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David Hare Plays 1: Slag; Teeth N Smiles; Knuckle; Licking Hitler; Plenty Pdf
FREE DAVID HARE PLAYS 1: SLAG; TEETH N SMILES; KNUCKLE; LICKING HITLER; PLENTY PDF David Hare | 496 pages | 01 Apr 1996 | FABER & FABER | 9780571177417 | English | London, United Kingdom David Hare Plays 1 | Faber & Faber Plenty is a play by David Harefirst performed inabout British post-war disillusion. The inspiration for Plenty came from the fact that 75 per cent of the women engaged in wartime SOE operations divorced in the immediate post-war years; the title is derived from the idea that the post-war era would be a time of "plenty", which proved untrue for most of England. The play premiered Off-Broadway on 21 Octoberat the Public Theaterwhere it ran for 45 performances. Plenty was revived at Chichester inin the Festival Theatre between June. Susan Traherne, a former secret agent, is a woman conflicted by the contrast between her past, exciting triumphs and her present, more ordinary David Hare Plays 1: Slag; Teeth n Smiles; Knuckle; Licking Hitler; Plenty. However, she regrets the mundane nature of her present life, as the increasingly depressed wife of a diplomat whose career she has destroyed. Susan Traherne's story is told in a non-linear chronologyalternating between her wartime and post-wartime lives, illustrating how youthful dreams rarely are realised and how a person's personal life can affect the outside world. Sources: Playbill; [3] Lortel [2]. From Wikipedia, the free encyclopedia. Official London Theatre Guide. Archived from the original on 18 January Retrieved 4 December BBC News. Archived from the original on 27 February Retrieved 5 May CS1 maint: archived copy as title link sheffieldtheatres. -
Volcano House Register Volume 2
Haw VolcanoesNa al Park National Service Park The Volcano House Register, Volume 2 1873-1885 In this volume, on almost every page, there are entries in which a writer merely gives his name, date, times of arrival and departure, and destination. In the other volumes, whenever this occurs, I mention that I omitted such an entry, and give the page number. But because there are so many such entries in this particular volume, it would become tedious both for the transcriber to record and the reader to read every case of such omission; so I am doing it once only, here at the beginning of the document. On the page facing page 1, there is a rough table of contents, listing the page numbers of various maps and signatures of Kalakaua, Louis Pasteur, etc. In addition, there is a poem: Index Some good Some mediocre And much rotten For the Lord's sake Don't write unless You have somethingHawai'i Volcanoes Park To say & can say it. National Park Ser no signature and no date Between 11 and 12 last night Mokuaweoweo started action again. The wind has been from the southward, and the whole day a dense body of smoke has been passing over Kilauea and across Puna, off to sea. Evidently a much greater portion of the crater is in action than in the eruption of August last. Had a heavy thunder shower about dusk with hail and this evening there is considerable lightning. Weather hazy and top of mountain seldom visible. Kilauea quite active but no lava flowing. -
The Plays of David Hare Carol Homden Excerpt More Information
Cambridge University Press 978-0-521-41715-0 - The Plays of David Hare Carol Homden Excerpt More information Introduction: a statement of departure David Hare's production of King Lear opened in the Olivier Theatre on 14 December 1986 just two weeks after the end of the run of Pravda, and while The Bay at Nice and Wrecked Eggs contin- ued on the Cottesloe stage. In the autumn of 1993, Hare's trilogy on British institutions was scheduled to be performed on a single day. Such domination of the National Theatre is unparalleled in its history, and has no equivalent by a contemporary writer at the Royal Shakespeare Company; it amounts to much more than a res- idency of the kind Hare had at the Royal Court (1969-71) or Nottingham (1973) and assigns to him a privileged position within British theatre. Such status is particularly rare for a dramatist of his generation writing from a 'socialist' perspective and yet, in contrast to many of his contemporaries, Hare's work stands without any comprehen- sive study. The omission is partly explained by Hare's own deliber- ately enigmatic position, but he is also a troublesome and often troubled writer who uses his work as a way of resolving internal tensions, making systematic analysis particularly difficult. Any attempt to provide such a survey of a living and still fertile writer will inevitably be superseded, but Hare will continue to raise two eternal literary and historical problems. How do you find a critical distance on a writer whose existing plays are part of an evolving and uncompleted body of work? And since those works are them- selves an examination of the flux of contemporary experience, how do you find a distance on your own life and times? The answer to the first question has traditionally lain in compar- ison, by looking at Hare in relation to his peer group, and it is this approach which is taken by most existing critical work. -
The Judas Kiss Directed by Michael Michetti
Contact: Niki Blumberg, Tim Choy 323-954-7510 [email protected], [email protected] Boston Court Pasadena presents David Hare’s The Judas Kiss Directed by Michael Michetti February 15 – March 24 Press Opening: February 23 2019 Theatre Season Sponsored by the S. Mark Taper Foundation PASADENA, CA (January 17, 2019) — Boston Court Pasadena commences the 2019 theatre season with a rare production of David Hare’s The Judas Kiss (February 15 – March 24), which tells the story of Oscar Wilde’s love for Lord Alfred “Bosie” Douglas – and tracking his downfall as he endures a brutal trial and life in exile. Helmed by Artistic Director Michael Michetti, the play examines a literary icon who continues to hold onto his passionate ideals of love and beauty as his life crumbles around him. Sir David Hare, the British playwright behind Plenty, Skylight, and Stuff Happens creates “an emotionally rich drama illuminated by Hare’s customary insight and humanity.” (The Globe and MaiI). The Judas Kiss features Rob Nagle (Oscar Wilde), Colin Bates (Lord Alfred “Bosie” Douglas), Darius De La Cruz (Robert Ross), Will Dixon (Sandy Moffatt), Matthew Campbell Dowling (Arthur Wellesley), Mara Klein (Phoebe Cane) and Kurt Kanazawa (Galileo Masconi). In spring of 1895, Oscar Wilde was larger than life. His masterpiece, The Importance of Being Earnest, was a hit in the West End and he was the toast of London. Yet by summer he was serving two years in prison for gross indecency. Punished for “the love that dare not speak its name,” Wilde remained devoted to his beloved, Lord Alfred “Bosie” Douglas. -
Study Guide Prepared by Maren Robinson, Dramaturg
By Howard Brenton & David Hare Study Guide Prepared by Maren Robinson, dramaturg Pravda Study Guide Table of Contents Page 3 Political Playwrights Page 4 Newspaper Ownership and Editorship Page 6 The Newspaper, Magazine and Television Holdings of Major Media Corporations Page 9 History of the Soviet Newspaper Pravda Page 10 A Comparison of Time Magazine and Pravda New Stories Page 11 Margaret Thatcher and Thatcherism Page 12 History of the Falkland Islands War Page 15 History of the 1984 Coal Miners’ Strike Page 17 Discussion Questions Page 18 Bibliography Page 19 Internet Resources TimeLine Theatre Company 2 2/05 timelinetheatre.com Democratic Laughter: Political Playwrights Howard Brenton and David Hare “As a joke between ourselves, to keep our spirits up during writing, we said, ‘We’re writing this play to stop people reading newspapers.’” – Howard Brenton on writing Pravda with David Hare “The kind of comedy we tried to write is one, we hope, of democratic laughter. The audience are invited to dissociate themselves from the tiny clique of the ruling class paraded across the stage.” – Howard Brenton on writing Pravda with David Hare Both Howard Brenton and David Hare have, at times, been called “political playwrights.” While the phrase “political playwrights” is loaded with potential positive and negative connotations, there is no doubt that being political in their plays is something both men have never avoided. Both are members of the same generation. Brenton was born in 1942, Hare in 1947. Both began writing for fringe theaters that were interested in satire and social change. However, in 1974, Brenton said, “the fringe has failed . -
Alien Nation: David Hare's History Plays
Alien Nation: David Hare's History Plays A thesis submitted in partial fulfIlment of the requirements for the Degree of Doctor of Philosophy in the University of Canterbury by Stephen Coates University of Canterbury 1989 Abstract This thesis will examine seven plays by David Hare, which together constitute a social history of Britain since the Second World War. Hare's main project is to demonstrate to the members of his audience, most of whom will be "middle class;"· that they are psychologically damaged by the capitalist-patriarchal system. The ideological fictions which have evolved to justify the existing structure of society and to discourage the oppressed from challenging that structure create psychological contradictions which cannot be resolved without radical social change. The middle classes are suffering from alienation no less than the oppressed, even though they may not be aware of it, and the loss of their privileged economic and political positions would be a small price to pay for the greater happiness which would accompany the removal of these contradictions. The history plays are therefore an attempt to create a counter-hegemony, by undermining established myths about the nature of contemporary British society. Chapter 1 provides brief accounts of British political theatre since the 1960s and the origins of Western Marxism. It also introduces the Marxist concepts of alienation, ideology and hegemony (in particular, the theories of Antonio Gramsci and Herbert Marcuse), relating them to the oppression of women as well as the oppression of classes. Chapters 2-8 examine the plays separately in the light of these concepts, with different emphases determined by the content of the plays. -
By Bertolt Brecht Translated by David Hare
By Bertolt Brecht Translated by David Hare Theatre at UBC Presents By Bertolt Brecht Translated by David Hare March 8 to 17, 2007 Frederic Wood Theatre Directed by Camyar Chai Set Design by Rachel E. Stanners Lighting Design by Chris Littman Costume Design by Alison Green & Mavis Lui Original Songs & Sound Design by Patrick Pennefather BERTOLT BRECHT a biography read Das Kapital and befriended Later, in Switzerland where Moth- Karl Korsch, a prominent Commu- er Courage had premiered in 1941, The first child of Friedrich Brecht, nist thinker and theoretician who he resumed his work, setting down chief clerk in a paper factory, and taught him the essential principles his thoughts, observations and Wilhelmine Friederike Sophie of Marxism. theories in A Short Organum for Brezing, the daughter of a civil the Theatre, which influenced the- servant, Eugen Berthold Friedrich The burning of the Reichstag took atremakers all over the world. Brecht was born on February 10, place on February 27, 1933. The 1898 in the medieval city of Augs- next day, Brecht and his family In 1948, having been refused entry burg, Germany. A sickly child with fled to Vienna and later Denmark. into the American zone of occupied a congenital heart condition, he The Nazis revoked his German Germany, Brecht and Weigel went suffered a heart attack at age 12. citizenship in 1935 and burned his to the Soviet sector of Berlin. On He soon recovered and continued books. January 11, 1949, he directed his his Latin, history and humanities own production of Mother Courage education in private school, where Fearing mounting pressure on at the Deutsches Theatre with He- he co-founded and co-edited a mag- Denmark to extradite him to Ger- lene Weigel in the title role. -
GCE AS / a LEVEL the ABSENCE of WAR by DAVID HARE
GCE AS / A LEVEL THE ABSENCE OF WAR By DAVID HARE THE ABSENCE OF WAR DAVID HARE GCE AS \ A LEVEL \\ © WJEC CBAC Ltd 2016 THE ABSENCE OF WAR By DAVID HARE THE ABSENCE OF WAR – DAVID HARE ‘Britain’s leading contemporary playwright’ - The Times ‘The Absence of War’ is the final play in a trilogy looking at the state of Britain in the early 1990s. The three plays examine institutions within Britain and the effects of a Conservative Government on these institutions. The first play ‘Racing Demon’ (1990) examined the Church of England The second play ‘Murmuring Judge’ (1991) examined the judicial system. The third play ‘The Absence of War’ (1993) examined the world of politics. DAVID HARE Hare has been a prolific playwright since the 1960s. He was born in 1947 and grew up in the fervent atmosphere of the 1960s. He has a great interest in films and this has influenced his writing technique. He co-founded Portable Theatre Company, acting, directing and writing plays. Slag was first produced in London in 1970 at the Hampstead Theatre Club. He was Resident Dramatist at the Royal Court Theatre in London in 1970-1 and Resident Dramatist at the Nottingham Playhouse in 1973. He co-founded Joint Stock Theatre Group with David Aukin and Max Stafford-Clark in 1975, and held a US/UK Bicentennial Fellowship in 1977. GCE AS \ A LEVEL \\ © WJEC CBAC Ltd 2016 THE ABSENCE OF WAR By DAVID HARE His plays include: Knuckle (1974), winner of the Mail on Sunday John Llewellyn Rhys Prize Fanshen (1975), based on the book by William Hinton Plenty (1978), a portrait of -
David Hare Plays 1: Slag; Teeth 'N' Smiles; Knuckle; Licking Hitler; Plenty Online
j1Zfo [E-BOOK] David Hare Plays 1: Slag; Teeth 'n' Smiles; Knuckle; Licking Hitler; Plenty Online [j1Zfo.ebook] David Hare Plays 1: Slag; Teeth 'n' Smiles; Knuckle; Licking Hitler; Plenty Pdf Free David Hare *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #1066431 in eBooks 2013-04-04 2013-04-04File Name: B00CCTWVCC | File size: 30.Mb David Hare : David Hare Plays 1: Slag; Teeth 'n' Smiles; Knuckle; Licking Hitler; Plenty before purchasing it in order to gage whether or not it would be worth my time, and all praised David Hare Plays 1: Slag; Teeth 'n' Smiles; Knuckle; Licking Hitler; Plenty: 0 of 0 people found the following review helpful. Ladies in CollegeBy Michele ColmerI loved acting one of his plays out in a mock theatrical casting interview. Such womanly defiant words of delivery. This first volume of David Hare's plays contains his work from the 1970s, including his landmark play of that decade, Plenty, charting the development of 'one of the great post-war British playwrights' (Independent on Sunday).The volume also includes the plays Slag, Teeth 'n' Smiles, Knuckle and Licking Hitler, and is introduced by the author. “An embattled contemporary morality play full of sardonic fun and spiky indignation...What an enviable debut: funny, intelligent and briskly honest.” ?Sunday Times on Slag“The writing is bright with aggression...a flintily intelligent play.” ?The Times on Teeth 'n' Smiles“I beg all lovers of the theatre, and all those concerned for its future, to see Knuckle.” ?Sunday Telegraph on Knuckle“Beginning with a middle-class young woman's unceremonious introduction to specialized war work, it develops with a devastating economy of means into a dramatization of the unarguable logic of deception...elegant, spare and as lucid as crystal.” ?Observer on Licking Hitler“Brilliant...it deepens with every viewing.” ?Mel Gussow, New York Times on PlentyAbout the AuthorDavid Hare was born in Sussex, England in 1947. -
Gender, Nature and Dominance: an Analysis of Interconnections Between Patriarchy and Anthroparchy, Using Examples of Meat and Pornography
GENDER, NATURE AND DOMINANCE: AN ANALYSIS OF INTERCONNECTIONS BETWEEN PATRIARCHY AND ANTHROPARCHY, USING EXAMPLES OF MEAT AND PORNOGRAPHY ERIKA CUDWORTH Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Sociology and Social Policy March 1998 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. CONTENTS INTRODUCTION 1 CHAPTER ONE: ANTHROPARCHY AND HUMAN-ANIMAL RELATIONS IN GREEN THEORY Introduction........................................................................................................................13 Sociology and the Environment......................................................................................... 15 Social ecology...................................................................................................................... 25 Deep ecology.......................................................................................................................30 From anthropocentrism to anthroparchy............................................................................ 35 Eco-feminism.....................................................................................................................36 Anthroparchy and the control of non-human animals......................................................... 40 Conclusion................ ..........................................................................................................44 -
The Representation of the Feminine, Feminist and Musical Subject in Popular Music Culture
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2001 The eprr esentation of the feminine, feminist and musical subject in popular music culture Emma Mayhew University of Wollongong Recommended Citation Mayhew, Emma, The er presentation of the feminine, feminist and musical subject in popular music culture, Doctor of Philosophy thesis, Faculty of Arts, University of Wollongong, 2001. http://ro.uow.edu.au/theses/1743 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] THE REPRESENTATION OF THE FEMININE, FEMINIST AND MUSICAL SUBJECT IN POPULAR MUSIC CULTURE A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy from UNIVERSITY OF WOLLONONG By EMMA MAYEW B.A. (Hons) ARTS FACULTY 2001 CERTIFICATION I, Emma Mayhew, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy, at the University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Emma Mayhew 18 August 2001 CHAPTER TWO FEMINIST POSTSTRUCTURALISM, THE POPULAR MUSICAL TEXT AND THE AUDIENCE - THEORETICAL DEBATES 58 Introduction 58 General Concepts and Debates 58 Discourse, Power and Agency 62 Patriarchy and Power 72 Theorising Music as Social Text 74 Musical Discourses -
Feminism in the Philosophy of Language
This paper is copyright Cambridge University Press It is published as a chapter in “The Cambridge Companion to Feminism in Philosophy” edited by M Fricker and J Hornsby. ISBN 0 674 01295 X Feminism in Philosophy of Language: Communicative Speech Acts Jennifer Hornsby Some philosophical work about language and its use has been inspired by feminist agenda, some by malestream philosophical agenda.1 Reading work in these two areas—in feminist-philosophy of language and in philosophy of language, as I shall call them—one easily gets the impression that they are totally separate enterprises. Here I hope to show that the impression is partly due to habits of thought that pervade much analytical philosophy and have done damage in philosophy of language. My claim will be that an idea of communicative speech acts belongs in philosophy of language (§2). I think that the absence of such an idea from malestream accounts of linguistic meaning might be explained by ways of thinking which are arguably characteristically masculine (§3). Once communicative speech acts are in place, various feminist (and other political) themes can be explored (§4). 1. Feminist-Philosophy of Language and Philosophy of Language Language’s relation to gender was at the centre of discussions from the beginning of feminism’s second wave.2 Dale Spender, in a path-breaking book, claimed that ‘males, as the dominant group, have produced language, thought and reality’.2a Some feminists refused to share Spender’s pessimism, and questioned whether language could be the powerful controlling influence that Spender represented.2b But a view of language as a vehicle for the perpetuation of women’s subordination was prevalent in the 1980s, even if it was often based upon less radical claims than Spender’s.