Yahoo Italia Ricerca nel Web

Risultati di ricerca

  1. Wendy Kesselman is an American playwright . Life. Wendy Kesselman came to the Actors Theater of Louisville in 1980. [1] . She lives in Wellfleet, Massachusetts. [2] Awards. She won the 1981 Susan Smith Blackburn Prize, for My Sister in this House. [3] Works. Becca, 1977. Maggie Magalita. Samuel French, Inc. 1987. p. 4. ISBN 978-0-573-69017-4.

    • 1940 (age 82–83)
    • Playwright
    • American
  2. I Love You, I Love You Not is a 1996 American romantic drama film directed by Billy Hopkins and written (also the play) by Wendy Kesselman . Plot. The film is told through the stories of two women: Nana, a grandmother, and Daisy, her granddaughter.

  3. The film was directed by Nancy Meckler and written by Wendy Kesselman, based on her own play, My Sister in This House. The film is based on a true incident in Le Mans, France in 1933 called the Papin murder case, where two sisters brutally murdered their employer and her daughter.

  4. Wendy Kesselmans adaptation of the original, Pulitzer Prize award-winning script by Goodrich and Hackett draws from previously unpublished parts of Anne Frank’s real-life diary, allowing the audience to experience Anne in a way that breathes life into this passionate, complex young woman.

  5. Wendy Kesselman. Besides her Tony-nominated adaptation of The Diary of Anne Frank, Wendy Kesselman ’s plays include The Executioner’s Daughter; The Notebook; The Foggy Foggy Dew; The Last Bridge; I Love You, I Love You Not; Maggie Magalita; Merry-Go-Round; The Shell Collection; My Sister in This House, A Re-imagined Version (Deaf West ...

  6. We have a full Biography, Photos, Theatre Credits, TV and Movies, Videos and more! Check out Wendy Kesselman's bio now including film and tv, as well as on stage.

  7. In 1997, on behalf of the Anne Frank Fonds, Wendy Kesselman reworked the play from the 1950s. Her version was, once again, closer to the original text of the Diary. In addition, she added some recently published parts of the Diary to the play. Kesselman’s version made the historical context clearer and put the figure of Anne into the foreground.