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- Music Department
- Composer
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Gustav Mahler is largely considered one of the most talented symphonic composers of the late 19th Century and early 20th Century. His musical output comprised mainly of symphonic and song cycles requiring mammoth orchestras and often choruses. Sadly, Mahler never experienced popularity as a composer during his lifetime, not nearly as much as Beethoven, Mozart, Wagner, or even Tchaikovsky, but his talents as interpretive artist on the conductor's podium earned him many accolades and prestigious assignments as music director to famous orchestras. Mahler was born in Kaliste, Bohemia on July 7, 1860, to a distillery manager father and a homemaker mother. Gustav was the second of twelve children, of which five died in infancy and three others did not live to mature adulthood. The constant conflicts between Gustav's domineering and abusive father and his weak mother helped to shape his compositional style, always reflecting on the struggle between good and evil, happy and sad, strong and weak, etc. Mahler showed musical talent at an early age, and by the age of eight years, he was already composing music influenced by military marches played at the nearby barracks. His parents eagerly encouraged his music studies, sending him to private tutors and ultimately to the Vienna Conservatory (1875-1878). Mahler's studies at the Conservatory got off to a slow start, but the final year at school was marked with him winning several composing awards. After graduation, for want of paying composing work, Mahler instead started conducting, typically directing light operas at second-rate orchestras. His insistence on complete artistic control of the entire production, from the stage costumes to the dramatic routines to how each and every note in the opera was played, earned him few friends among the orchestral players and performers but many positive reviews from critics. It was during these ten years after graduation from the Conservatory in which Mahler really began serious orchestral composing. Works written during this time included Das Klagend Lied (1880), Lieder Eines Fahrenden Gesellen (Songs of a Wayfarer) (1884), and his First Symphony (1888). It must be noted that Mahler conducted the premieres of each of his orchestral works. However, the premiere of his First, in Budapest in November 1889, was deemed a critical failure, since the audience was unaccustomed to the sound of this complex, modern work. Yet the First is perhaps his most approachable symphony, containing many Austrian Lieder themes and simple melodies. And, still, with a performance time of 55 to 60 minutes, it is his shortest symphony! Failures of Mahler the composer did not daunt Mahler the conductor, as his successes with the operas of Mozart, Wagner, and even some brand new works from Tchaikovsky earned him a reputation as a brilliant interpretive artist. Still, Mahler persevered, composing the Second Symphony (1892), a mammoth work of five movements requiring a full orchestra, female choral soloists, two choirs, an offstage brass band, and a pipe organ. His Third Symphony (1896) took this one step further, a six movement symphonic journey typically taking one hour and forty minutes to perform. During this time, Mahler was busy conducting orchestras and opera companies in Kassel (1883), Prague (1885), Leipzig (1886), Budapest (1888), Hamburg (1891), and Vienna (1894), but it was the musical director position at the Vienna Court Opera that he was aiming for. First, he had to overcome some family problems (both his parents died within months of each other, a younger brother fled to the United States, and another younger brother committed suicide), but, more importantly, Mahler's Jewish faith stood in the way of his career goal (Vienna was largely anti-Semitic during this time). To accommodate, he accepted a Roman Catholic baptism, and was promptly appointed musical director of the Vienna Hofoper Court Opera. Mahler's tenure at the Hofoper was tumultuous yet productive; he composed his Fourth Symphony (1901), thereby completing what many music historians agree wraps up his "Early Symphonies." His Fifth, Sixth, and Seventh Symphonies (1903, 1904, 1905 respectively), all purely orchestral, make up his intermediate works. Although these works are increasingly modern and complex, they still contain some wonderful lyrical passages, especially the divinely beautiful Adagio from his 5th. Also, during this time he married Alma Schindler (a composer of fair talent herself), and they had two daughters, Maria (born 1902), and Anna (born 1904). Still, as director of The Hofoper, Mahler brought new high standards of performance unmatched anywhere else in the world. 1907 brought three tragic events to Mahler's life (ironically foreshadowed by the three "hammer blows" present in the Finale of his 6th Symphony): First, he was forced to resign from the Hofoper in somewhat acrimonious circumstances (chiefly disagreements as to what artistic direction he wanted to take the Hofoper), second, the diagnosis of the valve defect in his heart, and third, the death of his elder daughter (of Scarlet Fever). But by this point in his career Mahler had reached worldwide popularity as an orchestral and operatic conductor, and new work was not difficult to find. But it was composing that fueled his passions; The Eighth Symphony (1908) began the final series of Mahler's works. The Eighth is another work of Biblical proportions; a standard performance requires a full orchestra with enlarged brass and woodwind sections, eight soloists (three sopranos, two altos, a tenor, baritone, and bass), two full mixed choirs, a children's choir, several "unconventional" orchestral instruments (guitars, a harmonium, a piano, and a celesta), and, again, a pipe organ. Mahler disliked the alternate title bestowed upon this symphony, A Symphony of a Thousand, but indeed, during the premiere (in Munich in 1910), over one thousand performers were present. Amazingly, this lengthy and difficult work (only two movements but requiring 80-90 minutes to perform), was a huge success at its premiere; in attendance were many famous musicians, businesspeople, and royal families. Concluding Mahler's final works were Das Lied von der Erde (1908), the Ninth Symphony (1909), and an unfinished Tenth Symphony (1911), all of which he did not live to see or hear performed. The completed portions of the Tenth contain references to how Mahler lamented his crumbling marriage (by this time Alma was having an affair) yet it is considered perhaps the most pure form of Mahler's music (it contains many elements of modern 20th Century music). It was during concluding a winter season of conducting the New York Philharmonic Society in the spring of 1911 in which the heart condition diagnosed four years earlier caught up with Mahler; he traveled back to Austria to spend his final days near his family. He died late in the evening of May 18. Mahler's legacy took a long time to mature. His music, although complex and full of vivid imagery, failed to become popular in musical circles until fifty years after his death; it was primarily the efforts of Leonard Bernstein, Herbert von Karajan, Otto Klemperer, and, more recently, Simon Rattle , who have introduced the works of Mahler to many. Mahler himself declared, "My time will come."- Writer
- Music Department
- Additional Crew
William Schwenck Gilbert was born in London on November 18, 1836, to William Gilbert, a retired naval surgeon, and his wife Anne. The Gilberts would add three younger girls to the brood: Jane, Maud and Florence. His parents were cold and distant, with prickly characters. Stern and unyielding, they did not show affection for their son, who absorbed their inflexibility and emotional frigidity. His parents' relationship was strained, and they separated in 1876. Gilbert cared more for his father than his mother, but his biographers are mute on his feelings towards his father's death, or indeed, about his relations with his parents at all . Gilbert remained detached from life, regarding its triumphs and defeats with a reserve, a sense of atomization likely inherited from his parents.
Young William spent his formative years touring Europe with his parents before they returned to London in 1847. He was sent to the Great Ealing School and completed his education at King's College, London. He did not go on to Oxford as he was determined to join the Army to fight in Crimea. He failed to obtain a commission, and turned his attention towards making a career as a government clerk and barrister in the years 1857-66.
His interest in the theater seems to have come to him at an early age. Circa 1861, he began making submissions of prose, verse and drawings to the comic magazine "Fun," writing "The Bab Ballads" for the wag rag. He turned to playwriting, and his first legitimate production, "Uncle Baby," debuted at London's Royal Lyceum Theatre ion the October 31, 1863. The play ran seven weeks, but he was not produced again until 1866, when his pantomime "Hush-a-Bye Baby" and his burlesque "Dulcamara" were produced in December. He continued to work in burlesques for the next three years , making a reputation for himself as a tasteful and intelligent writer. Burlesque in the 19th century was akin to vaudeville, with star turns, ballet, and spectacle. Gilbert had no control over his work as in burlesque, as the stars were the thing, a position of powerlessness he resented.
Gilbert married Lucy Agnes Turner on of August 6, 1867. Little is known of her, although most biographers speculated that her personality was soothing and conciliatory, a fitting counterpoint to Gilbert's own abrasive and confrontational personality. She likely dominated her household, and Gilbert even may have been afraid of her anger lest he trespass her in her domestic fiefdom.
Gilbert's last burlesque, "The Pretty Druidess," debuted on June 19, 1869. He had already began writing for the Gallery of Illustration, a small, sophisticated theater that produced his "No Cards" on March 29th, earlier that year. Freed from the interference of stage-managers of the more vulgar, commercial theater, Gilbert was able to develop his personal style while writing for the Gallery. The Gallery presented six Gilbert musicals in which his unique tone of voice began to emerge.
Adopting a more restrained style, he produced "fairy comedies" in blank verse for the Haymarket Theatre. The fairy comedies presented a more tasteful and popular entertainment than the farce and burlesque that dominated the theater. He became a theatrical director in this period, and began directing his own plays so as to exert artistic control over them and fully realize their potential. In 1867, he directed the Liverpool production of "La Vivandiere" and the London production of "Thespis" in 1871, a year that saw six other Gilbert productions on the boards. As a director, he aimed to introduce subtlety into the English theater. "Thespis," though not a hit, is significant in that it is his first collaboration with Arthur Sullivan. Their first hit would come with their second collaboration, four years later, with "Trial by Jury."
His output for the theater included farces, operetta librettos, adaptations of novels such as Dickens' "Great Expectations," and translations of French drama. He even dabbled in writing serious drama, though he was not notably successful in that genre. The strain of so much work led to his leaving "Fun."
Gilbert's reputation was waxing, and he was positioning himself as one of the major forces on the English stage. He collaborated with Gilbert a Beckett on the political satire "The Happy Land" in 1873. The play, which lampooned prime minister Gladstone and two of his ministers, was banned briefly. This was the beginning of Gilbert pushing the parameters of what could be presented on the English stage. While Gilbert did tend to be iconoclastic, he worked in the popular theater and needed success to continue to work. Drama was then the least respected of the literary professions, and in his career, he attempted to make it more respectable, succeeding to the degree that the next generation's leading lights, Oscar Wilde and Bernard Shaw, were able to tackle more sensitive subjects while being respected as major authors.
Up until Gilbert decided to publish his oeuvre, plays were published very cheaply, as pamphlets for the use of actors rather than readers. Gilbert wanted his plays published as real books, proofread and attractive so they could find a place in the home libraries of gentlemen. The first volume of Gilbert's plays was published in 1875 by the respectable house Chatto and Windus in a an attractively-bound, well-printed volume that eliminated stage jargon intended for actors. Such a well-published book was unheard of for a new, relatively controversial dramatist like Gilbert, as it typically was the province of older, for long-established dramatists to be published in respectable volumes. Gilbert eventually published three more volumes of his original plays, and his popularity was such that he even made a profit from them.
After the success of Gilbert and Sullivan's "Trial by Jury," Richard D'Oyly Carte became the duo's producer. The third Gilbert and Sullivan collaboration, "The Sorcerer," was presented in 1877, as was his masterpiece "Engaged," a cynical and ironic work that was very funny. Critics attacked the play as debasing the human spirit. However, critics and audiences eventually would accept Gilbert's cynicism when he wrote in tandem with Sullivan due to the ameliorating affect of the latter's music. The audience also began to get used to Gilbert's cynical voice.
"The Sorcerer" was a success, but their next production, "H.M.S. Pinafore" (1878) was a blockbuster hit that engendered multiple pirate productions in the United States. The next year, they had an equivalent hit with their "The Pirates of Penzance." To stymie the American pirates, D'Oyly Carte presented its own "H.M.S. Pinafore" production in New York City in 1879, then introduced Gilbert and Sullivan's as-yet-unpirated "Pirates of Penzance" to the New York audience.
Gilbert continued to write plays without the participation of Sullivan, but they were not successes. His serious drama "The Ne'er-Do-Weel" (1878) flopped after opening to awful reviews, and the rewritten version, "The Vagabond," also proved a flop. Gilbert's blank-verse tragedy "Gretchen" (1879) lasted but three weeks on the boards, as did his farce "Foggerty's Fairy" (1881). The 1881, Gilbert and Sullivan's satire on Oscar Wilde and his circle, "Patience" was a success. ("Patience" eventually was transferred to the new Savoy Theatre, which Gilbert's personal company also made its home.) Coming after the failure of "Foggerty's Fairy," Gilbert decided to focus his writing to his collaboration with Sullivan. His production slowed down, partly due to his economic success obviating a need to continually turn out new plays like clockwork, but mostly due to the new careful and systematic writing methods he adopted.
In an 1885 interview, he admitted to laboriously developing his plots, in consultation with Sullivan in multiple drafts. He would create a skeleton libretto using the fewest words possible to sketch out the actions of the piece. Songs and dialog would be slowly developed and polished. This new process was time-intensive, and produced but one operetta per year, and while it produced many masterpieces, it took the risk out of Gilbert's work. He started settling into formula, which betrayed his iconoclastic nature.
For the rest of the decade, Gilbert-and-Sullivan produced "Iolanthe" (1882), "Princess Ida" (1884), "The Mikado" (1885), "Ruddigore" (1887) and "The Yeomen of the Guard" (1888). Despite its success, the collaboration became tenuous, and after "Princess Ida," Sullivan refused to write anything more for D'Oyly Carte's theater, The Savoy, and departed for a five-week-long European. When he returned to London, both Gilbert and D'Oyly Carte tried to persuade him to continue the collaboration, but Sullivan was tired of the contrived plots and balked at Gilbert's insistence that the plot of their next work involve a magic pill. Finally, Sullivan relented when Gilbert, aware of the vogue for Japanese culture then current in Europe, developed the plot for what became "The Mikado."
After "The Gondoliers," the Gilbert and Sullivan collaboration broke up permanently. The split-up was triggered by the expenses incurred by the Savoy Theater, which were shared equally by Gilbert, Sullivan and D'Oyly Carte. Gilbert objected when D'Oyly Carte bought a very expensive carpet for the theater. Sullivan tried to remain neutral in the feud between Gilbert and D'Oyly Carte, but when he came down on the side of the latter, Gilbert bolted the partnership, though he remained friends with his collaborator. Neither Gilbert or Sullivan would prove as successful as when they collaborated, and Sir Arthur Sullivan eventually would become a morphine addict due to his attempts to assuage the pain from his declining health. He died on November 22, 1900 in London. D'Oyly Carte joined him in death a few months later.
There were many reasons for the break-up of the collaboration other than the expensive carpet. By the time of the premiere of "The Gondoliers" (1889), Gilbert's creative powers were in decline. His wit, once so concise, was replaced by a verbosity, which became more pronounced with "Utopia, Limited" (1893) and "The Grand Duke" (1896). The audiences demanded that Gilbert hew to the formula that had made him a huge success, but he had grown weary of it. "The Grand Duke" is a tired riff on the old formula, so much so that it is almost a parody.
Gilbert went into semi-retirement at his home in Grim's Dyke Harrow Weald after "The Grand Duke," where he played the country squire. He continued to write and finished four more plays in his lifetime. He turned out the serious melodrama "The Fortune Hunter" (1897) but returned to his lighter style with "The Fairy's Dilemma" (1904). After being knighted in 1907, he rewrote "The Wicked World" as "Fallen Fairies" (1909), with music provided by Edward German. His last produced work was the short piece "The Hooligan" (1911), which hit the boards four months before his death. "The Hooligan" represented a departure for Gilbert into serious drama, and might have been the direction his career would have taken had he lived.
Sir William S. Gilbert died on of May 29, 1911, while teaching two young women how to swim in his lake at Grim's Dyke. One the women, out of her depth, called out for help and Gilbert tried to rescue her. Accounts are conflicting, and he died of heart failure either in the middle of the lake during the attempted rescue or shortly thereafter.
One of his epigrams could serve as his epitaph, tongue-in-cheek: "Did nothing in particular, and did it very well."- Quanah Parker was born in 1845 in Wichita Mountains, Oklahoma, USA. He died on 23 February 1911 in Fort Sill, Oklahoma, USA.
- Director
- Writer
- Producer
Francis Boggs is an obscure figure in the history of cinema, but an important one. It was he who brought the movies to Los Angeles in 1909 when he established a permanent L. A. film studio for the Chicago-based Selig Polyscope Company. In a four-year film career he wrote and directed nearly 200 one-reel films. Today only three are known to survive. He was also the first victim of movieland murder. Boggs was an actor, who toured mining towns in California and finally in Chicago, where he became associated with former magician and minstrel-show operator William Nicholas Selig in filmmaking. He returned to California to shoot the climactic scenes of The Count of Monte Cristo (1908) and ended up playing the lead role as well. He set up Selig's Los Angeles operation in 1909. In 1911 he was shot and killed by a mentally disturbed employee (the attack also wounded Selig) and was soon forgotten, his work eventually crumbling to dust. But Francis Boggs is as much, if not more, responsible for establishing the American film industry in California as any of the more well-known film pioneers.- Howard Pyle was born on 5 April 1853 in Wilmington, Delaware, USA. He was a writer, known for The Black Shield of Falworth (1954), The Adventures of Robin Hood (2018) and World Fairy Tale (1994). He died on 9 November 1911 in Florence, Tuscany, Italy.
- The son of a leading figure in 19th-century Madison, WI, David Graham Phillips first made his mark as a reporter in Cincinnati and New York (which included an editorial position at The New York World). Unjustly neglected today, Phillips achieved considerable fame as a muckraker, his most notable piece being "The Treason of the Senate", a series of articles exposing political corruption in the U.S. Senate. The articles, which ran in Cosmopolitan magazine between March and November of 1906, are considered to have contributed to the passing of the Seventeenth Amendment, which provided for the direct election of senators. Phillips' beliefs, political and otherwise, frequently served to mold the lots of his novels. His first novel, "The Great God Success" (1901), deals with a respected and influential newspaperman who sells out to coal interests. A remarkably prolific writer, Phillips produced 25 volumes of fiction in the nine years before being shot while strolling outside Gramercy Park. His murderer, a troubled man who accused Phillips of attacking him in his fiction, committed suicide at the scene. Phillips' longest work, "Susan Lenox: Her Fall and Rise" (1917), is the story of a young woman's descent into and subsequent escape from prostitution. The novel's subject matter prevented publication during his lifetime.
- People's recollections of Carrie Nation range from a female evangelical prophetess, to raving lunatic. Carry Amelia Moore was born into a family that operated a sharecropping plantation, that was in central Kentucky, on November 25, 1846. As a young woman she was unusually tall and not very pretty. She married a young man who, she discovered, was a free mason, a smoker, and an alcoholic. He left her at the age of twenty-one, and from then on she vowed to fight the demon liquor that had taken her man from her. She re-married, with several other women in her community, helped to form the Wormen's Christian Temperance Union, which is still in existence today. Yet Nation now took her crusade a step further, beginning a campaign of "hatchetation". Over the course of ten years, she led groups of women into saloons, wielding an ax, and smashed each place to bits. She made headlines all over the country, and was even the subject of at least four short films, where she was often portrayed in a comic light, by a male actor in women's clothes. Her fame soon got the better of her and she soon drifted into obscurity. She died in a mental health facility on Friday, June 9th, 1911, never living to see the result of her cause: the 18th Ammendment. Several years after the enactment of Prohibition, it was reported that an illegal liquor still has been discovered, on the grounds of Carry Nation's birthplace.
- In 1860 Antoine Lumière left his hometown in the Haute-Saône to set up a photography business in Besançon. His first son, Auguste was born in 1862, and the second, Louis, arrived two years later. In 1870 Antoine moved to Lyons with his family and opened a new workshop. Over the next 10 years he gradually built up an industrial manufacturing plant for photographic plates. The factory was taken over by Auguste and Louis in 1893. By 1894, when Edison's kinetoscope arrive on the scene in France, the Lumière Company, with a capital of 3 million francs, already had a work force of 300 people and was producing 15 million photographic plates a year.
- William Mollison was born on 27 October 1859 in Broughty Ferry, Forfarshire, Scotland, UK. He was an actor, known for King John (1899). He was married to Evelyn McNay. He died on 19 December 1911 in Broughty Ferry, Fofarshire, Scotland, UK.
- Writer
- Soundtrack
Alexandros Papadiamantis was born on 3 March 1851 in Skiathos, Greece. He was a writer, known for The Immigrant (1965), The Murderess (1974) and Shores of Twilight (1998). He died on 3 January 1911 in Skiathos, Greece.- Emilio Salgari was born on 21 August 1862 in Verona, Austrian Empire [now Verona, Veneto, Italy]. He was a writer, known for Mystery of the Black Jungle (1954), Carthage in Flames (1960) and El corsario negro (1944). He was married to Ida Peruzzi. He died on 25 April 1911 in Turin, Piedmont, Italy.
- Verner Clarges, born in Bath, Somerset in 1846, began on stage in England then America from the 1870's. fine British bald gentleman who starred and supported in many American drama films under the direction of D.W. Griffith at the Biograph Film Company from 1909, the first was 'Was Justice Served? starring James Kirkwood and Gladys Egan, he died before the release of his last film 'The Punishment' starring Blanche Sweet
- Lidia Balogh was born in 1870. She died on 17 May 1911 in Budapest, Austria-Hungary.
- James Bland was an African-American musician and composer who wrote many songs about the American South for use in minstrel shows. His most famous was Carry Me Back to Old Virginny (1878), which became the official State Song of Virginia, being retired in 1997 due to racial controversies. Bland was born in Flushing, New York on October 22, 1854, one of eight children to educated free parents. His father bought him an eight-dollar banjo and Bland was soon performing professionally by his early teens. He attended Howard University in Washington, D.C., but soon pursued music, inspired by the music of some of the workers on the Howard campus, and joined the all-black Georgia Minstrels in the late 1870's. He soon married fellow Howard student and Virginia native Mamie Friend, and was inspired to write Carry Me Back to Old Virginny after hearing her speak of her homesickness while away at college. Other songs composed by Bland were In the Morning in the Bright Light (1879), In the Evening by the Moonlight (1879), and his second most famous song, Oh! Dem Golden Slippers (1879), known today mostly because it was used in an often-aired Golden Grahams cereal television commercial in the 1970's. In 1881, he moved to London, spending the next twenty years there before returning to the United States. While in London, he performed without blackface and gave command performances for Queen Victoria and the Prince of Wales. Bland was making $10,000 a year at one point but recklessly spent his money. In 1901 he returned penniless to Washington, D.C., and as the popularity of minstrel shows waned, Bland could not find work. He died alone in Philadelphia on May 5, 1911, a victim of tuberculosis. He was buried in an unmarked grave but in 1939 the American Society of Composers, Authors, and Publishers (ASCAP) provided a headstone at the grave site to commemorate his life. He was inducted into the Songwriters Hall of Fame in 1970.
- H. Kyrle Bellew was born on 28 March 1850 in Prescot, Lancashire, England, UK. He was an actor, known for Adventures of Sherlock Holmes (1905), The Great Sword Combat on the Stairs (1902) and A Gentleman of France (1905). He was married to Eugènie Marie Séraphie Le Grand. He died on 2 November 1911 in Salt Lake City, Utah, USA.
- Agnes Günther was born on 21 July 1863 in Stuttgart, Germany. She was a writer, known for Die Heilige und ihr Narr (1928), The Saint and Her Fool (1935) and Die Heilige und ihr Narr (1957). She was married to Rudolf Günther. She died on 16 February 1911 in Marburg an der Lahn, Germany.
- Prins Hans was born on 5 December 1825 in Schloß Gottorp, Schleswig, Germany. He died on 27 May 1911 in Det Gule Palæ, Copenhagen, Denmark.
- Charles Battell Loomis was a humorist, author and lecturer remembered for his satirical take on life in America. He was the son of Charles Battell and Mary Worthington Loomis. Loomis was born in Brooklyn, NY, where his father worked as an insurance agent. As a young man Loomis dropped out of the Polytechnical Institute of Brooklyn (now known as Polytechnic University) to try his hand at business. After twelve years of living off a clerk's salary and now supporting a young wife, the former Mary Fullerton, also of Brooklyn, Loomis would find success submitting short stories to national publications of the day. A list of his more popular books and short stories would include "Just Rhymes" (1899), "The Four-Masted Catboat: and Other Truthful Tales" (1899), "Yankee Enchantments" (1900), "A Partnership in Magic" (1903), "At the Sign of the Cock and Hen" (1908) and "Bath in an English Tub" (1909). Charles Battell Loomis died in Hartford, Connecticut of stomach cancer on 23 September, 1911. He was survived by his wife, two sons and a daughter. Both his sons went on to be writers. Charles Jr. wrote under the name Battell Loomis and his younger son, Alfred, became well known as an expert on boating. He wrote under the nom de plum "Spun Yarn" a monthly article in Yachting magazine titled "Under the Lee". His daughter Edith Worthington Loomis married G. Lamonte Hammann, son of the president and treasurer of the Progressive Manufacturing Company in Torrington, CT.
- Otojirô Kawakami was born on 8 February 1864 in Fukuoka, Japan. He was an actor, known for Kusunoki masasige sakura eki (1911) and Wayo secchu kekkonshiki (1908). He was married to Sada Yacco . He died on 11 November 1911 in Osaka, Japan.
- Cinematographer
- Director
- Camera and Electrical Department
Arthur Marvin was born in May 1859 in Warners, New York, USA. He was a cinematographer and director, known for Sherlock Holmes Baffled (1900), A Jersey Skeeter (1900) and The Troublesome Fly (1900). He was married to Caroline Schnatterer. He died on 18 January 1911 in Los Angeles, California, USA.- Pyotr Arkadyevich Stolypin was born on 14 April 1862 in Dresden, Kingdom of Saxony [now Saxony, Germany]. He died on 18 September 1911 in Kiev, Russian Empire [now Ukraine].
- Writer
- Soundtrack
Paul Lafargue was born on 15 January 1842 in Santiago, Cuba. Paul was a writer, known for Coco Before Chanel (2009) and The Sale of an Appetite (1928). Paul was married to Laura Marx. Paul died on 26 November 1911 in Draveil, Île de France, France.- Friedrich Spielhagen was born on 24 February 1829 in Magdeburg, Kingdom of Prussia [now Germany]. He was a writer, known for Problematische Naturen (1915). He was married to Therese Wittich. He died on 25 February 1911 in Berlin, Germany.
- Pieter Cronje was born on 4 October 1836 in Colesberg, Cape Colony [now South Africa]. He was married to Hester Cronje. He died on 4 February 1911 in Potchefstroom, Transvaal, South Africa.
- Wilhelm Jensen was born on 15 February 1837 in Heiligenhafen, Holstein, Germany. He was a writer, known for Gradiva (1970) and It's Gradiva Who Is Calling You (2006). He was married to Marie Brühl. He died on 24 November 1911 in Munich, Germany.