辛西娅·尼克松 — 演员 (53)
智趣 [演出] 豆瓣
Wit
类型:
Theater
编剧:
Margaret Edson
The action of the play takes place during the final hours of Dr Vivian Bearing, a university professor of English, dying of ovarian cancer. She recalls the initial diagnosis of Stage IV metastatic ovarian cancer from her oncologist, Dr Harvey Kelekian. Dr Kelekian then proposes an experimental chemotherapeutic treatment regimen consisting of eight rounds at full dosage. Vivian agrees to the treatment.
Over the course of the play, Vivian reflects on her life through the intricacies of the English language, especially the use of wit in the metaphysical poetry of John Donne. Throughout the play, she recites Donne's Holy Sonnet X, "Death Be Not Proud," while reflecting upon her condition. (In the revised edition of John Donne's Holy Sonnets, "If Poysonous Mineralls" and "Death Be Not Proud" are sonnets V and VI, respectively.) As a professor, she has a reputation for rigorous teaching methods. She has lived her life alone, is unmarried and without children, her parents are deceased, and she has no emergency contact.
Vivian recalls undergoing tests by various medical technicians and being the subject of grand rounds. She remembers sharing a love of language and books with her father. She flashes back to her experiences as a student of Dr E. M. Ashford, an expert on John Donne. Bearing later finds herself under the care of Dr Jason Posner, an oncology research fellow who has taken her class on John Donne. At the hospital, she recognizes that doctors are interested in her for her research value and, like her, tend to ignore humanity in favor of knowledge. Gradually, she realizes that she would prefer kindness to intellectualism.
Vivian reaches the end stage in extreme pain as Susie Monahan, a nurse at the medical centre, offers Vivian compassion and discusses with her the option of exercising her final option, "do not resuscitate" (DNR), in case of a severe decline in her condition. Vivian decides to mark the DNR option. Dr Ashford, in town for her great-grandson's birthday, visits the hospital after learning of Vivian's cancer. She comforts her and offers to read a Donne sonnet, but Vivian, scarcely conscious, declines. Instead, Ashford reads from Margaret Wise Brown's The Runaway Bunny, which she had bought for her great-grandson.
When Vivian flatlines, Jason tries to resuscitate her, and calls in a medical team to administer CPR. Susie tries to stop him, pointing out the DNR instruction. Jason eventually realizes his mistake and calls for the CPR team to stop. The play ends as Vivian, unclothed after her death, walks from her hospital bed "toward a little light".
Over the course of the play, Vivian reflects on her life through the intricacies of the English language, especially the use of wit in the metaphysical poetry of John Donne. Throughout the play, she recites Donne's Holy Sonnet X, "Death Be Not Proud," while reflecting upon her condition. (In the revised edition of John Donne's Holy Sonnets, "If Poysonous Mineralls" and "Death Be Not Proud" are sonnets V and VI, respectively.) As a professor, she has a reputation for rigorous teaching methods. She has lived her life alone, is unmarried and without children, her parents are deceased, and she has no emergency contact.
Vivian recalls undergoing tests by various medical technicians and being the subject of grand rounds. She remembers sharing a love of language and books with her father. She flashes back to her experiences as a student of Dr E. M. Ashford, an expert on John Donne. Bearing later finds herself under the care of Dr Jason Posner, an oncology research fellow who has taken her class on John Donne. At the hospital, she recognizes that doctors are interested in her for her research value and, like her, tend to ignore humanity in favor of knowledge. Gradually, she realizes that she would prefer kindness to intellectualism.
Vivian reaches the end stage in extreme pain as Susie Monahan, a nurse at the medical centre, offers Vivian compassion and discusses with her the option of exercising her final option, "do not resuscitate" (DNR), in case of a severe decline in her condition. Vivian decides to mark the DNR option. Dr Ashford, in town for her great-grandson's birthday, visits the hospital after learning of Vivian's cancer. She comforts her and offers to read a Donne sonnet, but Vivian, scarcely conscious, declines. Instead, Ashford reads from Margaret Wise Brown's The Runaway Bunny, which she had bought for her great-grandson.
When Vivian flatlines, Jason tries to resuscitate her, and calls in a medical team to administer CPR. Susie tries to stop him, pointing out the DNR instruction. Jason eventually realizes his mistake and calls for the CPR team to stop. The play ends as Vivian, unclothed after her death, walks from her hospital bed "toward a little light".
消失的七年 [演出] 豆瓣
The Seven Year Disappear
类型:
Theater
编剧:
Jordan Seavey
其它标题:
The Seven Year Disappear
剧团:
The New Group
剧院:
The New Group
导演:
Scott Elliott
演员:
Cynthia Nixon
/
Taylor Trensch
Naphtali’s mother, a world-famous performance artist, disappeared suddenly seven years ago. And yet, he sees her everywhere: in the faces of friends, coworkers, the guy he’s flirting with in a dark bar. When his mother returns with few answers and a staggering request, Naphtali is forced to confront what he’s spent years trying to forget.
Love, Lies and Murder (1991) [剧集] TMDB IMDb
Love, Lies and Murder
演员:
克兰西·布朗
/
Sheryl Lee
…
其它标题:
Liebe, Lüge, Mord
When a young homemaker is murdered, the cops find her troubled daughter guilty after she confesses to the crime--but was she really the killer?
LOVE, LIES, AND MURDER is a 1991 American miniseries starring Clancy Brown, Sheryl Lee, Moira Kelly, Tom Bower, John Ashton, and Cynthia Nixon. It is based on the 1985 murder of Linda Bailey Brown. The names were not changed for the film. The miniseries is four hours long and aired on NBC in two parts, the first on February 16, 1991, and the second on February 18, 1991. Lifetime airs the miniseries.
LOVE, LIES, AND MURDER is a 1991 American miniseries starring Clancy Brown, Sheryl Lee, Moira Kelly, Tom Bower, John Ashton, and Cynthia Nixon. It is based on the 1985 murder of Linda Bailey Brown. The names were not changed for the film. The miniseries is four hours long and aired on NBC in two parts, the first on February 16, 1991, and the second on February 18, 1991. Lifetime airs the miniseries.
邻家女孩 (2012) [电影] Min reol TMDB
Girl Most Likely
导演:
Robert Pulcini
/
Shari Springer Berman
演员:
Kristen Wiig
/
Annette Bening
…
其它标题:
Imogène
/
There Is No Place Like Home - Nichts wie weg aus Ocean City
…
克里斯汀·韦格饰演的伊莫金曾经是全家乡的“凤凰女”,学校毕业纪恋册上选出的“最有可能成功的女孩”。然而在纽约成为一名剧作家的她却混得很是潦倒,男友也弃她而去。为了挽回男友,她导演了一场“自杀秀”但没有成功,最终被抓进了警局,不得不搬回新泽西的老家,重新回到母亲的监护之下。她的母亲(安妮特·贝宁饰演)性情古怪,赌博成瘾。回到家之后伊莫金发现,在自己的卧室里面住着一个陌生的男人(达伦·克里斯饰演),而在母亲的床上,同样也躺着一个陌生的男人(马特·狄龙饰演)。经历了这难堪的一切,伊莫金终于明白,她要想把生活重新拉回正轨,必须要学会接受自己的家人并且和过去和解……
镀金时代 第三季 (2025) [剧集] 豆瓣
The Gilded Age Season 3 所属 电视剧集: 镀金时代
8.1 (17 个评分)
导演:
迈克尔·恩格勒
/
莎莉·理查德森-惠特菲尔德
演员:
凯莉·库恩
/
克里斯汀·芭伦斯基
…
美国“镀金时代”是经济和社会发生巨大变革的时期,各类帝国在这一时期建立起来,但任何成功都离不开牺牲。歌剧院之战后,守旧势力被削弱,Russell一家准备好了在社会前列占据一席之地。Bertha将目光投向了一个奖项,这个奖项能把他们一家提升到难以想象的高度,而George冒着倾家荡产的风险,进行了一场能彻底改变铁路行业的赌局,如果这场赌局不会先毁了他的话。街对面,Brook一家陷入混乱,因为Agnes拒绝接受Ada作为女主人的新位置。Peggy遇到了一位来自纽波特的英俊医生,他的家人对她的事业并不是很欣赏。当整个纽约都在匆忙迈向未来时,各位的野心可能会以牺牲自己真正珍视的东西为代价。
最后的心愿 (2005) [电影] 豆瓣
One Last Thing...
导演:
Alex Steyermark
演员:
Michael Angarano
/
Cynthia Nixon
其它标题:
One Last Thing...
一位重病的男孩参加电视节目录制时许下最后的心愿,被协助完成他的疯狂梦想.........
The Women [演出] 豆瓣
类型:
Theater
编剧:
Clare Boothe Luce
剧院:
American Airlines Theatre
导演:
Scott Elliott
演员:
Kristen Johnston
/
Rue McClanahan
/
Cynthia Nixon
/
Jennifer Tilly
/
Mary Louise Wilson
…
Park Avenue society can't stop gossiping about Mary Haines' husband's affair with shop girl Crystal Allen in Clare Boothe Luce's biting look at the cattier side of the fairer sex.
就这样… (欲望都市衍生剧) (2025) [剧集] 豆瓣
And Just Like That... Season 3 所属 电视剧集: 就这样…
导演:
迈克尔·帕特里克·金
演员:
莎拉·杰茜卡·帕克
/
辛西娅·尼克松
…
Max续订《就这样...》第三季。
The Real Thing 2014 Roundabout Revival版 [演出] 豆瓣
所属 演出: The Real Thing
导演:
Sam Gold
Setting: London in 1982
Act I
In the first scene the coldly witty Max correctly accuses his distant and travelling wife, Charlotte, of infidelity. She leaves embarrassed and angry.
The second scene appears to follow directly after the first, but Charlotte's personality has changed completely, and she is now married to a playwright named Henry. Gradually the audience realises that Charlotte is an actress, and the first scene was her performance in a play that Henry, her husband, wrote. She is unhappy with the play, believing that Henry gives short shrift to the female character in order to show off his own wit through the mouth of Max.
Max and his wife Annie drop by for a visit to Charlotte and Henry. Without the benefit of Henry's dialogue, Max turns out to be a likeable but negligible fellow, and Annie is, according to the script, "very much like the woman Charlotte has ceased to be." Annie is a devoted activist on behalf of an imprisoned vandal, Brodie, and Henry mocks her as a sentimental do-gooder, giving offence to Max. But when Annie and Henry are left alone, it's revealed that their fight was also a performance: they are having an affair, and she agrees to meet him later on the pretext of visiting Brodie in prison.
Max discovers the affair, and Annie leaves him to be with Henry. Soon, Henry is reduced to writing television scripts in order to pay alimony to Charlotte. He struggles to write a play about his love for Annie, but finds it difficult to find the right language to express sincere emotion: he is more comfortable with comedy.
Act II
Two years later, Henry's play about Annie remains unwritten. Annie asks him to ghost-write a play by the prisoner Brodie, whom she continues to visit. Brodie's incoherent anarchist politics, anti-intellectualism , and lack of ability for writing are the antithesis of everything Henry values. Annie discounts this in favour of the intention behind the writing. Henry defends the importance of beauty in language and skill in writing using an analogy with a cricket bat: good writing is like hitting a ball with a cricket bat (ie something that has been carefully designed to hit balls in the best manner possible); bad writing is like hitting it with a plank of wood (ie, something that has the same composition as a cricket bat, and bears it some resemblance, but is ultimately random and inferior).
When Annie is cast in a production of 'Tis Pity She's a Whore in Glasgow, she must be away from Henry for some time, and Henry visits Charlotte and their daughter Debbie. The teenage Debbie declares that monogamy is a thing of the past, a form of colonisation. Henry gently cautions the girl against his own vice of making clever phrases for their own sake, but he is shaken by her cynicism nevertheless. For her part, Charlotte breezily admits to multiple affairs during their marriage, and tells him that his affair with Annie only caused trouble because he treated it romantically instead of as a source of fun.
Henry returns home in a frenzy of jealousy and ransacks his and Annie's apartment searching for evidence of infidelity. His confrontation with Annie echoes the scene from the play he wrote that was performed in the first act of The Real Thing , but Annie has more to say than his imaginary wife did. She admits that she is having an affair with her young co-star Billy, but refuses to either give Billy up or leave Henry: both romances have a moral claim on her, and Henry will just have to accept it. With pain, he does.
As if their relationship were not under enough strain, Brodie is released from prison and stops by for a visit. He turns out to be a prize oaf, with all of Henry's arrogance and elitism, but none of the genuine skill or eloquence to back it up. At last, Annie pushes a bowl of dip in his face and throws him out of the house, and peace between her and Henry is restored. The play ends with a phone call from Max, who tells Henry that he has become engaged.
Act I
In the first scene the coldly witty Max correctly accuses his distant and travelling wife, Charlotte, of infidelity. She leaves embarrassed and angry.
The second scene appears to follow directly after the first, but Charlotte's personality has changed completely, and she is now married to a playwright named Henry. Gradually the audience realises that Charlotte is an actress, and the first scene was her performance in a play that Henry, her husband, wrote. She is unhappy with the play, believing that Henry gives short shrift to the female character in order to show off his own wit through the mouth of Max.
Max and his wife Annie drop by for a visit to Charlotte and Henry. Without the benefit of Henry's dialogue, Max turns out to be a likeable but negligible fellow, and Annie is, according to the script, "very much like the woman Charlotte has ceased to be." Annie is a devoted activist on behalf of an imprisoned vandal, Brodie, and Henry mocks her as a sentimental do-gooder, giving offence to Max. But when Annie and Henry are left alone, it's revealed that their fight was also a performance: they are having an affair, and she agrees to meet him later on the pretext of visiting Brodie in prison.
Max discovers the affair, and Annie leaves him to be with Henry. Soon, Henry is reduced to writing television scripts in order to pay alimony to Charlotte. He struggles to write a play about his love for Annie, but finds it difficult to find the right language to express sincere emotion: he is more comfortable with comedy.
Act II
Two years later, Henry's play about Annie remains unwritten. Annie asks him to ghost-write a play by the prisoner Brodie, whom she continues to visit. Brodie's incoherent anarchist politics, anti-intellectualism , and lack of ability for writing are the antithesis of everything Henry values. Annie discounts this in favour of the intention behind the writing. Henry defends the importance of beauty in language and skill in writing using an analogy with a cricket bat: good writing is like hitting a ball with a cricket bat (ie something that has been carefully designed to hit balls in the best manner possible); bad writing is like hitting it with a plank of wood (ie, something that has the same composition as a cricket bat, and bears it some resemblance, but is ultimately random and inferior).
When Annie is cast in a production of 'Tis Pity She's a Whore in Glasgow, she must be away from Henry for some time, and Henry visits Charlotte and their daughter Debbie. The teenage Debbie declares that monogamy is a thing of the past, a form of colonisation. Henry gently cautions the girl against his own vice of making clever phrases for their own sake, but he is shaken by her cynicism nevertheless. For her part, Charlotte breezily admits to multiple affairs during their marriage, and tells him that his affair with Annie only caused trouble because he treated it romantically instead of as a source of fun.
Henry returns home in a frenzy of jealousy and ransacks his and Annie's apartment searching for evidence of infidelity. His confrontation with Annie echoes the scene from the play he wrote that was performed in the first act of The Real Thing , but Annie has more to say than his imaginary wife did. She admits that she is having an affair with her young co-star Billy, but refuses to either give Billy up or leave Henry: both romances have a moral claim on her, and Henry will just have to accept it. With pain, he does.
As if their relationship were not under enough strain, Brodie is released from prison and stops by for a visit. He turns out to be a prize oaf, with all of Henry's arrogance and elitism, but none of the genuine skill or eloquence to back it up. At last, Annie pushes a bowl of dip in his face and throws him out of the house, and peace between her and Henry is restored. The play ends with a phone call from Max, who tells Henry that he has become engaged.