NEWSLETTER No. 55 August 28Th , 2003
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April 2020 Thespring.Co.Uk Great Experiences for Everyone
What’s On January – April 2020 Great experiences for everyone thespring.co.uk Contents We are open 04 Event Cinema The Spring will re-open after Christmas 06 Live Events on Wednesday 15 January 2020. Monday – Friday: 30 Films 10am – 5pm or later when there is an 34 Workshops evening performance. Saturday: 38 Heritage & Exhibitions 10am – 4pm and one hour before an 41 Useful Information evening performance. 42 Diary We are also open on some Sundays and Bank Holidays for specific performances, opening one hour before the start of a show, but please check Key in advance. Film/Event Cinema Our bar opens 45 minutes before the start of an evening performance, or one hour in advance Workshops when evening menu orders have been placed in Heritage & Exhibitions advance. Please see page 29 for details. Family Our supporters make our work possible! Comedy We want to send a huge thank you to our supporters, who make our work possible. Theatre Literature Patrons Our Patrons make a significant contribution and Music support our contemporary theatre programme to make sure we can continue to bring the best performances to you. Thank you to our Patrons: Professor Sue Harper Roger and Tina Harrison Nick and Barbara Haward Gladys West David Willetts and Sarah Butterfield Anonymous Find out more about becoming a Patron at thespring.co.uk/support-us/become-a-patron or contact Sophie Fullerlove, Director on [email protected] Members Our Members are very special friends of The Spring. Membership starts from just £12 per year or £20 for a joint membership. -
Here's a House
HERE’S A HOUSE A Celebration of Play School Reference Section Paul R. Jackson Kaleidoscope Publishing Here’s A House - A Celebration of Play School Copyright © 2010, 2011 Paul R. Jackson The right of Paul R. Jackson to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Here’s A House cover: Yellow Play School logo and house designed by Hilary Hayton. Orange Play School house designed by Laurence Henry. The author and publishers would like to thank Hilary Hayton and Laurence Henry for allowing the use of their classic designs on this series of books. First published as a download in Great Britain in 2011 by Kaleidoscope Publishing 93 Old Park Road Dudley West Midlands dy1 3ne All rights reserved. Apart from any use permitted under UK copyright law, this publication may only be reproduced, stored or transmitted, in any form, or by any means, with prior permission in writing of the publishers or, in the case of reprographic production, in accordance with the terms of licenses issued by the Copyright Licensing Agency. ISBN-13 978-1-900203-43-2 “A few bracing statistics...” Barry Took, fifteenth anniversary programme “25 Minutes Peace”, April 1979. Here’s A House - A Celebration of Play School 4 reference section CONTENTS Presenters with the Greatest Number of Appearances ............................................................................................................. 9 Play School Presenters – Series One .............................................................................................................................................11 -
Short Time Space the Gallery of Photography In
Short Time Space The Gallery of Photography in Dublin is designed like a camera. Its large picture win - dow on the first floor, above the entrance foyer, opens to a spacious inner chamber. The width of this aperture, however, resembles less the keyhole function of the tradi - tional lens, more the image screen on the back of todayʼs digital cameras. Old tech - nology gives way to new forms of visualising and recording what the camera sees. Indeed the slight delay in capturing the digital image, as the pixel grid adjusts minutely to the light conditions once the shutter is pressed, coincidentally introduces the element of time so central to Sigune Hamannʼs art. Duration, the passing of time in the fixing of the image and the passing of still more time in the perception and rec - ollection of the original event is flagged by the length of the photographic montage she has placed within the galleryʼs picture window. Simultaneously visible from inside and outside the space, it reveals the mechanics of how cameras record images. It also introduces the element of performance that runs through her work and invites an active response from the visitor, breaking down the separate spaces occupied by the work and its viewers. In Hamannʼs early collaborations working with composers and dancers, her designs framed and supported the dramaturgy originated by and with others. More recently, the separation of the performersʼ space from the audience at the edge of the stage or by the proscenium arch has yielded to the artistʼs engage - ment with art made directly in public spaces, often with the artist herself undertaking actions that define the work as something unfolding, something to be perceived over time in the space we all occupy. -
Filmography V6.Indd
a filmography Foreword by The Irish Film Institute For over 60 years, the Irish Film Institute has been dedicated to the promotion of film culture in Ireland and therefore is proud to present this filmography of Samuel Beckett’s work. Beckett remains one of Ireland’s most important and influential artists and Samuel Beckett – A Filmography provides a snapshot of the worldwide reach and enduring nature of his creativity. As part of the Beckett centenary celebrations held in April 2006, the Irish Film Institute organised a diverse programme of films relating to the work of Beckett, including a tour of the line-up to cinemas around the country. Prior to this, the Irish Film Institute provided the unique opportunity to view all 19 films in the ‘Beckett on Film’ series by screening the entire selection in February 2001. This filmography provides the perfect accompaniment to these previous programmes and it illustrates that Beckett’s work will continue to be adapted for film and television worldwide for years to come. Photograph by Richard Avedon Samuel Beckett – A Filmography was made possible though the kind support of the Department of Arts, Sport and Tourism and the Beckett Centenary Council and Festival Committee. Mark Mulqueen Director, The Irish Film Institute An Introduction Compiling a filmography of Beckett’s work is both a challenging and daunting prospect. It was important, from the outset, to set some parameters for this filmography. Therefore, to this end, I decided to focus on the key area of direct adaptations of Beckett’s work filmed for cinema or television. -
Radiotimes-July1967.Pdf
msmm THE POST Up-to-the-Minute Comment IT is good to know that Twenty. Four Hours is to have regular viewing time. We shall know when to brew the coffee and to settle down, as with Panorama, to up-to- the-minute comment on current affairs. Both programmes do a magnifi- cent job of work, whisking us to all parts of the world and bringing to the studio, at what often seems like a moment's notice, speakers of all shades of opinion to be inter- viewed without fear or favour. A Memorable Occasion One admires the grasp which MANYthanks for the excellent and members of the team have of their timely relay of Die Frau ohne subjects, sombre or gay, and the Schatten from Covent Garden, and impartial, objective, and determined how strange it seems that this examination of controversial, and opera, which surely contains often delicate, matters: with always Strauss's s most glorious music. a glint of humour in the right should be performed there for the place, as with Cliff Michelmore's first time. urbane and pithy postscripts. Also, the clear synopsis by Alan A word of appreciation, too, for Jefferson helped to illuminate the the reporters who do uncomfort- beauty of the story and therefore able things in uncomfortable places the great beauty of the music. in the best tradition of news ser- An occasion to remember for a Whitstabl*. � vice.-J. Wesley Clark, long time. Clive Anderson, Aughton Park. Another Pet Hate Indian Music REFERRING to correspondence on THE Third Programme recital by the irritating bits of business in TV Subbulakshmi prompts me to write, plays, my pet hate is those typists with thanks, and congratulate the in offices and at home who never BBC on its superb broadcasts of use a backing sheet or take a car- Indian music, which I have been bon copy. -
Krapp's Last Tape in Great Britain
Krapp’s Last Tape in Great Britain: Production History amid Changing Practice Andrew Head As a mainstay of Beckett’s dramatic canon, productions of Krapp’s Last Tape occupy an enduring position in the history of post-war British theatre. Written during the flowering of new English playwriting centred on the Royal Court Theatre and emerging as one of Beckett’s major theatrical successes of the 1950s, the play continues to resonate and is often programmed as part of live events. Whether as part of planned repertory seasons in metropolitan or regional theatres; as part of an ever-burgeoning national festival culture; or when presented on alternative media platforms such as film or television, the play lends itself to differing cultural gatherings that are often quite removed from its theatrical origins. The varied and diverse contexts within which Beckett’s relatively short work for the stage has been performed since its genesis speak as much about the logistical and practical expediencies afforded by the text as they do of the play’s richly lyrical and wistfully autobiographical content. In addition to the play’s extended monologue of regret for an ultimately unfulfilled life, the work offers much in terms of its portability in production and the potential it has for presentation in a wide range of venues and performance contexts. This has led to its life in performance being framed in ways that have shifted according to venue and audience. The play can be regarded simultaneously as both a product of twentieth-century avant-garde performance practice – in which its position within Beckett’s oeuvre cements its status as a significant work in the wider context of twentieth-century drama – as well as an example of innovative civic arts provision for local and provincial audiences. -
Interview with Barry Craine
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Barry Craine – interview transcript Interviewer: Sue Barbour 29 April 2009 SummaryVariety artiste, Comedian. American theatre; band calls; The Bathroom; Collins' Music Hall, Islington Green; comedy routines; costume; digs; Fred Karno's Army; Tony Hancock; North-East Clubs; The Three Hats; touring; variety billing; Max Wall. SB: This is Sue Barbour from the University of Sheffield interviewing Barry Crane who is… an Equity member, fully paid up, and a performer BC: Life member! SB: Life member? Well, that’s even better! And first of all, I just want to check with you, Barry, that it’s OK for me to… for this interview to be used for the British Library Theatre Project and for future generations to access information about what it was like to appear in Variety? BC: Yes. Fully agreed. SB: Good. First of all, can I just ask you how you came to be in show business… whether you had any family involved with it at all or… How did it start? BC: Yes, my mother was in show business. She did an act called The Three Hats. As far as I can remember her sister was part of the act – I don’t know who the third one was – and they used to bring me up out of the audience as a naughty little schoolboy. They used to do a lot of juggling and knock-about. SB: Oh. BC: But I used to come and just interfere with the act, which at the time was a very popular style of working… Due, a lot, to Fred Karno, who had this show called Fred Karno’s Speechless Comedians which, as it says, is just comedians that were totally visual and this was a visual… I used to talk quite a bit. -
Février 2018 Luxembourg City Film Festival Terry Gilliam John
02 Luxembourg City Film Festival Terry Gilliam John Cassavetes Ciné-conférence « Film & Politik » Février 2018 Informations pratiques 3 Sommaire Tableau synoptique 4 Cinéma 17, place du Théâtre Abonnement gratuit L-2613 Luxembourg au programme mensuel Luxembourg City Film Festival 6 Tél. : 4796 2644 Université Populaire du Cinéma 10 Tickets online [email protected] Ciné-conférence « Film & Politik » 12 sur www.cinematheque.lu www.luxembourg-ticket.lu Journée mondiale contre l’excision 14 Le Monde en doc 16 Soirée spéciale « Ciné-débat » 18 Kino mat Häerz 20 Bd. Royal R. Willy Goergen Essential Cinema 22 R. des Bains Côte d’Eich Rétrospective Terry Gilliam 26 R. Beaumont Rétrospective John Cassavetes 34 Weekends@Cinémathèque 40 Cinema Paradiso 48 Baeckerei R. du Fossé R. Aldringen R. L’affiche du mois 55 R. des Capucins des R. Av. de la Porte-Neuve la de Av. Grand-Rue Bd. Royal Bd. Salle de la Cinémathèque Accès par bus : Glossaire P Parking Place du Théâtre Lignes 9, 10, 11, 12, 14, 19, 20 vo version originale non sous-titrée vostf version originale sous-titrée en français Arrêt : Badanstalt (rue des Bains) vostang version originale sous-titrée en anglais Place d’Arme R. du Curé vostf+all version originale sous-titrée Caisse Vente des billets ½ heure Administration / en français et en allemand vf version française avant les séances Archives / Bibliothèque vl version luxembourgeoise 10, rue Eugène Ruppert La Cinémathèque de la Ville de Luxembourg est un € musée du cinéma ayant pour mission la préservation vofr version originale française Plein Tarif Billet : 3,70 vall version allemande L-2453 Luxembourg et valorisation du patrimoine cinématographique inter- Carnet 10 billets : 25,00 € vostall version originale sous-titrée en allemand R. -
The Rise, Fall and Rise of the Anglo-American Comic Eccentric Dancer Wilkie, I
Funny walking : the rise, fall and rise of the Anglo-American comic eccentric dancer Wilkie, I http://dx.doi.org/10.1080/2040610X.2017.1343971 Title Funny walking : the rise, fall and rise of the Anglo-American comic eccentric dancer Authors Wilkie, I Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/42954/ Published Date 2017 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Funny Walking: The Rise, Fall and Rise of the Anglo-American Comic Eccentric Dancer Abstract This article considers the (seemingly) lost art of comic eccentric dance. As a form of popular entertainment, comic eccentric dancing is generally assumed to be an early to mid-twenti- eth century phenomenon that emerged in the UK from the late Victorian Music Hall period and remained unchanged throughout the Variety period, only to disappear in the era of new mass media’s lack of appetite for ‘turns’ and speciality acts. However, is comic eccentric dance really a lost performance form? Can incarnations of the form really be considered as obsolete and archaic as such routines as, say, mesmerism, blackface or budgerigar acts? This article will attempt to reposition comic eccentric dance as a metamorphic form that still, surprisingly, exists, and is to be found with reasonable ubiquity, in renewed incarna- tions within twenty first century media. -
Journal 128.Qxd 04/10/00 09:32 Page 1
Journal 128 Cover.qxd 04/10/00 09:37 Page 1 The Delius Society JOURNAL Autumn 2000 Number 128 Journal 128.qxd 04/10/00 09:32 Page 1 The Delius Society Journal Autumn 2000, Number 128 The Delius Society (Registered Charity No. 298662) Full Membership and Institutions £20 per year UK students £10 per year USA and Canada US$38 per year Africa, Australasia and Far East £23 per year President Felix Aprahamian Vice Presidents Roland Gibson MSc, PhD (Founder Member) Lionel Carley BA, PhD Meredith Davies CBE Sir Andrew Davis CBE Vernon Handley MA, FRCM, D Univ (Surrey) Richard Hickox FRCO (CHM) Lyndon Jenkins Tasmin Little FGSM, ARCM (Hons), Hon D.Litt, DipGSM Sir Charles Mackerras CBE Rodney Meadows Robert Threlfall Chairman Roger J. Buckley Treasurer and Membership Secretary Stewart Winstanley Windmill Ridge, 82 Highgate Road, Walsall, WS1 3JA Tel: 01922 633115 Email: [email protected] Secretary Squadron Leader Anthony Lindsey 1 The Pound, Aldwick Village, West Sussex PO21 3SR Tel: 01243 824964 Journal 128.qxd 04/10/00 09:32 Page 2 Editor Jane Armour-Chélu ************************************************************* **************************** ******************************* Website: http://www.delius.org.uk Email: [email protected] ISSN-0306-0373 Journal 128.qxd 04/10/00 09:32 Page 3 CONTENTS Chairman’s Message........................................................................................... 5 Editorial................................................................................................................ 7 ORIGINAL -
LOCANTRO Theatre
Tony Locantro Programmes – Theatre MSS 792 T3743.L Theatre Date Performance Details Albery Theatre 1997 Pygmalion Bernard Shaw Dir: Ray Cooney Roy Marsden, Carli Norris, Michael Elphick 2004 Endgame Samuel Beckett Dir: Matthew Warchus Michael Gambon, Lee Evans, Liz Smith, Geoffrey Hutchins Suddenly Last Summer Tennessee Williams Dir: Michael Grandage Diana Rigg, Victoria Hamilton 2006 Blackbird Dir: Peter Stein Roger Allam, Jodhi May Theatre Date Performance Details Aldwych Theatre 1966 Belcher’s Luck by David Mercer Dir: David Jones Helen Fraser, Sebastian Shaw, John Hurt Royal Shakespeare Company 1964 (The) Birds by Aristophanes Dir: Karolos Koun Greek Art Theatre Company 1983 Charley’s Aunt by Brandon Thomas Dir: Peter James & Peter Wilson Griff Rhys Jones, Maxine Audley, Bernard Bresslaw 1961(?) Comedy of Errors by W. Shakespeare Christmas Season R.S.C. Diana Rigg 1966 Compagna dei Giovani World Theatre Season Rules of the Game & Six Characters in Search of an Author by Luigi Pirandello Dir: Giorgio de Lullo (in Italian) 1964-67 Royal Shakespeare Company World Theatre Season Brochures 1964-69 Royal Shakespeare Company Repertoire Brochures 1964 Royal Shakespeare Theatre Club Repertoire Brochure Theatre Date Performance Details Ambassadors 1960 (The) Mousetrap Agatha Christie Dir: Peter Saunders Anthony Oliver, David Aylmer 1983 Theatre of Comedy Company Repertoire Brochure (including the Shaftesbury Theatre) Theatre Date Performance Details Alexandra – Undated (The) Platinum Cat Birmingham Roger Longrigg Dir: Beverley Cross Kenneth -
Macdowell Colony Doreen Carwithen Teresa Carreno Ethel Smyth Ruth Gipps Maud Powell Dorothy Gow Society of Women Musicians
The Maud Powell SignatureSignature Women in Music The March of the Women Marion Bauer Amy Beach Jenny Lind The MacDowell Colony Doreen Carwithen Teresa Carreno Ethel Smyth Ruth Gipps Maud Powell Dorothy Gow Society of Women Musicians Premiere Online Issue ~ June 2008 2 The Maud Powell Signature, Women in Music, June 2008 The Maud Powell Signature, Women in Music The March of the Women June 2008, Vol. II, No. 2 Premiere online issue Contents From the desk of . Daryle Gardner-Bonneau, Sigma Alpha Iota …………………………………………... 5 Editorial—The March of the Women ……………………………………………………………………………… 7 Jenny Lind, The Swedish Nightingale by Leslie Holmes ……………………………………………………….. 11 Women with a Cause, The Creation of the MacDowell Colony by Robin Rausch ………………………….. 21 Marion Bauer, From the Wild West to New York Modernism by Susan Pickett ……………………………... 31 Graveyard Stories by Susan Pickett …………………………………………………………………….. 47 The Society of Women Musicians, A Major Step Forward …………………………………………………… 49 in the “March of the Women” by Pamela Blevins Doreen Carwithen, Breaking Down Barriers by Andrew Palmer ………………………………………………. 57 The Children’s Corner ……………………………………………………………………………………………... 69 Amy Beach, “Stealing from the Birds” and other adventures in music by Marie Harris Cameos of More Women in Music ………………………………………………………………………………. 81 Teresa Carreño by Pamela Blevins Maud Powell by Karen Shaffer Dorothy Gow by John France Ethel Smyth by Pamela Blevins The Learning Center ……………………………………………………………………………………………….. 93 Brighter Women Through Music by Madeline Frank