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  1. Eva Le Gallienne. Eva Le Gallienne (lata 20.) Eva Le Gallienne (ur. 11 stycznia 1899 w Londynie, zm. 3 czerwca 1991 w Weston) − amerykańska aktorka, producentka, reżyserka teatralna, scenarzystka i pisarka. Była nominowana do Oscara za rolę drugoplanową w filmie Zmartwychwstanie (1980).

  2. Eva Le Gallienne was born in London on January 11, 1899. She made her professional stage debut at age 15; the following year she sailed for New York. Already unguarded about her sexuality, she enjoyed a brief affair in 1918 with iconic silent film star – and notorious lesbian – Alla Nazimova. By age 21, Le Gallienne became a Broadway star ...

  3. 15. Mai 2018 · Eva Le Gallienne as Hedda Gabler at the Civic Repertory Theatre, 1927. Le Gallienne closed the Civic Rep for one season, from 1931–32, in order to recover from an enormous case of fatigue. (Autocracy is admittedly exhausting.) During that time, she suffered severe burns in a water heater explosion at her home in Connecticut, which scarred her ...

  4. Eva Le Gallienne (d. 11 Ocak 1899 - ö. 3 Haziran 1991) İngiltere doğumlu Amerikalı tiyatro oyuncusu, yapımcı, yönetmen, çevirmen ve yazardı. 21 yaşında bir Broadway yıldızı olan Le Gallienne, kendini hem yönetmen, hem yapımcı hem de başrol oyuncusu olduğu Civic Repertory Theatre'ı kurmaya adamak için Broadway yapımlarında yer almaktan vazgeçti.

  5. Play Comedy Revival. Exit the King (Jan 09, 1968 - Jun 22, 1968) Performer: Eva Le Gallienne [Queen Marguerite] Play Original. The Wild Duck (Jan 11, 1967 - Jun 17, 1967) Translated by Eva Le Gallienne. Play Revival. The Seagull (Apr 05, 1964 - May 02, 1964) Directed by Eva Le Gallienne.

  6. 11. Jan. 1981 · Today is the 82d birthday of Eva Le Gallienne. Four days later, on Jan. 15, she will be on Broadway once again, at the Biltmore, in a play by Joanna M. Glass named ''To Grandmother's House We Go.''

  7. Eva Le Gallienne. Abbott was staunchly committed to the documentary approach to photography: “If a medium is representational by nature of the realistic image formed by the lens, I see no reason why we should stand on our heads to distort that function.”. Unlike pictorialists, who often used painterly techniques to flatter their subjects ...