It was a roistering river of humanity, half in leather, half nude.
|
|
The Borgias, Mr Strathern explains, did not merely acquire their reputation through roistering and making the bureaucracy run on time.
|
|
"The Masque of the Red Death" was Corman's audacious attempt to make an art film for the drive-in crowd — a feast of roistering revelry with intimations of Buñuel, Fellini and Bergman.
|
|
One of his sons, Thomas (Dean-Charles Chapman), though hardly old enough to be in long pants, wears shining armor, while the other son, Hal (Timothée Chalamet), is a slouch who wastes his life in roistering.
|
|
Mr. Cannon was a fixture at the corner of the cafe's bar, a grinning, roistering figure wearing sunglasses and a string of beads who would cock his head toward the stage when poets read their verses.
|
|
Mr. Cannon was a fixture at the corner of the cafe's bar, a grinning, roistering figure wearing sunglasses and a string of beads who would cock his head toward the stage when poets read their verses.
|
|
His obsessive martial bent is contrasted, all too unhappily for the king, with the play's other Harry, the king's son Prince Hal (Alex Hassell), known as a merry wastrel who spends time roistering with his drunken friends in lowly taverns.
|
|
For her birthday, her rowdy, roistering friends take her on a night out to the local pub, where a spotlight falls onto a male stripper, waggling toned, thonged butt cheeks in her face, and before she knows it, the thong has pinged off and Beryl is a new woman.
|
|
Before calling it a night, save time for a bit of family roistering at Worthy Brewing Company, which has its own "Hopservatory" — a research-grade telescope, manned by a "sky guy," or teach your children how to play Tapper and Donkey Kong at the Vector Volcano Classic Arcade.
|
|
A group of roistering guys and gals grinned beerily over a table thickly covered with bottles and glasses.
|
|
The number of valetudinarians continued to decrease and the Spa House became in time the headquarters of the roistering Rakes of Mallow.
|
|
The Fable of the Roistering Blades is a 1915 short film directed by Richard Foster Baker, based upon a story by George Ade, and starring Wallace Beery and Charles J. Stine. The silent short was produced by the Essanay Film Manufacturing Company and distributed by the General Film Company. Beery was thirty years old at the time of filming.
|
|
Rive decided to stay in his country with the hope of influencing its development there. He was stabbed to death at his home in Cape Town in 1989, when he was aged 58.Stephen Gray, "Richard Rive biography: Where's the roistering braggart?" (review of Richard Rive: A Partial Biography, by Shaun Viljoen; Wits University Press), Mail & Guardian, 4 October 2013.
|
|
Charles Jacob Stine (19 August 1864 – 5 January 1934) was an American silent film actor. Charles J. Stine was born on 19 August 1864 in Freeport, Illinois. After a long stage career starting in 1878, Stine began acting with Essanay Studios in Chicago in 1913. The short films in which he appeared include The Fable of the Roistering Blades (1915) written by George Ade and starring Wallace Beery.
|
|
Many of the farming scenes featured live animals – horses, sheep, cows, ducks, chickens, etc. Ivor Emmanuel led the big set-pieces, and in between were scenes for other soloists, duets or quintets. The music performed encompassed the full range of the rich musical tradition of Wales, from roistering choral numbers to gentle folk ballads, from humorous songs to stirring anthems. Each programme normally ended with a Welsh hymn tune.
|
|
Other Beery films (mostly shorts) from this period included In and Out (1914), The Ups and Downs (1914), Cheering a Husband (1914), Madame Double X (1914), Ain't It the Truth (1915), Two Hearts That Beat as Ten (1915), and The Fable of the Roistering Blades (1915). The Slim Princess (1915), with Francis X. Bushman, was one of the earliest feature-length films. Beery also did The Broken Pledge (1915) and A Dash of Courage (1916), both with Swanson.
|
|
Her first recorded stage appearance may have been as early as 1681 in D'Urfey's Sir Barnaby Whig. In 1686 she married the actor William Mountfort, and after Mountfort's infamous murder in 1692, she married the actor John Verbruggen. She was a successful and popular comedian, known especially for her breeches roles. Her greatest success was as the main character Lucia in Thomas Southerne's Sir Anthony Love, where Lucia partakes of the freedom of the roistering Restoration rake by disguising herself as "Sir Anthony".
|
|
Charles I of England The cavalier poets was a school of English poets of the 17th century, that came from the classes that supported King Charles I during the English Civil War (1642–1651). Charles, a connoisseur of the fine arts, supported poets who created the art he craved. These poets in turn grouped themselves with the King and his service, thus becoming Cavalier Poets. A cavalier was traditionally a mounted soldier or knight, but when the term was applied to those who supported Charles, it was meant to portray them as roistering gallants.
|
|
Pandro S. Berman told the New York Times he was aware the story was politically tricky: > We are making a rough and tumble brawling comedy with three British soldiers > out of a Kipling work as major characters and that presents major problems. > The people of India hated Kipling. As to the British, how they will react > when we show three roistering, drunken Tommies on the screen is a question. > When I produced Gunga Din at RKO in 1938 it was banned in India and efforts > were made to stop it being shown in the British Isles.
|
|
Dylan Marlais Thomas (27 October 1914 – 9 November 1953) was a Welsh poet and writer whose works include the poems "Do not go gentle into that good night" and "And death shall have no dominion"; the "play for voices" Under Milk Wood; and stories and radio broadcasts such as A Child's Christmas in Wales and Portrait of the Artist as a Young Dog. He became widely popular in his lifetime and remained so after his premature death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a "roistering, drunken and doomed poet". Thomas was born in Swansea, Wales, in 1914.
|
|
From the very beginning patriotic activity of the Society was endangered by the stiff competition with "Blacha", as people of Warsaw called roistering youths grouped around Copper-Roof Palace (quarters of prince Józef Poniatowski), who wore green frock coats with "Jabłonna" inscription on their collars. Both coteries competed with each other in splendour of banquets, night drinking-boats, and instant duels, toward which activities Prussian invaders turned a blind eye, glad to see progressive demoralization of Polish noble youth. However, as political situation in Europe has been changed, Prussian administration changed its view of Polish organizations and societies suspecting that they were sources of pro-French activity. In the beginning of 1806 Prussian governor Köhler ordered Krasiński to dissolve the Society.
|
|
After his service in the British Army in WWI, he resumed his acting career. In January 1922 he joined the Birmingham Repertory Company, playing a range of parts from the drooping young lover Faulkland in The Rivals to the roistering Sir Toby Belch in Twelfth Night. He played many classical roles on stage, appearing at London's top theatres, making his name on the stage performing works by George Bernard Shaw, who said that Hardwicke was his fifth favourite actor after the four Marx Brothers. As one of the leading Shavian actors of his generation, Hardwicke starred in Caesar and Cleopatra, Pygmalion, The Apple Cart, Candida, Too True to Be Good, and Don Juan in Hell, making such an impression that at the age of 41 he became the youngest actor to be knighted (this occurred in the 1934 New Year's Honours; Laurence Olivier subsequently took the record in 1947 when he was knighted at the age of 40).
|
|
Some critics, such as Jacqueline Pearson, have argued that these cross-dressing roles subvert conventional gender roles by allowing women to imitate the roistering and sexually aggressive behaviour of male Restoration rakes, but Elizabeth Howe has objected in a detailed study that the male disguise was "little more than yet another means of displaying the actress as a sexual object". The epilogue to Thomas Southerne's Sir Anthony Love (1690) suggests that it does not much matter if the play is dull, as long as the audience can glimpse the legs of the famous "breeches" actress Susanna Mountfort (also known as Susanna Verbruggen): :You'll hear with Patience a dull Scene, to see, :In a contented lazy waggery, :The Female Mountford bare above the knee. Katharine Eisaman Maus also argues that as well as revealing the female legs and buttocks, the breeches role frequently contained a revelation scene where the character not only unpins her hair but as often reveals a breast as well. This is evidenced in the portraits of many of these actresses of the Restoration.
|
|