December 26, 2018 – davidbruceblog #2

Kith and kin and cats

Fabulous food made with love

Peace in every heart

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davidbrucehaiku: learning

https://pixabay.com/en/study-girl-writing-notebook-1231394/

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LEARNING

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If you stop learning

You will forget the knowledge

You already have

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BRENDA KENNEDY FREE EBOOKS

Home on Seashell Island

Shattered Dreams

A Life Worth Fighting

Forgetting the Past

A New Beginning

Forever Country

Cupcakes are Not a Diet Food

Proverbs 19 (GENEVA BIBLE)

Proverbs 19

1 Better is the poor that walketh in his uprightness, than he that abuseth his lips, and is a fool.

2 For without knowledge the mind is not good, and he that hasteth with his feet, sinneth.

3 The foolishness of a man perverteth his way, and his heart fretteth against the Lord.

4 Riches gather many friends: but the poor is separated from his neighbor.

5 A false witness shall not be unpunished: and he that speaketh lies, shall not escape.

6 Many reverence the face of the prince, and every man is friend to him that giveth gifts.

7 All the brethren of the poor do hate him: how much more will his friends depart far from him? though he be instant with words, yet they will not.

8 He that possesseth understanding, loveth his own soul, and keepeth wisdom to find goodness.

9 A false witness shall not be unpunished: and he that speaketh lies, shall perish.

10 Pleasure is not comely for a fool, much less for a servant to have rule over princes.

11 The discretion of man deferreth his anger: and his glory is to pass by an offence.

12 The King’s wrath is like the roaring of a lion: but his favor is like the dew upon ye grass.

13 A foolish son is the calamity of his father, and the contentions of a wife are like a continual dropping.

14 House and riches are the inheritance of the fathers: but a prudent wife cometh of the Lord.

15 Slothfulness causeth to fall asleep, and a deceitful person shall be affamished.

16 He that keepeth the commandment, keepeth his own soul: but he that despiseth his ways, shall die.

17 He that hath mercy upon the poor, lendeth unto the Lord: and the Lord will recompense him that which he hath given.

18 Chasten thy son while there is hope, and let not thy soul spare for his murmuring.

19 A man of much anger shall suffer punishment: and though thou deliver him, yet will his anger come again.

20 Hear counsel and receive instruction, that thou mayest be wise in thy latter end.

21 Many devices are in a man’s heart: but the counsel of the Lord shall stand.

22 That which is to be desired of a man, is his goodness, and a poor man is better than a liar.

23 The fear of the Lord leadeth to life: and he that is filled therewith, shall continue, and shall not be visited with evil.

24 The slothful hideth his hand in his bosom, and will not put it to his mouth again.

25 Smite a scorner, and the foolish will beware: and reprove the prudent, and he will understand knowledge.

26 He that destroyeth his father, or chaseth away his mother, is a lewd and shameful child.

27 My son, hear no more the instruction, that causeth to err from ye words of knowledge.

28 A wicked witness mocketh at judgment, and the mouth of ye wicked swalloweth up iniquity.

29 But judgments are prepared for the scorners, and stripes for the back of the fools.

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Source:

http://www.genevabible.org/files/Geneva_Bible/Old_Testament/Proverbs.pdf

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Read the Contemporary English Version:

https://www.biblegateway.com/passage/?search=Proverbs+19&version=CEV

David Bruce: Theater Anecdotes

• Early in his career as a playwright, August Wilson found writing dialogue difficult. He once asked his friend and fellow playwright Rob Penny, “How do you make characters talk?” Mr. Penny replied, “You don’t. You listen to them.” When writing his play Jitney, Mr. Wilson listened to his characters. He says, “I found that exhilarating. It felt like this was what I’d been looking for, something that was mine, that would enable me to say anything.” Unfortunately, his play was rejected—twice—by the O’Neill Playwrights Conference, leading Mr. Wilson to wonder what to do next. His thinking took the form of a conversation with himself: “Maybe it’s not as good as you think. You have to write a better play.” “I’ve already written the best play I can write.” “Why don’t you write above your talent?” “Oh, man, how can you do that?” “Well, you can write beneath it, can’t you?” “Oh, yeah.” Of course, he did continue to write plays. His manner of writing was unusual. He wrote while standing up, and he had a punching bag by his side. John Lahr writes, “When Wilson was in full flow and the dialogue was popping, he’d stop, pivot, throw a barrage of punches, then turn back to work.”

• Fay Kanin wrote a play titled Goodbye, My Fancy. Max Gordon, a man who had produced the hit Born Yesterday, read and liked the play, but in a meeting with Ms. Kanin, he pointed out that he could produce one more play that season. He also said that he had to choose between two plays. One play was by the hit-making team George S. Kaufman and Edna Ferber, and the other was by Fay Kanin, an unknown. He then asked Ms. Kanin, “Now if you were me, which would you choose?” Ms. Kanin was honest, and she said that she would choose the play by Mr. Kaufman and Ms. Ferber. Mr. Gordon did produce that play, and it closed quickly. Ms. Kanin and her husband produced her play, even though they had to get a bigger mortgage on their house to do so. Goodbye, My Fancy turned out to be a big hit. One day, Mr. Gordon attended the play, then said to Ms. Kanin, “Why did you have to give me such lousy advice?”

• Playwright Tennessee Williams hated racism. In 1947, his Glass Menagerieplayed to all-white audiences in Washington, D.C. He tried to stop this from happening, but he was unable. Therefore, he wrote to The New York Timesthat “any future contract I make will contain a clause to keep the show out of Washington while this undemocratic practice continues.” Mr. Williams could see the humor in life as well as the evil. In 1977 he was asked to leave the Shaw Theater in London because he kept laughing during a performance of The Glass Menagerie. Michael Billington writes that “his incessant hilarity at this memory of his own youth was disturbing the rest of the audience.”

• In October 2001, Meryl Streep needed to plan a Broadway excursion for her youngest daughter, Louisa, and some of her friends, all of whom were still depressed after the 911 terrorist attacks. She ended up taking them to a matinee of Mamma Mia!, which features the music of Abba. Ms. Streep remembers, “The first part was really wordy, and then ‘Dancing Queen’ started up. And for the rest of the show they were dancing on their chairs and they were so, so happy. We all went out of the theatre floating on the air. I thought, ‘What a gift to New York right now.’” She sent the cast a thank-you note, and seven years later she starred in the movie version of the play.

• The mother and stepfather of children’s book illustrator and author Margot Zemach worked in the theater. Sometimes, she would look at her stepfather while he was eating a salad at home at the dinner table and wonder to herself whether this was really the same man who had been dancing the role of a soldier or a camel or a demon on stage the previous night. While backstage one day, young Margot was poked and prodded by someone who seemed to be a cackling witch. She worried—until she recognized in the cackling the sound of her mother.

• One of Orson Welles’ rare flops occurred in a spectacular fashion in 1946 when he brought to Broadway the extravaganza Around the World, which was based on Jules Verne’s novel Around the World in Forty Days. Cole Porter wrote the songs, and the musical featured four mechanical elephants, circus interludes, and a cast of 70. Critics disliked it, and Mr. Welles was aware that they disliked it. When one critic said that it had everything but the kitchen sink, Mr. Welles appeared in the next performance with a sink.

• Theatrical guru Danny Newman is not a fan of the Method, believing as he does that its use resulted in “morose, intellectual, and inhibited thespians who could no longer be heard in the third row.” A famous critic who seems to have agreed with him was Brooks Atkinson of The New York Times, who once told him that he enjoyed going to Yiddish Art Theater because there he could see thespians “who were not afraid to act!”

• Pia Zadora once played the role of Anne Frank very badly. How badly? In the scene where the Nazis arrive to take the Frank family out of hiding and to the concentration camps, the audience yelled, “She’s upstairs!” (This story is apocryphal—but funny.)

• Eli Wallach’s wife, Anne Jackson, was an understudy for the role of Peter Pan when she became pregnant. She told her physician that as Peter Pan she would be required to fly over the audience, but her physician told her, “No, no flying for you. You’re grounded.”

• One woman of true originality and great bitchiness was Tallaluh Bankhead. After Somerset Maugham rejected her for a role in one of his plays, she told him, “Mr. Maugham, I have two words left to say to you, and the second one is ‘off.’”

• Dorothy Parker once reviewed the play The House Beautiful by Channing Pollock: “‘The House Beautiful’ is the play lousy.”

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