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MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
Paterson Erika Phd 1997.Pdf
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road. Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Ordering Chaos: The Canadian Fringe Theatre Phenomenon by Erika Paterson BJ.A., University of Victoria, 1989 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of Theatre We accept this dissertation as conforming to the required standard Dr. -
Women in Theatre 2006 Survey
WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female). -
Emerging Producers Development Programme Current and Past Participants
Emerging Producers Development Programme current and past participants 2016 Almudena Adalia Puppetry / physical theatre Almudena loves strongly visual theatre with a passion. She has worked with The Lion King, Blind Summit, Little Soldier, Arcola Theatre, Dotted Line Theatre and Told by an Idiot and produced and directed puppetry for the Little Angel Theatre. Bethan Highgate-Betts Multidiscipline Bethan is a freelance producer and maker from the South West. Since graduating from Falmouth University in 2013 she has forged a successful creative career and worked with many talented and inspiring organisations. She particularly likes to work within the realms of live art and unusual performances. Bethany West Multidiscipline Bethany West is a Bristol-based independent producer who currently works with MAYK, Bristol Old Vic Ferment, Still House and Propolis Theatre. She is particularly interested in contemporary theatre and dance, live art and site-specific performance, and work with an emphasis on outreach or audience development. Christabel Holmes Multidiscipline Christabel is a freelance theatre producer based in Bristol and London. Working predominantly on fringe and festival projects, she is passionate about the development of new and inventive contemporary work. She has a strong interest in theatre that is socially interrogative but, above all, she loves engaging human stories. Daisy Hale Being dyslexic, Daisy has often relied on visual language as opposed to the written. She is fascinated by the use of languages without borders in theatre, whether that be in a design concept or in physical body language, this is what speaks to her the most. Florent Trioux Dance Florent has been working in administration, production and development for independent companies and cultural organisations such as Cie Olivier Dubois, Centre Chorégraphique National de Roubaix and Cannes Lions Festival of Creativity. -
IDA MARIE TJALVE Born: 17Th Nov
IDA MARIE TJALVE Born: 17th Nov. 1978, Copenhagen, Denmark Address in UK: 8 Chaucer Close, Arnos Grove, London, N11 1AU Phone: 07528 068569 Address in Denmark: Klosterstræde 12, 4.th, DK-1157 Copenhagen K Phone: +45 51 36 66 41 E-mail address: [email protected] COLLABORATIVE PERFORMANCES THE KEY IN THE SEA – second version (in collaboration with Tratincica Slavicek, Thingy Theatre) tabletop puppets and storytelling) - performed at: Skipton Puppet Festival - Sep. 2009 Bornholms Puppet Festival - Sep. 2009, Denmark The Horse + Bamboo Puppet Festival – July, 2009 Greenbelt festival – Aug. 2008 Buxton Puppet Festival - July 2008 The Bornholms Medieval Centre - July 2008, Denmark The Little Angel Theatre –July 2008 and March 2009 Black & White Theatre Festival – winner of the festival main award - May 2008 Imatra, Finland The Bornholms Medieval Centre – July 2007 Teatrotoc –July 2007 puppet theatre and street theatre festival, Prague, Czech Republic FISHING FOR SHADOWS (dir. Rebekah Wild - Wild Theatre) at Bornholms Puppet Festival - Sep. 2009, Denmark THE MAN IN THE MOON (dir Hannah Pantin) rod puppeteer –The Albany Studio Feb. 2009, Central School of Speech and Drama’s Puppet Theatre Festival March 2009 THE CHRISTMAS CAKE (dir. Tinka Slavicek) rod puppeteer performed in primary schools, nurseries – Dec. 2008 London, England THE BELL BOY @ THE HOTEL FROM HELL (dir. Albi Gravener and Vanessa Faye-Stanley) perfomer/shadow puppeteer at the work-in-progress performed at : The Playground – September 2008 London, England VIDEK’S SHIRT (in collaboration with Tratincica Slavicek, Thingy Theatre) tabletop puppetry and storytelling performed at The Polka, March 2008 THE MAGIC OF CHRISTMAS (dir. Abigail Dooley and Kaveh Rahnama) – UV- rod puppets, Birmingham NEC, Dec. -
An Investigation Into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright
An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD Volume 2 223 Practice-As-Research: The 9.21 to Shrub Hill (Devised Production) Playground (Non-Devised Production) and Accompanying Exegesis 224 Chapter Five Exegesis of the Processes of Creating a Devised Script (The 9.21 to Shrub Hill) and Non-Devised Script (Playground) Introduction The preceding chapters have created a framework for the analysis of my own experiences as a writer-deviser. Without this framework, it would be difficult to situate my practice within a theoretical context, since a similar academic discourse, placing the writer-deviser at the heart of the study, does not exist. As highlighted in the Introduction, the central query of this dissertation is how engagement with devising affects a playwright. This is a query with important ramifications for pedagogical practice and the discourses of devising and playwriting in general, but also represents a significant investigation in the development of my own artistic practice. As previously discussed, my methodological approach encompasses both research-led practice, and practice-led research.1 The preceding chapters have informed the development of the two scripts contained within this volume, and the development of the two scripts directed the focus of my research. As with most PaR investigations, the findings resulting from the practice share equal weighting (if not, in the case of some researchers, more) with those discoveries made from traditional, text-based research methodologies. Whilst I explore the ramifications of devising practice on my writing, I am also placing it within the context of the previous chapters’ revelations, finding resonances with the work of other writer-devisers, and testing out the theories presented of both devising and writing in my own work. -
Upbeat Summer 2012
The Magazine for the Royal College of Music I Summer 2012 marks the spot Exploring Exhibition Road RCM Upbeat Magazine - June-Summer 2012.indd 2 13/06/2012 15:49 What’s inside... Welcome to upbeat... Anyone who’s visited the RCM recently can’t have failed to notice the transformation to Exhibition Road. After two years of building works it was officially opened by Boris Johnson Contents in February and marks the beginning of an exciting new chapter for the road and the institutions that line it. 4 In the news The original idea for this cultural heartland grew out of Prince Albert’s vision and the Great Updating you on recent RCM Exhibition of 1851 and in this issue we talk to the Chief Exec of Exhibition Road Cultural activities including the President’s Group Paul Cutts to find out what it means to be part of such an exciting cultural quarter visit and the RCM’s participation today. The RCM has many special relationships with our Exhibition Road neighbours which in the Jubilee celebrations have resulted in countless opportunities for RCM performers and composers. On page 12 we find out about the College’s long standing relationship with theRoyal Albert Hall and 9 The Britten Theatre 25th its latest incarnation as the West London hub. Outgoing SA President Charles Bradley Anniversary News also gives us a glimpse into his working relationship with student bodies at the RCA and The latest events to mark the Imperial College and how that enriches College life. anniversary of this much loved space As usual Upbeat is also packed full with news from around the College, so if you want to find out which RCM professor recently featured in the BBC seriesMaestro at the Opera then read on! 10 All about Exhibition Road Paul Cutts explains what it means We’re always keen to hear from students past and present, so if you have anything you’d like to be part of such an exciting us to feature in the next issue of Upbeat, send your news and pictures to [email protected] cultural quarter by 17 September. -
The Use of Brechtian Devices in Howard Brenton's Hitler
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature THE USE OF BRECHTIAN DEVICES IN HOWARD BRENTON’S HITLER DANCES, MAGNIFICENCE AND THE ROMANS IN BRITAIN Ozan Günay AYGÜN Master’s Thesis Ankara, 2019 THE USE OF BRECHTIAN DEVICES IN HOWARD BRENTON’S HITLER DANCES, MAGNIFICENCE AND THE ROMANS IN BRITAIN Ozan Günay AYGÜN Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature Master’s Thesis Ankara, 2019 In memory of my aunt Zehra Aygün, who always treated us as one of her own. v ACKNOWLEDGEMENTS First and foremost, I would like to express my deepest gratitude to my supervisor, Prof. Dr. A. Deniz Bozer, for her patience, support and invaluable academic guidance. She was always understanding throughout the writing process of this thesis, and she encouraged me in times of stress and guided me with her wisdom. Without her, I would not be able to complete this thesis and I am most grateful and honored to have studied under her supervision. I am also indebted to the head of our department, Prof. Dr. Burçin Erol, for her patient guidance whenever I was unsure of how to proceed with my studies during my time as a student at Hacettepe University. I would also like to extend my gratitude to the distinguished members of the jury, Prof. Dr. Aytül Özüm, Assoc. Prof. Dr. Şebnem Kaya, Assoc. Prof. Dr. Sıla Şenlen Güvenç, Asst. Prof. Dr. İmren Yelmiş and Asst. Prof. Dr. F. Neslihan Ekmekçioğlu for their valuable feedback and critical comments which had an immense effect in the development of this thesis. -
Front Matter
Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information the cambridge companion to david hare David Hare is one of the most important playwrights to have emerged in the UK in the last forty years. This volume examines his stage plays, television plays and cinematic films, and is the first book of its kind to offer such comprehen- sive and up-to-date critical treatment. Contributions from leading academics in the study of modern British theatre sit alongside those from practitioners who have worked closely with Hare throughout his career, including former Director of the National Theatre Sir Richard Eyre. Uniquely, the volume also includes a chapter on Hare’s work as journalist and public speaker; a personal mem- oir by Tony Bicat,ˆ co-founder with Hare of the enormously influential Portable Theatre; and an interview with Hare himself in which he offers a personal ret- rospective of his career as a film maker which is his fullest and clearest account of that work to date. A complete list of books in the series is at the back of this book. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information THE CAMBRIDGE COMPANION TO DAVID HARE EDITED BY RICHARD BOON University of Hull © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85054-4 - The Cambridge Companion to David Hare Edited by Richard Boon Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521615570 C Cambridge University Press 2007 This publication is in copyright. -
Steven Hevey Playwright/Script Writer
Steven Hevey Playwright/Script writer CURRENT KIN - Written treatment for original drama series. Currently under option with Kudos – Karen Wilson and Naomi De Pear. MY WAY – Developing comedy series with Mark Brotherhood for Hat Trick Productions CREDITS Television 2013 WEST END BOYS - Original drama series (co-creator and writer with Dominic Mitchell) under option with Noho films). 2012 BRIGHT FUTURES (LTD) - Original comedy series (co-creator and writer with Dominic Mitchell) under option with HAT TRICK COMEDY (Producer: Mark Talbot). Theatre 2016 KING FOR A DAY Rehearsed reading at Prince of Wales Theatre, October 2016. THE TEST Play commissioned by the Old Vic. Rehearsed reading July 2016. 2015 Selected as one of the Old Vic 12 P45 Full length play selected for workshop and rehearsed reading by the Finborough Theatre for their annual Vibrant Festival. WE KNOW WHERE YOU LIVE Full production as part of the Finborough Theatre’s Summer Season SIRIUS Reading at the Old Vic Theatre as part of their Old Vic New Voices Festival KING FOR A DAY Reading at the Theatre Royal Haymarket 2014 APOPHIS 1 Full length play selected for workshop and rehearsed reading by the Finborough Theatre for their annual Vibrant Festival. Winner of OffWestEnd.com’s Adopt a playwright award 2014 Commissioned by Old Vic New Voices to write a full length play for 2015 season of new work 2013 WE KNOW WHERE YOU LIVE Full length play selected for workshop and rehearsed reading by the Finborough Theatre for their annual Vibrant Festival. AN EDUCATION Presented by Kris Milnes as part of evening of short plays at the Soho Theatre. -
Infinita at the Peacock Theatre CULTURE THEATRE
Infinita at the Peacock Theatre CULTURE THEATRE 2ND FEBRUARY 2016 MICHELLE KEEPENCE “The loss of the face can be the beginning of a great freedom,” says Hago Schüler, director and performer of Infinita, in a recent interview. He goes on to explain the power of masks for both the artist and the spectator in the productions created by the Familie Flöz, and more specifically of Infinita, brought to England as part of 2016’s London International Mime Festival. Infinita’s masked characters are a fascinating spectacle that proves both mesmerising and inexplicably disturbing. Their use of exaggerated movement and hyperbolic gesture quickly dismisses the necessity of speech in the exploration of the most basic of human concepts: life and death. We are presented with characters at the beginning and the end of their lives, through which certain parallels are created, most notably between the physical extremes demonstrated by both babies and the elderly. Their relationships, despite having substantially developed over time, remain fundamentally the same as they move into the final stages of their lives, all of them experiencing love and loss. A series of sketches depicting mournful tragedy in one instance, and clown-esque slapstick comedy in the next, catapult the audience between fits of laughter and the unavoidable urge to cry. The music of the piece is a key tool used to transport us between the two extremes and create contrasting atmospheres, as well as provoking differing interactions between the characters. Interaction with the audience is encouraged, as one scene sees two babies playing with a giant ball that is batted in and out of the crowd, a scene particularly appreciated by the younger members of the audience. -
4 Modern Shakespeare Festivals
UNIVERSIDAD DE MURCIA ESCUELA INTERNACIONAL DE DOCTORADO Festival Shakespeare: Celebrating the Plays on the Stage Festival Shakespeare: Celebrando las Obras en la Escena Dª Isabel Guerrero Llorente 2017 Page intentionally left blank. 2 Agradecimientos / Acknoledgements / Remerciments Estas páginas han sido escritas en lugares muy diversos: la sala becarios en la Universidad de Murcia, la British Library de Londres, el centro de investigación IRLC en Montpellier, los archivos de la National Library of Scotland, la Maison Jean Vilar de Aviñón, la biblioteca del Graduate Center de la City University of New York –justo al pie del Empire State–, mi habitación en Torre Pacheco en casa de mis padres, habitaciones que compartí con Luis en Madrid, Londres y Murcia, trenes con destinos varios, hoteles en Canadá, cafeterías en Harlem, algún retazo corregido en un avión y salas de espera. Ellas son la causa y el fruto de múltiples idas y venidas durante cuatro años, ayudándome a aunar las que son mis tres grandes pasiones: viajar, el estudio y el teatro.1 Si bien los lugares han sido esenciales para definir lo que aquí se recoge, aún más primordial han sido mis compañeros en este viaje, a los que hoy, por fin, toca darles las gracias. Mis primeras gracias son para mi directora de tesis, Clara Calvo. Gracias, Clara, por la confianza depositada en mí estos años. Gracias por propulsar tantos viajes intelectuales. Gracias también a Ángel-Luis Pujante y Vicente Cervera, quienes leyeron una versión preliminar de algunos capítulos y cuyos consejos han sido fundamentales para su mejora. Juanfra Cerdá fue uno de los primeros lectores de la propuesta primigenia y consejero excepcional en todo este proceso.