Jonjo O'neill

Total Page：16

File Type：pdf, Size：1020Kb

VAT No. 993 055 789 JONJO O’NEILL Film Includes: Dragonheart Brude Universal Colin Teague Defiance Lazar Ghm Films Ltd Edward Zwick Fakers Mickey Kleparski & Bee Richard Janes Television includes: The Assets Edward Lee Howard Baltic Film Services (UAB) Various Dr Who McGillop BBC TV Nick Hurran Bad Sugar Lipton Tiger Aspect Ben Palmer The History Of Mr Polly Parsons Granada Tv Gillies Mckinnon I Do Rob Bbc Ed Bye The Year London Blew Up Harry Dugan Bbc Ed Coulthard I Fought The Law Dessie Bbc Belfast Tom Poole Bay College Cookie Bbc Wales Bill Bloomfield Murphy’s Law: Manic Monday Johnny Tiger Aspect Peter Lydon A Touch Of Frost Jeff Meadows Ytv Roger Bamford Charlie’s Angel Malcolm Alomo Audrey Cook Band Of Brothers Joe Dreamworks Mikail Salomon Holby City Kieran Bbc Jim Sheilds Thin Ice Erik Bbc Ian White Extremely Dangerous Passenger Patagonia Films Sally Aprahaim Sunburn Ivan Bbc Dan Zeff Theatre Includes: Talksohw Jonah Royal Court Theatre Caroline Steinbeis Collaborations Various Royal Court Theatre Anthony Neilson The Presindent Has Come To See You Lado Royal Court Theatre Vicky Featherstone The Effect Tristan Royal National Theatre Rupert Goold Richard Iii Richard Iii Rsc Rox Silbert Romeo & Juliet Mercutio Rsc / New York Rupert Goold Rupert Goold The Comedy Of Errors Dromio Of Syracuse Rsc / New York Paul Hunter Paul Hunter As You Like It Orlando Rsc / New York Michael Boyd Michael Boyd Silence Peter Rsc David Farr Morte D’arthur Lancelot Rsc Gregory Doran The Drunks Ilya Rsc Anthony Neilson King Lear Edmund Liverpool Everyman / Young Vic Rupert Goold Someone Else’s Shoes Jed Soho Theatre Steve Unwin Faustus Dinos Chapman Hampstead Theatre Rupert Goold A New Way To Please You Simonides Rsc Sean Holmes Believe What You Will King Prusias Rsc Josie Rourke Sejanus: His Fall Nero Rsc Gregory Doran Jonjo O’Neill 1 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. 7268133 Members of the PMA Speaking Like Magpies Catesby Rsc Rupert Goold Head / Case Jimmy Rsc Caroline Hunt Paradise Lost Christ Theatre Royal, Northampton Rupert Goold A View From The Bridge Rodolpho Birmingham Rep Toby Frow Murmuring Judges Gerard Birmingham Rep. Rachel Kavenagh Observe The Sons Of Ulster Moore Pleasance James Phillips Dolly West’s Kitchen Justin Leicester Haymarket Paul Kerryson Half A Sixpence Kipps West Yorkshire Playhouse Jude Kelly Translations Doalty Watford Palace / Tour Lawrence Till Dick Whittington Dick Whitington Sadler’s Wells Gillian Lynne Of Thee I Sing Jenkins Bridewell Theatre Jonathan Best The Frogs Euripides/xanthius Notts Playhouse / Tour Fiona Laird Jonjo Is An RSC associate artist SPECIAL SKILLS: Accents: American-Southern States, Belfast, California, Dublin, Irish RP, Italian, Liverpool, London, New York, Northern Irish, RP, Southern Irish, Standard American Music: Baritone, Guitar Dance: Jazz Dancing, Tap, Other: Football, Swimming, Car Licence, Musical Comedy, Stage Combat Further information also available at www.jonjooneill.com Jonjo O’Neill 2 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. 7268133 Members of the PMA.

Copy Link

Recommended publications

THE EFFECT by Lucy Prebble Directed by Anthony Neilson
PRESS RELEASE – 13 February 2020 Twitter / Facebook / Instagram / Website IMAGES CAN BE DOWNLOADED HERE THE BOULEVARD THEATRE PRESENTS THE EFFECT By Lucy Prebble Directed by Anthony Neilson • CASTING IS TODAY ANNOUNCED FOR THE FIRST LONDON REVIVAL OF LUCY PREBBLE’S THE EFFECT, DIRECTED BY ANTHONY NEILSON • THE CAST WILL BE ERIC KOFI ABREFA, CHRISTINE ENTWISLE, TIM MCMULLAN AND KATE O’FLYNN • THE PLAY RUNS AT THE BOULEVARD THEATRE FROM 19 MARCH UNTIL 30 MAY, WITH PRESS NIGHT ON 25 MARCH • NEW IMAGES CAN BE DOWNLOADED HERE The Boulevard Theatre today announces casting for the first London revival of The Effect, written by award-winning writer Lucy Prebble (A Very Expensive Poison, ENRON, The Sugar Syndrome, Succession and Secret Diary of a Call Girl) and directed by Anthony Neilson (The Tell-Tale Heart, The Prudes and Unreachable). Eric Kofi Abrefa plays Tristan Frey, Christine Entwisle will play Lorna James, Tim McMullan will play Toby and Kate O’Flynn will play Connie Hall. Winner of the Critics’ Circle Award for Best New Play when it opened at the National Theatre in 2012, The Effect places modern medicine under the microscope, examining the fallout from a collision between love and science. Connie and Tristan meet; symptoms develop. Racing hearts. Lost appetites. Erratic emotions. Is this the frenzy of falling in love, or simply side effects from the new anti- depressant drug they're testing? Addiction comes hard and fast. But have the clinicians running the trial lost control? Eric Kofi Abrefa most recently starred in the film Blue Story, directed by Rapman. Other films include Jurassic World and Fury alongside Brad Pitt.
[Show full text]
Sarah Kane's Post-Christian Spirituality in Cleansed
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Winter 2020 Sarah Kane's Post-Christian Spirituality in Cleansed Elba Sanchez Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Performance Studies Commons, Playwriting Commons, and the Theatre History Commons Recommended Citation Sanchez, Elba, "Sarah Kane's Post-Christian Spirituality in Cleansed" (2020). All Master's Theses. 1347. https://digitalcommons.cwu.edu/etd/1347 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. SARAH KANE’S POST-CHRISTIAN SPIRITUALITY IN CLEANSED __________________________________________ A Thesis Presented to The Graduate Faculty Central Washington University __________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts Theatre Studies __________________________________________ by Elba Marie Sanchez Baez March 2020 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the thesis of Elba Marie Sanchez Baez Candidate for the degree of Master of Arts APPROVED FOR THE GRADUATE FACULTY _____________ __________________________________________ Dr. Emily Rollie, Committee Chair _____________ _________________________________________ Christina Barrigan M.F.A _____________ _________________________________________ Dr. Lily Vuong _____________ _________________________________________ Dean of Graduate Studies ii ABSTRACT SARAH KANE’S POST-CHRISTIAN SPIRITUALITY IN CLEANSED by Elba Marie Sanchez Baez March 2020 The existing scholarship on the work of British playwright Sarah Kane mostly focuses on exploring the use of extreme acts of violence in her plays.
[Show full text]
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit „Sarah Kane – die hoffnungslose Romantikerin. Das Wechselspiel von Liebe und Gewalt im Werk von Sarah Kane“ Verfasser Andreas Frießnegg angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Univ. Prof. Dr. habil. Michael Gissenwehrer 2 Inhaltsverzeichnis Danksagung 1. Einleitung 7 2. In-Yer-Face Theatre 11 2.1 Begriffsdefinition 11 2.2 Geschichte & Entwicklung des In-Yer-Face Theatres 13 2.2.1 Die 1990er Jahre 17 2.3 Kennzeichen des In-Yer-Face Theatres 19 2.3.1 Sprache 19 2.3.2 Nacktheit & Sex 19 2.3.3 Gewalt 20 2.3.4 Schock 22 2.4 Bekannteste Vertreter 23 2.4.1 Anthony Neilson 24 2.4.2 Mark Ravenhill 26 3. Sarah Kane 29 3.1 Biografie 30 3.2 Figuren, Sprache und Stil 31 3.3 Einflüsse und Vorbilder 37 3.4 Frühe Werke 39 3.4.1 The Monologues 39 3.4.2 Skin 40 4. Das Wechselspiel von Liebe und Gewalt in Kanes Werk 43 4.1 Sarah und die Liebe 43 5. Blasted 46 5.1 Synopse 47 5.2 Ian & Cate 48 6. Phaedra's Love 54 6.1 Synopse 55 6.2 Phaedra & Hippolytus 56 3 7. Cleansed 62 7.1 Synopse 63 7.2 Rod & Carl 64 8. Crave 71 8.1 Synopse 72 8.2 A 74 9. 4.48 Psychosis 80 9.1 Synopse 81 9.2 Sarah 82 10. Ausblick 87 11. Bibliographie 91 12. Abstracts 97 12.1 Deutsch 97 12.2 English 97 13.
[Show full text]
Satiric Representations of Violence in Martin Mcdonagh's the Beauty
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANNE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş PhD Dissertation Ankara, 2014 SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies PhD Dissertation Ankara, 2014 iii ACKNOWLEDGEMENTS First and foremost, I would like to express my gratitude to my supervisor, Prof. Dr. A. Deniz Bozer for her motivation and patient guidance throughout the writing process of this dissertation. She has always been a “light” to me. This dissertation would not have been possible without her great guidance and support. I am extremely grateful to Prof. Dr. Burçin Erol, Prof. Dr. Belgin Elbir, Assoc. Prof. Dr. Huriye Reis and Asst. Prof. Dr. Şebnem Kaya for all their support and suggestions. I would like to thank Prof. Nicholas Grene, for accepting me to Trinity College, which gave me the opportunity to discuss my dissertation with him, to do research at Trinity College Library and to addend the Synge Summer School. I also would like to thank Patrick Lonergan, the academic director of the School, whose discussions on contemporary Irish drama contributed to my academic development. Moreover, I would like to express my thanks to Assoc. Prof. Dr. Gülşen Sayın, Res. Asst. Nazan Yıldız, Res. Asst. Hakan Yılmaz, Res. Asst.
[Show full text]
Sarah Daniels's Masterpieces and Anthony Neilson's the Censor Luc
Fall 2010 75 Drama and Pornography: Sarah Daniels’s Masterpieces and Anthony Neilson’s The Censor Luc Gilleman There is something awesome about the way that pornography can move our bodies, even when we don’t want it to and even if we don’t approve of the images that make it happen. —Carol J. Clover1 Two Plays about Pornography and Censorship According to British playwright David Hare, drama invites the audience to compare what is said with what is shown, therefore allowing the audience to arrive at an independent judgment: Judgment is at the heart of the theatre. A man steps forward and informs the audience of his intention to lifelong fidelity to his wife, while his hand, even as he speaks, drifts at random to the body of another woman. The most basic dramatic situation you can imagine; the gap between what he says he is and what we see him to be opens up, and in the gap we see something that makes theatre unique; that it exposes the difference between what a man says and what he does.2 As a textual and visual medium, drama is indeed particularly good at exposing lies and illusions. In Hare’s example, the visual trumps the textual, perhaps in accordance with a socialist playwright’s notions of objectivity. After all, seeing is believing. Why is it, then, that playwrights and directors find it hard to determine what the audience sees? Far from offering a neutral space for scientific inquiry where the audience is offered the means of empirical verification, theatre draws attention to the complexity of representation.
[Show full text]
The Republic of Turkey Ankara University Graduate School of Social Sciences Department of Western Languages and Literatures (English Language and Literature)
THE REPUBLIC OF TURKEY ANKARA UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF WESTERN LANGUAGES AND LITERATURES (ENGLISH LANGUAGE AND LITERATURE) SUBJECTIFICATION OF THE LIMINAL OTHER IN CONTEMPORARY BRITISH DRAMA: SARAH KANE’S CLEANSED, ANTHONY NEILSON’S THE WONDERFUL WORLD OF DISSOCIA AND MARINA CARR’S PORTIA COUGHLAN M.A. THESIS Onur KARAKÖSE Ankara -2020 THE REPUBLIC OF TURKEY ANKARA UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF WESTERN LANGUAGES AND LITERATURES (ENGLISH LANGUAGE AND LITERATURE) SUBJECTIFICATION OF THE LIMINAL OTHER IN CONTEMPORARY BRITISH DRAMA: SARAH KANE’S CLEANSED, ANTHONY NEILSON’S THE WONDERFUL WORLD OF DISSOCIA AND MARINA CARR’S PORTIA COUGHLAN M.A. THESIS Onur KARAKÖSE Supervisor Assist. Prof.Dr. Nisa Harika GÜZEL KÖŞKER Ankara -2020 THE REPUBLIC OF TURKEY ANKARA UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES DEPARTMENT OF WESTERN LANGUAGES AND LITERATURES (ENGLISH LANGUAGE AND LITERATURE) SUBJECTIFICATION OF THE LIMINAL OTHER IN CONTEMPORARY BRITISH DRAMA: SARAH KANE’S CLEANSED, ANTHONY NEILSON’S THE WONDERFUL WORLD OF DISSOCIA AND MARINA CARR’S PORTIA COUGHLAN M.A. THESIS Supervisor: Assist. Prof.Dr. Nisa Harika GÜZEL KÖŞKER Examining Committee Members Title, Name and Surname Signature 1- Prof. Dr. Belgin ELBİR ……………………. 2- Assoc. Prof.Dr. Sıla ŞENLEN GÜVENÇ ……………………. 3- Assist. Prof. Dr. Nisa Harika GÜZEL KÖŞKER ……………………. Examination Date: 20.07.2020 TO THE REPUBLIC OF TURKEY ANKARA UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES I hereby declare that in the dissertation “Subjectification Of The Liminal Other In Contemporary British Drama: Sarah Kane’s Cleansed, Anthony Neilson’s The Wonderful World Of Dissocia And Marina Carr’s Portia Coughlan (Ankara – 2020)”, prepared under the supervision of Assist.
[Show full text]
The End: the Apocalyptic in In-Yer-Face Drama a Thesis
THE END: THE APOCALYPTIC IN IN-YER-FACE DRAMA A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY MUSTAFA BAL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF ENGLISH LITERATURE JULY 2009 Approval of the Graduate School of Social Sciences ____________________________ Prof. Dr. Sencer Ayata Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. ____________________________ Prof. Dr. Wolf König Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. ____________________________ Assist. Prof. Dr. Margaret J-M Sönmez Supervisor Examining Committee Members Dr. Deniz Arslan (METU, ELIT) ____________________________ Assist. Prof. Dr. Margaret Sönmez (METU, ELIT) ____________________________ Assist. Prof. Dr. Can Abanazır (Haliç Uni., ACL) ____________________________ Dr. Hasan İnal (AU, ELIT) ____________________________ Dr. Hülya Yıldız (METU, ELIT) ____________________________ I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Mustafa Bal Signature: iii ABSTRACT THE END: THE APOCALYPTIC IN IN-YER-FACE DRAMA Bal, Mustafa Ph.D., English Literature Program Supervisor: Assist. Prof. Dr. Margaret J-M Sönmez July 2009, 236 pages This thesis presents a close analysis of one of the ageless discourses of human life – apocalypse, or the End – within the highly controversial In-Yer-Face drama of the 1990s British stage.
[Show full text]
Universidad Nacional Autónoma De México
UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE FILOSOFÍA Y LETRAS PSICOSIS 4.48 DE SARAH KANE DENTRO DE LA DRAMATURGIA ACTUAL TESIS QUE PARA OBTENER EL GRADO DE LICENCIADO EN LITERATURA DRAMÁTICA Y TEATRO PRESENTA MARTHA HERRERA-LASSO GONZÁLEZ MÉXICO, D.F. OCTUBRE 2009 UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Para Pollo. Por iniciarme en el arte de escuchar. Por dejarme ser tu luz. Por existir en el silencio. Por la paz que dejaste cuando te fuiste. Por ser el amor más puro y el dolor más profundo. Por recordarme que la vida se construye con pasión y que nada es imposible. Y por enseñarme a encontrar lucidez en lugares inesperados. Gracias por regalarme una vida junto a ti. Y para todos aquellos que han decidido dejarnos antes de tiempo. 1 Agradecimientos Quiero agradecer a mi mamá y a mi papá por darme una familia maravillosa. Por enseñarme confianza, respeto y amor sobre todas las cosas. Y por acompañarme incondicionalmente en esta eterna y constante lucha que es la vida.
[Show full text]
Royal Court Theatre Living Newspaper Editions 3 and 4 Writers Announced and Front Page Live Online Monday 29 March 530Pm
PRESS RELEASE Monday 8 March 2021 THE ROYAL COURT THEATRE’S LIVING NEWSPAPER RETURNS LAUNCHING WITH EDITION 3’S FRONT PAGE LIVE ONLINE AT 5.30PM ON MONDAY 29 MARCH 2021 • Writers for Editions 3 and 4 Announced • New Online Format for All Remaining Editions • Edition 4 Released Tuesday 6 April 2021 • Tickets Available to Book for Editions 3 - 6 at 12noon Tuesday 9 March. • Watch the Trailer Here. Photography Isha Shah. Top row (left to right): The Weather Room, The Blank Space, Cartoon of the Week, Agony Aunt. Bottom row (left to right): Subculture Substage, Royal Court-ing, Horoscopes, The Front Page. Click here for full credit list. Living Newspaper, the weekly project led by more than 60 writers and over 200 freelancers, was paused at the end of 2020 following the first two Editions due to the national lockdown. The project will now continue on Monday 29 March 2021, with Edition 3’s Front Page available to watch live, online, at 5.30pm that day and over 15 performances of new work shared throughout the week. The Living Newspaper experience has been re-imagined for the upcoming four editions exclusively for an online audience at home. Each weekly online edition will now be delivered to ticket holders over five days – with new content shared daily including local and global perspectives, longer form pieces, a dating column, a cartoon of the week, a weather room, an agony aunt, horoscopes, and more. Every edition will launch with a live streamed performance of The Front Page at the beginning of the week.
[Show full text]
Pain and Violence in Three Contemporary English Plays
T. C. İstanbul Üniversitesi Sosyal Bilimler Enstitüsü İngiliz Dili ve Edebiyatı Bilim Dalı Yüksek Lisans Tezi Pain and Violence in Three Contemporary English Plays ÖZLEM KARADA Ğ 2501050048 TEZ DANI ŞMANI YRD. DOÇ. DR. CANAN ŞAVKAY İSTANBUL 2008 Pain and Violence in Three Contemporary English Plays Özlem Karada ğ ÖZ Bu çalı şmanın amacı, 20. yüzyılın ikinci yarısında tiyatroda ortaya çıkan Absürd tiyatro, Politik tiyatro ve politik sonrası olarak adlandırılan “in-yer-face” akımlarının önemli örnekleri olan Samuel Beckett’in Endgame , Edward Bond’un Lear ve Anthony Neilson’ın Penetrator ba şlıklı oyunlarında şiddet ve acı ö ğelerinin kullanılı şını incelemektir. Şiddet ve acı üzerine kuramların ve 19. ve 20. yüzyıl dü şünürlerinin görü şlerinin uygulanmasıyla, daha önceki tiyatro akımlarının aksine, 20. yüzyıl tarihi arka planının da etkisiyle, şiddetin sahnede giderek görünür hale geldi ği, oyun ki şilerinin birbirleriyle gergin ve öfke dolu ili şkilerinin oldu ğu ve karakterlerin ba şkalarına acı çektirmekle beraber, acı çeken ki şi konumunda oldukları ortaya çıkmaktadır. iii Pain and Violence in Three Contemporary English Plays Özlem Karada ğ ABSTRACT This study purports to trace the use of violence and pain in Samuel Beckett’s Endgame , Edward Bond’s Lear , and Anthony Neilson’s Penetrator which are the important examples of the movements that arose in the second half of the twentieth century; the Theatre of the Absurd, Political Theatre and “in-yer-face” which is also called post-political theatre. With the application of theories on violence and pain, and under the light of the thoughts of nineteenth and twentieth century thinkers it is revealed that violence, contrary to older movements in drama, with the contribution of the historical background of the twentieth century, gets gradually visible on the stage, the relationships between characters are tense and full of frustration, and as well as making others suffer, the characters themselves are also the ones who suffer.
[Show full text]
The Experiential Theatre of Anthony Neilson and the Wonderful World of Dissocia
SEFAD, 2018 (40): 23-32 e-ISSN: 2458-908X DOI Number: https://dx.doi.org/10.21497/sefad.514492 The Experiential Theatre of Anthony Neilson and The Wonderful World of Dissocia Assist. Prof. Dr. Ahmet Gökhan Biçer Manisa Celal Bayar University Faculty of Science and Letters Department of English Language and Literature [email protected] Abstract Experiential theatre goes beyond the boundaries of dramatic theatre by allowing the audience to experience the event performed on stage and create their own meaning and interpretation of conflicting phenomena, such as security and violence. As one of the important representatives of this type of English theatre in the 1990s, the playwright Anthony Neilson, has attracted substantial critical attention for his trenchant portrayal of violence in all its bareness that inevitably comes out within the practices of daily life. With one of his most important plays to date, The Wonderful World of Dissocia (2004), Neilson portrays experiential theatricality of states of mind while exploring the connection between the internal and external reality of a self. By doing so, Neilson pushes the framework of experiential theatre to a new extreme. This paper scrutinizes his contribution to the practice of experiential theatre within the context of violence and identity politics. Keywords: Anthony Neilson, experiential theatre, violence, identity politics, The Wonderful World of Dissocia. Anthony Neilson’un Deneyimsel Tiyatrosu ve Disosya Harikalar Dünyası Öz Deneyimsel tiyatro, izleyicilere sahnede temsil edilen olayı deneyimlemelerine, onların, güvenlik ve şiddet gibi çatışan olaylarla ilgili kendi anlamlandırma ve yorumlama süreçlerini oluşturmalarına olanak tanıyarak dramatik tiyatronun sınırlarını aşmaktadır. 1990’lı yıllar İngiliz tiyatrosunun bu türdeki önemli temsilcilerinden Anthony Neilson, kaçınılmaz olarak günlük yaşam deneyimlerinden kaynaklanan şiddet olgusunu bütün çıplaklığıyla ve keskin biçimde betimleyişi yönünden önemli eleştiriler almıştır.
[Show full text]
Stuart Mcquarrie
www.hamiltonhodell.co.uk Stuart McQuarrie Talent Representation Telephone Elizabeth Fieldhouse +44 (0) 20 7636 1221 [email protected] Address Joshua Woodford Hamilton Hodell, [email protected] 20 Golden Square London, W1F 9JL, United Kingdom Television Title Role Director Production Company Roxann Dawson, Jennifer FOUNDATION Lunden Skydance / Apple TV + Phang, Rupert Sanders ELIZABETH IS MISSING Peter Aisling Walsh STV/BBC THE CROWN George Thomson Christian Schwochow Netﬂix THE SINGAPORE GRIP Dr Brownley Tom Vaughan Mammoth Screen/ITV WHITE DRAGON Scottish Consul Paul Andrew Williams ITV Starz!/Sony Pictures/Leftbank OUTLANDER Tim Baird Denise Di Novi Pictures ORDEAL BY INNOCENCE Doctor Sandra Goldbacher Mammoth Screen/BBC HARLOTS Doctor China Moo-Young Monumental Pictures/ITV/Hulu Noho Film & TV/La Plante TENNISON Jeremy Dunford David Caﬀrey Global/ITV WE'RE DOOMED! THE DAD'S ARMY STORY Tom Sloan Steve Bendelack BBC DICKENSIAN Reverend Chadband Mark Brozel BBC VIRTUOSO Archbishop Von Trautson Alan Ball HBO BBC/NBC/Neal Street THE HOLLOW CROWN Series 2 Vernon Dominic Cooke Productions BABYLON Series 1 Oliver Philpot Various Channel 4 THE FUSE Eddie Tom Green BBC HUSTLE Series 8 D.S. Rivet Roger Goldby Kudos LIP SERVICE Series 2 Hugh Various Kudos/BBC3 ANY HUMAN HEART Douglas Wallace Michael Samuels Carnival Television THE BILL Walker Indra Bhose Talkback Thames SILENT WITNESS Derek Tripp Thadeus O'Sullivan BBC Department Store Ricky Gervais and EXTRAS CHRISTMAS SPECIAL BBC Manager Stephen Merchant WHISTLEBLOWERS
[Show full text]