Sentence examples for writing impresario from inspiring English sources

Exact(1)

This highly unorthodox manner may have been modeled on famed writing impresario Gordon Lish, a book editor who staged marathon six hour classes in students' apartments; they would not so much as cough or go to the john, and he would lecture them, whole roomfuls of young writers paying a hefty sum, with the lure that some might be offered a publishing contract.

Similar(59)

With the help of Ruth Goode, once his press agent, Mr. Hurok wrote "Impresario" in 1946, which later became a movie called "Tonight We Sing". He continued his story of his life in "S.

Captivated by Miss Williams's voice, she became her mentor, helping her secure a recording contract with RCA Victor and writing to the impresario Arthur Judson with the suggestion that he manage her.

"Das Labyrinth oder Der Kampf mit den Elementen" ("The Labyrinth, or The Battle With the Elements") was conceived and written by the impresario Emanuel Schikaneder, who wrote the libretto for "Flute" and was the original Papageno.

In his setting of a sarcastic letter Gustav Mahler wrote to the impresario Emil Gutmann about a rehearsal, Mr. Mackey meshed a melodious Mahlerian snippet with a more jagged aesthetic to reflect the composer's personality and humor, aptly conveyed by the baritone Randall Scarlata.

By 1597 he was writing plays for Philip Henslowe, the leading impresario for the public theatre.

He started out professionally as an impresario, before branching into writing and directing for the stage and television.

Supporting himself as a security guard and a busboy, Shepard was encouraged to write plays by impresarios as diverse as Ellen Stewart, who established La MaMa, an experimental venue for new playwrights, in 1961, and Ralph Cook, who founded the Theatre Genesis, in 1964.

He is working on a film version of his West End play, Plague Over England, with Simon Fuller's entertainment company 19 Entertainment and the theatre impresario Bill Kenwright, and is also writing a book.

And what Coleman never lets us forget – whether writing about Baylis or the Old Vic's current impresario, the indefatigable Sally Greene, – is that theatres are precarious: built on insecurity.

A lesser-known detail of McWhorter's résumé is that when he's not writing or lecturing, he leads another life — as a cabaret impresario.

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