programme was released towards the end of 1968 and was a hit with audiences and critics. Mark Duguid of the British Film Institute called it "a masterpiece of economical horror that remains every bit as chilling as the day it was first broadcast", while a journalist for The Telegraph, writing in 2010 about that year's remake starring John Hurt, reminded readers of the "brilliant Sixties production by Jonathan Miller [in which] <mask> made a

masks:
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Michael Redgrave
Michael Horn
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Michael Redgrave
Michael Hordern
Michael Benthall
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Michael Hordern
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Michael Hordern


title: Michael Hordern

texts:
 fine, crusty Parkin". The year ended with a role in Peter Hall's production of Edward Albee's A Delicate Balance at the Aldwych Theatre. The piece received lukewarm reviews, with Hilary Spurling of The Spectator thinking Hordern was "ill-served" as the principal character, Tobias. Later career: 1969–1990

King Lear

Miller and <mask>'s collaboration continued into 1969 with King Lear at the Nottingham Playhouse. Hordern immediately accepted the title role but later said that it was a character he never much cared to play.Writing about Miller in his autobiography, <mask> stated: "It was one of the most exhilarating and funny experiences I have had in the theatre." Miller recruited Frank Middlemass to play the fool, but contrary to tradition, Miller made the character an intimate of Lear's as opposed to a servant, something which Shakespearean purists found difficult to accept. Miller decided to further defy convention by concentrating on the relationships between the characters rather than adding detail to scenery and costume; he was eager not to use lavish sets and lighting for the fear of detracting from the characterisations and the sentimentality of the storyline. As such, the sets were bleak and the costumes more so; it was a style that was also used when the play was televised by the BBC later that decade. When King Lear played at the Old Vic in 1970, reviews were mixed; J.W. Lambert thought that the "grey sets" and Hordern's "grizzled" costume were how Shakespeare would have intended them to be, while Eric Shorter thought otherwise, stating "I still do not understand those costumes." Of the performance, the dramatist and critic Martin Esslin called Hordern's portrayal "a magnificent creation"Croall, 67. before going on to say: "Hordern's timing of the silences from which snatches of demented wisdom emerge is masterly and illuminates the subterranean processes of his derangement."Writing for The Times later that year, the theatre critic Irving Wardle described <mask>'s Lear as a "sharp, peremptory pedant; more a law-giver than a soldier, and (as justice is an old man's profession) still in the prime of his life". <mask> played Lear once more that decade, in 1975, which was televised by the BBC for their series Play of the Month. Jumpers

The playwright Tom Stoppard approached Hordern in 1971 with a view to him playing a leading part in the playwright's new play Jumpers, a comic satire based around the field of academic philosophy. <mask> was to play George Moore, a bumbling old philosophy professor, who is employed at a modern university and who, throughout the play, is in constant debate with himself over his moral values. <mask>, though thinking the play was brilliant, disliked the script on the initial read-through as he did not understand its complex situations and strange dialogue. His co-star would be Diana Rigg, who played Moore's wife Dotty, and the entire piece was to be directed by Peter Wood.Jumpers was scheduled to appear at the National Theatre at the start of 1972, but encountered problems when the theatre's director, Laurence Olivier, called the play "unintelligible" before walking out during the first read-through in disgust. Despite this, rehearsals went ahead, which the cast found difficult; the play featured many scenes, a complicated script, and relied heavily on the opening scene, a sceptical speech about the existence of God which lasted 13 minutes.In his autobiography, <mask> commented: "Each day my fists would sink into my cardigan pockets as I tried to make sense of it all." In a meeting shortly before the opening night, Olivier complained to Stoppard that the play was overlong and, in some parts, laborious. Stoppard agreed to reduce the epilogue by half. The decision angered <mask> as it meant the extra stress of learning a new script at short notice. He vented his frustrations on Wood who agreed to leave his character alone and instead to cut many of the other scenes. The final dress rehearsal also experienced disruption when the revolving stage broke down and had to be fixed half-way through. The problems had ceased by the opening performance the following evening; it was a night which Hordern called "unbelievable, one of the highlights of my career".The actress Maureen Lipman, who was in the audience on the opening night, said that her husband, the playwright Jack Rosenthal, had "laughed so hard he thought he was going to be seriously ill". The critic <mask>, writing in The Guardian, gave a mixed review: "Once or twice one of Stoppard's brightly coloured balls falls to the ground, partly because <mask>'s moral philosopher substitutes academic mannerism for apprehension of the argument. But this is not to deny that <mask>'s simian habit of scratching his left earlobe with right hand or leaning over his desk as if he is doing intellectual press-ups is very funny to watch or that he is brilliant at displaying cuckolded curiosity." Harold Hobson, the drama critic, thought that failing to enjoy the play was "not actually a criminal offence but it is a sad evidence of illiteracy". Jumpers won the Evening Standard 's Best Play Award which, much to Hordern's amusement, was presented by the philosopher A. J. Ayer. Stripwell, and voice work
Between 1973 and 1981, Hordern appeared on radio for the BBC as Jeeves in the series What Ho! Jeeves alongside Richard Briers as Bertie Wooster.In 1974, <mask> narrated several other, one-off programmes for the broadcaster, including The Honest Broker, The Last Tsar, and Tell the King the Sky Is Falling. In 1975 <mask> played the judge in Howard Barker's play Stripwell at the Royal Court Theatre. <mask> described the character as "a man wracked by guilt, full of self-doubt and pessimism". It was a role which the actor found to be too close to his own personality for comfort. His time in the play was marred by personal problems; he and Eve had briefly separated and the actor was forced to rent a small flat in Sloane Square from the actor <mask> after being banished from the family home. <mask> and Eve soon reconciled, but it was a time which he was keen to forget, including the play. Critics were complimentary of his performance, with one writing: "Stripwells ambiguities are therefore viewed half affectionately and half contemptuously and this comes over well in <mask>'s portrayal of bumbling, sometimes endearing ineffectiveness, as skilful and accomplished a performance as one would expect from this actor."Later, in 1975, <mask> narrated Barry Lyndon, Stanley Kubrick's filmed adaptation of William Makepeace Thackeray's novel The Luck of Barry Lyndon. The critic John Riley, writing for the British Film Institute, thought that the actor provided "a witty and ironic foil to the characters' helplessness". The same year <mask> was asked to narrate 30 episodes of the children's animation series Paddington, which was based on the Paddington Bear book series by <mask>. In his 1993 autobiography, <mask> wrote of his enjoyment at working on Paddington and that he could not differentiate between his enjoyment in comedy and drama: "it's a bit like difference between roast beef and meringue, both delicious in their way, but there is nothing more satisfying than a thousand people sharing their laughter with you". Return to Stratford-upon-Avon and Jumpers revival

In 1976 Hordern joined the RSC in Stratford-upon-Avon, where he appeared as Prospero for Trevor Nunn in The Tempest, an engagement which the actor found to be unpleasant because of his poor relationship with the show's director, Clifford Williams. After that came a short run of Love's Labour's Lost in which he played Don Adriano de Armado opposite Alan Rickman and Zoë Wanamaker. Hordern was the oldest member of the company and found it difficult to adjust to the behaviour and attitudes of some of the younger and less experienced actors.He found it different from the 1950s: non-intimate, characterless, and lacking in morale because management preferred discipline rather than offering guidance and assistance to their young actors. Writing in his 1993 autobiography, <mask> wrote: "Being at Stratford again after all these years was rather like being on a battleship or an aircraft carrier that doesn't often come into harbour. You are at sea for long periods and away from the rest of your service and if the captain of your ship is a good one then the ship is happy; if not, then the commission you serve is very unhappy because you are a long way from land. At Stratford that season I was a long way from land." Later, in 1976, <mask> portrayed the kingly father of the Prince (played by Richard Chamberlain) in the musical film adaptation of Cinderella, The Slipper and the Rose, and returned to the role of George in Stoppard's Jumpers at the Lyttelton Theatre. The theatre critic Kenneth Hurren "enjoyed it immoderately" and thought the revival revealed a "tidier play than it look[ed]". Hordern compared it to the 1972 version by saying: "It is unquestionably a busy little number, and my first impression of the piece, back in 1972, was that it had more decoration than substance, and that the decoration was more chaotic than coherent."Television and radio: 1980–83

In 1981 <mask> played the role of Gandalf in the BBC radio adaptation of Tolkien's The Lord of the Rings. The BBC's budget was generous, and attracted well-known actors from stage and television. The series ran for 26 episodes and was a hit with audiences and critics. The author Ernest Mathijs singled out <mask> in particular as being one of the more powerful characters of the series and his personal favourite, while co-star Ian Holm, writing years later in his autobiography Acting My Life, said he thought Hordern interpreted the role "in a grand, rather old fashioned way". Writing in his autobiography in 1993, <mask> said he found the part of Gandalf to be "a bit of a slog". <mask> and Jonathan Miller reprised their collaboration in 1982 with a final performance of King Lear for the BBC Television Shakespeare production. The actor considered this version to be his best and attributed its success to the fact he was getting older and therefore able to better understand the character.The author Joseph Pearce, writing in 2008, claimed that <mask> played the king "straight up with no gloss" and made a "reliable and workmanlike Lear" who is "forceful when he should be forceful, compassionate when he should be compassionate, [and] sorrowful when he should be sorrowful". Despite the praise, Pearce thought that <mask>'s performance in Act3 "lack[ed] the required fierceness and miss[ed] the mythic quality when compared to some of the bigger names". In January 1983 <mask> was knighted, an honour which the actor called "a great thrill and [a] surprise to us all". That year he became popular among children as the voice of Badger in the ITV film The Wind in the Willows. He then spent the rest of 1983 appearing as Sir Anthony Absolute in The Rivals for Peter Wood at the Royal National Theatre and received excellent notices. He was nominated for an award at that year's Olivier Awards for best comedy performance of the year, but lost out to Griff Rhys Jones. His success on the stage was tinged with private turmoil; Eve was taken ill after she suffered a brain haemorrhage, a condition from which she never fully recuperated.She required constant care but recovered enough to become partially self-sufficient. However, in 1986 she had a fatal heart attack at the couple's London flat. Hordern was devastated and became consumed in self-pity, in part because of his guilt at the extramarital affairs he had had with many of his leading ladies during the marriage. Paradise Postponed and You Never Can Tell

In 1986, John Mortimer, a writer whom Hordern respected greatly, engaged the actor in Paradise Postponed, an eleven-part drama which took a year to make and cost in excess of £6 million. Set in rural England, the saga depicts the struggles within British middle-class society during the post-war years. In his autobiography, <mask> described himself as "a man of prejudice rather than principle" and as such, had very little in common with his character, the left-wing, Marxist-loving vicar, Simeon Simcox. Despite the political differences, Hordern felt great empathy towards his character, and admired his "plain, straightforward attitude to life, his dottiness, and the way he hung to his faith in a wicked world with a saintliness verging on the simple".Hordern made a return to the London stage in 1987 after a four-year absence. The play in which he starred, You Never Can Tell, transferred to the Haymarket Theatre that December having made its debut at the Theatr Clwyd in Wales earlier that year. It was the second time the actor had appeared in the play, the first being back in Bristol fifty years previously when he starred as the youthful lead, Valentine. This time he was cast as William, the elderly waiter, a part which he considered to be "a real hell to play", partly because of the many meals he had to serve up on stage, whilst at the same time trying to remember the complex script. He enjoyed the play immensely and was thrilled at its successful run. His engagement also gave him a chance to reunite with some old friends, including Irene Worth, <mask> and Frank Middlemass, all of whom were in the cast. <mask> admitted that, on the whole, the experience made him feel "a little happier" about life.Final years and death

By the early 1990s <mask> was concentrating more on television. His roles were mostly those of ageing teachers, bank managers, politicians and clergymen. In 1989 he appeared alongside John Mills in an adaptation of Kingsley Amis's Ending Up, a tale about a group of pensioners growing old together in a residential home. After that he took the part of Godfrey Colston in Memento Mori, a television film about a group of elderly friends succumbing to old age, which was adapted for television from the Muriel Spark novel of the same name. The film received excellent notices and <mask>'s performance was described as outstanding by the critic Neil Sinyard. All that was required of Hordern in his next role, the wealthy but terminally ill landowner Peter Featherstone in the BBC adaptation Middlemarch, was for him simply to lie in bed and pretend to die. It was the kind of role which he found to be most fitting for someone of his advanced years and confirmed to him that the older he got, the more typecast he became.It was a situation that did not altogether bother him as he felt grateful for being employable at the age of 81. In January 1995 <mask> was invited back to his old college in Brighton, where a room was named in his honour. Inside, the college had commissioned the sculptor Peter Webster to create a bronze bust of the actor which is displayed with a plaque. <mask>'s last physical acting role came shortly afterwards as Lord Langland in the comedy film A Very Open Prison. This was followed by two narration performances, firstly in Spode A History of Excellence, and then in the five-part film Dinosaurs and Their Living Relatives. <mask> died of kidney disease at the Churchill Hospital, Oxford, on 2May 1995, at the age of 83. Medical staff confirmed that he had been suffering from "a long illness and had been receiving dialysis treatment".Approach to acting

<mask> was a self-confessed "lazy bugger" when it came to role preparation. He did not regret his lack of formal acting training, and attributed his abilities to watching and learning from other actors and directors. He said: "I am bored of the intellectual view of the theatre. Actually, it scares the shit out of me, my view being that an actor should learn the lines without too much cerebral interference." In 1951, he asked Byam Shaw how best to rehearse unfamiliar roles. The director advised him to "never read up on them" before going on to say "read the plays as much as [you like] but never read the commentators or critics". It was advice which <mask> adopted for the role of King Lear, and for the rest of his career.The critic Brian McFarlane, writing for the British Film Institute, said that Hordern, despite his relaxed attitude, "had one of the most productive careers of any 20th century British actor". Throughout his 1993 autobiography A World Elsewhere, Hordern exhibited his pride on being able to play a wide range of parts, something which made him a frequent subject among theatrical critics. The author Martin Banham thought that many of Hordern's characters shared a general identity of "an absent-minded, good-hearted English eccentric". The American journalist Mel Gussow, writing in Hordern's obituary in The New York Times in 1995, described the actor as being "a classical actor with the soul of a clown", while the actors John Hurt and <mask> described Hordern as being "the Austin Princess among British actors", which implied to the author Sheridan Morley that Hordern possessed an element of "reliability but [with] a faint lack of charisma". Morley, who wrote Hordern's biography for the Oxford Dictionary of National Biography'', went on to describe the actor as being "one of the great eccentrics of his profession, perched perilously somewhere half way between Alastair Sim and Alec Guinness". Stage roles and filmography

Notes and references

Notes

References

Sources

External links

 Sir <mask>rn – Daily Telegraph obituary
 The Adventures of Captain Horatio Hornblower radio series

1911 births
1995 deaths
20th-century English male actors
Actors awarded knighthoods
Best Actor BAFTA Award (television) winners
Commanders of the Order of the British Empire
Deaths from kidney disease
English male film actors
English male radio actors
English male stage actors
English male television actors
English male voice actors
English people of Irish descent
Knights Bachelor
Male actors from Hertfordshire
People educated at Brighton College
People educated at Windlesham House School
People from Berkhamsted
Royal Navy officers of World War II
Royal Shakespeare Company

masks:
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Michael Billington
Michael Hordern
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Michael Wilding
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Michael Hordern
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Michael Bond
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Michael Denison
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Michael Bryant
Michael Horde


title: Lindsay Grace

texts:
<mask> is a video game designer, artist, professor, and writer who currently lives in Miami, FL. He is best known as an academic game designer who employs critical design. He is the 2019 Games for Change Vanguard Award winner and Knight Chair at the University of Miami. He served as founding director of the American University Game Lab and Studio (JOLT), which includes the Fake News game, Factitious, the NPR game Commuter Challenge and Miami Herald's Gaming the System. In 2013 his game, Wait was inducted in the Games for Change Hall of Fame as one of the five most significant games for change in the last decade. Created in 2009, players must navigate a 3D world that fades away when the player moves, and grows more detailed as they wait. If players fail to move for long, the world also recedes.Other notable games include Big Huggin', a game controlled by a giant stuffed animal that players must hug to meet game goals. Big Huggin' was Kickstarted with notable support from Jane McGonigal and selected for the ACM SIGGRAPH's Aesthetics of Gameplay Show. <mask> has created more than 15 independent games, acting as the sole designer, developer, and artist. He has written articles about this process and supports such activity as one of 8 executive board members organizing the Global Game Jam. He also exhibits art internationally and curates exhibits. He co-curated the Indie Arcade 2014 and 2016 events  at the Smithsonian American Art Museum. <mask> has publicly opposed  the link between video games and violence.Career
<mask> is Knight Chair at the University of Miami. He is Vice President of both the Global Game Jam and the Higher Education Video Game Alliance. <mask> lead the games program at American University School of Communication in Washington D.C. <mask> has published more than 45 academic articles since 2009. He was the C. Michael Armstrong Professor of Creative Arts at Miami University/Armstrong Institute for Interactive Media Studies at Miami University where he ran the Persuasive Play Laboratory. He taught video game design, interaction design and theory at American University. He publishes writing and video games that relate the concept of "philosophy of software"  and Critical Design as practice in the arts and games. This practice falls between captology and critical design.The Critical Gameplay games  employ theories in the design of video games and society. The work for Critical Gameplay has been shown in more than 15 cities including Athens, São Paulo,  Rio de Janeiro, Vancouver, Taipei, Chicago, Paris and Istanbul. It is internationally recognized. <mask>'s independent video game publications include Penguin Roll, Zombie Master, Polyglot Cubed and several games under the Mindtoggle Software company. He also writes about games and independent game-making. According to App Annie statistics, his Game Black Like Me was a top 100 game in 3 countries (United States, Sweden and South Korea) by number of daily downloads. In 2008, <mask> created Polyglot Cubed which was recognized at the Meaningful play conference at Michigan State, was a serious games showcase finalist at the Interservice/Industry Training, Simulation and Education Conference IITSEC, and the International Conference on Advances in Computer Entertainment Technology.Gamasutra ran an article about it. His research includes algorithmic music generation using visual emergent behavior. He is an alumnus of the Electronic Visualization Laboratory at the University of Illinois as well as two degrees from Northwestern University. Student IP, Faculty IP, and Game Design Programs" (March 2016), Game Developers Conference, San Francisco, California, United States
 Online News Association, Keynote "What Journalists Can Learn from Game Designers About Engagement" (April 2016),  Online News Association, London

2017
 Game Developers Conference, "It's not all about unicorns, sustainable diversity in the classroom" (March 2017), Game Developers Conference, San Francisco, California, United States

2018
 Game Developers Conference, "Cuba, Nairobi, Borneo-Oh My, Creating Games Education Very Abroad" (March 2016), Game Developers Conference, San Francisco, California, United States

2019
<mask>, <mask>. (2019). Doing Things with Games: Social Impact Through Play. CRC Press. . Retrieved August 22, 2019. 2020
<mask>, L. (2020).Love and Electronic Affection: A Design Primer (editor/author), Routledge Press,  . Retrieved September 28, 2020. <mask>, L. and Huang, K. State of Newsgames 2020 (from Games for Change: https://g4c2020.sched.com/event/cj9a/newsgame-flyby-state-of-the-practice-2020). Report at  Retrieved September 29, 2020

2021
<mask>, <mask> (2021): Black Games Studies. Carnegie Mellon University ETC Press. Book. https://doi.org/10.1184/R1/17100431.v1

See also

 Critical Gameplay
 Big Huggin'

References

External links
 <mask>'s website
Publications by Grace
 University of Miami Faculty Profile
 The Critical Gameplay Project
 ACM Portal Publications List
 Article by <mask>
 Review of his Make Me an Offer Art Show
 Play Committee Members
 List of Global Game Jam Original Organizers
 Newspaper article about University of Miami Game design
 Gamasutra Article about <mask>

See also

 Critical Gameplay
 American University

Living people
New media artists
Artists from Chicago
Year of birth missing (living people)
American video game designers

masks:
Lindsay Grace
Grace
Lindsay Grace
Grace
Grace
Grace
Grace
Grace
Grace
Lindsay D
Grace
Grace
Grace
Lindsay
Lindsay Grace
Lindsay Grace
Lindsay Grace


title: Art Paul Schlosser

texts:
<mask> (born January 4, 1960) is an American artist, cartoonist, comedian, journalist, musician, poet, singer, and songwriter based in Madison, Wisconsin. He plays humorous novelty, gospel, and political songs and draws cartoons currently for the Madison Street Pulse newspaper, where he also submits poems and interviews people. Schlosser also paints and has participated in various art projects. Schlosser was named <mask> after his father and grandfather but his grandfather might have originally been named Otto but because of his German accent when he said his name they thought he said <mask>. Childhood
Schlosser was born in Chicago and grew up listening to novelty musicians like Allen Sherman and Tiny Tim, as well as funny songs by The Beatles and The Monkees. When he was 11, he, his mother, and his sisters moved to Madison, Wisconsin, after his parents got a divorce. As a child in Madison, his mother continued to play weird and funny songs for him, sometimes playing strange sound effects on one recorded player to go with the songs.As a teenager, Schlosser joined a work experience play group that encouraged him to be creative. In this group, there were a couple of fans of The Beatles, one of whom encouraged Schlosser to write lyrics. It was from that time on that Schlosser started to write. He would listen to the Dr Demento radio show as well as other strange records that he discovered at the local library, and then try to write some lyrics he was inspired to write after listening to the songs. Also as a child he was encouraged to draw cartoons by his sister Mary. State Street
Upon discovering that it is legal to busk on State Street, Schlosser tried it out on a warm day late in February 1986 and received a couple of dollars for his effort. Since then Schlosser has been a street musician and busker as well as an outsider artist on State Street in Madison, Wisconsin.He usually performs his original songs or parodies on an acoustic guitar and kazoo. He also sometimes plays electronic keyboard or ukulele. He is best known for his comedy music, especially "Have A Peanut Butter Sandwich", which made the Funny Five of the Dr Demento radio show four times in 2001, and "Vote for Me/It's a Joke" which was on the Funny Five of the Dr Demento radio in 2003. While he sings mostly humorous songs, Schlosser has also written on the topics of politics and religion. In 2007, Schlosser received a Madison Area Music Award (MAMA) for best compilation for his CD Art Paul Schlosser. In 2009, he won two more Madison Area Music Awards for Unique Song ("Have A Peanut Butter Sandwich," the remix version, which was remixed by Animalien) and for Unique Album (Leftovers). Appearances
His music has been played on oddball radio programs, including Greasy Kid Stuff, The Mad Music Hour, Dave's Gone By and the Dr. Demento Show, and he has appeared on his own public-access television show as well as WGN-TV news.On April 1, 1994, Schlosser perform with Horace Pinker and Jawbreaker (band) at the Beloit Sports Arena
 On July 30, 2009, Stephen Colbert mentioned Schlosser on the Colbert Report, in order to emphasize that any artist can get their songs on iTunes, no matter what the quality of their work may be. On June 27, 2010, Schlosser appeared on the internet radio show The Bastard Den on Infernal Rock Radio at www.infernalrockradio.com. Schlosser performed a few of his original songs and gave a 15-minute interview. On June 29, 2010, Schlosser appeared on America's Got Talent appearing under the name Buddy Holly Cheesehead, singing "Eating Cheese." He was X off the show by the three judges. On July 30, 2016, Schlosser appeared on Bordello of Horror being interviewed and playing 3-6 Headed. On October 23, 2019, The Tonight Show with Jimmy Fallon played Schlosser's song "Have a Peanut Butter Sandwich" as part of the reoccurring bit of songs to "Do Not Play".Discography

My Cat Was Taking A Bath & Dead Skunk Perfume plus 23 other songs (1992)
All the songs from Happy Birthday & Smile Be Happy (1993)
I Want To Be Madonna ? & Greene plus 41 other songs and jokes (1994)
I'm A Prince by the Artist Still Known as <mask> Schlosser (1996)
Be My Valentine (1997)
Reinventing Myself (2000)
They Won't Play This on the Country Western Radio (2001)
Smile You're on Kandid Kamera (2002)
The Best of Art <mask>er (2003)
<mask> Schlosser Live at the Hog (2003)
Vote for Me/It's a Joke (2003)
Art <mask>er & Friends Live at Club De Wash plus the 3 songs at Bob's Apartment Experiment (2003)
Do You Want To Walk on Water (2003)
Words of Cheese & Other Parrot Tree (2003)
The ABCs of Art <mask>er's World (2003)
Art <mask>er {The Tribute!} by various artist (2006)
Warning: Listening To This CD could be dangerous to your health (2007)
It Takes A Whole World by <mask> <mask> & Jim Anderson (2007)
Untitled I & II (2007)
The Best of Art <mask>hlosser {The Sequel} (2007)
Scum Always Rises at the Top (2007)
Songs I forgot that the Elephant Remembered (2007)
Art <mask>er & Robin Good Our Tribute To Shari Elf
Art <mask>er living in a Materialistic World
Songs I Recorded On The Telephone (2008)
February Album Writing Month (2008)
<mask> Schlosser {The Remix Project} by Various Artists (2008)
Leftovers (2008)
Art Paul Schlosser Live at MarsCon 2007 & 2008 (2009)
Let's Be Friends (2009)
U're The Best (2009)
Monster (2010)
If I Was Governor?

masks:
Arthur Paul Schlosser
Arthur
Arthur
Art Paul
Paul Schloss
Art Paul
Paul Scoss
Paul Schloss
Paul Schloss
Art Paul
Schlosser
Paul Sc
Paul Schloss
Paul Schloss
Art Paul


title: George Davenport

texts:
Colonel <mask>, born <mask> (1783 – July 4, 1845), was a 19th-century English-American sailor, frontiersman, fur trader, merchant, postmaster, US Army soldier, Indian agent, and city planner. A prominent and well-known settler in the Iowa Territory, he was one of the earliest settlers in Rock Island. He spent much of his life involved in the early settlement of the Mississippi Valley and the "Quad Cities". The present-day city of Davenport, Iowa, is named after him. Early life
<mask> was born in 1783 in Lincolnshire, England, becoming an apprentice to his uncle, a merchant captain, and going to sea at an early age. During the next several years, he visited ports in the Baltic as well as in France, Spain, and Portugal. In the fall of 1803, shortly after arriving with a cargo from Liverpool, <mask> was arrested with the rest of his crew while in port at St. Petersburg when the Czarist Russian government acceded to Napoleon's embargo on British vessels (the "Continental System").<mask> was imprisoned until the spring when he was released and allowed to return to his home country. <mask> arrived in New York the following summer. While in port, he suffered a severe leg injury during the rescue of a fellow sailor who had fallen overboard. As the merchant ship was without a ship's surgeon, he was forced to stay in a hospital, while his ship returned to Liverpool. Family
<mask> married Margaret Bowling Lewis, a widow 14 years his elder, in 1814, and they remained married until his death. However, all of <mask>'s children were born out of wedlock which has long been somewhat of an open secret. The mothers of his children are sometimes simply not listed when they are discussed.However, the mothers of his three known children are documented and are the source of controversy. Susan Lewis, <mask>'s 16 year old step-daughter, was the mother of his first son, <mask>'Oste, in 1817. Susan was also the mother of his second son, Bailey, who was born in 1824 and served as mayor of Rock Island during the Civil War. While she was not a blood relation, this relationship would have been seen as incestuous in the period. His only known daughter, Elizabeth, was born through a relationship with Catherine Pouitt, a laundress at Fort Armstrong on Rock Island, in 1835. There have also long been rumors of <mask> children born to Sauk and Mesquakie (Sac and Fox) women and possibly other, European-American, women though none are known to be confirmed. U.S. Military service
<mask>, while recovering in the New York hospital on his doctor's advice, decided to settle in the United States of America, moving to Rahway, New Jersey for a time, before enlisting in the United States Army at Carlisle, Pennsylvania, in 1806.Accepting an appointment as sergeant, he was assigned to the 1st Infantry Regiment and assisted in recruiting for the army in Harrisburg, Pennsylvania as well as training recruits at the Carlisle Barracks. <mask> remained in the army for ten years, participating in the War of 1812 under General James Wilkinson. At the end of the Peoria War, in late December 1813, he escorted the Pottawatomie peace delegation to St. Louis where the peace treaty was signed. Chieftains in the delegation included Black Partridge, Senachwine, Comas, Shick Shack, Crow, and Gomo. Arrival at Fort Armstrong, Rock Island as U.S. Army supplier
In the spring of 1816, after being discharged from the army, <mask> accompanied Colonel Lawrence, as an army supplier, for an expedition to Rock Island, where Fort Armstrong was established. After he was discharged, <mask> became a successful merchant and traded with the local tribes in the Illinois and Iowa territories for several years. Soon after his arrival, he built a double log cabin.This was the first permanent residence built in the Rock Island-area, from which grew into a small frontier town. The first recorded religious service was held at his home in 1819. Around this time, <mask> entered a partnership with fellow pioneer and fur trader, Russell Farnham. Building a house on the mainland opposite of Rock Island, the two founded Farnhamsburg, a small village from which present-day Rock Island, Illinois, developed. 1825, <mask> was appointed as the first postmaster of Rock Island when the post office was established. Into the fur trade and United States Indian Agent
In 1826, he resigned his position to become an agent for John Jacob Astor's American Fur Company with Farnham and oversaw its interests from Iowa to the Turkey River. During the Black Hawk War, he was made an assistant quartermaster with a commission of colonel by Governor John Reynolds.In 1833, <mask> moved from his double log cabin and built his home on a lower part of Rock Island near the old fort. Two years later, he and six others (including close friend Antoine LeClaire), purchased a large tract of land along the Mississippi River opposite the island. On this site, the town of Davenport, Iowa, was officially founded on February 23, 1836. In 1838, he succeeded U.S. Indian agent Joseph M. Street as a representative of the Sauk and Fox until 1840. In 1842, he and several others negotiated a treaty on behalf of Governor John Chambers between the Iowa territorial government and the Sauk and Fox for the sale of their lands in Iowa. <mask> departed the American Fur Company following the signing of the treaty and retired to private life on his Rock Island estate. He often travelled to St. Louis, Missouri, sailing on his keel boat, and resided there or in Washington City during the winter months.He also laid out plans for an addition to the small town of Moline, Illinois. Murder by Banditti of the Prairie

On July 4, 1845, the <mask> family went to the Illinois mainland, from their home on Rock Island, to celebrate Independence Day. Colonel <mask> stayed behind, however; and sometime during the late afternoon, a band of local bandits forced their way into <mask>'s home. Accounts differ as to the nature of the assault, as one version claims he was shot by the burglars while another states the elderly Bowman was severely beaten when his assailants found there was far less money in the safe than they had first believed. <mask> was still alive when the men finally left his home and was able to describe them to authorities before he died. The suspects were traced to a loosely organized Middle West ruffian gang, operating out of northern Illinois, known as the "Banditti of the Prairie". Detective and bounty hunter Edward Bonney volunteered to infiltrate the gang and was able to arrest eight men, including Robert H. Birch.Although one man escaped and another disappeared, the others stood trial and were convicted of murder. Two received prison sentences  while another three, Granville Young and brothers John and Aaron Long, were later arrested and executed for the crime. In October 1845, shortly before their execution, Young and the Long brothers were photographed by daguerreotypists Thomas Martin Easterly and Frederick F. Webb. Current Landmark
One of the earliest buildings to be built on Rock Island, <mask>'s home still exists and remains one of the oldest residential landmarks in northern Illinois. The house was later used as the temporary headquarters of a Confederate prisoner-of-war camp during the American Civil War. The house is currently operated by the Colonel Davenport Historical Foundation as a civil war and house museum. It had fallen into severe disrepair by the late 1800s, and the wings of the house were razed.The remainder of the house was preserved, and by the 1980s, efforts had begun to fully reconstruct the demolished parts of the home. Today, the east and west wings have been added back to the structure, and the home is open for tours during the warmer months. References

http://www.rockislandpreservation.org/postcards-from-home/ferkel-couple/
http://www.davenporthouse.org/davenport-family.php

External links

The Death of Colonel <mask>
http://www.rockislandpreservation.org/postcards-from-home/ferkel-couple/
http://www.davenporthouse.org/davenport-family.php

1783 births
1845 deaths
United States Army personnel of the War of 1812
American people of the Black Hawk War
People from Lincolnshire
People from Rock Island, Illinois
People from Rahway, New Jersey
American people of English descent
People of pre-statehood Iowa
American murder victims
People murdered in Illinois
United States Indian agents
George
American Fur Company people
 United States Army soldiers

masks:
George Davenport
George William King
George Davenport
Davenport
Davenport
Davenport
Davenport
Davenport
Davenport
George L
Davenport
George Davenport
Davenport
George Davenport
Davenport
Davenport
Davenport
Davenport
Davenport
Davenport
Davenport
Davenport
Davenport
Davenport
George Davenport


title: Édouard Balladur

texts:
<mask> (; born 2 May 1929) is a French politician who served as Prime Minister of France under François Mitterrand from 29 March 1993 to 17 May 1995. He unsuccessfully ran for president in the 1995 French presidential election, coming in third place. At age , Balladur is currently the oldest living former French Prime Minister. Biography
Balladur was born in Izmir, Turkey, to an ethnic Armenian family with five children and longstanding ties to France. His family emigrated to Marseille in the mid-to-late 1930s. In 1957, Balladur married Marie-Josèphe Delacour, with whom he had four sons. Early political career
Balladur started his political career in 1964 as an advisor to Prime Minister Georges Pompidou.After Pompidou's election as President of France in 1969, <mask> was appointed under-secretary general of the presidency then secretary general from 1973 to Pompidou's death in 1974. He returned to politics in the 1980s as a supporter of Jacques Chirac. A member of the Neo-Gaullist Rally for the Republic (RPR) party, he was the theoretician behind the "cohabitation government" from 1986 to 1988, explaining that if the right won the legislative election, it could govern with Chirac as prime minister without Socialist Party President François Mitterrand's resignation. As Minister of Economy and Finance, he sold off a large number of public companies and abolished the wealth tax. Balladur appeared as an unofficial deputy Prime Minister in the cabinet led by Chirac. He took a major part in the adoption of liberal and pro-European policies by Chirac and the RPR. After Chirac's defeat at the 1988 presidential election, part of the RPR held him responsible of the abandonment of Gaullist doctrine, but he kept the confidence of Chirac.Prime Minister
When the RPR/UDF coalition won the 1993 legislative election, Chirac declined to become Prime Minister again in a second "cohabitation" with President Mitterrand, and Balladur became Prime Minister. He was faced with a difficult economic situation, but he did not want to make the political errors of the previous cohabitation government. If he failed to impose his project of minimum income for youth, he led a moderate liberal policy in economy. Conveying the image of a quiet conservative, he did not question the wealth tax (reestablished by the Socialists in 1988). Despite corruption affairs affecting some of his ministers, who he forced to resign (thus lending his name to the so-called "Balladur jurisprudence"), he became very popular and had the support of influential media. 1995 presidential election
When he became Prime Minister, Balladur had promised Chirac that he would not enter the 1995 presidential election, and that he would support Chirac's candidacy. However, a number of right-wing politicians advised Balladur to run for the presidency in 1995.He went back on his promise to Chirac and entered the campaign. When he announced his candidacy, four months before the election, he was considered the favourite. In the polls, he led Chirac by almost 20 points. However, from the position of an outsider, Chirac criticized Balladur as representing "dominant ideas", and the difference between the two decreased quickly. The revelation of a bugging scandal which implicated Balladur also contributed to a drop in his popularity among voters. In the first round of the election, Balladur finished in third place with 18.6% of the vote behind the Socialist candidate Lionel Jospin and Chirac. He was thus eliminated from the final run-off election between the top two candidates, which Chirac won.Chirac immediately appointed Alain Juppé to replace Balladur as Prime Minister. Despite Chirac declaring that he and Balladur had been "friends for 30 years", Balladur's decision to stand against him greatly strained their relationship. As a result, the "Balladuriens" who had supported him in the presidential election, such as Nicolas Sarkozy, were ostracized from the new Chirac administration. Later political career
Balladur failed to win the elections for the presidency of the Île-de-France region in 1998, the RPR nomination for the mayoralty of Paris in 2001, and the Chair of the National Assembly in 2002. He presided over the National Assembly's foreign affairs committee during his last parliamentary term (2002–2007). Since the 1980s, he had advocated the unification of the right-wing groupings into a single large party, but it was Chirac who managed the feat, with the creation of the Union for a Popular Movement in 2002. Following the 2007 French presidential election, Nicolas Sarkozy nominated <mask> to the head of a committee for institutional reforms.The constitutional revision was approved by the Parliament in July 2008. From 1968 to 1980, Balladur was president of the French company of the Mont Blanc Tunnel while occupying various other positions in ministerial staff. Following the 1999 deadly accident in the tunnel, he gave evidence to the court judging the case in 2005 about the security measures he had or had not taken. Balladur claimed that he always took security seriously, but that it was difficult to agree on anything with the Italian company operating the Italian part of the tunnel. From 1977 to 1986, he was president of Générale de Service Informatique (later merged into IBM Global Services), making him one of the few French politicians with business experience. In 2006, he announced that he would not run again for re-election in 2007 as a member of Parliament for the 15th arrondissement of Paris, a conservative stronghold. In 2008, Balladur visited the United States to speak at an event organized by the Streit Council, a Washington-based think tank.Balladur presented his latest book, in which he outlined a concept for a "Union of the West". Balladur is often caricatured as aloof, aristocratic, and arrogant in media, such as the Canard Enchaîné weekly or the Les Guignols de l'info TV show. Incidentally, the percentage of French government ministers who were also members of Le Siècle peaked at 72% under Balladur's Prime Ministership (1993–95). Political offices held
Governmental functions
Prime minister: 1993–1995. Minister of State, Minister of Economy and Finances: 1986–1988. Electoral mandates
National Assembly of France
Member of the National Assembly of France for Paris: Elected in March 1986, but he became minister / 1988–1993 (Became Prime minister in 1993) / 1995–2007. Elected in 1986, reelected in 1988, 1993, 1995, 1997, 2002.Regional Council
Regional councillor of Ile-de-France: March–April 1998 (Resignation). Municipal Council
Councillor of Paris: 1989–2008. Reelected in 1995, 2001. "Karachi affair"
Investigative forensic accounting enabled by the leaked Panama Papers revealed aspects of the Karachi affair, also dubbed "Karachigate", with the Ministry of Justice examining whether armament contract commissions paid by Saudi Arabia, then Pakistan, financed the 1995 presidential campaigns of <mask> or Chirac, whose administration then succeeded in taking office. In May 2017, <mask> and his former Defence Minister François Léotard were each charged, in relation to the Pakistan deal, with "complicity in misuse of corporate assets and concealment". In June 2019, Balladur's former campaign manager, Nicolas Bazire, was one of six men convicted over the arms deal, and was sentenced to three years imprisonment for using "illegal funds" in Balladur's 1995 campaign. On 4 March 2021, <mask> <mask> was acquitted by the Court of Justice of the Republic, a special court that tries members of the government for actions performed in the exercise of their functions.17 October 1994 – José Rossi succeeds Longuet as Minister of Industry, Foreign Trade, Posts, and Telecommunications. 12 November 1994 – Bernard Debré succeeds Roussin as Minister of Cooperation

Bibliography
For a Union of the West, 2009, Hoover Institution Press, . References

External links

|-

1929 births
Living people
Smyrniote Armenians
French people of Armenian descent
Turkish emigrants to France
French Ministers of Finance
Prime Ministers of France
Candidates for President of France
Politicians of the French Fifth Republic
French economists
École nationale d'administration alumni
Sciences Po alumni
Grand Officiers of the Légion d'honneur
Grand Cross of the National Order of Merit (France)
State ministers of France
Deputies of the 12th National Assembly of the French Fifth Republic

masks:
Édouard Balladur
Balladur
Balladur
Balladur
Balladur
Édouard
Balladur


title: Ferdinando Fontana

texts:
<mask> (30 January 1850  – 10 May 1919) was an Italian journalist, dramatist, and poet. He is best known today for having written  the libretti of the first two operas by Giacomo Puccini – Le Villi  and Edgar. Biography

Born at Milan into a family of artists - both his father Carlo and his brother Roberto were painters - he entered a Barnabite school at the age of seven and then went on to study at the Collegio Zambelli. He was forced to abandon his studies while still young to provide for himself and his two younger sisters following the death of their mother. During that period, he worked in a series of menial jobs before becoming a copy editor for the newspaper Corriere di Milano. This brought him into contact with the world of journalism and literature, which was to become his career. An exponent of the second Scapigliatura artistic movement, <mask> was a very versatile writer.Apart from his plays and opera libretti, he wrote poems (in both Italian and Milanese dialect), travel books, and articles in various Italian newspapers, including Corriere della Sera. From 1878 to 1879 he was the Berlin correspondent for the Gazzetta Piemontese (today La Stampa). During his time in Milan, <mask> wrote two plays in Milanese dialect, La Pina Madamin and La Statôa del sciôr Incioda. Both had considerable success and starred Edoardo Ferravilla, considered one of the greatest comic actors in Milanese theatre. He wrote numerous libretti, including two for Alberto Franchetti (Asrael and Zoroastro) and two for Puccini (Le Villi and Edgar). He also translated several operetta libretti for performance in Italy, including Franz Lehár's Die lustige Witwe (The Merry Widow) and Der Graf von Luxemburg (The Count of Luxembourg), Oskar Nedbal's Polenblut (Polish Blood), and Edmund Eysler's Der Frauenfresser (The Woman-Eater). Early in his career, <mask>'s output was prodigious: an 1886 article in La Stampa said that at the time, 13 new libretti by <mask>-Beccaris massacre. Because of the repressions which followed, he fled to Switzerland where he first lived in Montagnola, a small town near Lugano. He remained in Switzerland until his death, living a modest life, and greatly reducing his literary activities. <mask> <mask> died in Lugano in 1919, at the age of 69. Texts set to music

Unless indicated otherwise, the texts were opera libretti. <mask> supplied the poems for three songs by Tosti – "Senza di te! ",  "È morto Pulcinella!", and  "Nonna,... sorridi?...". Notes and references

 This article is a substantial translation from <mask> <mask> in the Italian Wikipedia. With the exception of Sanvitale (2004), the source texts listed below are from the original article. Cesari, Francesco, <mask> <mask> librettista, in Scapigliatura & Fin de Siècle. Libretti d'opera italiani dall'Unità al primo Novecento - Scritti per Mario Morini, edited by Johannes Streicher, Sonia Teramo e Roberta Travaglini, Ismez, Rome 2007, pp. 325–344 -
 Gallini, Natale, Incontro con <mask> <mask> in La Martinella di Milano IX (1955), pp.11–12
 Istituto di Studi Pucciniani, Lettere di <mask> <mask> a Giacomo Puccini: 1884-1919, in Quaderni Puccininani 4 - 1992. Longoni, Biancamaria, Vita e opere di Ferdinando <mask>, in Quaderni Puccininani 4 - 1992, Istituto di Studi Pucciniani. Sanvitale, Francesco The Song of a Life: Francesco Paolo Tosti (1846-1916) (translated by Nicola Hawthorne), Ashgate Publishing Ltd., 2004. External links

Poetry and Stories by <mask> <mask> on Project Gutenberg (in Italian)

Italian opera librettists
Writers from Milan
1850 births
1919 deaths
Scapigliatura Movement
Italian socialists
Italian expatriates in Switzerland
Italian male dramatists and playwrights
People from Lugano
German–Italian translators

masks:
Ferdinando Fontana
Fontana
Fontana
Fontana
Fontanava
Ferdinando
Fontana
Fontana
Ferdinando
Fontana
Ferdinando
Fontana
Ferdinando
Fontana
Ferdinando
Fontana
Fontana
Ferdinando
Fontana