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Vintage Dutch postcard. Photo by M. M. Couvée. Greta Lobo-Braakensiek as Eliza in the 2nd act of the Dutch version of G.B. Shaw's stage play Pygmalion, performed from 25 January 1915 by the Koninklijke Vereeniging Het Nederlandsch Tooneel (K.V.H.N.T.). The first night took place at the Amsterdam based Stadsschouwburg, under direction of Herman Roelvink.
Greta Lobo-Braakensiek (1882-1926) was a Dutch actress. She made her debut as a toddler alongside Sarah Bernhardt. She played many children's roles and so had already gained the necessary experience when she went to drama school in 1899. From 1899 to 1915, she acted at the Koninklijke Vereeniging Het Nederlandsch Tooneel (K.V.H.N.T.), the major Dutch stage company
Her first husband from 1902 was the acrobat/actor Lou Richard. She then married David Jessurun Lobo in 1910. It is difficult to reconstruct her early career, because "miss/young lady Braakensiek" in programmes and reviews could also stand for her sisters Mina and Marie. Of the three Braakensiek sisters, it was Greta who achieved the most fame. From the time of her marriage, she was presented as Greta Lobo or Greta Lobo-Braakensiek.
With her second husband, Greta Lobo-Braakensiek was part of the management of theatre group Comoedia, which existed from 1921-1924 and passed into the Vereenigd Tooneel. In 1925/26, she toured the country with her own troupe. Her 25th and 30th anniversaries were celebrated with Atie in "De veroveraar" by Josine A. Simons-Mees (1 February 1911) and Sonja in "De opgaande zon" by Herman Heijermans (15 November 1918). Her successful career came to an abrupt end when she and David Lobo were killed in a railway accident at De Vink near Leiden. Greta Lobo-Braakensiek was the grandmother of Pink and René Lobo. She acted in 188 productions.
Este señor es un dramaturgo irlandes que lo mismo te ganaba un Nobel que un Oscar y dijo cosas tan interesantes como éstas:
- No hay beso que no sea principio de despedida; incluso el de llegada.
-Si tú tienes una manzana y yo tengo una manzana y las intercambiamos, entonces ambos aún tendremos una manzana. Pero si tú tienes una idea y yo tengo una idea y las intercambiamos, entonces ambos tendremos dos ideas.
THIS IS NOT MY PICTURE, it's a postcard made by Mr Herbert Gutsch I bought a few years ago and which has been a great motivator factor for me! Everyday, I look at this smiling Buddha and I smile;-) I would like to thank Mr Herbert Gutsch and it's creativity for this;-)))
And you, do you have such an inspirational picture which helps you to go through difficult times of your life or just in your daily life?
It would be great to make an inspirational mosaic!
Vintage Dutch postcard. Photo by M . M. Couvée. Greta Lobo-Braakensiek and Louis Gimberg in the 2nd act of the Dutch version of G.B. Shaw's stage play Pygmalion, performed from 25 January 1915 by the Koninklijke Vereeniging Het Nederlandsch Tooneel (K.V.H.N.T.). Here also with Lous Korlaar-van Dam as Mrs. Pearce and Cor Schulze as Doolittle. The first night took place at the Amsterdam based Stadsschouwburg, under direction of Herman Roelvink.
Vintage Dutch postcard. Photo by M. M. Couvée. Greta Lobo-Braakensiek and Louis Gimberg in the 1st act of the Dutch version of G.B. Shaw's stage play Pygmalion, performed from 25 January 1915 by the Koninklijke Vereeniging Het Nederlandsch Tooneel (K.V.H.N.T.). The first night took place at the Amsterdam based Stadsschouwburg, under direction of Herman Roelvink.
Vintage Swedish postcard. Axel Eliassons Konstförlag, Stockholm, No. 282. Photo by Hofatelier Jaeger, 1914. Harriet Bosse in the G. B. Shaw play Pygmalion.
Harriet Bosse (1878-1961) was a Norwegian-Swedish singer and actor.
Harriet Sofie Bosse [Bå'sse] was born 19 February 1878 in Christiania (Oslo) from a German father, the publisher Heinrich Bosse, and a Danish mother, Anne-Marie Lehmann. Bosse studied at the Royal Conservatory of Music in Stockholm. In the spring of 1897, after three years of study, she graduated with special grades in singing. Bosse debuted in 1896 on stage in Romeo and Juliet at the Tivoli Theater in Christiania, in a setting by her sister Alma and under direction of the latter's husband Johan Fahlström. In the winter of 1898, she got the opportunity to follow lessons at the conservatory of the Comédie Française in Paris, and, subsequently in 1899, she was engaged at the Royal Dramatic Theatre in Stockholm. Since she had difficulties with the Swedish language, she took lessons with a speech therapist to get rid of her Norwegian accent. At the ‘Dramaten’ she played e.g. Hero in Shakespeare’s Much Ado About Nothing (1902) and Nennele in Giacosa’s Come le foglie (1903).
In these years she met the renowned playwright August Strindberg. He was 51, she 22. Strindberg liked her combination of a strong, modern and independent woman with delicate looks, so he wooed her and wrote plays especially for her, such as To Damascus, Easter, Crimes and Crimes, Swan White, Queen Christina, and A Dreamplay. She felt intimidated and not yet up to his heavy roles but accepted to play Elena in Easter, which was a big breakthrough for her in 1901. Harriet Bosse has himself told how her engagement with Strindberg began: "Strindberg put his hands on my shoulders and looked deeply and sincerely at me and asked: - Would you like to have a small child with me, Miss Bosse? I curtsied and answered quite hypnotic: Yes, thank you. And then we were engaged." They would be married in 1901-1904 and had a daughter Anne-Marie (1902-2007). However, as modern as he was in his plays, as old-fashioned Strindberg was in his interior decoration, refusing to alter anything from his late 19th century style. Moreover, because of his agoraphobia he cancelled their honeymoon and gave her a Baedeker instead to do the virtual version. He was also an extremely jealous person, while she disliked her ‘imprisonment’. Not even the birth of their daughter in 1902 could save the marriage. As of 1902 they lived apart and they divorced in 1904.
In 1906 Bosse was engaged by Albert Ranft to the Swedish Theatre in Stockholm and became the theater's big star in plays less conventional than at the Dramaten. Though her marriage with Strindberg was over and she remarried with actor Gunnar Wingård in 1908 – with whom she had a son – Bosse played in 1907 in two Strindberg plays at the ‘Svenska Teatern’: Ett drömspel (A Dream Play) and Kronbruden (The Bridal Crown). With A Dream Play she wrote theatre history. She also kept up a relationship with Strindberg, leaving her daughter with him when on tour to e.g. Helsinki, until she remarried. In addition she also acted in plays by e.g. Gorki (The Petty Bourgeois), Maeterlink (Pelléas et Mélisande), Shaw (Man and Superman), Sudermann (Johannes), Somerset Maugham (Mrs Dot), Lagerlöf (Gösta Berlings saga), and others. She was engaged again at the Royal Dramatic Theatre in 1911 with the promise of playing heavier roles. In 1911 she also divorced Wingård for his infidelity or his spendthrift (versions vary). In 1912 Bosse was confronted with a series of disasters: Strindberg died, her second ex-husband killed himself, her sister’s son drowned with the Titanic, and Strindberg’s daughter Greta was killed in a train crash. Fans of Wingård threatened Bosse for having caused his suicide.
In 1919 Victor Sjöström directed Bosse in what was thought to be her breakthrough in cinema, and what still goes as a milestone in the Swedish naturalist cinema: Ingmarssönerna (Sons of Ingmar, 1919). It co-starred Sjöström as a rich farmer’s son, Lill Ingmar [Little Ingmar], who because of his stern mother has caused his fiancée, the poor farmer woman Brita, trouble by postponing his marriage. So Brita gives birth to a baby out of wedlock, kills it out of despair and spends time in jail. In the end, after a discussion with the ghost of his forefather, Lill Ingmar repents, marries Brita and the two leave the bigot villagers. It was based on the first part of Sjöström’s adaptation of Selma Lagerlöf's novel Jerusalem, originally published 1901-1902. In 1920 Sjöström would direct, and star in, the sequel Karin Ingmarsdotter, in which Bosse’s part in the previous film would only be referred to; instead the female lead was for Tora Teje.
Though Ingmarssönerna was hailed by critics, and afterwards director Ingmar Bergman confessed to have been deepy impressed by it, it didn’t mean a filmic breakthrough for Bosse, despite he fact she had been the star of the film. Only 17 years after she would act in Bombi Bitt and I (1936), based on Fritiof Nilsson Piraten's popular first novel with the same title and directed by Gösta Rodin. Even if Bombi Bitt was successful, it was rather a lightweight production and with a smaller role for Bosse. Bosse also played supporting parts in Anna Lans (Rune Carlsten, 1943), starring Viveca Lindfors as the title character, and Appassionata (Olof Molander 1944), again starring Lindfors.
In 1919-21 Bosse played during the spring season at the "Intimate theater". In addition, she did guest performances in the provinces, as well as in Göteborg, Oslo and Helsingfors. In 1927 Bosse married for the third time, with popular actor Edvin Adolphson (until 1932). Her last ten years she acted at the Royal Dramatic Theatre 1933-1943. These she described herself as a calvary when she found it increasingly difficult to get interesting roles. In May 1943, she went into retirement and in 1955 she moved to Norway, where her daughter lived with the family. She regretted her move though, dearly missing Stockholm. Harriet Bosse died November 2, 1961 in Oslo.
Sources: English and Swedish Wikipedia, Svensk Filmdatabas, IMDB.
Thats how GBShaw (and KK) described dance..Kuchipudi of course is much more than just dance..but I knew I just had to use this phrase somewhere!!
#Imagination is the #beginning of #creation. You #imagine what you #desire, you will what you imagine, and at last, you #create what you will - George Bernard Shaw #conflutech #unsplash #designquotes #designinspiration #gbshaw via Conflutech ift.tt/2g99Hdj