Who's Who in Contemporary World Theatre

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Who’s Who IN CONTEMPORARY WORLD THEATRE WHO’S WHO SERIES Accessible, authoritative and enlightening, these are the definitive biographical guides to a diverse range of subjects drawn from literature and the arts, history and politics, religion and mythology.

Who’s Who in Ancient Egypt Who’s Who in Military History Michael Rice John Keegan and Andrew Wheatcroft

Who’s Who in the Ancient Near East Who’s Who in Modern History Gwendolyn Leick Alan Palmer

Who’s Who in Christianity Who’s Who in Nazi Germany Lavinia Cohn-Sherbok Robert S.Wistrich

Who’s Who in Classical Mythology Who’s Who in the New Testament Michael Grant and John Hazel Ronald Brownrigg Who’s Who in Non-Classical Mythology Who’s Who in Contemporary Gay and Egerton Sykes, new edition revised by Lesbian History Alan Kendall Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in the Old Testament Joan Comay Who’s Who in Contemporary Women’s Writing Who’s Who in the Roman World Edited by Jane Eldridge Miller John Hazel

Who’s Who in Contemporary Who’s Who in Russia since 1900 World Theatre Martin McCauley Edited by Daniel Meyer-Dinkegräfe Who’s Who in Shakespeare Who’s Who in Dickens Peter Quennell and Hamish Johnson Donald Hawes Who’s Who of Twentieth-Century Who’s Who in Europe 1450–1750 Novelists Henry Kamen Tim Woods

Who’s Who in Gay and Lesbian History Who’s Who in Twentieth-Century World Poetry Edited by Robert Aldrich and Edited by Mark Willhardt and Garry Wotherspoon Alan Michael Parker Who’s Who in the Greek World Who’s Who in Twentieth-Century John Hazel Warfare Who’s Who in Jewish History Spencer Tucker Joan Comay, new edition revised by Who’s Who in World War One Lavinia Cohn-Sherbok John Bourne Who’s Who in Lesbian and Gay Writing Who’s Who in World War Two Gabriele Griffin Edited by John Keegan Who’s Who IN CONTEMPORARY WORLD THEATRE

Edited by Daniel Meyer-Dinkgräfe

LONDON AND NEW YORK First published 2000 by Routledge 11 New Fetter Lane, London EC4P 4EE

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List of contributors vii Preface xi Acknowledgements xiii

WHO’S WHO IN CONTEMPORARY WORLD THEATRE 1

Contributors

Sayed Jamil Ahmed Chairman, Department of Theatre and Music, University of Dhaka, Dhaka; Bangladesh Peter Antonissen Theatre critic of De Morgen; Belgium Sudeshree Bannerjee Seagull Theatre Quarterly, Calcutta; India

Chittali Basu Seagull Theatre Quarterly, Calcutta; India Reinhard Bösing Formerly dramaturg with Peter Stein’s Schaubühne, Berlin; Germany (additional material for Achternbusch, Berndl, Buhre, Clever, Dorn, Tina Engel, Freyer, Froboess, Glittenberg, Grashof, Gudzuhn, Hoger, Holtz, Karge, Kirchhoff, Manzel, Marthaler, Mattes, Matthes, Samel, Sander, Schade, Elisabeth Schwarz) Dwayne Brenna Associate Professor, Department of Drama, University of Saskatch- ewan; Canada Natalia Chechel Assistant Professor, Department of Theatre Studies, Karpenko Kary Institute for the Art of the Theatre, Kiev; Ukraine

Necla Cikigil Associate Professor, Instructor of English, Drama and History of Thea- tre, Department of Modern Languages, Middle East Technical University, Ankara; Turkey Margaret Coldiron Assistant Professor, Department of Theatre and Dance, Hamilton College, USA; In- donesia

Adrienne Darvay Nagy Freelance researcher and theatre historian, Hungary; Hungary Maria M.Delgado Lecturer in Drama, Queen Mary and Westfield College, University of London, UK; France (Chéreau, Lavelli), Spain (Amat, Belbel, Diosdado, Espert, Gas, Molina Foix, Pasqual, Nieva, Pedrero Santon, Galán, Bieito, Pérez de la Fuente, Padrissa)

vii Contributors

Sita Dickson-Littlewood University of the West Indies and Roehampton Institute, Lon- don, UK; French Caribbean (Jenny Alpha, Michèle Césaire, Exelis, Germain, Justin- Joseph, Laou, Leal, Salibur) Gabriella Giannachi Lecturer, Department of Theatre Studies, Lancaster University, UK; Italy Riad Ismat Dramatist, critic, director, and Rector of the Academy of Dramatic Arts in Damascus, Syria.

Won-Jae Jang Monthly Korean Theatre Review and Royal Holloway College, University of London, UK; Korea Bridget Jones Senior Research Fellow, Department of Modern Languages, Roehampton Institute, London, UK; French Caribbean. Died 2000. Anjum Katyal Seagull Theatre Quarterly, Calcutta; India Nick Kaye Professor, Department of Drama, University of Manchester, UK; China

Rob Klinkenberg Editor, Amsterdam; The Netherlands Marina Litavrina Professor, Russian Academy of Theatre Art, Moscow; Russia John London Hebrew University of Jerusalem; Spain (Flotats, Font, Boadella)

Xiao Cun Liu Editor of Drama, Beijing; China (Xi Mei Juan) Robin Loon Seong Yun Senior Tutor, Theatre Studies Programme, National Univer- sity of Singapore; Singapore

Ken McCoy Assistant Professor, Communication Studies and Theatre Arts, Stetson Uni- versity, DeLand, Florida, USA; Puerto Rico Kristel Marcoen Vlaams Theater Instituut; Belgium Daniel Meyer-Dinkgräfe Lecturer, Department of Theatre, Film and Television Stud- ies, University of Wales Aberystwyth, UK; General Editor (contributions for USA (with Riedel), Germany, Austria and Switzerland (with Bösing), Great Britain (with Rankin) and Canada (with Brenna); on the basis of material provided by the countries’ ITI: Brazil, Bulgaria, Croatia, Czech Republic, Cyprus, Denmark, Finland, Greece, Hun- gary, Jamaica, Jordan, Latvia, Mexico, Norway, Poland, Romania, Slovenia and Swe- den) Mara Negrón Associate Professor, Department of Comparative Literature, University of Puerto Rico; France (Azencot, Barriera, Bigot, Caubère, Cixous, Derenne, Guy- Claude François, Hardy, Mnouchkine, Nityanandam) Athipet Nirmala Reader, Department of English, Madurai Kamaraj University, Madurai; India (Alekar, Allana, Bharati, Kambar, Karnad, Parthasarathy, Ramaswamy, Shah)

viii Contributors

Osita Okagbue Lecturer, Department of Drama, Goldsmiths College, University of London; African nations David Ian Rabey Reader, Department of Theatre, Film and Television Studies, Univer- sity of Wales, Aberystwyth, UK; Great Britain (Barker, Rudkin)

Parasuram Ramamoorthi Reader and Chairman, Department of Theatre Arts, Madurai Kamaraj University, Madurai; India (Bajaj, Chowdhry, Govind Deshpande, Sulaba Deshpande, Dubey, Jalan, Kaul, Lagoo, Maharishi, Muthusamy, Pathak, Pillai, Ramanujam, Roy, Sircar, Subbanna, Tanvir, Tendulkar, Thambiran) Charles Rankin Freelance writer, lecturer and trainer, UK; Great Britain (additional material for Bill Alexander, Barton, Beale, Bogdanov, Branagh, Brook, Bury, Cox, Edgar, Finney, Gambon, Griffiths, Hands, Jacobi, McCowen, McKellen, Pinter, Poliakoff, Rickman, Sher, Stevenson, Stoppard, Warner) Leslie Reidel Professor at the Department of Theatre Arts, University of Delaware; USA Mala Renganathan Lecturer, Department of English, Assam University, Silchar; India (Arambam, Deboo, Dossa, Krishnamoorthy, Raju, Thiyam)

Freddie Rokem Professor, Department of Theatre Arts, University of Tel Aviv; Israel Laura Rota I Roca Denmark; Cuba Amitav Roy Professor of Shakespeare Studies, Rabindra Nharati University, Calcutta; India (Bandopadhyay, Mitra, Sen) Mercè Saumell Lecturer in Theatre History and Practice, University of Gerona and Institut del Teatre, Barcelona; Spain (Cabal, Cantó, Gómez, Heras, Hipólito, Homar, Lizaran, Marsillach, Paredes, Pellicena, Plaza, Puigcorbé, Sánchez-Gijón, Sanchis Sinisterra, Távora) Elizabeth Schafer Senior Lecturer, Department of Drama and Theatre Studies, Royal Holloway College, University of London, UK; Australia Eric Schneider Freelance writer, actor and director, London and Luxembourg; Luxem- bourg

Lin Shen Deputy Director, Research Institute of the Central Academy of Drama; China (Gao Xing Jian, Meng Jin Hui, Mo Sen, Lin Sao Hua) Brian Singleton Lecturer, Samuel Beckett Centre for Drama and Theatre Studies, Trin- ity College, Dublin; Ireland Renganathan Sudha Lecturer, Department of French, Madurai Kamaraj University, Madurai; India (Karanth, Panikar, Prasanna, Raina, Ramamoorthi, Viswanathan)

ix Contributors

Berni Sweeney Samuel Beckett Centre for Drama and Theatre Studies, Trinity Col- lege, Dublin; Ireland John Thomson Reader, Department of English, Victoria University of Wellington; New Zealand

Ken Wong Department of Drama, Theatre and Media Arts, Royal Holloway College, University of London, UK; Hong Kong Ralph Yarrow Professor of Drama and Comparative Literature, University of East An- glia, UK; India Huang Yi Librarian, Central Academy of Drama; China Masako Yuasa Lecturer in Japanese and Japanese Theatre, Department of East Asian Studies, University of Leeds, UK; Japan Gergely Zöldi Theatre journalist and translator; Hungary

x Preface

Who’s Who in Contemporary World Theatre provides 1,400 entries on currently active theatre artists from 68 countries worldwide. ‘Theatre artists’ means just that: people who work in the theatre today as actors, directors, designers and dramatists. The book thus ex- pressly excludes artists who work predominantly in the distinct and separate genres of performance art, musical, operetta, opera and dance. The reason for this exclusion is the mere availability of space in view of the fact that each of these genres would merit an independent Who’s Who. Some, mainly non-western theatre artists covered in this book cross the boundaries between genres; special attention is drawn to this in the relevant entries. The contributors for each country have selected artists who are alive and active today. Those artists ‘have made it’: they are well-known, at least nationally and in many cases internationally, to a wide audience, not only to their peers in the theatre world. Their work has been acclaimed, in many cases praised, in some also controversially discussed. They are regarded as important to the theatre practice at least of their own country, and in many cases have influenced the theatre beyond. The entries provide factual information on the artists selected: year of birth, national- ity, professional training and major achievements of the artists’ careers. Some artists decline to reveal their year of birth, accounting for omissions in this category. In some cases, artists have moved between different countries. They are listed under the country in which they spent most of their active careers, with brief indication to their country of birth. Reference to the professional training helps to position and place the artists within their countries. Cross-references to the work of other theatre artists who have a separate entry in the Who’s Who are indicated in SMALL CAPITALS. Titles of plays originally written in languages other than English are presented in the original language, followed by an English translation. In some cases, however, the original titles are untranslatable. In addition to factual information, each entry provides the reader with an insight into the special characteristics of the individual artists: what sets them apart from the rest? What has gained them their status among peers, audiences and critics? In some entries, contributors have quoted from other sources in theircharacterization, clearly indicating this by using quotation marks. In order not to complicate reading, acknowledgements

xi Preface for these quotations are summarized in the acknowledgement section following this preface. Who’s Who in Contemporary World Theatre places much emphasis on being up to date. Information here is as accurate as possible at the time of going to print. Any changes that may have taken place since then only serve to emphasize how rapidly contemporary theatre changes.

xii Acknowledgements

I would like to thank all those who helped in making this book possible: colleagues who suggested contributors, colleagues who read initial lists for countries, and whose comments were very valuable, the contributors, who are listed separately; and the staff at the International Theatre Institute, who provided me or other contributors with names and addresses of theatre artists of their countries, or provided me with rich material which I used to write the entries. They are: Brazil, Bulgaria, Croatia, Cuba, Cyprus, Denmark, Finland, Greece, Hungary, Jamaica, Jordan, Latvia, Mexico, Norway, Poland, Romania, Slovenia, Sweden and Venezuela. Our special thanks to Marie Bílková, Barbara Topolová, Kamila Patková, Jana Patocková; Ladislava Petiškova, Jan Kolár, Vladimír Procházka, Vladimír Hulec, Helena Sucharípová, and Eva Šormová (who revised, sub-edited and united all entries) from the Theatre Institute in the Czech Republic for providing the entries from that country. I would like to thank the publishers for permission to use quotes for the following entries:

Theater Heute Anne Bennent (2/1993, p. 7), Ritter (Jahrbuch 1985, p. 138), Tukur (Jahrbuch 1986, p. 19), Wuttke (Jahrbuch 1995, pp. 114–21). Die Deutsche Bühne Chilli, Engel, Griem, Grüber, Haußmann, Hürlimann, Jelinek, Langhoff, Dieter Mann, Morgenroth, Mouchtar-Samorai, Müller, Niermeyer, Pohl, Schwab, Turrini, Watanabe. The Cambridge Guide to Theatre, edited by Martin Banham, Cambridge: Cambridge University Press, 1995. Cartwright, Rabe, Wilson. The Cambridge Guide to American Theatre, edited by Don B.Wilmeth and Tice L.Miller, Cambridge: Cambridge University Press, 1993. Beatty, Charming, Fornés, Gotanda, Harris, Herrmann, Landesmann, Lobel, Malkovich, McNally, Tsypin.

xiii Acknowledgements

Canadian Theatre Encyclopedia, http://www.canadiantheatre.com. Burroughs, Gélinas, Fiona Reid, Stratton. The Guardian Hands, Mitchell. The Oxford Companion to Canadian Theatre, edited by Eugene Benton and L.W.Connolly, Oxford, Ont., 1990. Eagan, Silver, Thompson, Walker. The World Encyclopedia of Contemporary Theatre, edited by Don Rubin, vol. 2, ‘The Americas’, London and New York: Routledge, 1996. Chang, Foreman, Geiogamah, Henley, Norman, Robert Wilson. Theatrical Designers, edited by Thomas J.Mikotowicz, reproduced with permission of Greenwood Publishing Group, Inc., Westport, CT. Bury, Conklin, Koltai, Loquasto. Theatrical Directors: A Biographical Dictionary, edited by John W.Frick and Stephen M.Vallillo, reproduced with permission of Greenwood Publishing Group, Inc., Westport, CT. Donnellan, Flimm, Glassco, LeCompte, Emily Mann, Meadow, Noble, Nunn, Sellars, Zaks. Theaterlexikon. Autoren, Regisseure, Schauspieler, Dramaturgen, Bühnenbildner, Kritiker, herausgegeben von C.Bernd Sucher, München: Deutscher Taschenbuch Verlag, 1994. Bickel, Bondy, Domröse, Gotscheff, Hollmann, Lampe, Minks, Neuenfels, Rose, Gisela Stein, Voss, Wonder, Zadek. Contemporary Dramatists, edited by K.A.Berney, 5th edn, London: St James Press, 1993. Howe, Hwang, Kopit, Arthur Miller. International Dictionary of the Theatre, vol. 2, ‘Playwrights’, edited by Mark Hawkins-Dady, London: St James Press, 1994. Blessing.

xiv A

Abraham, F.Murray (1939–) Actor, is currently theatre reviewer for two Porto USA. Abraham is best known for his por- Alegre newspapers, and teaches perform- trayal of Salieri in the film of SHAFFER’S ance at the University of São Paulo, and Amadeus (1985). He studied drama at the the Fundação Armando Alvares, University of Texas at El Paso and acting Penteado. Major productions include with Uta Hagen at the Herbert Berghof Racine’s Phèdre, Waiting for Godot by Studio, New York City. His debut on the Beckett, Strindberg’s Pelikanen (The Pelican), stage was in 1965, and he first appeared Ionesco’s Les chaises (The Chairs) and on Broadway in 1968. After many parts Molière’s Tartuffe. in new and experimental work in the earlier years of his career, the beginning of Achternbusch, Herbert (1938–) Drama- the 1980s marked a change when he ap- tist, director and actor, Germany. peared as Dorn in Chekhov’s Cajka (The Achternbusch studied at the Nuremberg Seagull, 1980), and Creon in Sophocles’ Academy of Art under Gerhard Wendland. Antigone (1982). Following Amadeus he He has directed and produced numerous played Malvolio in Twelfth Night (1986) films, and written plays for the theatre such and the title roles in Macbeth (1987) and as Susn (1980), Sintflut (Primordial Flood, King Lear (1991), as well as Pozzo in 1984), An der Donau (At the Danube, 1987), Beckett’s Waiting for Godot (1988). He is a Der Stiefel und sein Socken (The Boot and its professor at Brooklyn College of the City Sock, 1993), Der letzte Gast (The Last Guest, University of New York. His more recent 1996), Meine Grabinschrift (My Epitaph, 1996) work has been mostly devoted to film, and Neue Freiheit. Keine Jobs. Schönes München. apart from a star turn as Roy Conn in Stillstand (New Freedom. No Jobs. Beautiful Kushner’s Angels in America (1995). He is Munich. Standstill, 1998). His material is pre- best known for playing dark, psychologi- dominantly autobiographical, taking up his cally complex characters. roots in Bavarian mentality. His characters are nonconformist people: swimming Abujamra, Antonio (1932–) Director, against the current, they get drained of Brazil. Abujamra studied journalism at their energies and substance. Pontificia Universidade Católica in São Paulo, and worked with Roger Planchon, Adamová, Jaroslava (1925–) Actor, Czech Jean Villar, the Berliner Ensemble in Ger- Republic. After graduating from the Prague many and Joan Littlewood in Britain. He Conservatory, Adamová first found success

1 Adejobi, Oyin Adelugba, Dapo in comic roles, but soon moved on to inter- through recording the performances on nally complex and abnormal characters of film and video. modern drama at the Prague Municipal Theatre, where she has worked since the Adejumo, Moses Olaiya (Baba Sala) 1950s. Roles include Claire Zachanassian (1936–) Actor-manager, Nigeria. Adejumo in Dürrenmatt’s Der Besuch der alten Dame is one of the very few non-university edu- (The Visit, 1959), Electre in Sartre’s Les cated Nigerian theatre artists. He belongs mouches (The Flies, 1968), Carol in Williams’s to a vanishing breed of actor-managers of Orpheus Descending (1963), the title role in the popular Yoruba Travelling Theatre Ibsen’s Hedda Gabler (1965), and Alice in and operatic tradition (those still active in- Dürrenmatt’s Play Strindberg (1970). She is clude Ade AFOLAYAN, Isola most famous from Cocteau’s La voix humaine OGUNSOLA and Oyin ADEJOBI). (The Human Voice), in which she acted for Adejumo, founder-owner of the Alawada several years. In Czech theatre, she is the Theatre, is popularly and better known leading representative of the femme fatale. Her throughout Nigeria and along the Yoruba- acting is noted for its powerful tension, bal- speaking West African coast as Baba Sala, ancing between tragedy and a fascinating the delightfully roguish stage character female diabolism, and supported by an ex- which he plays in all his productions. He plosive temperament and proud nobility. is essentially a comedian who performs in The peak role of her mature work is La his native Yoruba language, and is noted Baboulenka in Pavel Kohout’s adaptation for his bold experiments with Yoruba tra- of Dostoyevsky’s Hrác (The Player, 1993). ditional theatre forms and techniques, especially the yeye style. All his plays centre Adejobi, Oyin Actor-manager, Nigeria. around the hilarious misadventures and Adejobi is the founder, manager, director antics of Lamidi Sani, a part played by and lead actor of Oyin Adejobi Theatre Adejumo himself with consummate comic Company. He is one of the successful and skill and gusto. The plays are usually enduring actor-managers of the popular improvized, are very witty and always Yoruba Travelling Theatre and operatic popular with stage and television audi- tradition (others are the late Hubert ences. Ogunde, the pioneer of the genre, and also Moses ADEJUMO (Baba Sala), Isola Adelugba, Dapo Actor and director, Ni- OGUNSOLA, Ade AFOLAYAN and geria. Adelugba was a leading member of Lere PAIMO). Adejobi is a fine example the Orisun Theatre Company (he actually of the creative eclecticism of the travelling kept the company going in defiance of the theatre tradition in his appropriation of military regime of Yakubu Gowon during modern technology and other sophisti- Wole SOYINKA’S detention between cated performance media such as televi- 1967–9). One of his earliest roles was that sion and film. He makes use of the popu- of the Blind Beggar in Soyinka’s The lar juju bands to provide accompanying Swamp Dwellers, directed by Ken Post in entertainment for his shows, thereby en- 1959. His other roles include that of suring a very wide audience. His major Murano in The Road, performed in Nigeria plays include Ono Ola and Ekuro Oloja. Like and in the United Kingdom (1965), and the other practitioners of the genre, most Daodu in Kongi’s Harvest (1965). His direct- of Adejobi’s plays are improvized (evi- ing credits include numerous Soyinka dence of their origin and influences from plays such as The Lion and the Jewel (1965, the traditional Yoruba Alarinjo theatre) and with choreography by Betty OKOTIE), hardly ever scripted. The companies have The Trial of Brother Jero in 1966, with good managed to get round this problem performances from Bettie Okotie as

2 Admiraal, Joop Agaoglu, Adalet

Amope and Wale OGUNYEMI as jected the conflicts encountered by reli- Chume, and Ganesh Bagchi’s The Deviant gious, historical figures during the prime (with Ogunyemi as Dibu in 1971). of Islam onto the contemporary political Ogunyemi’s epic Langbodo, which he di- situation. Other plays take their inspira- rected, was Nigeria’s entry for FESTAC tion from world drama, such as Hamlet 1977. He has also written many seminal Yastayqez Muta’akheran (Hamlet Wakes up too and influential essays on Nigerian and Af- Late, 1977), and Don Quixote (1979, di- rican theatre. rected by Mahmoud KHADOUR), from local history, as in Sadar Barlek (1994) and Admiraal, Joop (1937–) Actor, The Neth- Al-Ghoul (The Monster, 1996), and from erlands. Joop Admiraal graduated from the Arabic literary heritage, such as the Drama School in Amsterdam in 1959. Haki’l-Saraya (The Chat of Concubines, He spent a year with the Nederlandse 1992). His one-act play The Mask (1992) Comedie, the leading theatre company of was a double bill in English and Arabic, the time, then decided to try his luck in directed by Penny Black and Riad Asmat. the Italian film industry, without success. His four one-man shows, beginning with A rich career followed, at first with experi- Ahwalu’l-Dunya (How Life Is) and ending mental companies like Studio and then with Akalatu Luhumi’l-Bashar (The Canni- from 1968 with the legendary Werkteater bals), were performed and directed by collective, of which he was one of the Zeinati Oudseya. founder members. With his dog Kino, he developed his solo show You Are My Mother. Afolayan, Ade Actor-manager and drama- The production toured Germany and tist, Nigeria. Like the late Hubert Ogunde, other countries and was awarded the Moses ADEJUMO, Isola OGUNSOLA Louis d’Or. Admiraal is renowned for the and Oyin ADEJOBI, Ade Afolayan is a sensitive way in which he plays women: successful actor-manager and play-wright ‘they allow me to show more of myself’, of the Yoruba Travelling Theatre and op- he says. Since 1987 Admiraal has acted eratic tradition. His plays are mainly his- with Gerardjan RIJNDERS’S company torical dramas that sought to use the rich Toneelgroep Amsterdam, playing a memo- history and culture of the Yoruba people rable role as a bag lady in Nadien of Nigeria as both metaphor and context (Edelenbos) and as a general in Thomas for exploring and articulating social issues Bernhard’s Die Jagdgesellschaft (The Hunt- facing the contemporary Yoruba. Afolayan ing Party). is credited with moving the travelling theatre into its most revolutionary phase, that Adwan, Mamdouh (1941–) Dramatist of film. Moving into film and video meant and poet, Syria. Following his studies of that the punishing schedule of tours that English, Adwan worked in journalism for the companies have had to undertake to thirty years. His first play Al-Makhad (The cover a country as extensive as Nigeria and Parturition, 1967), written in verse, is their West African audiences in Togo, about a popular legendary freedom Benin and Ghana were no longer neces- fighter. Later plays are in prose and focus sary, as the films are now screened in hoon current issues, beginning with the po- tels and other venues for paying audiences, litically daring Muhakamatu ’l-Rajol’ Lazi and the videos hit the market after a year Lam Yuhareb (The Trial of a Man who Did or two in cinemas. Not Fight, 1970). Kaifa Tarakta ’l-Saif (Why did you Leave the Sword, 1972) and Laylu ’l- Agaoglu, Adalet (1929–) Dramatist, nov- Abeed (The Night of Slaves, 1977) were elist and short story writer, Turkey. banned by censorship because they pro- Between 1951–70 Agaoglu worked as a

3 Agashe, Mohan Ahmed, Mamtazuddin radio programmer and a dramaturg for the Ahmad, Sayeed (1931–) Dramatist, Ankara Radio and for the Turkish Radio Bangladesh. Sayeed Ahmad trained to and Television Institution. In 1980, she play sitar under Ustad Alauddin Khan. A received the best play award of the Turk- play-wright of immense repute, Sayeed ish Language Institution for her play Üç Ahmad created a sensation during the Oyun (Three Plays). Some of her famous 1960s with his plays The Thing (1961), plays are Bir Piyes Yazalim (Let’s Write a Play, Milepost (1964) and Survival (1967), origi- 1953), Tombala Bingo (1963), Çatidaki Çatlak nally in English but subsequently rendered (The Crack in the Roof, 1964), Sinirlarda (At into Bengali by himself and then translated the Borders, 1966), Kendini Yazan Sarki (The into various other languages. A play- Self-Written Song, 1970), Bir Kahramanin wright who has ‘caused a fusion of west- Ölümü (The Death of a Hero, 1968), Kozalar ern compactness of form with eastern sen- (The Cocoons, 1971), and Çikis (The Exit, sibilities’, Sayeed Ahmad’s works ‘always 1970). Some of her novels have been trans- have a dominant ringing note of all-pow- lated into German, Bulgarian and Czech, erful Nature and man’s ability to take on and some of her stories have been trans- challenge’. A retired government servant, lated into English. In her writings she usu- he has extensively lectured abroad. He has ally explores the problems of the Turkish also won a number of national and inter- Republican Period in Turkish history, and national awards, including the Legion she discusses family relationships under d’Honneur conferred by the French gov- social pressures. ernment (1993).

Agashe, Mohan (1947–) Actor, India. Ahmed, Sheikh Mansuruddin (1957–) Agashe is a founder member of the Thea- Designer, Bangladesh. A graphic de- tre Academy, Pune, and currently serves signer by profession, his career as a set as director of the Film and Television In- designer began in 1972, and today he has stitute of India, and Honorary Director of thirtyfour designs to his credit. Those DATE (Developing Awareness Through which have been highly acclaimed for Entertainment). The role of Nana their artistic merit are adaptations of Phadnavis in Vijay TENDULKAR’S folk Zuckmayer’s Der Hauptmann von Köpenick musical Ghasiram Kotwal (1972) brought (The Captain of Köpenick, directed by Aly him national and international recogni- ZAKER, 1981), Hamlet (directed by Aly tion. Other important productions include Zaker, 1990), a translation of Brecht’s Tendulkar’s Ashi Pakhare Yeti (1970), Leben des Galilei (Life of Galileo, directed by P.L.Deshpande’s Teen Paishacha Tamasha Ataur RAHMAN, 1988), Tagore’s (1978) and Satish ALEKAR’S Begum Barve Muktadhara (The Liberated Stream, 1989), (1979). In addition to theatre, his name is and Syed Huq’s Nooraldeener Sarajeeban synonymous with villainy in Hindi cin- (Noraldeen: A Life, directed by Aly Zaker, ema. For the last ten years he has been 1981). Ahmed’s designs can be described developing and promoting Gripps Thea- best as a visual reworking of the horizon- tre, the children’s theatre of Berlin, in In- tal plane of the performance space to dia. Agashe, a practising psychiatrist, says, which sometimes he adds a touch of real- ‘The best of the performances I have seen ism. He is an active member of Nagorik have been in my ward. It became a school Natya Sampradaya (a leading theatre of acting for me. When a patient in acute group in Bangladesh). excitement walked in, in a state of schizophrenic or manic excitement, or a para- Ahmed, Mamtazuddin (1935–) Drama- noid patient—I learned from him what the tist, actor and director, Bangladesh. His character of Othello is.’ successful plays include Spartacus Bishayak

4 Ahmed, Syed Jamil Akalaitis, JoAnne

Jatilata (Complications Regarding ments with Euro-American technique. Spartacus, 1973), Phalaphal Nimnachap (Sum Jamil Ahmed teaches at the Department Total Result: Depression, 1974), Harin Chita of Theatre and Music, University of Cheel (The Deer, the Leopard, the Eagle, 1974), Dhaka, and has a number of publications Raja Anushwarer Pala (The Episode of King to his credit. He has designed, directed Anushwar, 1988) and Shat Ghater Kana-kadi and taught abroad, attended seminars and (1991). He has also adapted plays such as given workshops. Chekhov’s Lebedinaya pesnya (The Swan Song), Predlozenie (The Proposal) and Medved Aidoo, Ama Ata (1942–) Dramatist, (The Bear, 1977), and novels such as Ghana. Aidoo was educated at the Uni- Tagore’s Dui Bon (The Two Sisters, directed versity of Ghana, Legon and at Stanford by Ferdausi MAJUMDAR, 1978) and University, California. She was writer-in- Meer Mosharraf Hosain’s Jamidar Darpan residence at the University of Richmond, (The Mirror of the Landlord, 1983). Virginia. Her reputation as a playwright Mamtazuddin’s plays are often con- rests mainly on her two published and structed with ‘episodic plots, elegant lan- widely popular and often performed plays, guage and events brought about by out- The Dilemma of a Ghost and Anowa. Her side forces and struck by coincidence’. The themes range from the clash of cultures recipient of many national awards, and the inability of some people to make Mamtazuddin is a teacher by profession, the transition from one to the other (in The currently working with the Department of Dilemma of a Ghost) to the decimation and Theatre and Music, University of Dhaka. still traumatic legacy of trans-Atlantic slavery. One of her greatest strengths as a Ahmed, Syed Jamil (1955–) Director and playwright is the linguistic sophistication designer, Bangladesh. Trained at the Na- of her plays in which levels and layers of tional School of Drama, New Delhi (1975– language deployment are actually part of 8), Jamil Ahmed’s set designs created great the characterization achieved through a impact for their compositional richness, domestication/ indigenization of English. expansive power and poetic visualisation. Important among his designs are Salim Akalaitis, JoAnne (1937–) Director, AL-DEEN’S Kittan Khola (The Fair of Kittan USA. She studied at the Actors Workshop Khola, directed by Nasiruddin YOUSUFF, in San Francisco, and briefly with Herbert 1981), translations of Sophocles’s Oidipus Berghof, Bill Hickey, Joyce Aaron, Tyrannos (King Oedipus, directed by Spalding GRAY and Jerzy Grotowski. Kamaluddin NILU, 1981), The Tempest Akalaitis has created her own performance (directed by Deborah WARNER, 1986), pieces, such as Dressed Like an Egg (1977), and an adaptation of Brecht’s Der Gute exploring what it means to be female, and Mensch von Sezuan (The Good Person of Sezuan, Dead End Kids (1980) on the relationship directed by Rudraprasad Sengupta, Cal- of alchemy, science and the threat of nu- cutta, 1989). His directorial work includes clear holocaust. Her production of Al-Deen’s Chaka (The Wheel, 1991, the set KROETZ’S Wunschkonzert (Request Concert, of which he also designed) and an adapta- 1980) showed her skill in extreme realism. tion of Meer Mosharraf Hosain’s Bishad Her main characteriztic in directing is, Sindhu (Ocean of Trogos: The Legend of however, often termed ‘post-modern’, Karbala), Parts I and II (with Habib, 1991 highlighting the fragmentary nature of and 1992, the sets of which he also de- human existence. Sometimes controversial signed). These productions received artis- but often creating beautiful images, this tic acclaim for their visual poetry and for technique is geared to provoke the audi- integration of indigenous theatrical ele- ence into thinking for themselves. She

5 Akimoto Matsuyo Al-Deen, Salim served as Artistic Director of the New considerably over the years, but despite all York Shakespeare Festival from 1991–3, claims that he had nothing more to say, and is currently at Chicago’s Court Thea- Albee re-emerged in the 1990s with the tre with projects scheduled through the Pulitzer Prize-winning Three Tall Women year 2000 season. More recent work in- (with Maggie SMITH and Frances DE cludes Euripides Troades (The Trojan Women, LA TOUR in the London production). In 1999). 1996 he received the National Medal of the Arts and was a Kennedy Centre Akimoto Matsuyo (1911–) Dramatist, Honoree. Japan. She joined Gikyoku Kenkyû Kai (the Society of Drama Study) led by Jyûrô Albertazzi, Giorgio (1925–) Actor, direc- Miyoshi, one of the leading playwrights tor and dramatist, Italy. After graduating of the time, and published her first play in architecture, Giorgio Albertazzi made Keijin (The Light Dust) in the journal his theatrical debut in Giuseppe Gekisaku in 1946. In her play Reifuku (The Giacosa’s Come le foglie (Like the Leaves, Formal Clothes), Akimoto discussed the fam- 1942). In 1949 he worked with Luchino ily system of Japan, and in Muraoka Iheiji Visconti in Troilus and Cressida, from Den (The Biography of Iheiji Muraoka, 1964) which he emerged as one of Italy’s lead- she discussed Japanese colonialism; both ing stage actors. He then worked at the plays are in the style of comedy. Her Teatro Nazionale between 1950–2, and Hitachibo (Kaison, The Priest of Hitachi, 1964) with the Ricci-Magni-Proclemer- and Kasabutashikibu Kô (Lady Kasabuta Albertazzi-Buazzelli theatre company af- 1966) criticized the structure of Japanese ter 1955. Albertazzi has produced plays industrialism from the viewpoint of the by classical as well as contemporary au- bottom of society. She started writing for thors, such as Gabriele D’Annunzio, commercial theatres with Chikamatsu Shinjû William Faulkner, Albert Camus, Henrik Monogatari (Chikamatsu Love Suicide Story) in Ibsen and Jean-Paul Sartre. Known inter- 1989, followed by Nanboku Koi Monogatari nationally through his television and film (Nanboku Love Story), both directed by appearances, such as Alain Resnai’s NINAGAWA. Akimoto’s strength lies in L’anno scorso a Marienbad (Last Year at adding some comical element to serious Marienbad, 1961), Albertazzi is a strong plays. Her theatrical language is fluent and lead player with an impressive stage pres- rich, informed by her reading Japanese ence. Among his most notable perform- classics when young. ances are Hamlet (1964, directed by Franco Zeffirelli), Schiller’s Maria Stuart Albee, Edward (1928–) Dramatist, USA. (1965), Marguerite Yourcenar’s Le His four one-act plays, The Zoo Story memorie di Adriano (Mémoires d’Hadrien, (1958), The Death of Bernie Smith (1959), The 1989, directed by Maurizio Scaparro), Sandbox (1959) and The American Dream and Arnold Wesker’s Letter to a Daughter (1960), written in an absurdist style about (1993). Since 1965 Albertazzi, who has the disillusionment of the 1950s, made also written and directed a number of Albee famous. His name was linked to plays, has been artistic director of the fes- Tennessee Williams, Arthur MILLER tival Taormina Arte. and even Eugene O’Neill. The realistic Who’s Afraid of Virginia Woolf? (1962) proved Al-Deen, Salim (1948–) Dramatist, Bang- a popular success, and in 1966 he won the ladesh. His major achievements as a play- Pulitzer Prize for A Delicate Balance. In Sea- wright include Kittan Khola (The Fair of scape (1975), he combined experiment with Kittan Khola, with Shimul YOUSUFF, social commentary. His fame decreased Shubarna MUSTAFA, Humayan FARIDI

6 Alekar, Satish Alexander, Bill and Raisul ASAD in the cast, designed by working as Professor in the Department Jamil AHMED and directed by of Performing Arts at the University of Nasiruddin YOUSUFF, 1981); Keramat Pune. Mangal (The Epic of Keramat, with Shimul Yousuff and Faridi in the cast, designed by Aleksandrovych-Dochevs’ky, Andrii Jamil Ahmed and directed by Nasiruddin (1958–) Designer, Ukraine. Aleksandro- Yousuff, 1985); Hat Hadai (The Seven Voy- vych-Dochevs’ky graduated from the ages, with Shimul Yousuff as Chhukkuni, Taras Shevchenko Kiev State Institute for Asad as Anarbhandari and directed by Arts, the Faculty of Painting, Theatrical Nasiruddin Yousuff, 1989); Chaka (The Department (the workshop of Daniil Wheel, with Asad as the Ox-cart Driver LIDER, 1983), and has been chief de- and Shimul Yousuff as the Narrator, di- signer of the Ivan Franko Ukrainian rected and designed by Jamil Ahmed, Drama Theatre, Kiev, since 1993. He has 1991); and Jaibati Kanyar Mon (The Soul of designed above forty productions and has the Virtuous Maiden, with Shimul Yousuff as participated in twenty exhibitions, includ- Kalindi, Shubarna Mustafa as Paree, di- ing the Prague Quadrennial Scenography rected by Nasiruddin Yousuff, 1993). A Exhibition. His work include sets for translation of Chaka has also been directed Shakespeare’s plays: Hamlet (1991), The by Steve Friedman in New York (1994). Taming of the Shrew (Poland, 1995 and Kiev, From Kittan Khola onwards, Al-Deen has 1996, directed by Serhii DANCHENKO), attempted to incorporate indigenous the- King Lear (Kiev, 1997, directed by atrical elements (including the narrative Danchenko), as well as Lorca’s La casa de form) in his plays and evolve a language Bernarda Alba (The House of Bernarda Alba, capable of reflecting the traditional herit- Luts’k, 1987), Byron’s Cain (L’viv, directed age of Bangladesh, imbibed with contem- by laroslav FEDORYSHYN, 1993), porary relevance. A poet in the truest Mykola Kulish’s Patetychna sonata (The Pas- sense, Al-Deen’s plays are literally woven sionate Sonata, Kiev, directed by with gossamer which capture the essence Danchenko, 1993), and Ibsen’s Gengangere with briefest strokes and subvert reality, (Ghosts, Kiev, 1996). His sets, structurally revealing the fathomless depths which lie complex, are characterized by aristocratic beyond. refinement, stylistic perfection and a certain coldness of tonality. Alekar, Satish (1949–) Dramatist and actor, India. The major influences on Alekar Alexander, Bill (1948–) Director, Great are Satyajit Ray, Jabbar Patel, Vijay Britain. Trained at the Bristol Old Vic, he TENDULKAR and P.L.Deshpande. He began his professional career as a director writes in a satirical style with a deadpan at the Royal Court in 1973. From 1978– expression. His first full-length play was 91 he worked with the Royal Shakespeare Mikie Ani Memsaheb. Begum Barve is a con- Company, first as assistant director (1978– troversial play about a female impersona- 80), then resident director (1980–4), and tor which was a sensation on the Bombay associate director (1984–91). Productions stage, and Mahanirvan, a play about death, with the Royal Shakespeare Company in- has had more than 250 performances. It clude Barry Keefe’s Bastard Angel (1980), was translated into several Indian lan- Bulwer-Lytton’s Money (1982, with Juliet guages and into English. Other plays in- STEVENSON), Molière’s Tartuffe (1983, clude Shaniwar Raviwar Atirekee and Doosra with Anthony SHER and Mark Samna. He has also written screen plays RYLANCE), and many Shakespeare re- for films, and acted with Jabbar Patel and vivals (Richard III, 1985; Twelfth Night, Mohan AGASHE. Alekar is currently 1988; Much Ado About Nothing, 1991).

7 Alexander, Jane Alkazi, Ebrahim

Alexander’s approach to Richard III was Electra, roles in Genet’s Les bonnes (The characterized by the stark visual contrast Maids), Wesker’s The Four Seasons and between William DUDLEY’S austere Marsha NORMAN’S ‘night Mother, and Gothic perpendicular set with the ‘bottled Stephanie in Tom Kempinski’s Duet for spider’ of Anthony Sher’s Richard. Alex- One. She has also devised and performed ander emphasized the mythic aspects of several one-woman shows both in Mexico the play: Richard became a reincarnation and abroad. In 1982 she performed in of the vice figure of medieval morality, Venezuela, and in 1985 she represented and the three queens were a Greek Tragic Mexico at the New York Shakespeare Fes- chorus. In his Cymbeline (The Other Place, tival’s Latino Festival. In 1987 she visited 1988), the actors were like fairytale char- Cuba and Brazil as Mexico’s official rep- acters, performing in a tiny space, in ex- resentative. treme close-up: one was able to appreciate the full power of the language, and the Alit, Ida Bagus (1956–) Performer and effect was paradoxically to create a world designer, Indonesia. From the priest- of huge space. Since 1992 he has been ar- scholar Brahmana caste, Alit learned tistic director of the Birmingham Reper- woodcarving from the age of ten from his tory Theatre, where more recent produc- father and grandfather. This was later aug- tions include Ben Jonson’s The Alchemist mented by a period of time working with (1996), The Merchant of Venice (1997) and the master carver Ida Bagus ANOM. Alit Bryony Lavery’s Frozen (1998). creates Topeng masks of startling vitality as well as imaginative original designs for Alexander, Jane (1939–) Actor, USA. She actors and companies in Europe and the played Kattrin in Brecht’s Mutter Courage United States. In addition, he is an active und ihre Kinder (Mother Courage and her Chil- performer of the traditional, sacred dren, 1970), the title role in Shaw’s Major Topeng Pajegan, particularly powerful in Barbara (1971), Gertrude in Hamlet (1975), the roles of the Strong Prime Minister and Hilde in Ibsen’s Bygmester Solness (The Mas- the High Priest. Although he began danc- ter Builder, 1977), the title role in Hedda ing only fairly recently, he quickly won Gabler (1981), Anna in PINTER’S Old acclaim as a master storyteller. He has Times (1983), Joy Gresham in William made a comprehensive study of the an- Nicholson’s Shadow-lands (1990) and Clare cient chronicles upon which the Topeng Zachanassian in Dürrenmatt’s Der Besuch scenarios are based, and has a deep under Alten Dame (The Visit, 1992). In 1993 derstanding of their ritual significance. He she was appointed as first artist to head feels that carving and dancing are comple- the National Endowment for the Arts, mentary, each art enhancing and develop- where she proved an outspoken, liberal ing the other. advocate for the arts. Serving until 1997, she returned to the stage in 1998 in Joanna Alkazi, Ebrahim (1925–) Director, India. MURRAY-SMITH’S Honour. Alkazi trained at the Royal Academy of Dramatic Art, London, and won the BBC Alexander, Susana Actor, Mexico. Broadcasting Award in 1950. Alkazi Trained at the Actor’s Studio of Mexico ranges amongst the most influential direc- under Dimitros Sarras, she later pursued tors of India who relate India to the West- postgraduate work in drama at the Uni- ern theatre. His productions are known versity of Wales, UK. She has had an for their spectacular scale, and include the equally distinguished career in television plays of Girish KARNAD, Shakespeare, and on stage, where major roles include Chekhov and some Greek plays such as Ophelia, Puck, the title role in Euripides’s Sophocles’s Electra. He was director of the

8 Ahmagor, Gila Alpha, Jenny

National School of Drama, New Delhi, for Al-Mamun, Abdullah (1942–) Drama- a decade, and was also the editor of Thea- tist, actor and director, Bangladesh. Al- tre Unit Bulletin.Allana, Amal (1947–) Di- Mamun trained for television in The rector and designer, India. The daughter Netherlands (1969) and Malaysia (1976, of Ebrahim ALKAZI, Allana graduated 1981 and 1991). Since 1974 he has writ- from the National School of Drama, New ten a number of plays, directed their pro- Delhi and received training at the Berliner ductions and performed in them. He Ensemble and the National Theatre, played the Boss (with Ferdausi Weimar. She has been directing plays and MAJUMDAR as Ranu) in Subochan designing costumes and sets since 1968. Nirbasane (Virtue in Exile), Bepari in Ekhon She has a special interest in Brecht and Duhshomoy (Its Bad Times Now, 1976, with epic theatre and directed Die Ferdausi Majumdar as Marjina), Ekhono Dreigroschenoper (The Threepenny Opera), Kritodas (Still a Slave, 1980, with Ferdausi Mann ist Mann (A Man’s a Man), Der Gute Majumdar as Kandoni and Ramendu Mensch von Sezuan (The Good Person of Sezuan) MAJUMDAR as Talebali) and Gada Fa- and many Indian plays. Her productions kir in Meraj Fakirer Ma (The Mother of Meraj of Girish KARNAD’S Hayavadana, Fakir, 1996, with Ferdausi Majumdar as Tughlag, Ashad Ka Ek Din and Bhagawad the mother and Ramendu Majumdar as Ajjukiem set a trend in Indian theatre of Kazi Tobarak). His prime concern as a reading Indian plays with a modern sensi- playwright is for the ‘decadence of social bility. Amal Allana’s production of King values’. He writes primarily for the urban Lear is considered a milestone in Indian middle class, ‘with the anguish, pain and theatre for its costumes. She designed the criticism of a committed artist’. costumes for Richard Attenborough film Gandhi. Alpha, Jenny Actor, singer and dancer, France and Martinique. Leaving Ahmagor, Gila (1939–) Actor and Martinique to continue her education at dramatist, Israel. Trained at the Habima the Sorbonne, Jenny Alpha-Villard’s stage studio in Tel Aviv and with Lee Strasberg career was launched in the 1939 Cabaret in New York, Almagor began her profes- La Canne à Sucre (Sugar Cane). She founded sional stage career at the age of seventeen her own band (1950), with which she as Anna Frank at the Habima national toured widely until 1966. Having accepted theatre. She joined the Cameri Tel Aviv parts such as a prostitute and a savage on municipal theatre playing roles like provincial tours, the role of Neige in Les Olivia (Twelfth Night) and Virginia Griots (The African Story-Tellers) produc- (Brecht’s Leben des Galilei (Life of Galileo)) tion of Genet’s Les nègres (The Blacks, 1958) and later the independent Bimot theatre, placed her in the midst of an emerging playing major roles in many newly writ- theatre offering significant roles to black ten Israeli plays. She has also played roles actors. In the next decade she worked in like Cassandra (Euripides’s Troades (The plays as diverse as CÉSAIRE’S La Tragédie Trojan Women)), the title role in Shaw’s St du roi Christophe (King Christophe), and Joan and Mrs Alving (Ibsen’s Gengangere Corneille’s Rodugune. Reviews praise her (Ghosts)). Her own play Aviva’s Summer, natural and precise style of inhabiting her about the daughter of a Holocaust survi- characters as in her portrayal of Amélie’s vor, with herself as the only actor, has madness in Julius Amédée LAOU’S much also been filmed. She has appeared in revived Folie ordinaire d’une fille de Cham (Or- more than fifty films, and often appears dinary Madness of a Daughter of Ham). With publicly in peace activities. over a hundred radio plays and many television roles to her name, she entered the

9 Alpha, José Amagatsu Ushio

1990s starring simultaneously in festivals ogy with a magnifying glass. From the re- of theatre, with Brûle rivière brûle (Burn River sultant mosaic, he constructs a new over- Burn), and film,in the title role of Laou— all image. In recent years, Al-Sheikh has MESGUICH’S award-winning film La shifted his interest to a revival of the Vieille Quimboiseuse et le majordome (The Old Kana’an Legends in Palestine, basing his Sorceress and the Valet). research on a critical assessment of new archaeological findings and old Alpha, José (1952–) Actor, director and documentations. The outcome is amaz- author, France and Martinique. Beginning ingly interesting and stimulates fresh ques- as a young singer-impresario (Hair, 1971) tions that lead to new plays and scripts. and as an actor with Henri Melon’s Théâtre Populaire Martiniquais, Alpha Al-Tal Batayneh, Lina (1960–) Actor, then formed his own small group, Exist- Jordan. Al-Tal trained at the Webber ence, performing eloquently symbolical Douglas Academy of Dramatic Art. Ap- pieces on frustration and the quest for free- pearances as an experienced actor in main- dom such as L’étau (The Vice, 1978). With stream theatre and on Jordanian television the founding in 1983 of a new company, include Chekhov’s Visnevyi Sad (The Cherry Teat Lari (Creole for ‘street theatre’), he Orchard), Ibsen’s En Folkefiende (An Enemy moved into creating a Caribbean popular of the People) and Love’s Labour’s Lost. In per- theatre, adapting folktales (Lajan Diab. formance, her method of acting is more (Devil Money); Madlo missié Li Wa (The or less traditional in the Stanislavskian King’s Pond); Ti Mano et le Fromap-er (Lit- sense: she does not get involved with her tle Mano and the Cotton-Tree)), staging roles to the extent where she can remain novels (L’Affaire Solibo (The Solibo Case) fairly detached, always very conscious of by Patrick Chamoiseau), and with a par- the emotional state of the character. Her ticular interest in historical material such strengths are in roles which require body as his script 1902, on the volcanic erup- technique or mime. Over the years, Thea- tion. A compact, dynamic performer of tre in Education has become her main area great vitality on stage, Alpha has a strong of activity; she trained for it at Bretton sense of social purpose, has run work- Hall, UK, and obtained an MA in Thea- shops in prison and worked with alcohol- tre in Education from the University of ics, and gives a high priority to plays for Wales. Since 1987 she has been director young people. Over a long period his in- of the Theatre and Drama in Education dependent group has co-operated with Programme at the Noor Al-Hussein Foun- many local writers and artists, developing dation, attending conferences and receiv- worthwhile entertainment in a theatrical ing major awards for her work. language which appeals to a wide public. Amagatsu Ushio (1949–) Butoh dancer, Al-Sheikh, Jibreel Ahmad (1949–) Japan. Amagatsu first studied classical bal- Dramatist, Jordan. Al-Sheikh studied arts let and Graham method dance. He be- in Palestine, and linguistics and medicine came one of the founder members of in Czechoslovakia. He is a folklore expert MARO Akaji’s Dai-Rakuda-kan (1972). and consultant, and many of his plays for He then founded Sankai-juku in 1975 and the stage and scripts for television com- presented Kinkan Shônen (The Conquant bine a documentational folkloric and a Seeds) in 1977. Amagatsu works with four contemporary line. His plays are based on dancers trained under him. The dancers two methodologies, analytical and con- of Sankai-juku are skin-headed and wear structive. He looks at the details of folk- white mask make-up. Their performances lore, anthropology, history and archaeol- in Paris in 1980, as part of their European

10 Amat, Frederic Anderson, Axel tour, were successful andthe company was season Ambush was an National Endow- given a contract to perform every two ment of the Arts Directing Fellow at the years at the Théâtre de la Ville, Paris, re- Pittsburgh Theatre. From 1982–90 he was sulting in Netsu no Katachi (The Shape of artistic director at the Oakland Ensemble Heat, 1984), Unetsu (The Passion for a Bird Theatre, and is currently an associate ar- Egg, 1986), Shijima (The Dark and Quiet, tistic director with the American Con- 1988) and Omote (The Grazed Surface, 1991). servatory Theatre in San Francisco. Am- The positioning of five dancers in the de- bush is one of the leading representatives sign is always their prime concern for the in theory and practice of African-Ameri- productions of the Sankai-juku. can and multicultural theatre. He also works regularly on the classics at Shake- Amat, Frederic (1952–) Designer, Spain. speare Festivals throughout the USA. He studied at Barcelona’s School of Ar- chitecture and the Centre d’Estudis Amos, Janet (1945–) Actor, director and d’Expressió, where his tutor in stage de- dramatist, Canada. In 1968, Amos made sign was Fabià Puigserver. He is now re- her professional debut as an actor while garded as one of the foremost artists in still studying at the University of Toronto. Spain. His first work in theatre design in- From 1972–6 she worked on collective volved collaborating with Puigserver on productions for Théâtre Passe Muraille, PASQUAL’S production of El público (The and later returned to direct there. She was Public, 1986). He has since gone on to artistic director of the Blyth festival (1980– work with Pasqual on four other projects 4), and Theatre New Brunswick (1984– including the Odéon Théâtre de 8). In both positions she concentrated on l’Europe’s production of Tirana Banderas new plays by Canadian dramatists such as (Banderas the Tyrant), but has also worked Anne CHISLETT. Amos returned to the with director Lluís HOMAR and chore- post of artistic director at the Blyth Festi- ographers Victor Ullate and Cesc val between 1993–7. She has also written Gelabert. His bold designs are fervently plays, including Alligator Pie (adapted from anti-naturalistic and often dominated by a Dennis Lee’s poems), Down North (1981) strong metaphoric image, as with the and My Wild Irish Rose. merry-go-round in Tirano Banderas or the crane in the 1996 adaptation of Lorca’s Anderson, Axel (1929–) Director and Bodas de sangre (Blood Wedding) staged by actor, Puerto Rico. Born in Berlin, Axel Pasqual as Haciendo Lorca (Making Lorca). Anderson was active in the professional Amat’s exhuberant sense of colour and theatres of Europe, Argentina and other space is also a feature of his work as a countries of the Americas before settling poster artist where his commissions have in Puerto Rico. With no formal univer- included theatre productions, film logos, sity education, Anderson has become one festivals, CD covers and charitable organi- of Puerto Rico’s most prominent dra- zations. His first film, Viaje a la luna (Jour- matic actor-directors. He is particularly ney to the Moon), a realisation of Lorca’s noted for his bold choices as an experi- only screenplay, was released in 1998. mental and conceptual director in the Eu- ropean avante-garde tradition. He Ambush, Benny Sato (1951–) Director, founded the group Teatro la Máscara USA. Ambush obtained an MFA in direct- with Helena Montalbán in 1960, where ing from the University of California, San he has directed over half of the compa- Diego (1977). Subsequently, he was an as- ny’s productions, including Coward’s Pri- sistant director in residence at the Arena vate Lives (1977), Moliere’s Le malade Stage in Washington, and in the 1980–1 imaginaire (The Imaginary Invalid, 1977)

11 Anom, Ida Bagus Archer, Robyn and Cocteau’s L’aigle a deux têtes (Two The Secret Rapture, Molière’s Dom Juan, Headed Eagle, (1973). Anderson has also Chekhov’s Platonov and Ivanov, and played leading roles in Wilder’s Our Town, DORST’S Merlin, oder Das Wüste Land and the farce Run for Your Wife by Ray (Merlin, or The Waste Land). Although spe- Cooney, and appeared in the films Assas- cializing in set design, in some cases he sins (1995) with Sylvester Stallone and also designed costumes (ALBEE’S The Antonio Banderas, and Desvío al paraíso American Dream, Pirandello’s Enrico IV (Shortcut to Paradise, 1994). (Henry IV), Kleist’s Prinz Friedrich von Ham- burg, Euripides’s Medeia) and so on. His Anom, Ida Bagus (1952–) Designer and work is characterized by exact construc- performer, Indonesia. Well-known and tion of space, conscious composition of highly respected as one of Bali’s foremost naturalistic and metaphorical elements mask makers, Anom is also a performer and interesting use of lighting effects. of traditional Balinese Topeng. He began carving and dancing as a child under the Arambam, Lokendra (1939–) Director instruction of his father, and by the time and dramatist, India. He is the co- he reached his twenties was dancing in ordinator for the Audio-Visual Research temple ceremonies. He continues to per- Centre, Manipur University, Imphal, and form in temples, particularly in his own director of the Forum Theatre Laboratory village of Mas, Gianyar, but he also gives at Imphal. Arambam gained recognition occasional specially commissioned per- with his first play, Karbar (1969), a produc- formances for tourists. However, he is tion which used Manipuri folk music and principally known as a master carver of dances. His productions of his plays Irabot, theatrical masks and is frequently called Yotpak Yotlei Ama (an adaptation of Louise upon to execute commissions for theatre Beach’s The Clod), Khuman Chakha Moireng companies in Europe, Asia and America. Ngamaba (1981), and Numit Kappa also He is also very much in demand as a highlighted the use of folk theatre forms teacher and maintains an active studio at in contemporary Indian theatre. his home in Mas. Arambam is involved in many theatre projects examining aspects of Manipur Antal, Csaba (1950–) Designer, Hun- theatre, ethno-dramaturgy, clown-actor de- gary. Antal studied at the Budapest Tech- velopment and martial arts. nical University’s Faculty of Architecture and took a course in theatre architecture Archer, Robyn (1948–) Director, singer, and set design with Czech designer-pro- composer and dramatist, Australia. After fessor Joseph SVOBODA at the Prague several years as director of the National Applied Arts College. He has worked at Festival of Australian Theatre (Canberra the Szolnok Szigligeti Theatre (1980–7), 1993–5), Archer has now taken up the the Budapest Katona József Theatre position of artistic director of the prestig- (1987–94), and since 1994 at the Új ious Adelaide Festival. Archer is possibly Theatre, but has also been a guest in still best known internationally for her other theatres in the country and abroad. Brecht-Weill recitals and political—espe- He has taught at the Justus Liebig Uni- cially feminist—cabarets, such as A Star is versity Giessen, Germany (since 1988) Torn (1979). She has collaborated on many and at the Academy of Theatre and Film internationally successful writing projects Art (since 1990). Major set designs in- such as The Pack of Women (1981) and the clude MROZEK’S Emigranci (Emigrants), aboriginal one-woman show Ningali Brecht’s Die Dreigroschenoper (The Three- (1994); her satire based on fin de siècle Vi- penny Opera), Büchner’s Woyzeck, HARE’S enna, Cafe Fledermaus, has been published,

12 Arkhurt, Sandy Arzoglou, Costas as has The Robyn Archer Songbook (1980). Armfield’s 1989 production of Gogol’s Archer is still primarily associated with Zapiski Sumasshedshego (The Diary of a Mad- feminist, satirical, politically committed, man) won many awards and in 1992 anti-establishment theatre. toured Russia and Georgia. Armfield’s direction is always intelligently provocative Arkhurt, Sandy (1941–) Director and and often upsets accepted notions about theatre activist, Ghana. Sandy Arkhurt canonical plays. holds a diploma in Drama from the Uni- versity of Ghana at Legon and a certifi- Arye, Yevgeny (1932–) Director, Israel. cate in Drama and Theatre from Bir- Born in Moscow, he directed in Moscow mingham University. He has practiced and Leningrad before his emigration to and taught theatre both in Ghana and in Israel in 1990. In Tel Aviv, Arye estab- Nigeria where he has been at the fore- lished the bilingual (Russian and He- front of the theatre-for-development brew) Gesher (‘Bridge’, in Hebrew) thea- movement. He has been artistic director tre together with a group of Russian ac- of the Ghana Drama Studio for two tors and theatre artists. The first Gesher spells (1967–71 and 1980–93). The production was STOPPARD’S drama studio has been associated with Rosencrantz and Guildenstern are Dead, which and produced notable Ghanaian theatre was followed by productions of Russian artists such as Efua Sutherland, Martin materials like Bulgakov’s Molière, owusu, Joe de Graft, Ama Ata AIDOO Dostoyevsky’s Idiot (The Idiot), Babel’s and Mary YIRENKYI. He has also been The City (1997), and Chekhov’s Tri sestry the artistic director for The Studio Play- (Three Sisters, 1997). Arie has also worked ers as well as being the founder-director with Israeli materials in Adam Ben Kelev of the Popular Theatre Collective, which (Adam Resurrected, 1994), based on a novel is responsible for promoting theatre-for- by Yoram Kaniuk, SOBOL’S play K’far development in Ghana. (Village, 1996), and Shabtai’s Ochlim (Eat- ing, 1999). Within a decade, the Gesher Armfield, Neil (1955–) Director, Aus- theatre led by Arye has become one of tralia. Armfield’s first professional produc- the leading theatres in Israel. It has also tion was David Allen’s Upside Down at the toured to numerous festivals outside the Bottom of the World in 1979 for Nimrod, Syd- country. ney. Armfield went on to direct extensively at Nimrod and the Lighthouse, Ad- Arzoglou, Costas (1947–) Actor and di- elaide, but he is best known for directing rector, Greece. Arzoglou trained at the at Belvoir Street, Sydney, where, as artis- Drama School of the National Theatre of tic director of Company B, he has estab- Greece. Between 1969–79 he was a lead- lished a strong ensemble. He ranges ing member of Free Theatre, a group widely in his work, but particular which has been credited with establishing strengths are modern Australian plays, the a contemporary theatre language through plays of Patrick White, most of which its thorough research and involvement Armfield has directed, Ben Jonson with political theatre. Arzoglou directed (Armfield started postgraduate research and played leading roles in many more on ‘The Theatre of Ben Jonson’ but de- productions after 1979, including David cided that Jonson ‘has to be done’), and Henry HWANG’S M.Butterfly, Arthur Shakespeare, productions of which include MILLER’S All my Sons, The Taming of the Hamlet (1994&5), The Tempest (1990&5) and Shrew and A Midsummer Night’s Dream. He an extremely successful production of also has a distinguished career on televi- Twelfth Night (1983) which was filmed. sion to his credit.

13 Asad, Raisul Islam Asti, Adriana

Asad, Raisul Islam (1954–) Actor, Bang- spectacular large-scale stage. Her designs ladesh. Appearing on stage for the first for Medeia and NODA’S Yume no Yûminsha time in 1972, Asad made name for him- well represent the wide scope of her de- self with his performance of Vishwamitra sign. in Shakuntala by Salim AL-DEEN (with Shurbarna MUSTAFA in the title role and Ascher, Tamás (1949–) Director, Hun- Humayun FARIDI as Takkhak, directed gary. After attending the Academy of by Nasiruddin YOUSUFF, 1978). Other Theatre and Film Art, where he received important parts include Bayati in Al- his director’s degree in 1973, he joined the Deen’s Kittan Khola (The Fair of Kittan Khola, Csiky Gergely Theatre in Kaposvár. In with Shurbarna Mustafa as Banasribala, 1978 ZSÁMBÉKI brought him and sev- Faridi as Chhaya-ranjan and Shimul eral members of the company to the Na- YOUSUFF as Dalimon, set design by tional Theatre of Budapest, but he kept Jamil AHMED, directed by Nasiruddin on working in Kaposvár as well. In 1981 Yousuff, 1981), Anarbhandari in Al- he returned to Kaposvár and has been a Deen’s Hat Hadai (with Shimul Yousuff as leading director there ever since. Since Chhukkuni, directed by Nasiruddin 1989 he has also been a member of the Yousuff, 1989) and the Ox-cart Driver in Budapest Katona József Theatre and the Al-Deen’s Chaka (with Shimul Yousuff as Paris European Theatre Council. He rep- the Narrator, directed and designed by resented Hungary in the board of direc- Jamil Ahmed, 1991). The most striking tors at the Central European Theatre Fes- feature about his performance is his tival in Cividale since 1991. Major pro- unique dynamism charged with explosive ductions (some of which toured world- power which radiates physically. Asad’s wide) include Ödön von Horváth’s performances on film and television have Geschichten aus dem Wiener Wald (Tales from also been highly acclaimed for artistic the Vienna Wood) and Kazimir und Karoline, merit. He is an active member of Dhaka Beckett’s Waiting for Godot, Bulgakov’s Theatre (a leading theatre group in Bang- Master i Margarita (The Master and ladesh). Margarita), Hamlet, Chekhov’s Tri sestry (Three Sisters) and Platonov, Howard BARK- Asakura Setsu (1922–) Designer, Japan. ER’S Scenes from an Execution, Arden’s Live Asakura began her career as an artist. In Like Pigs and Dürrenmatt’s Der Besuch der 1970, she went to the USA to study stage Alten Dame (The Visit). Ascher’s produc- art by an invitation of the Rockefeller tions present everyday problems in a clear Foundation. She has designed the stage for artistic form, and are characterized by NINAGAWA’S production of Euripides’s vivid stage life, pace and concentrated act- Medeia (1978), AKIMOTO Matsuyo’s ing. Chikamatsu Shinjû Monogatari (Chikamatsu Love Suicide Story, 1979), Ennosuke’s Coq Asti, Adriana (1936–) Actor, Italy. After d’or in Paris (1984) and Takeshi a period of training at Fantasio Piccoli’s Umchara’s tomato Takeru (Tarkeru Yamato, Compagnia del Carrozzone and at the Pic- 1986). In 1988 an exhibition of her colo Teatro in Milan, Adriana Asti made scenography was held in New York and her first important theatrical appearance Los Angeles. Asakura has also worked in Arthur MILLER’S The Crucible (1955), closely with KARA Jûrô, who was the directed by Luchino Visconti. She also leader, playwright and director of the worked with Visconti in Natalia Jôkyô Gekijô (the Situation Theatre Com- Ginsburg’s Ti ho sposato per allegria (I Mar- pany) since 1960s. Her stage design var- ried you just for Cheerfulness, 1966), which ies from the detailed period stage to very Ginsburg wrote specifically for her,

14 Atanasov, Atanas Gueorguiev Azcarate, Leonor

Harold PINTER’S Old Times (1973), more Master Builder) by Ibsen, and the husband recently, Ashes to Ashes (1998), writtenand and the lover by turns in PINTER’S Be- directed by Pinter. Asti also worked, trayal. Apart from his work as an actor, among others, with Luca RONCONI on Autran has translated and directed plays. his acclaimed production of Orlando Furioso (1969), Luigi SQUARZINA on Rosa Ayckbourn, Alan (1939–) Dramatist and Luxemburg (1976) and Susan Sontag on director, Great Britain. Ayckbourn first Luigi Pirandello’s Come tu mi vuoi (As You worked in the theatre as stage manager Desire Me, 1980). As a film actor, Asti and actor in Donald Wolfit’s company. worked with Pier Paolo Pasolini in From 1962–4 he acted and directed at Accattone (1961), Bernardo Bertolucci in Stephen Joseph’s Theatre in Scarborough, Prima della rivoluzione (Before the Revolution, the town he has since made his residence. 1964), Visconti in Rocco e I suoi Fratelli (Rocco Since his first major success as a drama- and his Brothers) and Vittorio de Sica in Una tist (Relatively Speaking, 1967), Ayckbourn’s breve vacanza (A Short Holiday, 1973). Asti, dramatic output has been considerable, one of Italy’s most popular stage, televi- with at least one new play per year, usu- sion and film actors, is a strong lead player ally first performed in the author’s own who has time and again enchanted her production in Scarborough. Ayckbourn’s audiences with her passionate and charis- plays are comedies in the broadest sense. matic acting style. Their subjects vary from contemporary middle-class life to futuristic settings Atanasov, Atanas Gueorguiev (1955–) (Henceforward, 1987), and plays for children Actor, Bulgaria. He trained at the National (Mr A’s Amazing Maze Plays, 1993). His ear- Academy for Theatre and Film Arts lier works are at times hilariously funny, ‘Krastjo Sarafov’, Sofia. As an actor, he in recent years the emphasis seems to have worked for the National Theatre ‘Ivan shifted to darker aspects of human nature. Vazov’, the Bulgarian Army Theatre, The plots are often intricate, making use Theatre 199, Youth Theatre and as an in- of devices as hallucinatory states induced structor of acting at the National Academy by an accident (Woman in Mind, 1983), or for Theatre and Film Arts ‘Krastjo time travel (Communicating Doors, 1994). Sarafov’, Sofia. Major parts include Pozzo Whereas Ayckbourn’s commercial success in Beckett’s Waiting for Godot, Touch-stone is beyond doubt, the literary value of his in As You Like It, Frick in Arthur MILL- ‘well-made plays’ is occasionally ques- ER’S Last Yankee and Deeley in Harold tioned. However, an increasing number of PINTER’S Old Times. serious publications not only in Britain demonstrates Ayckbourn’s growing im- Autran, Paulo (1922–) Actor and direc- portance in contemporary British drama. tor, Brazil. During his long and distinguished career as a stage, television and Azcarate, Leonor (1955–) Dramatist, film actor, critics have been unanimous in Mexico. During the 1970s, she started their praise for his creativity, enthusiasm writing plays while participating in the and love for his art. Major parts include drama workshops of Vicente Leñero, Hec- title roles in Othello, Macbeth, Coriolanus and tor Azar, Hugo Argüelles and Ricardo King Lear, Molière’s Tartuffe, Brecht’s Leben Gariba. The vision of Mexico as cruel and des Galilei (Life of Galileo), the Father in terrible, the complete portrait of social fa- Pirandello’s Sei personaggi in cerca d’autore tality which causes great tragedies in eve- (Six Characters in Search of an Author), Willy ryday life, the vision that unveils the cul- Loman in Arthur MILLER’S Death of a tural mask which hides moral intolerance, Salesman, Solness in Bygmester Solness (The and the description of a dubious reality

15 Azencot, Myriam Azencot, Myriam where good and evil may be confused and chard II (1981), Madame Khieu Samnol, innocence and crime are notseparated con- the vegetable seller in Hélène CIXOUS’S stitute the main concerns of her plays, The Terrible but Unfinished Story of Norodom which include The Midnight Passenger, Fauna Sihanouk, King of Cambodia (1985), Sarojini Rock, Regina 52 and Dirty Work. Naïdu in The Indiad or the India of Their Dreams (1987), Aeschylus in La ville parjure Azencot, Myriam (1945–) Actor, France. ou le réveil des Erinyes (The Perjury City or the Born in Oran, Algeria, Azencot entered Awakening of the Furies, 1994), and Mme the Theatre du Soleil in 1981, where she Pernelle in Molière’s Tartuffe (1995). has played major roles in several works Formed in the tradition of the Italian com- directed by Ariane MNOUCHKINE, in- edy, her acting expresses itself mainly in cluding the Duchess of Gloucester in Ri- the body.

16 B

Bacci, Roberto (1949–) Director, Italy. voice enabled her to take on a wide vari- After graduating in Italian Literature with ety of contrasting roles. Her major works a thesis on Eugenic BARBA and the Odin in the apprentice era were Baekya (White Teatret, Roberto Bacci started working at Night, 1945, by Ham Se-Deok), and the Piccolo Teatro di Pontedera in 1973. Wonsool-Rang (1950, written and directed In 1974 he founded the Centre per la by Yoo Chi-Jin). Since the 1960s, she has Sperimentazione e la Ricerca Teatrale in been particularly praised when taking Pontedera, which hosts a number of alter- roles of elderly women, for example, the native theatre festivals, performances, Wife in Pokpoongjooeuibo (A Storm Warning, seminars and workshops and is home to 1957, directed by Lee Jin-Soon) and Mrs Jerzy Grotowski’s internationally ac- Goon-Po in Manseon (Full Catch, 1964). claimed research centre. Throughout the During the same period, Baik also per- last thirty years Bacci, who is very much formed a young woman role, that of the at the centre of Pontedera’s activities, has Princess in Tieck’s Der Gestiefelte Kater (Puss provided practitioners from all over the in Boots, 1982). As a member of the Ko- world with a lively and exciting forum for rean National Theatre, Baik still makes debate and exchange of artistic practices. regular stage appearances, including Among his most notable productions at Sijipganun Nal (The Wedding Day, 1997, by Pontedera are the devised pieces Tosca Oh Young-Jin), Mokpoeui Noonmool (Tears of (1980), Il giardino (The Garden, 1982), Mokpo City, 1998, by Jang Woo-Je) and Zeitnot (1984), In carne ed ossa (Flesh and Three Independant Women (1995), by Blood, 1989), Danza di legno (Wodden Dance, I.Manchel, a performance in celebration 1994) and Nostos (1995). Bacci has also di- of the fiftieth anniversary of Baik’s debut. rected the Festival Internazionale di Teatro in Piazza in Santarcangelo (1978–80 and Bajaj, RamGopal (1940–) Actor and di- 1984–7), the festival Passaggio in rector, India. He trained at the National Pontedera (1985–8) and the festival School of Drama, New Delhi. Currently Volterrateatro in Volterra (1990–6). he is professor of acting and director of the National School of Drama, New Delhi. Baik Soung-Hee (1925–) Actor, Korea. RamGopal Bajaj has acted in more than Baik trained with the Victor Musical fifty plays, and some of his memorable Company and the Hyundai Theatre Com- roles are Lucky in Beckett’s Waiting for pany. Her flexibility both in body and Godot, Old Man in Sophocles’s Electra,

17 Bakar, Abu Banda, Victor Hugo Rascon

Nana in TENDULKAR’S Ghashiram tre. She has played major parts under the Kotwal, Yuyutsu in BHARATI’S Andhayug, direction of outstanding directors, such as Barani in KARNAD’S Tughlag and Amal Andrei SERBAN, Catalina BUZOIANU in SIRCAR’S Evam Indrajit (I am Indrajit). and Silviu PURCARETE. These include There is a poetic sensibility in his acting: Arkadina in Chekhov’s Cajka (The Seagull), he is a great master of The Natyashastra. the title role in Antigone by Sophocles, Bajaj has also directed more than twenty Giraudoux’s La folle de Chaillot (The Mad- plays and has translated many Western woman of Chaillot), and the title role in Dario and Indian plays into Hindi. FO’S Elizabeth, Accidentally a Woman. She created a much acclaimed one-woman Bakar, Abu (1944–) Director, Indonesia. show with poetry by Mihai Eminescu, Founder-director of Teater Poliklinik, the Nichita Stanescu, Ion Barbu, Rainer Maria most prominent contemporary theatre Rilke and folk poetry. A versatile actor on group in Bali, Bakar has directed plays by television and film, she won several prizes Chekhov, Arifin C.Noer, Putu Wijaya, and awards. ‘Poetry is my prayer’, she IKRANAGARA and others. His work in- says. Her emotional intensity is always tegrates traditional themes within the con- under critical control and uttered with re- text of a contemporary sensibility. More fined articulation. recently, he has collaborated with Ida Bagus Nyoman MAS in the creation of a Banai, Yossi (1932–) Actor, Israel. After new Kecak production for the 1997 Sin- participation in an army entertainment gapore Arts Festival. He also writes fiction, group, Banai had problems joining the poetry and screenplays for television. Habima theatre because of his oriental Hebrew accent, and together with drama- Bakhri, Muhammad (1953–) Actor, Is- tist Nissim Aloni he established ‘Teatron rael/ Palestine. Bajhri studied acting at Tel Ha-Onot’ (The Theatre of Seasons) in Aviv University and has played leading 1962. Even if this theatre closed after two roles in the Israeli theatre in plays like seasons it has left a lasting impression, Lorca’s Bodas de sangre (Blood Wedding), mainly because of its absurdist style and Sophocles’s Oidipus, and in both Arabic Banai’s achievements. When later ac- and Hebrew in the stage version of the cepted at Habima he played roles such as story The Opsimist (a title combining ‘opti- the title role in Ibsen’s Peer Gynt, Iago in mist’ and ‘pessimist’) by the Israeli Pales- Othello and Azdak in Brecht’s Der tinian writer Emil Habibi, performed Kaukasische Kreidekreis (The Caucasian Chalk more than 800 times. In this production, Circle) and in many of Nissim Aloni’s the combination of his strong stage per- plays. Banai is also a popular singer and sonality and his political commitment re- entertainer, and is one of the few people ceived their fullest expression. His most in Israeli theatre with this kind of range. famous film role is in Meachorei Hasoragim (Beyond the Walls). Banda, Victor Hugo Rascon Dramatist, Mexico. Banda studied law at the Law Balanuta, Leopoldina (1934-) Actor, College of the National Autonomous Uni- Romania. Balanuta graduated from the versity of Mexico, obtaining both his mas- Bucharest Theatre and Film Institute in ters degree and doctorate. Most of his 1957. After a year at the Teatrul plays are influenced by his second profes- Tineretului (Youth Theatre) in Piatra sion as a lawyer: they are based upon real Neamtz, she joined the Teatrul Mic (Lit- events in Mexico which have become well- tle Theatre) in Bucharest (1959), with known judicial prosecution cases. His guest appearances at the National Thea- theatre has been considered social theatre.

18 Bandele-Thomas, Biyi Bang-Hansen, Kjetil

Banda writes for theatre, television and Bandô Tamasaburô V (1950–) Kabuki cinema. Among his plays, those which actor and director, Japan. Tamasaburô have been produced most frequently are took kabuki dance lessons under Kanshie The Illegals, White Arms, Hands Up, Close the Fujima since his childhood, and he be- Doors and Hallucinated. came the step-son of Morita Kanya XIV. He succeeded to the present stage name Bandele-Thomas, Biyi (1967–) Drama- in 1964. He played Shiragikumaru in tist, Nigeria. Bandele-Thomas is among a Namboku Tsuruya’s Sakurahime new group of African artists, such as Tess Azumabunsho (The Scarlet Princess of Edo, ONWUEME, Gabriel GBADAMOSI, 1967) and the Prince Shirotae in Mishima Ngugi wa THIONG’O and Wole Yukio’s Chinsetsu Yumiharizuki (The Cres- SOYINKA, who live and work abroad. cent, 1969) at the National Theatre, and Bandele-Thomas lives in London, where began to attract public attention by his ex- several of his plays have been performed, ceptionally beautiful appearance and including the award-winning Resurrections skilled performances as an onnagata (a fe- which was presented at the Cochrane male impersonator) actor. He plays roles Theatre by the Talawa Theatre company, such as the Princess Taema in Narukami directed by Yvonne Brewster, and Two Fudo Kitayama Zakura (Saint Narukami and Horsemen, which played at the Bush Thea- the God Fudo) by Hanjuro Tsuuchi, Abun tre directed by Roxana Silbert (the latter Yasada and Mansuke Nakada; Shizuka in play won the main prize at the 1994 Lon- Yoshitsune Senbon Zakura (Yoshitsune Thousand don New Play Festival). Although he lives Cherry Trees) by Izumo Takeda, Shoraku abroad, Bandele-Thomas’s theatre is still Miyoshi and Senryu Namiki; and O-some preoccupied with the theme of the Nige- in Osome Hisamatsu Ukina no Yomiuri (Seven rian nation, its problematic politics and the Appearances of O-some) by Namboku effects of this on the Nigerian people, as Tsuruya. He also acted the leading female in Marching for Fausa (1993). parts in the plays by Izumi Kyôka and Mishima’s Madam de Sade for Shinpa (New Bandem, I Made (1945–) Performer and Kabuki) Theatre company. He danced director, Indonesia. He trained at ASTI Sagi Musume for the centennial of the New (Akademi Seni Tinggi Indonesia), and York Metropolitan Opera House in 1984, obtained an MA in dance from the Uni- and joined a kabuki overseas tour to the versity of California in Los Angeles, and USA and Europe in 1985 and 1986. He a PhD in ethnomusicology from Wesleyan has directed plays, including Romeo and University. An accomplished performer of Juliet (1986), Michio Kato’s Nayotake and traditional Balinese Topeng, Dr Bandem Mishima’s Kuro Tokage (The Black Lizard, is especially renowned for his rendering 1990). of Dalem, the Refined King in Topeng Pajegan. His Dalem is at once refined and Bang-Hansen, Kjetil (1940–) Director commanding, his movement articulate and actor, Norway. Bang-Hansen attended and precise. Since the late 1970s, he has the Norwegian State Drama School, and emerged as one of the foremost scholars pursued studies in literature at Oslo Uni- and performers of traditional Balinese versity and studies in ballet and choreog- dance drama, and has been instrumental raphy in London and Stockholm. Between in bringing Balinese performance to world 1962–7 he worked as an actor, adding di- attention. Until recently he was director recting to his credits in 1967. Since 1970 of STSI (the Academy of Performing Arts) he has held posts as artistic and resident in Denpasar, Bali, and he continues to per- director at several companies throughout form both in Bali and internationally. Norway, in Oslo, Stavangerand Bergen,

19 Barba, Eugenio Barberio Corsetti, Giorgio with over 100 productions to his credit ings have been collected in The Floating Is- both in Norway and abroad, including lands (1979), The Dilated Body (1985) and plays by Sophocles, Shakespeare, Molière, Beyond the Floating Islands (1986). Important Ibsen, Chekhov and Brecht and contem- productions include Ferai (1969), Min Fars porary plays from every genre, including Hus (My Father’s House, 1972), Come! and the musicals. Tom Remlov, artistic director of Day Will Be Ours (1976), Brechts Aske (Brecht’s Norsk Film, writes: ‘Strikingly evident in Ashes, 1982), The Gospel According to Kjetil Bang-Hansen’s productions is his Oxyrhincus (1985), Talabot (1988) and The primary commitment to the unique life Castle of Holstebro (1990). and laws of the stage, with an emphasis on the creation of images and on employ- Barbareschi, Luca (1956–) Actor and di- ing the expressiveness of the actor. This rector, Italy. After training with Lee has led to Mr. Bang-Hansen being labelled Strasberg, Stella Adler, Nicholas Ray and theatrical, expressive, poetic—terms which at the Studio Fersen in Rome, Luca really only serve to distinguish his work Barbareschi started working as a theatre, from current trends of social realism and film and television actor with Gabriele dialectical theatre post-Brecht. Rather, Mr. Lavia and Gabriele Salvatores. An eclec- Bang-Hansen’s work should be character- tic and versatile actor who has contributed ized as a theatre of counterpoint—con- substantially to introducing a number of stantly and consciously juxtaposing the contemporary European and North actor and his character, music and spoken American authors to the Italian theatre word, image and action, and with humour scene, Barbareschi is a popular lead player and delicate use of comedy as important with a strong stage presence. Among his elements.’ most notable productions are Sam SHEPARD’S True West (1985) and David Barba, Eugenio (1936–) Director, Italy. MAMET’S American Buffalo (1984) and After a period of training at the directors’ Oleanna (1993). school in Warsaw, Eugenio Barba joined Jerzy Grotowski’s Laboratory Theatre as Barbeau, Jean (1945–) Dramatist, an observer in 1961. He then founded the Canada. Barbeau began writing plays Odin Teatret, with which he worked first while at university. In 1970–1, eight of his in Oslo (1964) and then in Holsterbrö in plays were produced within sixteen Denmark. Throughout the years, Barba months, including Le Chémin de Lacroix (The has come to represent not only one of the Way of Lacross) and Joualez—moi d’amour most innovative and challenging directors (Speak to Me of Love). Up to 1976, Barbeau’s working in Europe, but also one of the plays reflect the political situation in most interesting theorists of contemporary francophone Québec. Since the Parti theatre practice. With Odin, Barba has Québecois was elected in 1976, Barbeau been exploring the boundaries of perform- has written less and shifted his emphasis ance from an anthropological and physi- to more universal themes. In 1989, his ological point of view, organizing work- play L’Abominable Hommes de Sables (The shops, conferences and ‘barters’, cross-cul- Abominable Sandman) was produced at the tural exchanges between practices from Théâtre de La Poudrière. different traditions. In 1979 Barba founded the International School of Theatre An- Barberio Corsetti, Giorgio (1951–) Di- thropology, which works with practition- rector, dramatist and performer, Italy. Af- ers from various cultural traditions to ter graduating from the National Academy study the principles of performers’ tech- of Dramatic Art in 1975, Barberio Corsetti niques. Some of his more memorable writ- founded with Marco Solari and

20 Barker, Howard Barriera, Jean-Claude

Alessandra Vanzi the company Gaia Barnes, Ben (1956–) Director, Ireland. Scienza(1976), which he left in 1984 to Barnes trained as a theatre director with found his own group, the Compagnia the assistance of many prestigious bursa- Teatrale di Barberio Corsetti. Amongst his ries and scholarships. He was Resident most notable devised productions are Blu Director at the Abbey Theatre, Dublin oltremare (Overseas Blue, 1978), Il ladro d’anime (1982–6), Director of the National Youth (The Souls’ Thief, 1984), La camera astratta Theatre (1984–8), Director of the Gaiety (The Abstract Room, 1987), Frammenti di una Theatre, Dublin (1993–6), founding Ar- battaglia (Fragments of a Battle, 1988), Il legno tistic Director of Opera Theatre Company dei violini (Wood for Violins, 1990) and I cinque and Director of the independent Ground- corpi regolari (Five Regular Bodies, 1992). work company (1987–96). In 1987 he won Barberio Corsetti also co-directed a a Harveys’ award for Best Director for his number of site specific performances with Gate Theatre, Dublin production of Stephane Braunschweig (1993), Mario HAMPTON’S Les Liaisons Dangereuses and MARTONE and Claudio Morganti his Abbey Theatre production of The Field (1995), Robert WILSON and the de- by John B.KEANE, with whose popular signer Giorgio Armani (1996). Barberio rural dramas he has been closely associ- Corsetti was one of the first Italian practi- ated, having recently directed Sive and tioners to explore the application of new Sharon’s Grave. He is noted as a director of technologies to the theatre. His highly for- new Irish writing, including six plays by malist practice is centred around the Bernard Farrell, most recently Kevin’s Bed objectification of the body in performance (Abbey Theatre, 1998). He has directed and experimentation with the pictorial and Beckett’s Rockaby, Footfalls and Rough for lyrical components constructing theatrical Theatre I for the Gate Theatre’s Beckett space. In his latest works, he has been ex- Festival (Dublin and New York, 1996), ploring the intimate and subjective space and PINTER’S No Man’s Land as part of of the human mind. the Pinter Festival also at the Gate in 1997. In 1998 he directed The Salvage Shop by Barker, Howard (1946–) Dramatist, Jim Nolan for Red Kettle Theatre Com- Great Britain. History (which Barker read pany, Waterford, and Brian Friel’s version at the University of Sussex in Brighton) of Chekhov’s Djadja Vanja (Uncle Vanya) for dominates his dramatic output, not for its the Gate Theatre, both staged as part of own sake but used as a metaphor, as in the Dublin Theatre Festival. Love of a Good Man (Almeida Theatre, 1978) set during the First World War, or Barriera, Jean-Claude (1939–) Designer, The Europeans, set in the aftermath of the France. Barriera trained as a dancer and liberation of Vienna from Islamic forces, has worked with the Ballet of Madrid. He written in 1984 and first performed in has not studied costume designing, which 1993. In Uncle Vanya (1995), Barker offers has allowed him much freedom in choos- a new version of Chekhov’s famous origi- ing fabrics for his often unconventional nal, emphasizing the individual’s freedom costumes. He prefers not to incorporate of choice. Barker plays never fail to be historical references into his costume con- complex and provocative. Many are writ- ceptions, but rather to transpose ideas ten in a densely poetic style, often focus- from the Oriental tradition. He first came ing on the transforming character of de- to Ariane MNOUCHKINE’S Théâtre sire and the exploration of acts conven- du Soleil during the preparation of 1789; tionally perceived as cruel, but considered he worked also on 1783, 1793 and L’Age in a morally re-evaluative context of the d’or. However, he is mostly known for the catastrophic will to new identity. creation of the colorful and marvelous

21 Barry, Sebastian Barton, John costumes of The Shakespeare Cycle (1981– played a large number of major roles such 4). Some of these weighed as much as 50 as the title role in Richard III and the old kg, but they did not look heavy and the man in lonesco’s Les chaises (The Chairs). He actors’ movements on stage suggested has also directed a large number of pro- lightness. Later, he designed the costumes ductions in different contexts, for film and for Hélène CIXOUS’S The Terrible but Un- radio and has worked in education for the finished Story of Norodom Sihanouk, King of theatre. Cambodia (1985) and The Indiad or the India of their Dreams (1987). During forty-one Barth, Susanne (1944–) Actor, Germany. years of designing he has had the oppor- Born in Hungary, Barth trained for the tunity to work with many other directors, stage in Hannover. Following six years in including an Indian play, Nil-Shada-Lal Frankfurt (1968–74), where she played in (Blue, White, Red, 1989) directed by Uptal productions of Peter Palitzsch and Hans Dutt; Poussière d’ange (1991) by Fatima NEUENFELS, she has been working Gallaire, directed by Mustaphah Aoun; freelance since 1974, appearing in Stutt- and Quichotte et Sancho and The Wizard of Oz gart, Köln, Munich and Frankfurt. Parts directed by Gille Galliot (1997). include Martha in Edward ALBEE’S Who’s Afraid of Virginia Woolf? (1983), Inès Barry, Sebastian (1955–) Dramatist, Ire- in Sartre’s Huis clos (In Camera, 1988), and land. Barry’s work is characterized by an Hippolita in John Ford’s T’is Pity She’s a extraordinarily lyrical use of language. By Whore (1992, directed by Michael exploring and expanding aspects of his BOGDANOV). More recently she ap- own family history, Barry has addressed peared in Shaw’s Heartbreak House in wider issues while engaging with the fates Düsseldorf and in Ariane of indivuals. His plays include Boss Grady’s MNOCHKINE’S adaptation of Klaus Boys (1988), Prayers of Sherkin (1989) and Mann’s novel Mephisto in Köln (both White Woman Street (1992), all directed by 1997). Caroline Fitzgerald, and The Only True His- tory of Lizzie Finn (1995), directed by Patrick Barton, John (1928–) Director, Great Brit- MASON for the Abbey Theatre, Dublin. ain. Barton studied at King’s College, In 1995 The Stewart of Christendom (featur- Cambridge and went on to teach English ing Donal McCann) was produced at Lon- at Cambridge University, where he di- don’s Royal Court Theatre Upstairs by rected plays and influenced the young Pe- Out of Joint and directed by Max STAF- ter HALL. When Hall set up the Royal FORD-CLARK. It won a number of ma- Shakespeare Company in 1960, he invited jor prizes. In 1998 his most recent play, Barton, Peter BROOK and Michel St Our Lady of Sligo, featuring Sinéad Cusack Denis to join him at Stratford, and Barton and directed by Max Stafford-Clark, was became an Associate Director of the RSC first staged as a Royal National-Out of in 1964. One of his first major projects was Joint production in London. Barry is a to adapt and co-direct, with Peter Hall and member of Aosdána (affiliation of Irish Clifford Williams, The Wars of the Roses, a artists, writers and composers) and a re- three-part adaptation of Shakespeare’s cipient of numerous awards. Henry VI Parts I–III and Richard III. Apart from numerous productions of Shake- Bar-Shavit, Shlomo (1928–) Actor and speare, he created the three-part The Greeks director Israel. Bar-Shavit is one of the first (1980), an adaptation of nine plays by actors trained at the Habima studio and Aeschylus, Sophocles and Euripides with later joined the company, serving as its a play written by himself based on mate- artistic director in the late 1970s. He has rial from Homer’s Iliad. Other productions

22 Bartoška, Jirí Bates, Alan include Strindberg’s Ett Drömspel (A Dream Woolf? (1965). Since 1967 he has worked Play, 1985), Chekhov’s Tri sestry (Three Sis- as a freelance artist. In 1973 he founded ters, 1988) and Byron’s Cain (1995). Barton the travelling troupe Teatar u gostima seminally influenced the Royal Shake- (Theatre in Visit), where he works as an speare Company’s style of speaking actor and director. The group has per- Shakespeare’s verse. In 1990 he directed formed in more than 300 places all over Ibsen’s Peer Gynt at The Nationalteatret in Croatia. In 1998 it celebrated its Oslo. Although the production was in twentyfifth anniversary with Yasmine Norwegian, a language which Barton does Reza’s play Art (starring Basic and Vanya not speak himself, critics praised the verse- DRACH). In addition to acting, Basic has speaking as the best for that play in their directed around twenty Croatian first pro- memory. ductions of Anglo-Saxon writers. He has acted in 120 movies by Croatian and for- Bartoška, Jirí (1947–) Actor, Czech Re- eign directors (including Ustinov, Welles, public. After studying in the Brno Acad- Schlöndorf and Guanaco), and is perhaps emy of Performing Arts, Bartoška acted best-known as Mr Fulir in Golik’s film Tko in the experimental group Goose on a pjeva, zlo ne misli (The One Who Sings No Evil String—Husa na provázku. In 1972, he Brings). In 1995 he celebrated forty years moved to the Cinoherní studio in Ústí of his acting career at the HNK in a n.L., where he worked his way up over dramatisation of Šenoa’s novel Kletva (The four years into an actor with enormous Curse). personal charisma and a wide range of expression. His most important role was Básti, Juli (1957–) Actor, Hungary. Básti that of Mister in Kundera’s adaptation of trained at the Academy of Theatre and Diderot’s Jacques the Fatalist (1975, directed Film Art. In 1980 she joined the Cisky by Ivan RAJMONT), which he played for Gergely Theatre of Kaposvár, and since eighteen years. From 1978–91 he was a 1984 she has been a member of the leading light of the Theatre on the Balus- Katona József Theatre in Budapest. Ma- trade/Na zábradlí. Here he created, among jor roles include Helena in A Midsummer other roles, the lead in Molière’s Dom Juan Night’s Dream, Olivia in Twelfth Night, The (1989) and Leopold, the main part in Mayor’s Wife in Gogol’s Revizor (The Gov- HAVEL’S Largo Desolato (1990). Since ernment Inspector), Masha in Chekhov’s Tr i 1992 he has been working in the inde- sestry (Three Sisters), Anna Petrovna in pendent Theatre Without a Balus-trade/ Chekhov’s Platonov and Katherine Glass Divadlo bez zábradlí, which he co- in David HARE’S The Secret Rapture. Básti founded. At present he is also the presi- is an extremely gifted actor who can im- dent of the Karlovy Vary Film Festival personate exquisite heroines, tragic queens Foundation, and a leading personality in and ordinary, distorted or grotesque fig- this international festival. ures with the same depth and credibility.

Bašic, Relja (1930–) Actor and director, Bates, Alan (1934–) Actor, Great Britain. Croatia. Bašic graduated from the Acad- Bates trained at the Royal Academy of emy of Dramatic Art in Zagreb in 1959. Dramatic Art. One of his first major suc- At HNK in Zagreb (Croatian National cesses was as Cliff Lewis in the original Theatre) he played the title roles in production of Osborne’s Look Back in An- Brezovacki’s Diogeneš and Krle•a’s Aretej ger at the Royal Court in 1956. In 1960 (Areteus). In 1962 he portrayed Aurel in he created the part of Mick in Harold Krle•a’s Leda, and created George in PINTER’S The Caretaker. Over the next Edward ALBEE’S Who’s Afraid of Virginia twenty years Bates became associated

23 Bates, Kathy Beale, Simon Russell especially with plays by David STOREY Peter Handke, Koltès and Pirandello as fa- and Simon GRAY, most recently in Gray’s vourite playwrights, his plays show ritual- Life Support (1997, directed by Pinter). He istic and theatrically existential situations. also played the title role in Peter SHAFFER’S Yonadab (1985) at the Na- Baydur, Mehmet (1951–2001) Dramatist tional Theatre, London, directed by Peter and director, Turkey. Mehmet Baydur HALL, who invited him to play Solness lived in London and Paris for a long pe- in his revival of Ibsen’s Bygmester Solness riod after first going to those cities for his (The Master Builder, 1995). university education. Between 1980–94 he wrote plays such as Limon (Lemon), Gun Bates, Kathy (1948–) Actor, USA. Kathy Gece/Oyun Ölüm (Day Night/Play Death), Bates is today best known from her film Kadin Istasyonu (The Station for Women), career, notably as Annie Wilkes in Misery Yangin Yerinde Orkideler (The Orchids in the Fire (1990). She graduated from Southern Location), Maskeli Süvari (The Masked Briga- Methodist University with a BFA in 1969. dier), Kamyon (The Lorry), Menekse Korsanlari In 1983 she received several awards for (The Pirates of Violets) and Ask (Love). Kadin her portrayal of Jessie Cates in Marsha Istasyonu (The Station for Women) was staged NORMAN’S Night Mother, and in 1988 by himself at Richard Martin-Toursky she played Elsa Barlow in Fugard’s The Theatre in Marseilles. Dogum (Birth) and Road to Mecca, a part she later repeated in Çin Kelebegi (The Chinese Butterfly) were the film version (1991). Recent films like staged at Théâtre de Folles Pensée and di- Titanic (1997) and Primary Colors (1998) rected by Roland Fichet, first in St Brieuc demonstrate her great skill in comic and and later at the Avignon Theatre Festival. dramatic roles. His plays have been widely translated into English, French and Spanish. Baydur is Bauer, Wolfgang Maria (1963–) Actor not writing only about Turkish issues, but and dramatist, Germany. Bauer trained explores the case of individuals constantly for two years at the Hochschule für encountering problems that continue Darstellende Kunst in Stuttgart. Between haunting them. His plays ask questions, 1990–3 he was an actor with the challenging the spectator by never provid- Bayerisches Staatsschauspiel in Munich, ing precise and definitive answers. where his roles include Arnold in Hauptmann’s Michael Kramer (directed by Beale, Simon Russell Actor, Great Brit- Peter Palitzsch), and Mercutio in Leander ain. Beale first attracted attention in a HAUßMANN’S production of Romeo and small comic role as the Young Shepherd Juliet. In 1998 he played St Just in Robert in The Winter’s Tale. He went on to play a WILSON’S production of Büchner’s number of comic parts for the Royal Danton’s Tod (Danton’s Death), a co-produc- Shakespeare Company, including four out tion of the Salzburg festival and Berliner of five of the fops in a season of Restora- Ensemble. In 1995 he joined Peter Brook’s tion Comedies at the Swan: this allowed company in Paris. In 1996 he appeared in him to create a series of comic grotesques Hebbel’s Judith in Düsseldorf and in played with enormous zest and relish. At Schnitzler’s La Ronde in Munich. As an the same time, he was also able to encom- actor, he commands a strong physical pass evil in Nick Dear’s The Art of Success, stage presence. Bauer’s first play was Der and he continued to extend his range as Zikadenzüchter (The Cicada Breeder, 1992), Richard III (1992), as Osvald in Ibsen’s followed by In den Augen eines Fremden (In Gengangere (Ghosts) and as Edgar in King the Eyes of a Stranger, 1993). With Lear (1994). He made his debut at the Tarkovsky as favourite film director and Royal National Theatre in 1995 as Mosca

24 Beatty, John Lee Belbel, Sergi in Ben Jonson’s Volpone, returning in 1997 plays, such as churches, castle gardens and to play lago in Othello and joining Trevor factories. The managing director of the NUNN’S 1999 ensemble. theatre in Düsseldorf saw one of these productions and invited her to work as an Beatty, John Lee (1948–) Designer, USA. assistant director at his theatre; later she Beatty received an MFA from Yale in went on to her own independent work. In 1973. He designed numerous productions, 1993 her production of Romeo and Juliet among them Brecht’s Baal (1974), opened the theatre season of the FRIEL’S Faith Healer (1979), Simon Schauspielhaus in Düsseldorf, and since GRAY’S Close of Play (1981), Arthur then she has directed there regularly as MILLER’S After the Fall (1984), Lanford well as in Hamburg and Bonn. Company WILSON’S Burn This (1987), Terence work has been described as her strength: MCNALLY’S Lips Together, Teeth Apart with an international group of actors from (1991), Lillian Hellman’s The Little Foxes nine European countries, she presented A (1997, with Stockard CHANNING in the Midsummer Night’s Dream (1995), and she cast), Neil SIMON’S Proposals (1997) and plans further international collaborations. Alfred Uhry’s The Last Night of Ballyhoo More recent productions include lonesco’s (1997). He has been called a ‘master of Les chaises (The Chairs, Düsseldorf, 1996), poetic or lyric realism’. Twelfth Night (Hamburg, 1996) and Meas- ure for Measure (Hamburg, 1998). Bedford, Brian (1935–) Actor, USA. Bed- ford was born in Britain and trained at the Belbel, Sergi (1963–) Dramatist, director Royal Academy of Dramatic Art. Since his and translator, Spain. His first play, A.G/ New York debut in 1959 as Clive in V.W., Calidoscopios y faros de hoy (A.G./ V.W., SHAFFER’S Five Finger Exercise, Bedford Kaleidoscopes and Lighthouses of Today, begun has mainly worked in the USA and in Catalan and completed in Spanish) was Canada. His roles include Alceste in written while he was still at Barcelona’s Molière’s Le misanthrope (The Misanthropist, Autonomous University. Produced at 1968), George Moore in STOPPARD’S Madrid’s Centre Nactional de Nuevas Jumpers (1974), the title role in Molière’s Tendencias Escénicas, it immediately es- Tartuffe (1982), Vladimir in Beckett’s Wait- tablished him as a dynamic anti-realist ing for Godot (1984) and Arnolphe in playfully interrogating the nature of Molière’s L’école des femmes (School for Wives, textuality and providing a new model for 1991), as well as many Shakespeare parts: Catalan drama in the 1980s. His plays, Richard II, Macbeth, Hamlet, Richard III, which include En companyia d‘ abisme (Deep Shylock and a one-man show which he Down, 1989), Caricies (Caresses, 1992) and toured between 1989–93. In 1995 he Després de la pluja (After the Rain, 1993, writ- played Salieri in SHAFFER’S Amadeus, ten first in Catalan and then translated by and starred in Boucicoult’s London Assur- the dramatist into Spanish) have been seen ance in 1997. He is highly regarded as a in both Barcelona and Madrid’s most ad- gifted specialist in classic plays. In 1996 venturous venues. In recent years Belbel he was inducted into the Theatre Hall of has also directed the plays of Catalan con- Fame. temporaries including Josep Benet i Jornet’s Testament (1997), as well as classi- Beier, Karin Director, Germany. While cal pieces by Shakespeare, Molière and studying Drama and English at Köln Uni- Goldoni for Barcelona’s major theatres. versity, Beier founded a Shakespeare com- His many translations into Spanish and pany and directed nine of Shakespeare’s Catalan include works by Bernard-Marie plays in various locations inspired by the Koltès, Beckett, Racine and Perec. As well

25 Beligan, Radu Bene, Carmelo as producing various scripts for Australian plays, most of them new, such televisionand working with Ventura Pons as David WILLIAMSON’S The on an adaptation of Caricies for film, Belbel Removalists. In 1990 he founded the Bell teaches Dramatic Literature at Barcelona’s Shakespeare Company, which tours much Institut del Teatre. of Australia with the aim of making Shake- speare more relevant to its Australian au- Beligan, Radu (1918–) Actor, Romania. diences; Bell Shakespeare editions, which He trained at the Royal Academy of Mu- include stage histories of the individual sic and Drama in Bucharest and soon af- plays in Australia, are also being pub- terwards made his debut with the com- lished. Bell has always promoted a pany Munca si Voie Buna (Work and larrikin, vagabond and knockabout idea Mirth), immediately noted as a peculiar of theatre. His current position of actor- and highly personal actor of comedy. manager seems particularly appropriate to However, he also played Tuzenbach in an actor who relishes self-evident theatri- Chekhov’s Tri sestry (Three Sisters), with a cality. lyrical, reflexive touch added to his personal sense of humour, and created the Bemba, Sylvain (1934–) Dramatist, role of Bérenger in Ionesco’s Rhinocéros. In Congo. Bemba was trained as a journalist 1969 he became Director General of the in Strasbourg under the name of Michel National Theatre, again playing a wide Belavin, where he wrote and produced a range of main parts, such as George in short feature film and also a pageant on Who’s Afraid of Virginia Woolf? by Edward the colonial experience in his native ALBEE, the title roles in Dürrenmatt’s Congo. He wrote his first play, L’enfer c’est Romulus der Große (Romulus the Great) and Orfeo (Hell is Orfeo) in 1966. His other pub- Richard III, the one-man show Der lished plays are: L’Homme qui tua le crocodile Kontrabaß (The Double Bass) by Patrick (The Man Who Killed the Crocodile, 1973), Une Süskind, and Salieri in Peter SHAFFER’S Eau dormante (Sleepy Waters, 1975), Tarentelle Amadeus. He published volumes of essays noire et diable blanc (Black Tarantula and White about theatre inspired by his rich experi- Devil, 1976) and Un Foutu de monde pour un ence and high culture, and has played in blanchisseur trop honête (A Rotten World for an many films and appeared on television Over-Honest Laundryman, 1979). Bemba’s and radio. theatre focuses on political and economic themes, and relies on satire and fantasy Bell, John (1940–) Director and actor, for its stage images. Australia. Now known primarily for reviving the classics, especially Shakespeare, Bene, Carmelo (1937–) Director, actor Bell has also vigorously promoted new and dramatist, Italy. Carmelo Bene made Australian playwriting. Bell first acted pro- his debut in 1959 with a stage production fessionally with The Old Tote, Sydney, in of Albert Camus’s Caligula. Bene gradu- 1963. In 1965 he studied at the Bristol Old ally developed a highly sophisticated and Vic and worked with the Royal Shake- provocative acting style centred around speare Company. On returning to Aus- the exploration of a diversity of physical tralia he produced The Legend of King and vocal skills and focused on the distor- O’Malley (1970), an iconoclastic musical tion and deconstruction of theatrical revue which helped to make a brash, non- signs. Inspired by Antonin Artaud, Bene realistic approach to theatre very popular. has been practising a baroque and icono- Bell co-founded the Nimrod Theatre, Syd- clastic form of total theatre. In ney, where he directed and acted in sev- Bene’s work, words are in fact often inter- eral classics alongside a large number of preted at the level of phonemes; in the

26 Benigni, Roberto Bennent, Heinz articulation of language, he experiments Hamburg she played Cressida in Leander in termsof space and time. His refusal to HAUSSMANN’S production of Troilus work in conventional theatrical spaces and Cressida (1993). In 1994 she played and the exploration of the most decadent, Masha in Chekhov’s Tri sestry (Three Sis- dark and anguishing aspects of the hu- ters), directed by Haußmann, appeared in man mind have inspired various theorists Handke’s Zurüstungen für die Unsterblichkeit and performers alike, such as Gilles (Preparing for Immortality, Burgtheater, Vi- Deleuze in Per Carmelo Bene (For Carmelo enna, directed by Claus PEYMANN, Bene, 1995). Bene’s most memorable 1997), and played the title role in Lessing’s stage works, which are often controver- Minna von Barnhelm (Vienna, directed by sial adaptations from classical texts, are Jens Daniel HERZOG, 1998). ‘She often Pinocchio (1962), S.a.d.e. (1974), Hamlet combines a childlike innocence with fierce (1974), Romeo and Juliet (1976), Lectura determination.’ Dantis per voce solista (Lectura Dantis for solo voice, 1981), Hommelette for Hamlet (1987) Bennent, David (1966–) Actor, Germany. and Macbeth—Horror Suite (1996). Bene Son of Heinz BENNENT and brother of also directed and acted in a number of Anne BENNENT, he made his debut at films including Pier Paolo Pasolini’s Edipo the age of twelve, creating the role of Re (Oedipus Rex, 1967). Oskar Matzerath in Volker Schlöndorff’s film adaptation of Die Blechtrommel (The Tin Benigni, Roberto (1952–) Actor, director, Drum) by Günther Grass. In 1985 he dramatist and singer, Italy. After a period played at the Comédie Française, and in of work in the experimental theatre scene, 1986 he was the Fool in Klaus Michael Roberto Benigni rose to international GRÜBER’S production of King Lear at the fame in the film industry with Giuseppe Schaubühne in Berlin. Following more Bertolucci’s Berlinguer ti voglio bene work with Grüber, as well as Robert (Berlinguer I Love You, 1976), Jim Jarmusch’s WILSON and Einar SCHLEEF, Bennent Down by Law (1986), Federico Fellini’s La joined Peter BROOK’S company in Paris voce della luna (The Voice of the Moon, 1989) in 1990. There he scored a major success and Jarmusch’s Night on Earth (1991). as Caliban in The Tempest. He also played Benigni, who is known for the creation of several parts in Brook’s production of The roles of down-to-earth urban survivors, Man Who. Small of stature, he frequently has a formidable stage presence, charac- brings out impish qualities in the characterized by his capacity to be at the same ters he portrays. time politically ironic and introspectively lyrical. For his own Life is Beautiful (1998) Bennent, Heinz (1921–) Actor, Ger- he received an Academy Award. many. Father of Anne BENNENT and David BENNENT, he took private act- Bennent, Anne (1963–) Actor, Germany. ing lessons after the Second World War, Daughter of Heinz BENNENT and sis- and has worked as a freelance actor since ter of David BENNENT, she began her 1947, appearing on all major stages in acting career at the age of ten. After work Germany and Austria as well as in in Berlin, Munich, and Stuttgart, she France. He played Jerry in PINTER’S joined the Burgtheater in Vienna (1991– Betrayal (1979), the actor Maximilian 3), where her parts included title roles in Steinberg in Botho STRAUSS’S Besucher Kleist’s Penthesilea (directed by the late (Visitors, 1988, directed by Dieter Ruth Berghaus) and Das Käthchen von DORN), and the Fool in King Lear (1992, Heilbronn (directed by Hans NEUENFELS). also directed by Dorn). Bennent is re- At the Deutsches Schauspielhaus in garded as a highly professional

27 Bennett, Alan Bernabé, Joby performer, energetic both in quiet and ex- Carola Martin in Klaus Mann’s novel plosive moments on the stage. Méphisto (1979–80); the Marquise Thérèse Duparc in Molière (1976–7), the film writ- Bennett, Alan (1934–) Dramatist, actor ten and directed by Mnouchkine; and the and director, Great Britain. Bennett began Duchess of Gloucester in Richard II (1982– his acting career in 1959 while still a stu- 3). In 1983 she created the part of Pandala dent at Exeter College, Oxford. His first in Hélène CIXOUS’S The Conquest of the play, 40 Years On, was produced in 1968 at School of Madhubaï,, directed by Michelle the Apollo Theatre in London with John Marquais at Odéon Theatre. She directed GIELGUD in the cast. In 1973, Habeas workshops in France, China, Spain and Corpus starred Alec Guiness, and An Eng- Italy. With Claire Duhamel, she took part lishman Abroad (1983) provided a vehicle in 1989 in the founding of ARTA (Asso- for Alan BATES. Following Kafka’s Dick, ciation de Recherche des Traditions de a play inspired by German writer Franz l’Acteur) located at the Cartoucherie de Kafka at the Royal Court in 1986, The Vincennes, where she now works. Each Madness of George III with Nigel year, the ARTA invites great masters of HAWTHORNE became an instant suc- the Oriental tradition in order to initiate cess at the Royal National Theatre in young artists to the sources of theatre. 1991, and was later adapted into an equally successful film version, both di- Berkoff, Steven (1937–) Actor, dramatist rected by Nicholas HYTNER. and director, Great Britain. Berkoff trained for the stage at Webber Douglas Academy Benning, Achim (1935–) Director and in London and at the École Jacques Lecoq actor, Germany. Benning trained at the in Paris. Mime and non-verbal elements Max Reinhardt Seminar in Vienna. In consequently dominate Berkoff’s work as 1959 he joined the Burgtheater in Vienna, actor and director, as in his one-man show initially as an actor, later as a director. Be- One Man in 1993, his production of Hamlet tween 1976–86 he was artistic director which he toured worldwide (1979), and his there, and from 1987–92 in Zürich. He has adaptation and production of Franz also directed in Hamburg and Munich, Kafka’s The Trial at the National Theatre. and returned to direct in Vienna under the His own plays, such as East 1975, Kvetch artistic directorship of Claus PEYMANN. (1986) and Brighton Beach Scumbags (1994), Recent productions include Chekhov’s offended many by their violent images and Djadja Vanja (Uncle Vanya, 1992, Vienna), their harsh attacks on the establishment. Nestroy’s Der Talismann (Vienna, 1993), Critical response to all of Berkoff’s work Einen Jux will er sick machen (the basis for tends to be highly controversial. STOPPARD’S On The Razzle and Thornton Wilder’s The Matchmaker, 1996, Bernabé, Joby (1945–) Performer and Vienna), Ostrovsky’s Volki I Ovcy (Wolves dramatic poet, France and Martinique. and Sheep, 1997, Zürich), and Schnitzler’s After obtaining a degree in Spanish at Das Weite Land (Undiscovered Country, 1999). Paris-Nanterre, he spent two years in Af- rica and then was active in student thea- Bensasson, Lucia (1941–) Actor, Tunisia tre in Paris, especially the collective crea- and France. Benasson studied theatre at tion, Kimafoutiésa (What Kind of Craziness, the University of Paris until 1966. In 1968, 1975), a satirical protest play mainly in she joined Ariane MNOUCHKINE’S Creole attacking official policies of spon- Théâtre du Soleil, playing a series of ma- sored migration to France. Since return- jor parts including Salouha in L’Age d’Or ing to the Caribbean, he has worked on (collective creation, 1975); the lead role recitals of his compositions in Creole. He

28 Berndl, Christa Betsuyaku Minoru aims to explore a wide range of moods matic roles in plays from modern Europe and topics, love poems, sarcasticmimicry as well as Puerto Rico. Notable roles in- of the slavish imitation of things French, clude Werner in Sartre’s Les séquestrés respect for the natural environment, and d’Altona (Prisoners of Altona, Alta Escena/El topical issues. An active member of the Cemí, 1974), the father in Pirandello’s Sei ‘Corps musical’ group, renewing tradi- personaggi in cerca d’autore (Six Characters in tional musical forms, his recitals combine Search of an Author, Teatro Epidaurus, poetry and music with a virtuoso use of 1975); the mayor in Victoria his own wide range of vocal timbre (illus- ESPINOSA’S production of Juan trated in the wake scene in Palcy’s film González’s La plena murió en Mayagüez (The La rue Cases-Nègres/Black Shack Alley Plena Died in Mayagüez, 1979), with Lucy (1983), where he played the role of Saint- BOSCANA as Marcela; and Vidal in Louis). Jaime Carrero’s La caja de caudales FM (FM Safe, 1979). Betancourt has also enjoyed a Berndl, Christa (1932–) Actor, Germany. coincidental partnership with the comic She began her career at the age of seven actor Ernesto CONCEPCIÓN in works in ballet. At the age of fifteen she played which include Ghelderode’s The Dump Gretchen in Goethe’s Urfaust. In her long (1976), Herrero’s La Balada de los tres and distinguished career she has worked inocentes (Ballad of the Three Innocents, 1978), with the theatre companies in Stuttgart, and Luis Torres Nadal’s Maten a Borges Augsburg, Kiel, Essen, Nürnberg, (They are Killing Borges, 1984) and La Santa Bochum, Köln, Münchner Kammerspiele, Noche del Sábado (Holy Saturday Night, 1986). and Bayerisches Staatsschauspiel, Munich, He is also a founder of the theatre group Düsseldorfer Schauspielhaus and El Cemí. Deutsches Schauspielhaus Hamburg. Equally able of successfully portraying Betsuyaku Minoru (1937–) Dramatist, eccentric or shy characters, she has fantasy writer and essayist, Japan. Over worked with important directors such as the years, Betsuyaku has co-founded sev- Wilfried MINKS, Peter Palitzsch, Peter eral companies, including the Gekidan ZADEK, Michael BOGDANOV, Jürgen Jiyû Butai (the Freedom Stage Theatre FLIMM and Luc BONDY. Major parts Company) with SUZUKI Tadashi and include Arkadina in Chekhov’s Cajka (The others, the Te no Kai (The Hand Theatre Seagull), Winnie in Beckett’s Happy Days, Company) with YAMAZAKI Masakazu Hedda in Bekannte Gesichter, Gemischte and SUEKI Toshifumi in 1972, and Gefühle (Known Faces, Mixed Feelings) by Katatsumuri no Kai (the Snail Theatre Botho STRAUSS, Juno in O’Casey’s Juno Company) with MURAI Shimako and and the Paycock, and Mrs Loman in Arthur his wife and actor, KUSUNOKI Yûko, MILLER’S Death of a Salesman. Since 1993 in 1978. Major plays include Zô (The El- she has presented her own evenings of ephant, 1962, called the first Japanese play chansons. Whether she plays elegant ladies, in the style of anti-theatre in Japan), Mattchi quietly suffering house wives or resolute Uri no Shôjo (The Match Girl, 1967), lower-class characters, Berndl masters all Nishimuku Samurai (Small Months, 1977), Ashi roles in the genres of comedy, tragedy, no Aru Shitai (A Corpse with Feet, 1982), and farce or operetta. Haru Natsu Aki Fuyu (Spring Summer Autumn and Winter, 1993). Betsuyaku was initially Betancourt, Marcos (c. 1925–) Actor, influenced by Kafka, Beckett and Ionesco Puerto Rico. Marcos Betancourt is one of and introduced the Theatre of the Absurd Puerto Rico’s most prolific and versatile to contemporary Japanese theatre. His dis- actors, performing both comic and dra- tinctive style of absurdist theatre is

29 Betti, Paulo Bickel, Moidele extremely funny and at the same time La caja de caudales FM (FM Safe, 1979). very true. Biaggi has also designed in a wide range of styles for plays from the world theatre, Betti, Paulo (1952–) Actor, Brazil. Ini- including Williams’s A Streetcar Named De- tially, Betti worked in non-professional sire (1977) and Jason Miller’s That Champi- theatre. In 1975 he co-founded the Pessoal onship Season (1976), both directed by Dean do Victor group; he became President of ZAYAS, and also Beckett’s Waiting for Godot the Casa da Gáeva in 1991, held a Brazil- (1974), for which he created an innovative, ian distinguished Artist Fellowship medieval-esque, stained glass cathedral de- (Fulbright) in 1993, and was involved in sign. organizing the curriculum of the theatre studies course at the Campinas University, Bibic, Polde (1933–) Actor, Slovenia. São Paulo. He participated in Peter Bibic trained at the Academy for Theatre Brook’s The Ik at Atum, and played Arts in Ljubljana. Major parts in his dis- Klestakov in Gogol’s Revizor (The Govern- tinguished career include Mephistopheles ment Inspector), Juliano in Mauro Rasi’s in Goethe’s Faust, Lopakhin in Chekhov’s Viagem Forli and Sigismund in Calderón’s Visnevyi sad (The Cherry Orchard), Pozzo in La vida es sueño (Life is a Dream). Beckett’s Waiting for Godot and Davis in Pinter’s The Caretaker. According to the Bharati, Dharamvir (1926–) Dramatist, statement accompanying the award of life- India. Andha Yug (The Blind Age, based on time contributions to the arts in Slovenia, an episode from The Mahabharata), his first Bibic has proved to be an actor who most play in verse, is a trendsetter which began personifies those qualities of Slovenian act- a series of rediscoveries of the epic and has ing which are in accordance with both been translated into many Indian lan- Slovenian and European theatrical tradi- guages. First produced by Satyadev tion and at the same time represent a new DUBEY in 1962, who calls it ‘one of the quest for the undiscovered and modern in ten best plays in the world’, and since then their positive sense. He has created unfor- by almost every major Indian director, it gettable characters within the classic and is one of the first contemporary plays to modern repertory, thoughtful, tempera- raise questions about the ethics in The mental and deeply moving in tragedy, Mahabharata. In a recent Tamil production thrillingly funny in comedy and thus very by Mu RAMASWAMY, it became an anti- much at ease in folk plays. nuclear war play. Bharati’s fame rests on this single play. Bickel, Moidele (1937–) Designer, Ger- many. Bickel has designed costumes both Biaggi, Julio (ca. 1950–) Designer, Puerto for classics such as Aeschylus’ Oresteia, Rico. Educated in Madrid, Julio Biaggi is Hamlet and The Winter’s Tale, and contem- Puerto Rico’s premier scene designer for porary plays including Kalldewey Farce (by theatre as well as television. In addition Botho STRAUSS) and Peter HANDKE’S to his regular position at San Juan’s Chan- Ritt über den Bodensee (Ride across Lake nel 2, he has worked with numerous thea- Constance), working with directors Claus tre groups including El Cemí, El Otro PEYMANN, Peter STEIN, Luc BONDY Grupo and Proscenio. His work includes and Klaus Michael GRÜBER. According designs entered in several Festivals of to critic Georg Hensel, Bickel’s costumes Puerto Rican Theatre, including Manuel ‘are elementary. She narrates through fab- Méndez Ballester’s La invasión (The Inva- rics, cuts and colours, and her realism is sion, 1971), Roberto Rodríguez’s El Casorio that of the fairy tale. She uses her com- (The Wedding, 1969) and Jaime Carrero’s prehensive knowledge of all stylistic

30 Bieito, Calixto Bil’chenko, Valerii epochs with classical elegance and refine- The Terrible but Unfinished Story of Norodom ment.’ Sihanouk, King of Cambodia (1985). For this role, he was awarded the prize of best ac- Bieito, Calixto (1963–) Director, Spain. tor of the year by the Syndicat de la Cri- Bieito studied at the University of Barce- tique Dramatique. He also played the lead lona, Tarragona’s Drama School and the role, Pandit Nehru, in The Indiad or the In- Institut del Teatre (Barcelona). Between dia of their Dreams by Cixous (1987). Bigot 1979–85 he was associated with the is forceful actor, whose acting style is very Instituto de Bahillerato of Villanova y la physical and whose diction is musical. He Geltrú and the town’s municipal theatre. gives body expression to the internal emo- Since 1989 he has worked regularly at tions. He has worked with other theatre Barcelona’s Grec Festival and at all major directors, including Jean-Paul Wenzel theatres in Barcelona, as well as at Ma- (Horvath’s Figaro läßt sich scheiden (Figaro’s drid’s Centre Dramático Nacional. As a Divorce), 1992), and Stuart Seide (Le grain radical innovator, he is comfortable work- et la balle by Samuel Beckett). In 1993, he ing within musical theatre (Sondheim, co-directed Kalo with the author of the Barbieri, Schönberg), and with more con- play, Maurice Durozier, and in 1994 he di- temporary writers (Shaw, Plath, Lorca, rected Marivaux’s La dispute (The Dispute) Bernhard). In addition, he has demon- at the Festival of Blaye. Since 1996 he has strated a veritable ability to reinvent the been artistic director of the Theatre Festi- classics, stripping them of the legacy of val ‘Les Chantiers de Blaye’ in France. past productions and imagining them for contemporary audiences both in his native Bil’chenko, Valerii (1959–) Director, Catalonia and beyond. His production of Ukraine. He trained at the workshop of Calderón’s La vida es sueño (Life is a Dream) the Russian director Anatoly for The Royal Lyceum Company as part VASSILYEV at the Russian State Acad- of the 1998 Edinburgh Festival was widely emy for Theatre Art (GITIS), Moscow, praised for its delicate interrogation of the and attended a special course at the Mos- ever-shifting relationship between illusion cow Theatre School of Dramatic Art. He and reality, its wry humour and its dy- took part in the famous production of namic urgency. Catalan designer Carles Pirandello’s Sei personaggi in cerca d’autore Pujol’s grey sandy set overlooked by a gi- (Six Characters in Search of an Author), di- ant suspended mirror provided a dazzling rected by Vassilyev. The director’s popu- image of an elusive world which can never larity results from his experimental-de- be controlled and of which the audience structive productions—Arkheolohiia (Archae- are as much a part as the performers. ology, 1989), and…I skazav B…(…And has Bieito is the artistic director of Barcelona’s said B…, 1991) by Shypenko at Kiev Romea theatre and an associate director Molodizhnyi (Youth) Theatre—as well as of the Compañia de Teatro Clásics. with the peak of the studio movement in the period of the national self-conscious- Bigot, Georges (1955–) Actor, France. He ness and creation of the state. In 1992 he joined Ariane MNOUCHKINE’S founded the Kiev Experimental Theatre, Théâtre du Soleil in 1981 and played a a non-repertory theatre-laboratory for the series of major parts; during the Shake- study of the nature of the art of actor and speare Cycle (1981–4) he played the title role director with the actors Veronika in Richard II, Count Orsino and Fabien in Avdieienko, Anatolii Petrov and Vladislav Twelth Night and Prince Henry in Henry IV. Chornen’kyi. In 1995 he was awarded the He was King Sihanouk in the eight-hour prize Kievs’ka Pektoral’ for his radical in- epic tragedy written by Hélène CIXOUS, terpretation of Chekhov’s Visnevyi sad (The

31 Blais, Marie-Claire Blankers, Anne-Wil

Cherry Orchard), staged under the title Vystrel ducing highly acclaimed work in the thea- v sadu (The Shot in the Autumn Orchard, tre. Blanchett’s most striking characteris- 1993). He also directed productions of tic as a performer is her ability to trans- street theatre including Opys chudovys’ka form from role to role, to inhabit a char- (The Description of the Monster, Sevastopol, acter completely. As Nina, in Neil 1993) and Skhidnyi marsh (The Oriental ARMFIELD’S production of Chekhov’s March, Kiev, 1995). Cajka (The Seagull), Blanchett was impul- sive and vulnerable but also completely Blais, Marie-Claire (1939–) Dramatist, compelling, and at the very end of the play Canada. Blais became internationally re- this Nina was full of determination as well nowned as a novelist, having been as defeat. The relationship with Richard awarded Guggenheim Fellowships in 1963 ROXBURGH’S Trigorin was played as and 1964. She has written many plays for genuinely, even tremulously hopeful for radio and television as well as some stage both Nina and Trigorin in its initial stages. plays. Her theatrical work includes Blanchett has played several roles for L’exécution: pièce en deux actes (The Execution, Armfield’s Belvoir Street ensemble, includ- 1968), a play which adopts ‘an almost ing Ophelia in Hamlet, the seductress Rose Greek-tragic tone to tell the story’ about Draper in The Blind Giant is Dancing by two boys who plot to commit murder. Stephen SEWELL and Miranda in The One critic labelled it as ‘another journey Tempest. Blanchett also won several awards into the dark mind of this openly Lesbian for her performance in the Sydney Thea- writer’. More recent work includes Sommeil tre Company’s production of MAMET’S d’Hiver (Winter-sleep, 1985). Oleanna (opposite Geoffrey RUSH) in 1993. Blakemore, Michael (1928–) Director, Great Britain. Trained at the Royal Acad- Blankers, Anne-Wil (1940–) Actor, The emy of Dramatic Art, London, Blakemore Netherlands. Anne-Wil Blankers was began as an actor in repertory companies, originally a secretary who took up acting and in 1967 he was very successful as a and went to the Maastricht Drama Acad- director at the Glasgow Citizen’s Theatre emy, from which she graduated in 1963. with a production of Peter Nichols’s A Day She was immediately employed by the in the Death of Joe Egg. He is considered Haagse Comedie, playing Desdemona in one of the most influential directors in Othello. Remarkably, Blankers stayed on Britain and has directed a wide range of with this company until its demise in 1983, new plays, notably by Michael FRAYN after which she played in non-subsidized (such as Copenhagen, 1998, at the Royal productions and with the successor to the National Theatre, London). In 1990 he The Hague company, Het Nationale directed a revival of MILLER’S After the Toneel. Her acting is typical of the The Fall and cast a black actor, Josette Simon, Hague style: elegant, technically perfect, as Maggie, the character traditionally be- but quite conventional. Blankers, a very lieved to be based on Marilyn Monroe, popular actor, considers the title role in thus giving the play a new dimension. Sophocles’s Electra (1976) as her best part, but she has played in a wide range of rep- Blanchett, Cate (1969–) Actor, Australia. ertory plays: comedies by Molière, Blanchett graduated from the National Feydeau, AYCKBOURN and Coward, Institute of Dramatic Art, Sydney in 1992. but also serious plays, such as Schiller’s She is carving out a successful film and Maria Stuart (1991), Norén’s Hebriana television career (most recently she played (1989) and Bernhard’s Heldenplatz (1991). the title role in Elizabeth) as well as pro- Blankers frequently appears on television

32 Blei, Dina Boadella, Albert and is the current bearer of the Theo Lost (1977), the title role in Strindberg’s Mann-Bouwmeester Ring, a ring passed Fröken Julie (Miss Julie, 1977), Margery in on from one generation of actors to the Wycherley’s The Country Wife (1983) and next and awarded the most distinguished Elmire in Molière’s Tartuffe (1984). From actor of the era. 1981–3 she returned to the Royal Shake- speare Company to play Queen Elizabeth Blei, Dina (1958–) Actor, Israel. Blei in Richard III and Helen in C.P.Taylor’s trained at the Kibbutz Seminar and began Good. Her acting is characterized by its her career at the Haifa municipal theatre. quiet intensity and its disarming vulner- She then worked with Rina ability. YERUSHALMI, playing Ophelia and the Doctor in Büchner’s Woyzeck. At the Boadella, Albert (1943–) Director and Habima theatre she has played leading actor, Spain. Boadella was a founding parts in Hanoch LEVIN’S Hayeled Cholem member (in 1962) and, from 1966, the di- (A Child Dreams) and Kritat Rosh (Behead- rector of the Catalan performance group ing). With her slim figure, Blei is frequently Els Joglars (meaning minstrels, jongleurs cast in roles with metaphysical overtones, or jugglers). To start with, the company which makes her distinct and interesting worked within the realm of pure mime, as an actor on the Israeli stage. influenced by Etienne Marcel Decroux and Marcel Marceau. However, they later Blessing, Lee (1949–) Dramatist, USA. began to incorporate songs and words into Blessing obtained an MFA in Speech/ shows which increasingly emphasised Theatre from the University of Iowa. His their Catalan identity and protested major plays include Nice People Dancing to against aspects of the Francoist dictator- Good Country Music (1982), Riches (1985), A ship (1939–75) such as torture. Brecht and Walk in the Woods (1987, his most popular Jacques Lecoq provided other important success, which transferred to London and sources of inspiration. Boadella develops New York) and Lake Street Extension. Ac- his work through improvization and video cording to critical opinion, ‘style and sub- recordings during long rehearsal periods. ject matter are eclectic, though Blessing is In earlier shows such as Mary d’ous (Egg characterized by an interest in characters Mary, 1972), there was experimentation whose past interferes with their future. with repeated, sometimes banal, gestures, Cyclical structures coupled with non-tra- whereas latterly Els Joglars have used in ditional plots create a unique style in situ observation in hospitals and religious which character and language are pivotal communities as part of their research, for dramatic elements, and unique observa- performances such as Teledeum (1983). tions about relationships create impas- Many productions by Els Joglars have sioned moments on stage.’ been strongly political, amongst them the account of a seventeenth-century Catalan Blythe, Domini (1947–) Actor, Canada. bandit Alias Serrallonga (1974) and La torna Born in Britain, Domini Blythe studied at (Left-overs, 1977), a homage to a Catalan the Central School of Speech and Drama anarchist, for which Boadella was twice in London. Before moving to Canada in imprisoned and had to spend a year in 1972, she played with the Birmingham exile in France. Other important produc- Repertory Theatre and the Royal Shake- tions include Laetius (1980), Olympic Man speare Company (1968–70). In Canada, Movement (1981), Virtuosos de Fontainebleau she gained national acclaim in many lead- (Virtuosi of Fontainebleau, 1985) and Yo tengo ing roles, such as Viola (Twelfth Night), un tío en America (I Have an Uncle in America, Juliet (1972–6), Rosaline in Love’s Labour’s 1991). Els Joglars have also made

33 Boermans, Theu Bohdalová, Jirina television programmes and regularly tour tion with Japanese director SUZUKI abroad. Tadashi. She currently teaches at Colum- bia University. Boermans, Theu (1950–) Director and actor, The Netherlands. After his training Bogdanov, Michael (1938–) Director, as an actor at the Maastricht Drama Acad- Great Britain. A man of many nations, he emy (1968–72), Boermans played a few studied in Ireland, Munich and Paris, and smaller roles. He came into his own after has worked in Britain and Germany, joining the Globe company in Eindhoven where, from 1989–93, he served as artis- in 1975, possibly because of its location in tic director (Intendant) at the the south, the region where he was Schauspielhaus in Hamburg. From 1978– brought up. Boermans was one of the first 80 he was director of the Young Vic in to use his regional dialect unashamedly, London, and became an associate direc- bringing energy to the Globe as well as a tor at the National Theatre in 1980. fluffy charm and a rapid, mumbling kind Bogdanov’s barn-storming, populist ap- of speech. He paired well with Hans Hoes proach is well illustrated in his adaptation in Diderot’s Le neveu de Rameau (Rameau’s of The Three Musketeers in the early 1980s, Nephew) and Beckett’s Waiting for Godot, and which combined high good humour, in- starred in Pericles and Troilus and Cressida, a genious visual and physical gags and au- remarkable production by RIJNDERS. dience participation. His version of the While still at the Globe he took up direct- Christopher Sly prologue in The Taming of ing (1982), abandoning acting except for the Shrew (Royal Shakespeare Company, some film appearances. As a director, 1976) remains an indelible memory: a Boermans founded The Trust in 1986, a tramp invades the auditorium, argues with new company of young actors. He cham- the usherettes, starts fighting with the staff, pioned the work of Austrian playwrights then jumps onto the stage and in a frenzy like Gustav Ernst and Werner Schwab, demolishes the set. In 1986 Bogdanov and The Trust is presently a success story. founded the English Shakespeare Com- Boermans also directs films, with the Trust pany together with actor-director Michael actors in the main parts. PENNINGTON. Their emphasis was to show Shakespeare as a writer of present Bogart, Anne (1951–) Director, USA. and future times. The company toured al- Bogart’s stage work is mainly experimen- together seventeen productions in Britain tal, combining spoken word, movement, and worldwide, and closed due to lack of gesture and song. Some of her productions funding between 1994–7. In 1995, are site-specific, while in others, showing Bogdanov directed a widely acclaimed the influence of Richard Schechner, spec- version by Howard BRENTON of tators have to become participants. Bogart Goethe’s Faust for the Royal Shakespeare has also re-written more traditional texts, Company. such as Wedekind’s Frühlings Erwachen (Spring Awakening, 1984), and the musical Bohdalová, Jirina (1931–) Actor, Czech South Pacific, which in her version is set in Republic. A graduate of the Prague Acad- a rehabilitation clinic for war veterans, and emy of Performing Arts, her comic talent critically assesses the issues of patriotism allowed her success in the lead role of and racism inherent in the original. Her Achard’s A Shot in the Dark (1963, Prague work has been called highly imagistic in Municipal Theatre, with more than 600 style. She has recently become a force in performances). Her acting links up with training young performers in her meth- the tradition of entertaining city theatre, ods, strongly influenced by her collabora- and shows many signs of typical Czech

34 Bokma, Pierre Bortnowski, Paul popular humour (a plebian ribaldry and baby to death in its pram. Bond then panache, a directness and lack of con- turned away from drastic portrayals of straint). She is probably the most popular contemporary life, writing rather about contemporary Czech actor (she is even the past as a mirror of the present, as in discussed in HAVEL’S Audience). She has Early Morning (1968) and Lear (1971), a been a member of the leading Prague version of Shakespeare’s King Lear. As a Vinohrady theatre since 1970, and has of- result, Bond’s status in the theatre became ten demonstrated her talents outside the less controversial, and his plays were taken comedy genre as well, playing Mrs Wahl up by the National Theatre (Summer, 1982) in Schnitzler’s Das Weite Land (Undiscovered and the Royal Shakespeare Company (The Country, 1992), but her preferred domain War Plays, 1985). Although Bond has con- remains the comic: Frosina in Molière’s tinued to write new plays, many have not L’avare (The Miser, 1971), Dolly in Wilder’s been performed in Britain for some years The Matchmaker (1990) and the Nurse in (Coffee in 1997 was an exception). Reviv- Romeo and Juliet (1992), which she tries to als of his plays, though, are produced bring closer to the Czech mentality. More worldwide. recently she played the role of Erzhi in Orkény’s Cat Game (1995). Bondy, Luc (1948–) Director, Switzerland. Bondy trained as an actor at Jacques Bokma, Pierre (1955–) Actor, The Neth- Lecoq’s school in Paris. In 1969 he was erlands. Pierre Bokma received his train- an assistant director at the Thalia Thea- ing as an actor at the Maastricht Drama tre, Hamburg, and has directed his own Academy. Even there he was recognized productions from 1971 onwards, in as a major talent, and immediately after Göttingen, Wuppertal, Darmstadt, Frank- his graduation in 1982 he was chosen by furt Hamburg, Berlin and Köln. He is par- Gerardjan RIJNDERS to play the inno- ticularly associated with the Schaubühne cent Cardenio in Gerrit Komrij’s neoclas- in Berlin, whose joint artistic director he sical verse drama Het Chemisch Huwelijk was between 1985–8. Important produc- (The Chemical Wedlock). Energetic, clever tions include plays by Ibsen (Gengangere and awesome in his ability to transform (Ghosts), John Gabriel Borkman), Shake- himself, Bokma is a prototypical actor, per- speare (The Winter’s Tale, Macbeth), as well haps the best-known stage personality in as contemporary plays by Edward The Netherlands. Although he did much BOND, Peter HANDKE and Botho freelance and film work, he is best known STRAUSS. The eminent German theatre for his work with Rijnders, whose critic Friedrich Luft wrote of Bondy’s pro- Toneelgroep Amsterdam he joined in duction of Ghosts: ‘Luc Bondy only reveals 1987. He has stayed on with the company, the wonder of this dramatic construction. starring in Hamlet, Richard III, Chekhov’s He allows the piece to play itself. He al- Ivanov and PINTER’S Ashes to Ashes, but lows the parts to develop themselves. He also appearing in many smaller roles. directs Ibsen. He only serves the purpose.’ Bokma has received numerous distinc- tions and awards. Bortnowski, Paul (1922–) Designer and architect, Romania. A graduate of the Ar- Bond, Edward (1934–) Dramatist and chitecture Institute in Bucharest, his work director, Great Britain. Bond left school at covers a large area of concerns in archi- the age of fourteen, and achieved notori- tecture, design, theatre scenography and ety in the theatre with his play Saved most of the environmental arts. He was (Royal Court, 1965), especially the scene the set designer (scenographer) of the in which a group of adolescents stone a Bulandra Theatre and The National

35 Boscana, Lucy Bourek, Zlatko

Theatre in Bucharest, also working with to her roles. She has been frequently hon- other theatres in Romania and with ma- oured at theatre festivals in Puerto Rico jor directors such as Liviu Ciulei. Major and has served as Director of the theatre productions include Shakespeare (The group Tablado Puertorriqueño since 1971. Winter’s Tale, Hamlet), Chekhov (Visnevyi sad (The Cherry Orchard)), Gogol (Revizor (The Boukman, Daniel (1936–) Author, Government Inspector), Zenit’ba (The Wed- France and Martinique. Boukman took an ding)), Shaw (Mrs Warren’s Profession, Caesar arts degree at Paris University, but refused and Cleopatra, Pygmalion), O’Neill (Mourn- to do his national service and moved to ing Becomes Electro) and Samuel Beckett North Africa, where he worked for nine- (Waiting for Godot) as well as with Roma- teen years as a teacher and radical jour- nian plays by D.R.POPESCU and Iosif nalist, beginning to write with a strongly NAGHIU. Bortnowski held a professor- anti-colonial fervour although influenced ship in set design at the Fine Arts Insti- by the poetic rhetoric of Aimé Césaire. tute of Bucharest. As well as his work in After three shorter dramatic poems, of theatre, he has contributed to exhibitions which Orphée nègre (Black Orpheus), derid- and studies about Romanian architecture ing Négritude, is the best known, he wrote and published a study about new theatre Les négriers (The Slave Traders, published spaces and new stage techniques (Avignon 1971), which satirizes French policies of re- 1974). His scenography combines the ar- cruiting cheap labour in the Caribbean by chitect’s precision with a metaphorical vi- making parallels with the slave trade. In a sion and reflection. broader perspective, Ventres pleins, ventres creux (Full Bellies, Empty Bellies) attacks Boscana, Lucy (1924–) Actor, Puerto worldwide capitalism, as does the pro-Pal- Rico. Born in Mayagüez, Lucy Boscana estinian Et jusqu’à la dernière pulsation de nos earned a BA in French and Theatre from veines (To the Last Throb of our Veins, 1976). Oberlin College in 1945 and afterwards Boukman returned to France, working in pursued several months of postgraduate independent radio and joining the pro- studies at the University of Puerto Rico Creole movement with poetry and a new under don Leopoldo Santiago play, Délivrans (1995). His drama appeals LAVANDERO. Boscana first gained criti- to activist groups by snappy sequences of cal attention as Sandra in the world pre- sketches, strong views and dialogue in a miere of Francisco Arriví’s María Soledad clear French which has reworked readily (Maria Solitude, Tinglado Puertorriqueño, into Cuban Spanish, Arabic or Creole. 1947). She also created roles in other works by some of Puerto Rico’s major Bourek, Zlatko (1929–) Designer, pup- playwrights of the mid-twentieth century, peteer and director, Croatia. In 1955 including Gabriela in René Marqué’s La Bourek graduated in sculpture from the Carreta (The Oxcart, 1953); she recreated Academy of Fine Arts in Zagreb. His de- the latter role in the 1966 English-language but as a set and costume designer came in production off-Broadway with Raúl Julia 1959 at the Zagreb Theatre Gavella with and Miriam Colón. She has also appeared the medieval farce Maître Pathelin. In 1977 as Martha in Edward ALBEE’S Who’s he designed the puppets and directed Afraid of Virginia Woolf?, as Mary in Isaac’s farce Orlando Maleroso by merging O’Neill’s Long Day’s Journey into Night, and the tradition of Dubrovnik with the Japa- as Beatrice in Paul Zindel’s Effect of Gamma nese puppet theatre. In 1982 he again Rays on Man-in-the-Moon Marigolds (Teatro turned to the Japanese puppet play when de Sesenta, 1971). Boscana is noted for her directing the puppet version of Hamlet, in passion, intensity and total commitment turn based on STOPPARD’S version of

36 Boyce, Raymond Breathnach, Paraic

Shakespeare’s play, which was performed Mitchell. After seasons with the Royal at the most important theatre festivals Shakespeare Company (playing Laertes in in Croatia and abroad and won him two Hamlet, 1985), he founded the Renaissance theatre awards. As a set designer, he has Theatre Company (1987), for which he worked in Wuppertal, Dortmund, New played Hamlet in 1988 and Edgar in King York, Munich and Turin. To show the Lear in 1990, and directed Twelfth Night, A world of distorted reality, he often uses the Midsummer Night’s Dream and King L ear in grotesque in his designs. His set designs 1989–90. He returned to the RSC in 1992 have appeared in about forty cartoon films to play the title role in Adrian NOBLE’S of distinguished representatives of the production of Hamlet. He wrote his auto- Zagreb School. Since 1961 he has been biography when he was twenty-eight, and active as an independent author of cartoon shifted his emphasis to film; Henry V in and short feature films. For his own film 1989 was later followed by Much A do A bout Kapetan M arko A rbanas (C aptain M arko Nothing, Othello and Hamlet. Perhaps his Arbanas, 1967), he received an award at the most engaging film is In the Bleak Midwin- Film Festival in Oberhausen. He is a rec- ter, a funny and moving tribute to the ognized painter and sculptor. In 1969 his whole process of ‘doing Shakespeare’. drawings were exhibited in the Museum of Contemporary Art in New York. Brandauer, Klaus Maria (1944–) Actor and director, Austria. Brandauer trained Boyce, Raymond (1928–) Designer, New at the Academy of Music and Dramatic Zealand. Boyce trained at the Old Vic Arts in Stuttgart, Germany. He is a life- Theatre School, coming to New Zealand time member of the Burgtheater in Vi- soon after as resident designer for the New enna, where he has played Hamlet, Zealand Players Company, 1953–7. After Romeo, Petrucchio, Schiller’s Don Carlos a period of freelance work he became as- and Molière’s Tartuffe. He also appeared sociate director, design, at the Downstage in the title role of Jedermann (E veryman) by Theatre, Wellington, from 1976–87. He Hugo von Hofmannsthal at the Salzburg had already been a regular designer there Festival for several years running. More for the previous decade, and designed the recently, he played George in ALBEE’S purpose-built Hannah Playhouse (1973) Who’s A fraid o f Virginia W oolf (Vienna, ? for the company. Throughout his career 1991, directed by Hans NEUENFELS), he has been the country’s most influential emphasizing the character’s fragile nature. and outstanding stage designer, working In 1999 he took his own production of on over 250 productions (a figure which Ester Vilar’s Speer to London’s Almeida includes many highly acclaimed operatic Theatre, playing the charismatic title char- designs). Especially admired dramatic acter Albert Speer, Hitler’s Minister of Ar- work includes Edward BOND’S Bingo maments. His portrayal of actor Henrik (1978), Brecht’s Leben des Galilei (Life of Gali- Höfgen in the film of Mephisto (1982) leo, 1985) and Vincent O’Sullivan’s Jones launched his international film career. & Jones (1988), all at the Downstage. He is at his best, according to Bruce Mason, Breathnach, Paraic (1956–) Devisor and in productions which aim for ‘ravishment director, Ireland. Breathnach, who de- and intricate enchantment’. scribes himself as a freelance creature counsel, was a founder member of the Branagh, Kenneth (1960–) Actor and di- Galway-based company Macnas in 1986. rector, Great Britain. Trained at the Royal Influenced by the English company Academy of Dramatic Art, Branagh made Footsbarn and the Catalan Els his debut in Another C ountry by Adrian Comediants, Macnas became known for

37 Brennan, Bríd Brešan, Ivo its stunning outdoor spectaculars, includ- career is matched by her many stage per- ing The Big Game at the Connaught Foot- formances, mostly in England, including ball Final, Castlebar (1987), Gulliver for the roles at the Royal National Theatre and Dublin Millenium (1988) and Tír Faoi the Royal Shakespeare Company, playing Thonn for the Galway Arts Festival (1989). Lady Macbeth in Tim Albery’s produc- When Macnas also began to work indoors tion of Macbeth in 1996, and Mary in Tom (while maintaining the scope and vision MURPHY’S Bailegangaire in James of their work) Breathnach devised and MacDonald’s production at the Royal scripted versions of Alice in Wonderland, co- Court in 1997. directed with Peter Sammon (1989), and Treasure Island, directed by Rod Goodall Brenton, Howard (1942–) Dramatist, (1990). The company’s work took on a Great Britain. Brenton is associated with new direction in 1992 with The Celtic Tril- socialist writing at the Royal Court thea- ogy, a series of plays which explored the tre in London. In 1969 his play Revenge stage languages of image, music, percus- was produced at the Royal Court Up- sion and movement, and using sound stairs, and toured by David HARE’S com- rather than words. Taín, directed by Rod pany Portable Theatre. The Royal Court Goodall, was first performed at Expo92 also presented Brenton’s Magnificence in Seville and at the Galway Arts Festival, (1973). A homosexual rape scene in The Buile Shuibhne/ Sweeney at the Galway Arts Romans in Britain caused a scandal at the festival (1993) and Balor in Bogota (1996). National Theatre, London in 1980, culmi- Also in 1996 Breathnach explored the nating in an unsuccessful law case against potentials of percussion, a strong element Brenton and director Michael of his earlier work, in The Power Tool Or- BOGDANOV. Bloody Poetry (1984) deals chestra for the Temple Bar Festival, with poets Byron and Shelley. Pravda (Na- Dublin. tional Theatre, 1985), written with David HARE, about contemporary newspaper Brennan, Bríd (1955–) Actor, Ireland. politics, starred Anthony HOPKINS and Brennan began her acting career in Dub- proved a popular success. In Berlin Bertie lin, where she appeared in most of the (Royal Court, 1992), the action of the major theatres (Gate, Peacock, Gaiety) as characters is psychologically motivated, well as touring community centres with which marks a departure from Brenton’s Moving Theatre. She received great ac- issue plays in an epic style. Apart from claim for her tough portrayal of Lorna in original plays, Brenton has also made a Graham Reid’s successful Billy trilogy for name with adaptations and translations television (1982) acting alongside Kenneth such as Brecht’s Galileo and Goethe’s Faust BRANAGH, and played the eponymous (Royal Shakespeare Company, 1995). heroine in the 1987 sequel Lorna. Other Irish roles include Josie in Anne Brešan, Ivo (1936–) Dramatist, Croatia. DEVLIN’S Ourselves Alone (1985) at the For twenty-three years Brešan worked as Royal Court Theatre, London, directed by a teacher of Croatian language and litera- Simon Curtis; Pegeen Mike in Druid ture at the grammar school in Šibenik. Theatre Company’s production of Synge’s Since 1983 he has been an art manager of The Playboy of the Western World in Galway the Cultural Centre and International and on tour; and Agnes in Brian FRIEL’S Children’s Festival in Šibenik. His break- Dancing at Lughnasa, Abbey Theatre, Dub- through as a playwright came in 1971 lin, the National and Phoenix Theatre, when the &TD Theatre (ETC Theatre) London, and the Plymouth Theatre, New staged his grotesque tragedy Predstava York. Her successful television and film Hamleta u selu Mrduša Donja (The

38 Breth, Andrea Brisbane, Katharine

Performance of Hamlet in Central as an actor and director in experimental Dalmatia). The production was an immedi- work at the San Francisco Actor’s Work- ate hit and the play was soon translated shop. Between 1965–70 Breuer and his and staged in Austria, Poland, Germany, wife, actor Ruth Maleczech, travelled in the Soviet Union, Bulgaria and Sweden. Europe, studying with the Berliner En- He has written around twenty grotesque semble and with Grotowski’s Theatre tragedies in which political primitivism is Lab, and directing in Paris. In 1970 he co- disclosed and satirized. Some of them are founded Mabou Mines (together with modernizations of the well-known dra- JoAnne AKALAITIS, Philip Glass and matic models such as Hamlet, Goethe’s David Warrilow). Breuer’s approach is Faust, Gogol’s Revizor (The Government In- intercultural, using material from Japanese spector), and both Racine’s Phèdre and kabuki, no and bunraku as well as Indian Molière’s Tartuffe in Hidrocentrala u Suhom performance techniques. In addition to dolu (The Hydroelectric Station in Suhi Dol, theatre work, Breuer writes poetry and 1985). Together with the film director criticism and teaches at universities. Krsto Papiæ he worked on the screenplays for three movies: The Performance of Hamlet Bringsværd, Tor Åge (1939–) Dramatist, in Central Dalmatia (1973), Izbavitelj (The Norway. Following studies of folklore and Redeemer, 1977) and Tajna Nikole Tesle (The mythology at the University of Oslo, Secret of Nikola Tesla, 1980). In 1996 he and Bringsværd has been working as a full- his son Vinko (screenwriter and director) time writer and playwright since 1967. He achieved a great success with the movie divides his time equally between writing Kako je poieo rat na mome otoku (The Way the for children and adults. Besides eleven War Broke Out on My Island). novels, ten collections of short stories, three collections of essays and over forty Breth, Andrea (1952–) Director, Ger- children’s books, he has written some many. Breth began as an assistant direc- forty-five plays for the stage, radio and tel- tor in Heidelberg, moving on to her own evision. His work has been translated into productions in Zürich, Freiburg and, from eighteen languages, and his plays have 1986–9, Bochum. Since then she has been performed in fourteen countries be- mainly directed at the Schaubühne am sides Norway. His play Nesegrevet (The Girl Lehniner Platz in Berlin and at the who Had a Nose as Long as a Hoe) was part Burgtheater in Vienna. Important produc- of the cultural programme in the Olym- tions include Kaiser’s Von Morgens bis pic Winter Games 1994 in Lillehammer. Mitternachts (From Morn to Midnight), Ibsen’s He believes that fairy tales, myths and Hedda Gabler (1994, which caused contro- modern science fiction are our best tools versy among critics), Orestes by Euripides for understanding the so-called reality of (1995), Kleist’s Die Familie Schroffenstein (The our daily life. Schroffenstein Family, 1997), Chekhov’s Djadja Vanja (Uncle Vanya, 1998, with Brisbane, Katharine (1932–) Critic and Corina KIRCHOFF as Elena) and publisher, Australia. Along with her hus- Goethe’s Stella (1999, with Kirchhoff as band Philip Parsons, Brisbane founded Stella and Jutta LAMPE as Cäcilie). Her Currency Press (Sydney) in 1971. Cur- style has been described as magical real- rency was then pioneering the publishing ism fathoming the depths of human psy- of Australian authored playscripts and it chology. is still the major outlet for Australian plays and books on Australian theatre. The Breuer, Lee (1937–) Director, actor and Currency National Theatre series has a dramatist, USA. Breuer began his career particular commitment to publishing

39 Brook, Peter Buano, Avi Yona nineteenth century plays in order to estab- Brophy, Geraldine (1961–) Actor, New lish a historical context for more recent de- Zealand. Brophy never sought training at velopments in Australian theatre. As a a drama school, beginning her profes- theatre critic for twenty-one years, Bris- sional career in 1983 at the Centrepoint bane championed the cause of Australian Theatre, Palmerston North. After a year playwriting during the Renaissance years at the Fortune Theatre, Dunedin, she be- of the late 1960s and early 1970s and en- came for many years especially associated couraged many writers; for example, she with the Court Theatre in Christchurch, was one of the very first to identify the where, developing under Elric importance of David WILLIAMSON’S HOOPER’S guidance, she played many writing. Brisbane has written extensively major roles, outstanding among them on the subject of Australian drama and Elizabeth Proctor in Arthur MILLER’S theatre, and her influence in fostering Aus- The Crucible (1988) and the title roles in tralian drama and theatre is incalculable. Shaw’s St Joan (1991) and Euripides’s Medeia (1995). In 1993 she toured New Brook, Peter (1925–) Director, Great Brit- Zealand, playing opposite Cathy ain. Brook initially directed in mainstream DOWNES in the centennial women’s suf- theatre in Britain, including the Royal frage play Farewell Speech (adapted by Shakespeare Company, where he became Downes from the novel by Rachel a co-director in 1961, as well as opera and McAlpine, directed by Stuart DEVENIE). film. Major influences have been Kott, She now appears mainly in Wellington Artaud, Grotowski and non-Western thea- and Auckland, and won an award for her tre. Brook’s aim is to create theatre that is role in Tzigane by John Vakidis at the living and organic, not dead. The sheer Downstage (1996). power of his attention is a catalyst in rehearsal; he allows full rein to the actors’ Brunning, Nancy (1971–) Actor, New creativity and edits the results later. Nota- Zealand. Of Ngai Tuhoe and Ngati ble productions include King Lear (1962) Raukawa descent, Brunning trained at the with Paul SCOFIELD, Peter Weiss’s New Zealand Drama School, where she Marat/Sade (RSC, 1964) and A Midsummer was among the first substantial group of Night’s Dream (RSC, 1970). In 1970 Brook Maori students to be enrolled. She quickly left Britain and founded the Centre Inter- became well-known on television, and has national de Récherche Théâtrale in Paris, developed into one of the country’s best from where he has since conducted his young actors. In 1992 she won Welling- theatre research, including journeys to ton’s most promising newcomer award. Africa, the USA and India, and projects She has been especially associated with the including Orghast, Conference of the Birds, The plays of Hone KOUKA, appearing in Hide Tragedy of Carmen (1983), The Mahabharata ’n’ Seek (1992), Waiora (1996), and most no- (1985) and The Tempest (1989). With The tably in the Colin MCCOLL production Man Who (1994), Brook returned to Lon- of Nga Tangata Toa (1994) at the Taki Rua don on tour (Royal National Theatre), fol- Theatre, Wellington, where her remark- lowed by Happy Days by Beckett, (River- able ability to convey a sense of fiery yet side Studios, 1997). Throughout his work contained emotional force was strikingly in Paris, Brook has been following a quest evident. to discover a universal language of the theatre. Admired by many as a genius, he Buano, Avi Yona (1955–) Designer, Is- is also subject to much controversy, espe- rael. After working in Israel and England cially regarding accusations of cultural ap- for rock concerts and operas until the mid- propriation in The Mahabharata (1985). 1980s he worked for Mike Alfreds in

40 Buhre, Traugott Burroughs, Jackie

London. After returning to Israel he has ral materials, such as wood and metal, was become one of the most sought for light- an attempt to impart a sensory experience ing designers for theatre as well as dance of an object. This is perhaps best exem- performances. He has designed the light- plified in his monumental, metallic set for ing for classical plays as well as newly writ- The Wars of the Roses (Royal Shakespeare ten ones and is known for his original use Company, 1964). Other important pro- of lighting technologies. ductions for the stage include Marlowe’s Edward II (1956), Dürrenmatt’s Die Buhre, Traugott (1929–) Actor, Germany. Physiker (The Physicists, 1963), PINTER’S After attending drama school in Old Times (1971) and Hall’s productions of Hannover, Buhre gave his professional SHAFFER’S Amadeus (1979) Coriolanus debut in 1952. From 1968–72 he was a (1985), and The Homecoming (1991). member of the ensemble of Peter Palitzsch in Stuttgart and Frankfurt. Since then he Bulbul, Farhan (1937–) Dramatist and has performed in Bochum, Hamburg and director, Syria. Bulbul studied Arabic lit- Vienna. His wide repertory ranges from erature and taught it at schools for many unscrupulous villains to crafty rogues, and years. He launched a number of amateur is especially valuable in portraying char- groups in his city, Homs, especially The acters in Thomas Bernhard’s plays. Ma- Workers’ Theatre, to which he contrib- jor parts include the title roles in Goethe’s uted as a manager and director, as well as Faust (Hamburg, 1979), Lessing’s Nathan playwright. His breakthrough came with der Weise (Nathan the Sage, Bochum, 1981), Al-Mumathloun Yatarashaqun’l-Hijara (The as well as major parts in Thomas Actors Throw Stones at Each Other, 1974). Bernard’s Der Theatermacher (The Other major works include Al-Ushaaw La Theatremaker 1986–7), Kleist’s Der Yafshaloun (Lovers do not Fail, 1977), La Zerbrochene Krug (The Broken Jug, Vienna, Tanzur Min Thuqbi’l-Bab (Do not Look through 1990), Waiting for Godot (Vienna, 1991), the Keyhole, 1978), and Al-Qura Tasaad Ila’l- TURRINI’S Alpenglühen (Glowing Alps, Qamar (The Villages Mount up to the Moon, Vienna, 1992), JELINEK’S Raststätte oder 1980), an adaptation of Brecht’s Der Sie Machens Alle, (Inn, or They All Do It, Kaukasische Kreidekreis (The Caucasian Chalk Burgtheater, 1994, with sets by Karl-Ernst Circle). His latest play is La Tarhab Hada’l- HERRMANN and starring Kirsten Saif (Do Not Fear the Edge of the Sword, 1984). DENE and Martin SCHWAB), Turrini’s Bulbul’s plays focus on class conflicts, but Die Schlacht um Vienna (The Battle for Vienna, when he aimed at social realism with Burgtheater, 1995, directed by Claus strong messages, he ended up merely with PEYMANN), and Bernhard’s Vor dem well-made melo-dramas with moral didac- Ruhestand (Before Retirement, 1999, with ticism. In addition to some productions of Kirsten Dene in the cast, directed by plays by other dramatists, he directed all Peymann). the premieres of his plays in his home- town; only one was revived by another Bury, John (1925–) Designer, Great Brit- director for the Damascus National Thea- ain. From 1954–62 Bury worked with tre. Bulbul once directed for a commer- Joan Littlewood at the Theatre Workshop. cial troupe in Aleppo. More recently, he Between 1973–85 he was head of design has dedicated himself to writing educa- at the National Theatre under Peter tional and documentation books on thea- HALL. His style has been described as tre history in Syria and the Arab world. ‘unfussy and modern’; he went against the prevalent semi-naturalistic style in the Burroughs, Jackie (1941–) Actor, 1950s, and his use of highly textured natu- Canada. Born in Britain, Burroughs

41 Buzoianu, Catalina Byrne, Catherine trained with Uta Hagen in New York. In Sam SHEPARD’S Buried Child. Winner of Canada, she has appeared with Crest many prizes, her style has been called Theatre, Manitoba Theatre Centre and visual and poetical. In addition to theatre, the Stratford Festival. In 1996 she starred she has directed opera and has worked in as Georgina O’Keefe in John Israel, Poland, Italy, Spain, France and MURRELL’S The Faraway Nearby at the other countries. She is Professor at the Saidye Bronfman Centre in Toronto. Academy of Theatre and Film in Bucha- Some of Burroughs’s most provocative rest, teaching the art of directing. In 1992 and emotionally daring stage work has she founded the Romanian Centre of Re- been showcased in Toronto’s alternative search and Theatre Anthropology. theatres, notably the Toronto Free Thea- tre. In addition, she has a very successful Byrne, Catherine (1954–) Actor, Ireland. film (Winter Tan, 1988) and television (Road Having trained at the Abbey School of to Avonlea) career. ‘At one time a mannered Acting, Byrne spent two years at the Gate actor (often compared to Katherine Theatre Dublin before joining the Irish Hepburn or Maggie SMITH) she has, Theatre Company. As an actor, she is par- with age, become a vivacious, fearless and ticularly noted for her work in Brian focused performer, delighting audiences FRIEL’S recent plays, which have given and pulling in critics even when the vehi- her an international profile. Roles include cle in which she is starring is deeply Chris in Dancing at Lughnasa (1990), which flawed’. toured to London and Broadway, Angela in Wonderful Tennessee (1993), which also Buzoianu, Catalina (1938-) Director, travelled to Broadway (both produced at Romania. Buzoianu began directing while the Abbey Theatre, Dublin) and the title still a student at the Bucharest Theatre and role in Molly Sweeney at the Gate Theatre, Film Institute, soon becoming one of the Dublin (1995) directed by Friel. In 1997 most praised young directors with Byrne played Daisy in the Abbey Theatre Molière’s Le malade imaginaire (The Imagi- production of Give Me Your Answer, Do!, nary Invalid) and Romanian plays such as again directed by Friel. Other roles include Chitic’s Marele drum al încrederii (The Large Natalya in Turgenev’s Mesjac v derevne (A Way of Confidence). Working in Bucharest Month in the Country, 1992), and Trassie since 1975, she gained much praise for her Conlee in Sharon’s Grave by John outstanding productions for The Mic B.KEANE (1995), directed by Ben Theatre, among them The Effect of Gamma BARNES for the Gate Theatre, Dublin. Rays…by Paul Zindel, and Romanian In 1987 Byrne won a Harveys award for plays such as Ecaterina Oproiu’s Nu sunt best actor for her performance of the title Turnuc Eiffel (I’m Not the Eiffel Tower). She role of Lorca’s Yerma in a version by Frank often directed her own adaptations of nov- MCGUINNESS, staged at the Peacock els, such as Dinu Sararu’s Niste Tirani (Some Theatre for the Dublin Theatre Festival. Peasants). at the Bulandra Theatre, she Her television work includes the RTF, achieved other successful productions (Radio Telefis Eireann) series Upwardly such as Tankred DORST’S Merlin and Mobile and BBC’s Ballykissangel.

42 C

Cabal, Fermín (1948–) Dramatist and Caird, John (1948–) Director, Great Brit- director. Spain. Cabal is regarded as one ain. In 1980, Caird co-directed the highly of the leading figures of Madrid’s alterna- successful adaptation by David EDGAR tive theatre movement of the 1980s. Born of Nicholas Nickleby for the Royal Shake- and educated in Madrid, at the age of speare Company, together with Trevor twenty-three he became associated with NUNN. He continued with the RSC the fringe movement known as Teatro throughout the 1980s and into the 1990s, Independiente (Independent Theatre). As directing among others Ben Jonson’s Every a member of some of its most prominent Man in his Humour, Shaw’s Misalliance (both companies, such as Los Goliardos and 1986), A Midsummer Night’s Dream (1989), Tábano, he founded a number of the As You Like It (1990) and Anthony and Cleo- city’s most important alternative theatre patra (1993). Gorki’s Philistines (1985) and spaces (Sala Independiente Cadarso and A Question of Geography by John Berger and Sala Independiente Gayo Vallecano). In Nella Bielski (1987) were outstanding for 1978 he wrote and directed his first suc- their emotional power and truth. In 1994 cessful production, Tú estas loco, Briones (You he made his debut at the Royal National Are Mad, Briones). The premiere at the Cen- Theatre with Arthur Wing Pinero’s tre Dramático Nacional of Vade retro (Get Trelawney of the Wells, followed by Thee Behind Me) in 1982 consolidated his Chekhov’s Cajka (The Seagull) in 1994 and status as an innovative writer capable of Pam GEMS’S Stanley (1996), with infusing realism with topical touches. Esta Anthony SHER. In 1998, Caird and noche gran velada (Tonight’s Big Soiree, 1983) Nunn renewed their partnership at the was awarded the Critic’s Award for that Royal National Theatre when Nunn took year. His plays are comedies mostly inhab- over as its artistic director. Apart from pro- ited by recognizable archetypes and are ductions for mainstream theatre, Caird characterized by the contemporary collo- has also directed and co-directed very suc- quial tone of his dialogues. It is perhaps cessful musicals such as Les Miserables (with not surprising, for a dramatist whose work Trevor Nunn) and Peter Pan (Royal Na- has strong filmic resonances, that Cabal tional Theatre, 1997). has chosen increasingly to work in television and film. Farmacia de guardia (24 Hour Caldwell, Zoe (1934–) Actor and direc- Pharmacy) proved one of the most popular tor, USA. Born in Australia, in 1953 she television series of the mid-1990s. played the title role in Shaw’s Major

43 Calenda, Antonio Campos, Rosi

Barbara in Melbourne. From 1958–61 she Joint Stock Company for a few years be- pursued her career in Britain and per- fore playing Orlando in As You Like It at formed with the Royal Shakespeare Com- the National Theatre (1979), where he also pany (Cordelia in King Lear, 1961) and the created the part of Mozart in Peter Royal Court (Isabella in Middleton’s The SHAFFER’S Amadeus, directed by Peter Changeling). Following a season in Canada, HALL and starring Paul SCOFIELD and Caldwell moved to the USA where she Felicity KENDAL (1979). Major parts in continued her distinguished career, adding the 1980s include Edward BOND’S Res- directing to her credits. More recently she toration at the Royal Court (1981), Manuel created the character of Maria Callas in Puig’s Kiss of the Spiderwoman with Mark Master Class by Terence MCNALLY RYLANCE, and the title part in Goethe’s (1995). Faust, directed by David Freeman. More recently, he played Oscar Wilde in The Calenda, Antonio (1939–) Director, Italy. Importance of Being Oscar (1997). Since the After graduating in Law, Antonio Calenda end of the 1980s Callow has directed sev- co-founded with Virginio Gazzolo and eral plays, including Willy Russell’s Shirley Luigi Proietti the experimental theatre Valentine (1988), the musical Carmen Jones company Teatro dei Centouno, which in- and Sharman MacDonald’s Shades. Callow troduced new writing to the Italian thea- has also made a reputation in films, and tre scene. Amongst its most interesting has written books about acting and biog- productions are Boris Vian’s Il Rumore (The raphies of Orson Welles and Charles Empire Builders, 1965), interpreted by Laughton. Virginio Gazzolo and Piera Degli ESPOSTI; Pablo Picasso’s Il Desiderio Preso Campbell, Cheryl (1951–) Actor, Great per la Coda (Desire Caught by the Tale, 1967); Britain. Campbell trained at the London Sophocles’s Oidipus epi Kolono (Oedipus at Academy of Music and Dramatic Arts, Colonus, 1997); and Achille Campanile’s and achieved a major success playing Un’indimenticabile serata (An Unforgettable strong women characters of the classical Evening, 1997), also interpreted by Degli repertory, such as Nora in Ibsen’s Et Esposti. Calenda subsequently founded Dukkehjem (A Doll’s House) for the Royal the Compagnia Teatro d’Arte in 1982 and Shakespeare Company in 1981. Her por- worked both in Italy and abroad as a thea- trayal of the title role in Strindberg’s Fröken tre, opera, radio, television and film direc- Julie (Miss Julie) in 1983 was equally tor. Known internationally for the film Il memorable. In 1985 she played Asta in giorno del furore (Days of Fury: One Russian Ibsen’s Lille Eyolf (Little Eyolf), and in 1991 Summer, 1973), co-written with Edward Emma in a revival of PINTER’S Betrayal BOND, Calenda has directed some of the at the Almeida Theatre, London. For the most interesting Italian practitioners in a 1993–4 season she once again joined the repertoire of over a hundred classical and Royal Shakespeare Company to play contemporary plays. His commitment to Lady Macbeth opposite Derek JACOBI, new writing, which over the years brought as well as major parts in Middleton’s The him to explore a wide range of dramatic Changeling and Richard Nelson and Alex- forms, has contributed to his reputation ander Gelman’s Misha’s Party. as one of Italy’s most eclectic and adventurous theatre directors. Campos, Rosi (1954–) Actor, Brazil. Campos studied journalism at the School Callow, Simon (1949–) Actor and direc- of Communication and Arts, University tor, Great Britain. Trained at the Drama of São Paulo. Major stages in her career Centre, London, Callow worked with the are work with the theatre company

44 Canto, Toni Carballido, Emilio

Mambembe with C.A.Soffredini, at Teatro Film Institute in Bucharest. After gradu- do Ornitorrinco with Cacá Rosset, and at ating he joined the Bulandra Theatre in Circo Grafitti. Major stage credits include Bucharest, becoming one of its main ac- Mother Ubu in Jarry’s Ubu Roi (King Ubu), tors until he was appointed its director Amandla Amanda in Soffredini’s Ve m general (1990–3). A notorious figure in Buscar-me que ainda sou Teu, and several the Romanian Revolution of December characters in Noemi Marinho’s Almanaque 1989, Ion Caramitru was elected Presi- Brazil. She organizes world literature re- dent of the Theatre-Union of Romania search groups to study it’s more interest- (UNITER), created in 1990, which he ing theatrical aspects. In the theatre she led until 1996 when he became Minister has specialized in musicals, and finds of Culture. As a theatre actor, he ap- teamwork essential to her profession. peared in more then sixty roles in plays by Shakespeare (Romeo, Hamlet, Canto, Toni (1965–) Actor, Spain. Canto Octavius and Ferdinand), Chekhov, took acting lessons at the Academy of Pirandello (I giganti delta montagna (The William Layton and studied with the well- Mountain Giants)), Büchner (Leonce und established director José Carlos PLAZA Lena), Shaw (Eugene Marchbanks in Can- in Madrid. During the 1990s, while Plaza dida), Rolf Hochhuth (Der Stellvertreter was artistic director of Madrid’s Centro (The Deputy)), Sütö András, Marin Dramático Nacional, he enjoyed promi- Sorescu and others. Caramitru also di- nent roles in a number of high-profile pro- rected many productions, including ductions. His tall physique and dark clas- Sorescu’s Third Stake and Howard sic good looks placed him in much de- BARKER’S The Shape of the Table for the mand as an attractive lead actor. He theatre, as well as opera. He created ac- gained critical and commercial success in claimed one-man shows with poetry by a range of productions including Eminescu and Shakespeare. He is an ac- Aeschylus’s Oresteia (1990), the 1991 pro- tor with a specific charm and with a duction of Valle-Inclán’s Comedias bárbaras unique power to communicate the emo- (Savage Plays) and The Merchant of Venice tions through a strong cerebral control. (1992). Other successful productions include Robert WILSON’S acclaimed Don Carballido, Emilio (1925–) Dramatist Juan Ultimo (The Last Don Juan), based on and director, Mexico. Carballido studied a play by novelist Vicente Molina Foix French at the National University and has (1992), and more recently Mario GAS’S become one of the foremost dramatists in production of Tennessee Williams’s Cat on Mexico. In addition, he writes for the a Hot Tin Roof (1995). The very popular screen and directs and teaches at univer- television series of Los Ochenta son nuestros sity level. His many plays cover a wide (The Eighties are Ours), written and directed range of styles. The Strand of Gold edges by Ana DIOSDADO in 1988, catapulted towards surrealism, and I Also Speak of the him to success within the media spectrum Rose is a comedy that takes place in the and he has gone on to work regularly in space between reality and fiction. At the film and television. heart of this work there is often a national question: what reality governs Mexican Caramitru, Ion (1942–) Actor and direc- people? Is it one propagated by legend or tor, Romania. In 1964, Caramitru made advertising, or is it everyday reality? In the his professional debut as an actor at the 1980s, he turned his attention to a sim- National Theatre in Bucharest with the ti- pler, more direct type of theatre in such tle role in Emineseu (by Mircea Stefanescu) works as Mimi and Fifi on the Orinoco and while still a student at the Theatre and Rose of Two Aromas.

45 Cardinal, Tantoo Carroll, Peter

Cardinal, Tantoo (1950–) Actor, Canada. Carr’s early work includes Ullaloo (1991), Cardinal learned the craft of acting at thea- Low In The Dark (1989) and This Love Thing tres in Western Canada, including 25th (1991). The Mai (1994), directed for the Street Theatre and Persephone Theatre. Peacock Theatre by Brian Brady, weaves She played the title role in Jessica at To- together language, image and folklore into ronto’s Théâtre Passe Muraille. Cardinal a strongly theatrical work. Drawing on her was nominated for a Genie award for her own Irish Midlands background, Carr role as Roseanne in Anne Wheeler’s 1986 lends her work a particular sense of place, feature film Loyalties. Her other films in- as evident in Portia Coughlan, directed by clude Dances With Wolves (1990), Black Robe Garry HYNES for the Peacock Theatre (1991) and Legends of the Fall (1993). Al- (1996), which toured to The Royal Court though her stage acting has offered evi- Theatre, London. Commissioned by the dence of strong comedic gifts, Cardinal National Maternity Hospital, Dublin, and tends to be type-cast as a proud, stoical written entirely in Midlands dialect, Portia aboriginal woman in her film roles. Coughlan is peopled by damaged, grotesque characters. By the Bog of Cats (1998) marked Cariou, Len (1939–) Actor and director, Carr’s move to the main stage of the Ab- Canada. Cariou studied singing as a child bey Theatre, directed by Patrick MASON and voice with Kristin Linklater in New as part of the Dublin Theatre Festival. It York. His professional debut was in 1959. combines myth and literary allusion to Between 1962–5 he appeared at the Strat- explore the fate of Hester Swayne, played ford Festival. In 1965 he moved to the by Olwen Fouere, as she struggles to deal USA, where he established himself as a with rejection and betrayal, and singles leading actor in repertory and on Broad- out Carr as Ireland’s leading woman way. In 1975 Cariou returned to Canada, dramatist. appearing as Dysart in SHAFFER’S Equus, Macbeth (1979), Coriolanus and Carrero, Tonia (1922–) Actor, Brazil. Petruchio (1981), and King Lear (1983). Carrero took a performance course in He is a versatile performer, capable of Paris and studied in Brazil with Zbigniev quiet intensity (particularly in his televi- Zienbinsky, Eugenio Kusnet and Adolfo sion and film roles) and also of great vo- Celli. She became famous for her beauty, cal and physical power. which she herself regarded as a precious gift but not essential for her career, which Cannon, Yosef (1934–) Actor, Israel. was informed by pursuit of perfection and Carmon started his career at the Haifa social awareness. Major parts include municipal theatre with parts like Orlando Estelle in Sartre’s Huis clos (In Camera), in As You Like It and Andri in Frisch’s An- Desdemona in Othello, Lady Macbeth, dorra. Carmon joined the Cameri Tel Aviv Nora in Ibsen’s Et Dukkehjem (A Doll’s municipal theatre playing roles like Brutus House) and Claire in Marguerite Duras’ in Julius Caesar and the title roles in Macbeth L’Amante Anglaise. and an adaptation of Kleist’s Michael Kohlhaas. There he also played major roles Carroll, Peter (1944–) Actor, Australia. in many of Hanoch LEVIN’S plays such Trained at Central School of Speech and as Yesurei Iov (Job’s Sufferings), Hazona Drama (London), Carroll began his pro- Hagedola mi-Bavel (The Great Whore of fessional career in 1974 when he joined the Babylon) and Heffetz, showing his virtuos- Nimrod Theatre, Sydney. As a boy so- ity and versatility as an actor. prano he had hoped for a career in opera, but he has worked mainly in musicals Carr, Marina (1964–) Dramatist, Ireland. such as Les Miserables and Evita. For the

46 Cartwright, Jim Cassiers, Guy

Melbourne Theatre Company, Carroll Casas, Myrna (1934–) Dramatist, direc- starred in Sweeney Todd in a performance tor, producer, actor and designer, Puerto which combined comedy, tragedy and Rico. In addition to being a director and horror very precisely. Carroll won a producer, Myrna Casas is one of Puerto Green Room award for his performance Rico’s principal contemporary dramatists. as Stalin in David Pownall’s Masterclass and In 1963 she founded the group received much acclaim for his solo per- Producciones Cisne, where she continues formance in Ron Blair’s The Christian Broth- to direct her efforts as producer and ers (1975), which toured Australia and dramatist. Her major plays include Cristal overseas. He created major roles in David roto en el tiempo (Window Broken in Time, WILLIAMSON’S Emerald City, The Perfec- 1960), Absurdos en soledad (Absurdists in Soli- tionist and Money and Friends. Carroll also tude, 1964), and El gran circo Eukranio (The teaches voice at the National Institute of Great Ukranian Circus, 1988). Her later Dramatic Art, Sydney, and does a great plays are renowned for their post-absurdist deal of radio work, especially poetry read- critiques of the social and political struc- ing, and voiceovers in film and television. tures of Puerto Rican art and society. Since 1985, her company has been a member Cartwright, Jim (1958–) Dramatist, of the organization Productores Great Britain. Cartwright attended the Internacional de Teatro (International Pro- Royal Academy of Dramatic Art and was ducers of Theatre) and has toured produc- a writer in residence with Octagon Thea- tions throughout the Americas. Casas’s tre, Bolton, between 1989–91. ‘Claiming work as director includes the Antonio to have read only four books in his life, Buero Vallejo translation of Hamlet (1993). Cartwright shows intuitive skill at poetic Casas has also worked as a costume de- realism in portraying his borderline char- signer and actor, originating the role of acters’: the unemployed in a housing es- Hortensia in Rene Marques’s classic of the tate in Road (1989), old age in Bed (1989) Puerto Rican drama Los Soles Truncos (The and the dream of stardom in The Rise and Fanlights), directed by Victoria ESPINOSA Fall of Little Voice (1992, Royal National in 1958. Theatre). Cassiers, Guy (1960–) Director and ac- Carver, Brent (1951–) Actor, Canada. tor, Belgium. Cassiers trained at the Royal Carver has acted in almost every major Academy of Fine Arts in Antwerp, but af- theatre in Canada, including the Stratford terwards found himself working in the Festival and the Citadel Theatre. Early in theatre, first as an actor and then as a di- his career, he played leading musical roles rector. From 1987–92 he led Oud Huis (Pirate King in Gilbert and Sullivan’s The Stekelbees in Ghent, which broke through Pirates of Penzance). Other roles include Ariel its traditional barriers as a young people’s in The Tempest, Hamlet, Horst in Martin theatre to influence Flemish and Dutch Sherman’s Bent (1982) and the Master of theatre as a whole. For the Kaaitheater in Ceremonies in Cabaret (1987). Carver Brussels, he directed Het Liegen in made his Broadway debut in the musical Ontbinding (Lying in Decay, 1993), a montage of Kiss of the Spiderwoman (1993), for which of Samuel Beckett and Julian Barnes, as he received a Theatre World Award. He well as De Pijl van de Tijd (1994, after Mar- was a member of the new Toronto reper- tin Amis’s novel Time’s Arrow). He is also tory company, Soulpepper, in 1998. active in The Netherlands, where he di- Carver is equally at home in emotional rected the Dutch-language premiere of dramatic roles and in glitzy musical per- Tony Kushner’s Angels in America (1995) at formances. the RO Theatre in Rotterdam. Cassiers’s

47 Castellucci, Romeo Catra, I Nyoman work reads as a plea for human imagina- Müller’s Der Auftrag (The Request, 1996, tion, urging its audience to take a fresh Berliner Ensemble), Trainspotting look at reality. An important ingredient in (Volksbühne, 1997) and Sartre’s Les mains his productions is the interaction with sales (The Dirty Hands, 1998, Volksbühne). visual arts and video. Castri, Massimo (1943–) Director and Castellucci, Romeo (1960–) Director, actor, Italy. After a period of training with Italy. Romeo Castellucci, together with amateur theatre companies, Castri co- Claudia Castellucci, Chiara Guidi and founded the theatre company Cab 65 in Paolo Guidi, founded the Societas 1965, which introduced Italian audiences Raffaello Sanzio in 1981, which held a to a variety of contemporary European number of exhibitions and multimedia in- plays. He then worked with a number of stallations in Rome (1983, 1984 and 1987), directors, including Carlo QUARTUCCI at the Biennale in Venice (1984), at and Antonio CALENDA. After graduat- Documenta 8 in Kassel (1987) and in Mi- ing with a thesis on political theatre in lan (1984 and 1988). Among Castellucci’s 1971 Castri started directing his own most notable productions for Raffaello projects, producing among others three Sanzio are Santa Sofia, teatro khmer (Saint visually striking and dramaturgically ad- Sophia, Khmer Theatre, 1985), Alla bellezza venturous interpretations of Luigi tanto antica (For Such Ancient Beauty, 1988), Pirandello’s Vestire gli ignudi (To Dress the Gilgamesh (1990) and Hamlet (1992). Naked, 1976), La vita che ti diedi (The Life I Castellucci has been exploring, together Gave You, 1978) and Così è (se vi pare) (It Is with his company, the boundaries and ex- So, If You Think So, 1979), as well as new cesses of the use of the body in perform- interpretations of Gabriele D’Annunzio’s ance, the creation of artificial and non-ver- Fedra (Phèdre, 1988) and Euripides’s Orestes bal languages, the use of iconoclastic thea- (1997). Castri also appeared in a number tre in opposition to verbal theatre, the si- of films, such as Sotto il segno dello scorpione multaneous use of a plurality of perform- (Under the Sign of the Scorpio, 1969), directed ance spaces and the application of ritual by Paolo and Vittorio Taviani. Starting and myth to the performing arts. from an experimentation with Artaudian and Brechtian theatrical forms, Castri de- Castorf, Frank (1951–) Director, Ger- veloped a particular style of theatre which many. In 1976 he became director of the focused on the oneiric, often reminiscent Theater der Bergarbeiter in Senftenberg. of Freudian and Lacanian theories, while Between 1981–5 he was at the same time politically and socially en- Schauspieldirektor (head of drama) in gaged. This form of nocturnal, meta-the- Anklam, since 1992 he has been Intendant atrical theatre, usually dealing with texts of the Volksbühne Berlin. His produc- representing bourgeoisie crisis, has come tions, mainly of standard classical texts, to represent one of the most sought after are anything but standard: they are highly styles of the contemporary Italian theatre iconoclastic, fragmentary, irritating and scene. thus controversial, intending to achieve a new view of contemporary life. Among his Catra, I Nyoman (1954–) Performer, In- important productions are Goethe’s donesia. Catra trained at ASTI (Akademi Clavigo (1986), Hamlet (Köln, 1989), Seni Tinggi Indonesia), Denpasar, and Goethe’s Stella (1990), Schiller’s Wilhelm obtained an MA from Wesleyan Univer- Tell (1991), Hebbel’s Die Nibelungen (1995), sity. From a family of musicians, Catra JELINEK’S Die Raststätte oder Sie machen’s began performing as a drummer with alle (Inn, or The all do it, 1995), Heiner gamelan ensembles. He joined his village

48 Caubère, Philippe Cenean, Stefania

Barong group at age thirteen and soon Accademia d’Arte Drammatica in Rome, developed into a gifted comedian. He be- Carlo Cecchi made his debut in the thea- gan his acting career playing Anoman in tre in 1968 in Dacia MARAINI’S Il Ricatto the Ramayana for tourist shows in Kuta, a Teatro (Blackmail in the Theatre). In 1969 but is now acknowledged as a master of he founded the alternative theatre com- the comic Bondres masks. He has per- pany Granteatro, for which he directed formed with a number of different ensem- both classical and contemporary plays. bles in Topeng Panca and Prembon, as Among his most notable productions with well as in the newer genres of Wayang Granteatro are Bertold Brecht’s Trommeln Listrik and Bondres. He also performs in der Nacht (Drums in the Night, 1972), Barong for temple ceremonies, teaches at Georg Büchner’s Woyzeck (1973), Luigi STSI (the Academy of Performing Arts) Pirandello’s L’uomo, la bestia e la virtù (The in Denpasar and leads workshops in Man, the Beast and Virtue, 1980) and Samuel Balinese theatre and music in the United Beckett’s Endgame (1995). Cecchi’s pro- States and Europe. ductions are a fascinating synthesis of Ital- ian popular theatre and styles drawn from Caubère, Philippe (1950–) Actor and di- the historical avant-gardes. His strong rector, France. Caubère worked with stage presence and his innovatory direct- Théâtre du Soleil between 1971–6, where ing and acting styles have made him one he played leading parts in 1789, 1793 and of the most interesting and influential ex- L’âge d’or (The Golden Age). He also played perimental directors and performers of the the lead role in the the film version of Italian theatre scene. Cecchi has also ap- Molière, written and directed by peared in a number of films, such as MNOUCHKINE. In 1978 he directed Mario MARTONE’S Morte di un and played in Molière’s Dom Juan at the Matematico Napoletano (Death of a Neapolitan Théâtre du Soleil. After leaving the com- Mathematician, 1991), Ricky Tognazzi’s La pany he created a series of performances, Scorta (The Escort, 1993) and Bernardo all of which are improvized scripts based Bertolucci’s Io Ballo da Sola (Dancing Alone, on his life experience as an actor in the 1995). Théâtre du Soleil: La danse du diable (The Devil’s Dance, 1981) directed by Cenean, Stefania (1958–) Designer, Ro- J.P.Tailhade and C.Massart; Le roman d’un mania. A graduate (1982) of the Fine Arts acteur (The Novel of an Actor, 1983–5, also Institute Nicolae Grigorescu, Bucharest, performed at Avignon Festival of 1993); Cenean created the set and costume de- Ariane ou l’âge d’or (Ariane or The Golden Age, sign for more than thirty theatre produc- 1986); Les enfants du soleil (Children of the tions in Bucharest, Craiova (where she is Sun); La fête de l’amour (Festival of Love); and based), Sibiu and Târgu-Mures. She par- Le triomphe de la jalousie (Triumph of Jealousy, ticipated in the Trienniale of Scenography 1988–9). In 1996 he directed a film in- in Bucharest and the Prague Quadriennale spired by these performances, Les enfants of Scenography in 1992, and organized a du soleil (Children of the Sun). He also worked personal exhibition of set and costume as a film actor, appearing in La gloire de design at the Institut Français of Bucha- mon père (My Father’s Glory) and Le château rest, 1995. Major productions include de ma mère (My Mother’s Castle) directed by Chekhov’s Djadja Vanja (Uncle Vanya) at the Yves Robert and based on Marcel Pagnol’s National Theatre in Craiova, and novels. WERTENBAKER’S Our Country’s Good at the National Theatre Bucharest, directed Cecchi, Carlo (1942–) Director and ac- by Andrei SERBAN. She designed Silviu tor, Italy. After a period of training at the PURCARETE’S productions of, among

49 Césaire, Ina Chaikin, Joseph others, D.R.POPESCU’S Piticul în gradina Pavese for her stage adaptations. La Nef de vara (The Dwarf in the Summer Garden) (The Ship), first produced for the 1992 Fes- and Titus Andronicus. Cenean was awarded tival de Fort-de-France, is an allegory of many prizes for her creative contribution Caribbean identity; her dramatic comedy to the suggestive and poetical visual im- Bal d’éventails (Fan-dancing, 1994) evokes age of theatrical events. postwar Martinican racial tension; and L’Année de tous les saints (The Year of All Saints, Césaire, Ina (1942–) Author, France and 1998) builds on the traditional rituals com- Martinique. A former lecturer at Paris memorating the dead on 1 November. She university, with a doctorate for research founded Racines in 1982 to support origi- in ethnology at the Ecole des Languages nal artistic creation in theatre, literature Orientales, Ina Césaire (eldest daughter of and the arts. the poet-politician of Négritude) found in Peter BROOK’S work the inspiration for Chae Hi-Wan (1948–) Director and transmitting the tales and oral history she dramatist, Korea. Chae graduated from was collecting to a wider audience. Her Seoul National University, where he was first play, Mémoires d’lsles: Maman N. et known as an underground artist who be- Maman F (Island Memories, 1983), inter- lieved theatre to be a weapon. He sharply weaves the life histories of two elderly confronted Korea’s political problems with grandmothers (based in part on her own his group, Handoore, through family lore), and toured widely in a pro- unpublicized open air performances and duction by Jean-Claude Penchenat. illegal private performances. For the L’Enfant des passages ou La geste de Ti Jean dramaturgy, he reconstructed elements of (Child of the Crossings or The Epic of Little John, traditional Korean mask dancing. He 1987) recreates the initiatory journey of dramatized the hardship of the labour the dauntless folk hero, whose origins lie movement in Jinogui Goot (1973), Agoo in West African tales. In Rosanie Soleil (1974, with KIM Suk-Man), Gumgwaneui (1992), an uprising in the South of Yesoo (Life of Jesus, 1978), Gongjangeui Boolbit Martinique in 1870 is reflected through (Light of a Factory, by Kim Min-Gi), three women’s lives. Ina Césaire contin- Nodongjaeui Hwatbool (A Torch of Labour, ues to explore drama, fiction and docu- 1980), Jeo Hanuleui Byeocheoreom (Like a Star mentary film in her recreation and trans- in the Sky, 1981), Duidui Bangbang (Rush mission of the traditions and social history Rush Driver, 1985), Minjoo Gotsinbaram of Martinique. (Wind of Democratic Flower Shoes, 1989) and Kalnorae Kalchoom (Sword Song Sword Dance, Césaire, Michèle (1951–) Writer and di- 1994). All his productions are based on rector, France and Martinique. Niece of fact in order to gain the sympathy of the Négritude writer-politician Aimé Césaire, audience. Since 1990, Chae has extended she holds a masters degree in history from the scale of his works, and directed carni- the University of Paris. Working in both val-like productions such as Welcome to His- France and Martinique from 1982–6, she tory—Festival for the Memory of Goboo Rebelion divided her energies between the promo- (1994) and the Consolation Festival for the tion of French West Indian culture in Spirit of Death by False Charge (1996), which France and developing her skills as a was performed over several days. writer-director. Her Conte du monde d’en bas (Tales of the Netherworld, 1986) was a natu- Chaikin, Joseph (1935–) Director and ral outcome of her deep interest in actor, USA. Chaikin graduated in folktales, but she has drawn from sources drama and philosophy from Drake Uni- as divergent as James Baldwin and Cesar versity, studied method acting with

50 Chan, Anthony Charalambous, Nicos

Herbert Berghof, Mira Rostova and Nola Chang, Tisa (1945–) Director, USA. Born CHILTON, and made his acting debut in in China, Chang grew up in the USA, 1958. He was a member of The Living studied ballet and traditional Chinese Theatre for several years before co-found- dance, received a scholarship from the ing the Open Theatre, which ‘broke with Martha Graham Dance Company, and Stanislavskian character-based perform- studied acting with Uta Hagen. In 1977 ance and enabled actors’ bodies to trans- she founded Pan Asian Repertory Thea- form elastically from character to object tre, to ‘produce the work of Asian-Ameri- to metaphor, and […] enabled actors to can playwrights as well as to translate play roles outside their character “type”. Asian masterpieces into English and What began as a laboratory developed innovatively adapt Western classics’. For into a collective producing theatre.’ In her, the commercial theatre is no longer a 1984 Chaikin suffered a stroke resulting yard-stick of American theatre. The im- in aphasia, and in 1991 he appeared in pact of American theatre is now more far- plays co-authored with Sam SHEPARD reaching and meaningful. (The War in Heaven) and van Itallie (Struck Dumb) that reflected his experience. Along Channing, Stockard (1944–) Actor, with Julian Beck and Judith Malina, he is USA. Channing made her stage debut in regarded as one of the most influential 1966. Among her roles are Alice in theatre avantgardists of the last thirty Dürrenmatt’s Play Strindberg (1972), Jane years. in AYCKBOURN’S Absurd Person Singular (1978), Sheila in Peter Nichols’s A Day in Chan, Anthony (1953–) Dramatist, direc- the Death of Joe Egg (1982, 1985) for which tor, set and costume designer, China she received an Antoinette Perry Award, (Hong Kong SAR). Chan is considered to Susan in Ayckbourn’s Woman in Mind be a versatile dramatist who has written, (1988, Drama Desk Award), GUARE’S directed and designed sets and costumes Six Degrees of Separation (New York, 1990 for more than fifty productions. Chan’s and London, 1992) and Tom Hong Kong Heartbeat, an ensemble work STOPPARD’S Hapgood (1994). In 1997 with mime and dance, was staged as part she appeared in The Little Foxes by Lillian of the Hong Kong Festival in London Hellman. ‘She has the ability to combine (1992) and Calgary (1993). Nuwa Mends a sense of comedy with a sense of pathos the Sky (1992) won the award for best to get at the ache underneath.’ script and toured in Tarascon and Bor- deaux (France). In 1994 Chan translated, Charalambous, Nicos (1941–) Actor and directed and designed the set for You Can’t director, Greece. Born in Cyprus, he Take It with You (by Moss Hart and George trained at the Karolos Koun Drama Kaufman) for the Hong Kong Repertory School, and took courses in directing, Theatre, which then went on to win the dramaturgy and movement at the Univer- top ten best production award of the year. sity of Erlangen, Germany. From 1964–9 His other major directions cover Ronald and again in 1975–6 he was actor and as- Harwood’s The Dresser (1997), and his own sistant director at Karolos Koun Art Thea- farcical Chinese opera Love’s Labour’s Won, tre, where he participated in acclaimed starring Hollywood film actor Chow Yun- productions of Aeschylus’s Persai (The Per- Fat (1998). Chan has also received much sians), as well as in Aristophanes’s Ornithes acclaim for his set and costume design the (The Birds) and Batrachoi (The Frogs), which 1996 production of Mark Medoff’s Chil- toured to London, Paris, Munich, Berlin, dren of a Lesser God (Hong Kong and Venice, Moscow, Warsaw and Tel Aviv. Beijing). From 1970–4 he was an actor with RIK

51 Chen Ming Zheng Chéreau, Patrice

Theatre, Cyprus, and 1975–80 actor and Qun Zi (Red Skirts Are now Fashion) by Ma director at Thessaloniki Theatre and Zhong Jun and Jia Hong Yuan, Wang Theatre of Cyprus. From 1980 onwards Cheng Gang’s Ben Bao Xing Qi Si Di Si Ban he has been an actor at the Amphi Thea- (The Forth Page of Our Newspaper Last Thurs- tre and a director with Theatre of Cyprus. day), Brecht’s Der Kaukasische Kreidekreis He played leading roles in plays by Weiss, (The Caucasian Chalk Circle) and O’Neill, PINTER, Dürrenmatt, Anouilh, Dürrenmatt’s Ein Engel kommt nach Babylon Molière, Beckett, Brecht and Strindberg as (An Angel comes to Babylon). Her most recent well as many Greek playwrights. His di- work is Brecht’s Die Dreigroschenoper (The recting credits include many Greek clas- Threepenny Opera, 1998). Chen Rong has sics as well as Lorca’s La casa de Bernarda always been a passionate director. Believ- Alba (The House of Bernarda Alba), Peter ing in a ‘people’s theatre’, she is interested Weiss’s Marat/Sade, Brecht’s Die in comparative studies between Chinese Dreigroschenoper (The Threepenny Opera) and theatrical heritage and contemporary several plays by Tennessee Williams and trends in theatre outside China. Shakespeare. Chen Xin Ying (also Chen Ping) (1938–) Chen Ming Zheng (1932–) Director, Director, China. Her major productions China. Chen trained as an actor at the include Othello (1986), Zhao Qi Yang’s Shanghai Academy of Drama and has be- Hong Yan (Red Cliff, 1989), Bai ju Yi Zai come a professor in its acting department. Chang An (Bai Ju Yi in Changan, 1990) by His major productions from the 1980s to Li Min Sheng and Yang Zhi Ping, Xu the 1990s include Hamlet, Luo Jian Fan’s Fen’s Xin Hai Chao (1911 Revolution, 1991), Hei Jun Ma (Black Stallion), Cao Lu Sheng’s Su Lei’s Fu Qin De Che Zhan (My Father’s Bai Niang Niang (White Snake Lady), The Big Station, 1992), Sun De Min’s Di Shi San Shi Bridge, Zhao Hua Nan’s OK Gu Piao (OK, Da Lai La Ma (The Thirteenth Dalai Lama, Stocks), Zhang Xian’s Mei Guo Lai De Qi Zi 1993), Qin Bei Chun’s Bai Ma Fei-Fei (The America-Returned Wife), Cao Lu (White Horse Fei-Fei, 1995) and Shangyang Sheng’s Da Pi Guan (The Cleaving of the Cof- (1996, designed by HUANG Hai Wei). fin) and Cang Tiang Zai Shang (Heavens She favors grand stage presentation. Her Above). He is known in the Chinese thea- productions often manifest ingenious use tre as a ‘poetical director’ with a theoreti- of space. She holds it as her principle to cal interest in the ‘sub-conscious’. repeat neither herself nor others.

Chen Rong (1929–) Director, China. Chéreau, Patrice (1944–) Director and Chen studied at the Central Academy of actor, France. While studying at the Drama and Moscow Lunarcharski School Sorbonne Chéreau staged his first produc- of Drama 1950–9, and has been a major tion, Victor Hugo’s L’intervention at Louis- director at the China Youth Theatre. Her le-Grand. He gained early recognition for pre-Cultural Revolution productions in- a lively production of Labiche’s L’affaire de clude Ren De Yao’s Malan Hua (Malan la rue de Lourcine (The Lourcine Street Affair, Flower), Chekhov’s Tri sestry (Three Sisters), 1966) and Rossini’s L’italiana in Algeri (The and Beaumarchais’s Le manage de Figaro Italian Girl in Algiers, 1969), his first opera (The Marriage of Figaro, designed by Mao staging. Working with Roger Jin Gang). Her works after the Cultural PLANCHON as artistic director of the Revolution include Brecht’s Leben des Théâtre National Populaire in Galilei (Life of Galileo, designed by XUE Villeurbanne, he directed a number of Dian Jie), Wang Zheng’s Chi Kai De Hua controversial high-profile production which Duo (Late Bloom), Jie Shang Liu Xing Hong quickly gained him an international

52 Chifunyise, Stephen J. Chitty, Alison profile. Equally at home with opera, clas- Chikwakwa Theatre, Mahusisi and Blood sics and more modern pieces, Chéreau has (1975) and I Resign (1975). often attracted controversy for the daring, visually audacious nature of his produc- Chilton, Nola (1926–) Director, Israel. tions. He is perhaps best known for his Born in New York and trained by Lee work in opera, especially the notorious Strasberg, Chilton played in several pro- Marxist Bayreuth centennial production of ductions on Broadway and off-Broadway Der Ring des Nibelungen (The Ring Cycle, before joining theatre laboratory work in 1976). As artistic director of the Théâtre New York and San Fransisco. In 1963 des Amandiers at Nanterre, Chéreau Chilton emigrated to Israel where she has championed a number of young actors become a leading director, with plays like and playwrights including Bernard-Marie Beckett’s Endgame and O’Neill’s The Iceman Koltès, whose visceral uncompromising Cometh. She is mostly renowned for her plays were brilliantly realized by Chéreau collective forms of documentary theatre and his long-time designer Richard dealing with controversial subjects, like the Peduzzi. Chéreau’s performances include Arab-Israeli conflict, the situation of bat- the role of the Dealer in two of his pro- tered women, old people, immigrants and ductions of Koltès’ Dans la solitude des prisoners. These productions serve as a champs de coton (In the Solitude of the Cotton landmark for the development of the dis- Fields, 1987 and 1995). His five films as tinct Israeli version of documentary thea- director include Hôtel de France (1987) and tre, most prominently in SOBOL, whose La Reine Margot (1994). early plays Chilton directed. She teaches at the Theatre Department at Tel Aviv Chifunyise, Stephen J. (1948–) Drama- University. tist, Zimbabwe. Stephen Chifunyise is a product of the Chikwakwa Theatre, an Chislett, Anne (1942–) Dramatist, open air theatre established by the Uni- Canada. Chislett studied theatre at the versity of Zambia in 1971 as a means of University of British Columbia. Until taking theatre to the people in the man- 1980 she taught theatre at high schools in ner of the University of Ibadan Travelling Ontario. Together with her husband, Theatre in Nigeria (1961) and the James Roy, she founded the Blyth Festi- Makerere Travelling Theatre in Uganda val, where all her plays have been per- (1964). Chikwakwa is in principle a com- formed. Many of Chislett’s plays deal with mitment to making theatre out of tradi- the conflict between tradition and innova- tional and folk forms of the country. All tion in the farm communities of southern these are clearly reflected in Chifunyise’s Ontario. Plays include The Tomorrow Box theatre practice, especially in his theatre- (1980), Quiet in the Land (1981, set in an for-development/ community-based thea- Amish community during the First World tre projects, in which he has collaborated War), Another Season’s Promise (1986), Yan- with Ngugi WA MIRII and Kimani kee Notions (1990) and Glengarry School Days Gecau, the two Kenyans who were part (1994). Quiet in the Land won the Gover- of the Kamiriithu community projects nor General’s Award for English drama. with Ngugi WA THIONG’O. Most of Chifunyise’s plays are very short dance- Chitty, Alison (1948–) Designer, Great dramas. Some of these have now been Britain. Chitty was an assistant designer published in a collection, Medicine for Love (1971–4) and head of design (1974–7) at (1984). His other plays are The District Gov- the Victoria Theatre, Stoke-on-Trent. Since ernor Visits a Village (1973), which toured then she has worked freelance all over the the Northern Province in Zambia with UK, and is especially associated with

53 Choi Hyung-In Chowdhury, Qamruzzaman Runu productions directed by Peter GILL, such Balgun Dala (Moon Moon Bright Full Moon, as Measure for Measure and Julius Caesar 1978) and Hanswa Gretel (Hans and Gretel (Riverside Studios, 1979), and at the Na- 1981), have proved to be a challenging tional Theatre, Turgenev’s Mesjac v derevne source of motivation for Korean direc- (A Month in the County), Molière’s Dom Juan tors. In 1996, all of his plays were per- and Much Ado About Nothing (all 1981), and formed at the specially organized Choi most recently Gill’s Cardiff East (1997). In-Hoon Theatre Festival in Seoul using various directors. Choi Hyung-In (1949–) Actor and director, Korea. Choi trained at Saint Joseph’s Chowdhry, Neelam Mansingh (1950–) University, Philadelphia (BA in French), Director, India. Chowdhry trained at the the American University, Washington National School of Drama, New Delhi, (BA in Performing Arts), and New York and has worked with B.V.KARANTH in University (MFA in Acting). Soon after Bhopal, has produced plays at the Prithvi returning to Korea, she gained fame as a Theatre Bombay and is now settled in teacher of acting who could extract the Chandigarh with her group called The full potential from actors. As an actor Company. At the London International herself, Choi performed the leading roles Festival of Theatre, she has presented in Nicht Fisch, Nicht Fleisch (Neither Fish Nor her productions of Lorca’s Yerma and Meat, 1988, by Franz Xaver KROETZ, Girish KARNAD’S Naga-Mandala. Con- directed by KIM Kwang-Lim), The Con- sciously using Indian body language and stant Wife (by Somerset Maugham) and the folk theatre forms, hers is not the Miss Readon Drinks a Little (by Zindel). As theatre of realism: she believes in the ex- a director, she founded the Hanyang oticism of Indian theatre. Her produc- Repertory Company and directed tion of Jean Giraudoux’s La folle de Brecht’s Der Gute Mensch von Sezuan (The Chaillot (The Madwoman of Chaillot) was a Good Person of Sezuan, 1988), A Midsummer notable success in Bombay, and her Night’s Dream, Ibsen’s Gengangere (Ghosts), group performed at the Festival OH Tae-Seok’s Choon-Poong’s Wife and d’Avignon in 1996. She is one of the few Kim Ji-Won’s Gooreongi Sinranggwa Gueui Indian women directors and believes Sinboo (The Serpent Bridegroom and His Wife, that ‘to be in theatre, male and female 1996). principles have to go together’.

Choi In-Hoon (1936–) Novelist and Chowdhury, Qamruzzaman Runu dramatist, Korea. Choi’s career as a (1952–) Designer and director, Bangla- dramatist began in 1970 with his first desh. Qamruzzaman Runu Chowdhury play, Eodiseo Mooeosi Doieo Dasi Mannarya trained in theatre at the National School (When, Where to meet Again as What, with of Drama in New Delhi from 1978–81. PARK Jung-Ja in the cast). Choi pub- Important among his design credits are lished a series of plays which dramatise Syed HUQ’S Juddha Ebang Juddha, di- Korean legends and tales using the shape rected by Tariq KHAN (1986), and trans- of poetic drama, not only in the lines of lations of Anouilh’s Antigone (1992), the characters but also in the stage direc- Taufique Al-Hakim’s Sultan’s Dilemma (ditions. His imaginative scripts, Yennal rected by Kamaluddin NILU, 1991) Yetjeoge Hwei Hwei (Shoo Shoo Once upon a Brecht’s Mann ist Mann (A Man’s a Man, Time, 1976), Bomi Omyeon Sane Dule (When directed by Fritz Bennewitz, 1993) and Spring Comes to Hill and Dales, 1977), Doong Wole SOYINKA’S The Lion and the Jewel Doong Nakrang Dong (Dom Dom the (directed by himself, 1994). Equally adept Drumrall of Nangrang, 1978), Dala Dala in formalism and realism, Chowdhury has

54 Christodoulides, Andreas Churchill, Caryl earned a reputation as a designer who can Pygmalion (1997) and Ronald Harwood’s skillfully handle complex demands of a The Dresser (1998, Hong Kong Arts Festi- text to meet its functional requirements. val). Chung won the Hong Kong Drama He has also directed a number of adapta- Awards for best director in 1996 and 1997, tions of indigenous performance texts, the and is currently the Dean of Drama at the most popular of which was Mahua. Hong Kong Academy for Performing Chowdhury is a well-reputed art director Arts. of the movies. Chung Kyung-Soon (1963–) Actor, Ko- Christodoulides, Andreas (1951–) Direc- rea. Chung graduated from Seongshin tor, Cyprus. Christodoulides trained at the Wo-men’s University and trained at the Academy of Live and Recorded Arts, Lon- London Theatre School and London don, and took a postgraduate course in Academy of Music and Dramatic Art. She theatre studies at University College Car- started her professional career in 1991 as diff, Wales. He also trained at the thea- a European specialist for the Korean stage. tres in Linköping and Norköping, Sweden. She performed Lady Macbeth in Macbeth Major productions include Wilde’s Salome, (1991), Catharina in Taming of the Shrew Williams’s The Glass Menagerie and A (1991), Irena in Chekhov’s Tri sestry (Three Streetcar Named Desire, Strindberg’s Fadren Sisters, 1992), General in King Lear (1993, (The Father), Christopher HAMPTON’S adapted by OH Oun-Hee), Eva in Brecht’s Les Liaisons Dangereuses, Tony Kushner’s Herr Puntila und sein Knecht Matti (Mr Puntila Angels in America, David Henry HWANG’S and his Servant Matti, 1993, with YOON Ju- M.Butterfly and Rina Katselli’s Trelli Yiayia Sang in the cast) and Grucheka in an ad- (Crazy Granny). He is a resident director of aptation of Dostoyevsky’s Brat’ia Theatre Ena. His directorial approach is Karamazovy (The Karamazov Brothers, 1996). rather realistic, and he pays special atten- In addition, she performed as Hi-Ju in the tion to effective lighting as well as detailed Korean original LEE Man-Hee’s Dolaseoseo props. Deonara (Don’t Look Back When You Leave, 1996, with HAN Myeong-Gu in the cast). Chung King-fai (1937–) Director and ac- Chung has the ability to respond to both tor, China (Hong Kong SAR). Chung the director’s instructions and the writer’s worked extensively in Hong Kong’s tel- intentions naturally and expressively. She evision and stage industries after receiv- has received substantial praise for her per- ing his MFA degree at Yale University in formance in both the theatre and films 1965. Chung was the first person to pro- since the mid-1990s. mote the theatre of the absurd and the Broadway musical in Cantonese. His col- Churchill, Caryl (1938–) Dramatist, laboration with local theatre practitioners Great Britain. One of Churchill’s first led to the establishment of the Hong Kong plays to be performed was Owners, in 1972. Repertory Theatre in 1977. Since the 1970s Cloud Nine was a popular and critical suc- he has directed many successful produc- cess, as was Top Girls (1982), about suc- tions, including Becket by Jean Anouilh cessful women throughout history. Fen (1990), David Henry HWANG’S (1983) focuses on the plight of rural work- M.Butterfly (1992, revived in 1993) and ers. Serious Money (1987) is about life on Michael Cristofer’s The Shadow Box (1996). the stock exchange. The Skriker, presented More recently he directed the Cantonese at the Royal National Theatre in 1994, drama Sentimental Journey (1999; by puzzled critics because of the fairytale Raymond TO) for the Springtime Stage motifs and particularly intricate poetic lan- Productions. Acting credits include Shaw’s guage.

55 Ciulli, Roberto Claus, Hugo

Ciulli, Roberto (1934–) Director, Ger- plays set in the twentieth century: The Ter- many. Born in Italy, Ciulli worked as an rible but Unfinished Story of Norodom Sihanouk, assistant director and then director with King of Cambodia (1985), The Indiad or the the Deutsches Theater in Göttingen India of their Dreams (1987) and La Ville (1965–72). From 1972–9 he was director parjure ou le réveil des Erinyes (The Perjury City, at Schauspielhaus Köln, and from 1979– or the Awakening of the Furies, 1994). She has 80 at the Düsseldorfer Schauspielhaus. also worked with Daniel MESGUICH, Since 1980 he has been artistic director of with On ne part pas, on ne revient pas (1991) Theater an der Ruhr in Mülheim, where and L’Histoire qu’on ne connaître jamais (1994). he has become known for his unpredict- She won the prize of the Syndicat de la ably innovative approach, which tends to Critique Dramatique in 1994 for the best be controversial. In his 1991 production theatrical work of the year. of Chekhov’s Tri sestry (Three Sisters), for example, Act IV is cut. ‘Instead, the aged Clark-Bekederemo, John Pepper (1935– three sisters remember their past. Reality ) Dramatist, Nigeria. A contemporary of was thus not brought close to the specta- Wole SOYINKA and Ola ROTIMI, tor, but sealed off in art.’ More recently Clark has published numerous plays he directed Bericht für eine Akademie (Report which have also been performed both in to an Academy, 1997) after Kafka in Nigeria and abroad. His earliest plays ap- Mülheim, and Lorca’s Dona Rosita la soltera peared in a collection which includes Song (Donna Rosita Remains Single, 1998) in Mu- of a Goat, Masquerade and The Raft. These nich. were followed by major theatrical pieces such as Ozidi (The Ozidi Saga), a documen- Cixous, Hélène (1937–) Writer, France. tation of the traditional theatre of his Ijo Born in Oran, Algeria, Cixous’s mother’s culture. His most recent plays are The family was of Ashkenazic Germanic and Wives’ Revolt and The Bikoroa Plays (consist- Austro-Czechoslovakian descent while her ing of The Boat, The Return and Full Circle). father’s family was of Sephardic Spanish Clark’s writing has moved from the strong origin. She arrived in France in 1955. First influences of classical Greek drama (in known in the 1960s as a university scholar, Song of a Goat) to the prosaic but still pow- over the years she has increasingly writ- erfully moving dialogue of the Bikoroa tril- ten for the theatre, although she has not ogy. His charcters have also moved from abandoned poetic fiction. Certain theatri- the almost mythical and tragic powerless- cal texts incarnate important contempo- ness of Ebiere, Zifa and Tufa to the ordi- rary women figures such as her feminist nary assertiveness of the key characters in rereading of Freud’s well-known case the trilogy. study, in Portrait of Dora (1976); the staging of the story of Phoolan Devi, the re- Claus, Hugo (1929–) Dramatist, poet, bellious Indian outlaw who has since be- novelist, painter, cineast and director, Bel- come an important political leader, The gium. Claus is a self-educated man. He is Conquest of the School at Madhubaï (1984); the éminence grise of Flemish literature and and that of the Russian poetess and vic- has written a voluminous oeuvre of nov- tim of Stalinist repression Anna els, poetry and plays, for which he has re- Akhmatova, in Black Sail White Sail (1994). ceived numerous literary prizes. His work However, her theatrical work took truly has also been received well abroad, and epic and legendary dimensions when she has been translated into several languages. began to write for Ariane He is considered to be Flanders’s most MNOUCHKINE’S renowned Théâtre important dramatist. After a few one-act du Soleil, creating three major historical plays, Claus came out with his first

56 Clees, Michèle Concepción, Ernesto full-length play, Een bruid in de morgen (A the Schaubühne in Berlin, becoming one Bride in the Morning), in 1953. Since then of the most prominent actors of that com- he produced around forty ‘original’ plays pany. Mainly seen in tragedy, she is the and just as many adaptations and transla- contemporary German actor with the tions. Because of its tremendous diversity, most comprehensive range of expression his oeuvre cannot possibly be categorized. through voice and gestures. Apart from Some of his best known works are Suiker Stein, she has worked with Claus (Sugar, 1958), Vrijdag (Friday, 1969), Thyestes PEYMANN, Klaus Michael GRÜBER, (After Seneca, 1966), Thuis (Home, 1975), Peter ZADEK and Wilfried MINKS. Het Haar van de hond (The Dog’s Hair, 1982), Major roles include Luise in Schiller’s Het schommelpaard (The Rocking Horse, 1988) Kabale und Liebe (Intrigue and Love), Isabella and Onder de torens (Under the Towers, 1993). in Measure for Measure, Gertrude in Hamlet In his plays, Claus not only composes the and more recently Cleopatra in Anthony dialogue but also designs the set, music and Cleopatra (Salzburg Festival. 1994). In and so on. As a director, Claus has worked 1992 she added directing to her credits, in Flanders and The Netherlands, mostly including Euripides’s Medeia (1996, in staging his own plays. which she also played the title role), Botho STRAUSS’S Jeffers-Akt I und II (1998, with Clees, Michèle (1954–) Actor, Luxem- Bruno GANZ in the cast) and bourg. After her training at the Hofmannsthal’s Elektra (1999, in which Schauspielakademie Zürich, Clees worked she also played the title role). as a resident actor in several theatres, the Théâtre Populaire Romand (1982, Swit- Close, Glenn (1947–) Actor, USA. zerland), the Staatstheater Saarbrücken Widely known for her prestigious film ca- (1984–90), and in Luxembourg at the reer, including commercial successes such Théâtre des Capucins and the Théâtre du as Fatal Attraction and Les Liaisons Centaure, with internationally recognized Dangereuses, Close has an equally impres- theatre artists such as Andrea BRETH, sive record as a stage actor. She obtained Wolfgang ENGEL, Pavel Mikulastik and a BA in theatre from the College of Holk Freytag. Clees is a trained breath- William and Mary (1974) and made her ing therapist and her in-depth research on stage debut as Angelica in Congreve’s Love the subject, which she teaches at the for Love (1974). Further parts have included Conservatoire de Luxembourg and at the Annie in STOPPARD’S The Real Thing Hochschule für Musik und Theater in (1984), Jane in FRAYN’S Benefactors Saarbrücken, was published. In 1997, she (1985–6) and Paulina in Dorfman’s Death played one of the leading roles in the ac- and the Maiden (1992). In 1993–4 she claimed production of Werner Schwab’s played Norma Desmond in Lloyd- Die Präsidentinnen (The Presidents, Théâtre du Webber’s musical Sunset Boulevard, Her Centaure, directed by Jean great skill is to bring to life women who FLAMMANG). She has also appeared in are possessed of great passion and intelli- a number of films in Luxembourg and the gence. USA. Concepción, Ernesto (1943–) Actor and Clever, Edith (1940–) Actor and director, producer, Puerto Rico. Ernesto Germany. Clever trained at the Otto- Concepción founded the company Bohio Falckenberg-Schule in Munich. After sea- Puertotrriqueño. As one of Puerto Rico’s sons in Kassel she joined the theatre in most beloved comic actors, Concepción Bremen, where she first worked with Pe- has worked with nearly everyone in the ter STEIN; later she went with Stein to Puerto Rican theatre, television and film,

57 Condé, Maryse Conte, Tonino including Elsie Moreau (his wife), José voice to the people in the march of his- Luis MARRERO, Miguel Angel tory. Comédie d’Amour (The Comedy of Love, SUÁREZ, Victoria ESPINOSA and 1993) is a family drama, featuring two Dean ZAYAS. Concepción has won the sisters. highly esteemed Critics Circle Award for acting on several occasions, and he is Conklin, John (1937–) Designer and di- noted for his energetic physical comedy rector, USA. Conklin began his prolific as well as for his dramatic ability. career in the late 1950s. Designing initially Conceptión has also enjoyed a coinciden- for regional and repertory theatres such tal partnership with Marcos as Hartford Stage Company, he added di- BETANCOURT in works by recting opera in the 1980s, gaining inter- Ghelderode, Pedro Mario Herrero and the national acclaim. He has worked exten- Puerto Rican dramatist Luis Torres Nadal. sively with Robert WILSON, Mark Other notable roles include Berenger in LAMOS, Jonathan MILLER and Robert Ionesco’s Rhinocéros (1974) and Exit the King FALLS. ‘In designing a work, Conklin (1976); Cook in Brecht’s Mutter Courage und seeks the aspects that resonate most com- ihre Kinder (Mother Courage and her Children, pletely with the present. His style ranges 1978); Captain Horster in Ibsen’s En from his heavily detailed naturalism of folkefiende (An Enemy of the People, 1978), and [Chekhov’s] Tri sestry (Three Sisters, 1984) Don Pepón in Francisco Arriví’s Club de to his minimalistic and highly eclectic style Solteros (Lonely Hearts’ Club, 1986). for Sam SHEPARD’S The Tooth of Crime (1986). Conklin emphasises that a scenic Condé, Maryse (1937–) Author, France design must move an audience emotion- and Guadeloupe. Although better known ally, and he attempts to illuminate the psy- as a best-selling novelist, Condé has chological and social state of a play as taken an active interest in theatre. Her well.’ earlier work has a more political and existential resonance, dealing in Le Morne de Conte, Tonino (1935–) Director and Massabielle (The Hill of Massabielle, 1970) dramatist, Italy. Tonino Conte started with the search for personal and national working in the theatre with Aldo Trionfo identity of a young man of mixed race. and Carmelo BENE. He began directing Mort d’Oluwémi d’Ajumako (The Death of in 1968 with a production of Alfred Jarry’s Oluwémi d’Ajumako, 1973), based on a real Ubu Roi (King Ubu), which marked the be- incident in Nigeria, shows a chief regain- ginning of his collaboration with ing his sense of honour after trying to scenographer Emanuele LUZZATI. He cheat tradition. All Condé’s plays give an then worked at the Piccolo Teatro and the important place to the search for a loving Teatri Stabili of Turin, and in Trieste and tenderness which is not tainted with ex- Genoa. In 1975 he founded, together with ploitation, especially Pension les Alizés (The Luzzati, the Teatro della Tosse. Conte, Tropical Breeze Hotel, 1988), a two-hander who has directed over 150 productions, composed for Sonia Emmanuel, showing has specialized in the area of musical thea- the fragile illusions of an ageing tre and since 1981 has produced a number Guadeloupean ‘exotic’ dancer and the of large-scale site-specific performances. Haitian doctor she takes into her home. Among his most successful productions Emmanuel directed Condé’s ambitious are Recitarcantando (Acting-singing, 1978), open-air work to commemorate the Bi- Molo magico (Magic Pier, 1988) and Storie centenary, An Tan Revolisyon (Revolution di santi, di diavoli, di vergini e di arcangeli (Sto- Time, 1989), reminiscent of ries of Saints, Devils, Virgins and Archangels, MNOUCHKINE’S 1789 in giving a 1995).

58 Cortez, Raul

Cortez, Raul (1931–) Actor, Brazil. vides an even stronger contrast when his Cortez trained at the Facultade de Direito controversial charcters crumble and reveal at the University of Campinas. He their vulnerability. Major roles include worked with Teatro Paulista do Lövborg in Ibsen’s Hedda Gabler (Royal Estudante, Teatro de Arena, Teatro Court, 1972), Brutus (Julius Caesar, Na- Brasileiro de Comedia, and Teatro tional Theatre, 1977), a memorable Oficina. His theatre credits include nu- Petruccio in Jonathan MILLER’S produc- merous parts in Brazilian plays, as well as tion of The Taming of The Shrew (Old Vic, Salieri in Peter SHAFFER’S Amadeus, the 1987, with Fiona SHAW as Katherine), Bishop in Genet’s Le balcon (The Balcony) King Lear (National Theatre, 1990) and, and George in ALBEE’S Who’s Afraid of more recently, a theatre critic in Conor Virginia Woolf?, serving for three periods MCPHERSON’S St Nicholas (Bush Thea- of office as President of Associaçao Paulista tre, 1997). de Empresarios Teatrais do Estado de São Paulo, Cortez has, throughout his career, Cracknell, Ruth (1925–) Actor, Aus- closely and critically followed the politi- tralia. Cracknell trained at the Independ- cal events in Brazil. ent Drama School, Sydney. Since her stage debut in 1947, Cracknell has had a Courbois, Kitty (1937–) Actor, The Neth- very varied and immensely successful ca- erlands. Kitty Courbois started in cabaret reer. In the late 1950s and 1960s shows and then went to drama school. Cracknell was best known for her ap- After graduating in 1960, she was imme- pearances in the Phillip Street Revues, diately taken on by the leading company, Sydney. Later career highlights include De Nederlandse Comedie, where she roles as diverse as Mrs Rafi in Edward stayed for eleven years. Courbois was one BOND’S The Sea, and Jocasta for Tyrone of the few actors to survive the ‘tomato- Guthrie in Sophocles’s Oidipus tyrannos revolt’, in which a new generation of thea- (King Oedipus) at the Old Tote (1970). In tre-makers literally pelted their predeces- 1977 Cracknell appeared in a solo show sors off the stage. She made a fresh start Just Ruth, and in 1991 she played Winnie with the Baal company, performing rein Beckett’s Happy Days. Cracknell has markably in Leedvermaak (The Wedding played many strong women roles but pre- Party) by Judith HERZBERG, Sartre’s fers high comedy, and her comic timing is Nekrassov and Brecht’s Mutter Courage und legendary. Cracknell is now best-known ihre Kinder (Mother Courage and her Children). for an ABC television comedy series, Courbois’s husky, sensual but tough quali- Mother and Son, in which she plays an eld- ties also came out well in film. In 1987 she erly and idiosyncratic mother. moved to Toneelgroep Amsterdam, where Cracknell’s career continues to flourish she starred as Medea and played a won- as a performer; in 1991 she appeared in derful Duchess of York in Richard III (next Wilde’s The Importance of Being Earnest, in to Pierre BOKMA). 1996 she featured in the film Lilian’s Story and in 1997 she appeared in a smash hit Cox, Brian (1946–) Actor, Great Britain. production of A Little Night Music. After Cox trained for the stage at the London many years on the board of the Sydney Academy of Music and Dramatic Art. In Theatre Company (1979–95), Cracknell 1966, he played Orlando in As You Like It is now the company’s first Patron and at Birmingham Repertory and London. In was specially honoured at a command Birmingham he also played the title role performance marking the twentieth anni- in Ibsen’s Peer Gynt (1967). Cox appers versary of the Sydney Opera House. vocally and physically craggy, which pro-

59 Crippa, Maddalena Curino, Laura

Crippa, Maddalena (1957–) Actor, Italy. Dublin, and the Châtelet, Paris, among After a period of training with small ama- others. For Field Day Theatre Company, teur theatre companies, Maddalena Derry, Crowley designed Terry Eagleton’s Crippa made her theatrical debut in Carlo Saint Oscar (1989) and developed this as- Goldoni’s Il Campiello (The Campiello, 1975), sociation by designing and co-directing directed by Giorgio Strehler. Among her (with Stephen REA) The Cure at Troy by most notable performances are Goldoni’s Seamus Heaney (1990). His film credits I Due Gemelli Veneziani (The Venetian Twins, include costume design for Arthur MILL- 1978, directed by Luigi SQUARZINA), ER’S The Crucible. His recent work in- Arthur Schnitzler’s Liebelei (The Game of cludes design for the Cottesloe Theatre Love, 1985, directed by Luca production of Martin McDonagh’s Crip- RONCONI), Natalia Ginsburg’s Ti ho ple of Inishmann (1997), and the Field Dat/ sposato per allegria (I Married You Just for Tinderbox production of Stewart Parker’s Cheerfulness, 1987, directed by Antonio Northern Star, directed by Stephen Rea CALENDA), Gabriele D’Annunzio’s (1998). Crowley is an Associate Artist of Fedra (1988, directed by Massimo the Royal Shakespeare Company and the CASTRI), Titus Andronicus (1990) and Royal National Theatre. Anton Chekhov’s Djadja Vanja (Uncle Vanya, 1996), both directed by Peter Crowley, John (1969–) Director, Ireland. STEIN. Crippa, who is one of Italy’s most A graduate of University College Cork, versatile and talented actors, has also Crowley directed John Hughdy—Tom John made a number of television and film ap- by Vincent Woods for Druid Theatre, pearances, such as Francesco Rosi’s Tre Galway (1991), One For The Road by fratelli (Three Brothers, 1980) and Sergio Harold PINTER for the Gate Theatre, Sollima’s Berlino 39 (1992). In both her Dublin (1994), and devised True Lines for theatre and in her film and television Bickerstaffe Theatre Company, for the work, Crippa has time and again demon- 1994 Dublin Theatre Festival. True Lines strated her capacity to deal with classical and its sequel Double Helix established as well as contemporary texts in an inno- Crowley’s reputation as a challenging di- vative and an original way. rector, who could work in collaboration with actors to devise work based on a se- Crowley, Bob (1952–) Designer, Ireland. ries of motifs, but also handle a given text Crowley studied at the Crawford Munici- with assurance and creativity. Further pro- pal School of Art, Cork, and the Bristol ductions include MILLER’S The Crucible Old Vic Theatre School. Currently one of (1995) and Thomas KILROY’S version of the leading designers working in Britain, Six Characters in Search of an Author (1996) Crowley is known for the clarity and de- for the Abbey Theatre, Dublin, and Derek ceptive simplicity of his work. He has Mahon’s interpretation of Racine’s Phèdre worked extensively for the Royal Shake- for the Gate Theatre, Dublin, also in 1996. speare Company, where his productions Recent work includes Peter Oswald’s Fair include HAMPTON’S Les Liaisons Ladies at a Game of Poem Cards for the Royal Dangereuses, A Midsummer Night’s Dream and National Theatre, London (1997), Genet’s Hamlet (1992). Design for the Royal Na- Les bonnes (The Maids) at the Donmar tional Theatre, London, includes Macbeth Warehouse, London (1997), and Shadows, (1992), Victor Hugo’s The Prince’s Play a presentation of work by Synge and Yeats (1996) and Shawn Wallace’s The Designated for the RSC (1998). Mourner (1996). Crowley has also designed for the English National Opera, the Royal Curino, Laura (1956–) Actor and Exchange, Manchester, the Gate Theatre, dramatist, Italy. Laura Curino founded

60 Curtis, Stephen Curtis, Stephen with Gabriele VACIS, Mariella Fabbris, Institute of Dramatic Art in 1978. Early Roberto Tarasco and others the work for Nimrod, Sydney, and Lighthouse, Cooperativa Teatro Settimo (1979). She Adelaide was followed by a long associa- has taken part in some of Teatro tion with Neil ARMFIELD. Curtis’s de- Settimo’s most memorable performances, signs are always intelligent, provocative such as Esercizi sulla tavola di Mendeleev (Ex- and often humorous; for example his de- ercises on the Mendeleyev Table, 1984), signs for Etheridge’s The Country Wife wit- Elementi di struttura del sentitnento (Structural tily mixed Restoration, 1950s Teddy Boy Elements of Feeling, 1985), Stabat Mater styles, baroque and punk; his seedy, deca- (1989) and La storia di Romeo e Giulietta dent set for Jonson’s The Alchemist (1996) (The Story of Romeo and Juliet, 1991), which mixed Jacobean with mock Tudorbethan, she devised together with the company. house interior with exterior, and the set Recently she has also devised a number was boobytrapped with jokes such as the of solo performances, displaying witty doorbell that appropriately played ‘The and provocative writing skills, most inter- Sting’ among other tunes. Curtis also de- estingly Passione (Passion, 1992) and Olivetti signed the first production of the phenom- (1996), which launched her as one of Ita- enally successful musical The Venetian Twins ly’s leading actors and dramatists. by Nick ENRIGHT at Nimrod, Sydney Curino has a singularly powerful stage (1979); this was ideally suited to Curtis’s presence, characterized by eclecticism design style, being a pastiche musical with and adventurousness. a wide mixture of literary, musical and visual styles. Currently Curtis also teaches Curtis, Stephen (1957–) Designer, Aus- as Head of Design at the Australian Film, tralia. Curtis graduated from the National Television and Radio School.

61 D

Dadie, Bernard Binlin (1916–) Drama- where he directed, among others, Marie tist, Ivory Coast. Dadie was educated at Luise Fleissner’s Pioniere in Ingolstadt (Pio- Ecole William Ponty in Senegal, and it was neers in Ingolstadt) and Fegefeuer in Ingolstadt here that he received his theatre appren- (Purgatory in Ingolstadt), and a season of ticeship. Dadie, often seen as the father plays from the Spanish Golden Age. His and old man of Ivorian theatre, is a poet, expressionistic production of Priestley’s An novelist, dramatist and politician. His Inspector Calls for the National Theatre was plays, both written and performed at a major success, as was Sophie Treadwell’s Ponty, include Les Villes (The Towns, 1933) Machinal, also for the National Theatre, in and Assemein Dehyle (1934), five sketches 1994 with Fiona SHAW. From 1994–8 which he wrote for the Folklore Cultural Daldry, who ranges among the most tal- Circle of the Ivory Coast, an organization ented directors since Peter Brook, was ar- of which he was a co-founder. However, tistic director of the Royal Court Theatre, it is for his later plays that Dadie is best where he began by directing a revival of known: Beatrice du Congo (Beatrice of the Wesker’s The Kitchen, and where most re- Congo, 1970), Les Voix dans le Vent (The Voice cently he directed David HARE’S Via in the Wind, 1970), Monsieur Thogo-Ghini Dolorosa (1998). (1970), Papassidi maitre escroc (1975) and Mhoi-Ceul (1979). A central theme which Dalmat, Aurélie (1958–) Actor and di- runs through most of Dadie’s plays is the rector, France and Martinique. From child- preoccupation of his central characters hood, Dalmat was fascinated by the stage, with the pursuit and exercise of political and she took part in one of the earliest power. theatre workshops organized by the municipality of Fort-de-France. In France she Daldry, Stephen (1947–) Director, Great studied acting with Alain Knapp, and Britain. One of Daldry’s earlier produc- worked professionally at the Théâtre du tions was Robert Tressell’s The Ragged Quartier d’lvry, the Theatre Populaire des Trousered Philanthropists at Theatre Royal in Cevennes and several summer festivals. Stratford East, London, in 1988. In 1989 Among her productions were Madame de he directed Horvath’s Der Jüngste Tag Sade by Mishima Yukio, but she especially (Judgment Day) at the Old Red Lion. In favoured one-woman shows, as she re- 1990 he first directed at the Royal Court, sisted the tendency to stereotyping for and he later took over the Gate Theatre black actors. In 1986 she resettled in

62 Dambury, Gerty Danchenko, Serhii

Martinique, putting on Les Mains Négatives to Israel in 1990. In Tel Aviv he joined (Handprints, 1987) by Marguérite Duras Yevgeny ARYE in establishing the Gesher with Annick JUSTIN-JOSEPH, and she Theatre, where he has played leading has continued to work with the Centre parts in all of the company’s productions. Dramatique Régional on a wide variety Among his more memorable roles are the of plays. This essentially classical tragic Nazi officer in Adam Ben Kelev (Adam, Son actor, with great stage presence even in of a B), Mishkin in a stage adaptation of repose (Britannicus, 1993; Orville’s Romance, Dostoyevsky’s Idiot (The Idiot) and the 1995; Othello, 1998), has equally directed young boy Yossi in the production of and played in the broadest Creole com- SOBOL’S Kfar (Village). He has also played edies, such as Régina’s marital farce in several film roles and television series Bakannal o Tribinal (Trouble in the Divorce since his arrival in Israel and has become Court, 1991) based on a Cervantes inter- a very popular actor, representing the posi- lude, and tried her hand at street theatre. tive sides of the recent Russian immigra- tion. Dambury, Gerty (1957–) Author, actor and director, France and Guadeloupe. Danchenko, Serhii (1937–2001) Director, With degree qualifications in languages Ukraine. In 1965 Danchenko received his (English and Arabic) from Paris- degree from Karpenko-Kary Institute for Vincennes, Dambury has worked in edu- the Art of the Theatre, Kiev. From 1970– cational development and teaches English. 8 he was a chief director of Maria After some training courses in drama, she Zan’kovets’ka Ukrainian Drama Theatre, directed and acted in most of her own Lviv. Since 1978 he has been artistic di- plays including the role of Sylvia, a Bar- rector at the Ivan Franko Ukrainian badian woman in Carfax (1986), a love Drama Theatre, Kiev. He has staged over story reflecting her pan-Caribbean sym- fifty plays. After the years of Stalin’s pro- pathies; Bâton Maréchal (Marshal’s Baton, hibitions and repressions, he staged 1987), giving the women’s view of the Vi- Mykola Kulish’s Maklena Grasa (1967). chy occupation of Guadeloupe; and a po- Danchenko developed a new interpreta- etic personal odyssey, Rabordaille (Avi- tion of Ukrainian theatre and drama, in- gnon, 1988). A residency at the Festival tegrating it into the context of European International des Francophonies in theatre. Inclined to an academic manner, Limoges (1992) assisted publication of he is fond of large-scale productions and Lettres indiennes, set on a sugar plantation prefers classical dramaturgy: in Ukrainian, in La Réunion and produced at Avignon Kam’ianyi hospodar (The Stone Host, by Lesia in 1996 and the Guadeloupe Artchipel. Ukrainka, L’viv, 1971 and Kiev, 1988), Madjaka ou la fin du bal (The Party’s Over, Ukradene shchastia (A Stolen Happiness, by 1996) deals with male bonding and AIDS. Ivan Franko, L’viv, 1977 and Kiev, 1979) Carêmes (Dry Seasons, 1998) relives a lynch- and Eneida (Aeneid, by Ivan Kotliarevs’ky, ing, seeking renewal for arid hearts. Com- 1986); in Russian, Chekhov’s Djadja Vanja bative in defence of cultural independence (Uncle Vanya, 1985) and Visnevyi sad (The for Guadeloupe, Dambury is a lithe and Cherry Orchard, Maxim Gorky Art Thea- vital performer on stage and screen, who tre, Moskow, 1988); and from Europe, Ri- has plenty of ideas for future productions. chard III (1974), Dürrenmatt’s Der Besuch der Alten Dame (The Visit, Kiev, 1983 and Damidov, Alexander (1958–) Actor, Is- Krakow, Poland, 1989) and Ibsen’s rael. Damidov trained as an engineer be- Rosmersholm, 1994). Danchenko’s produc- fore studying theatre in Moscow, where tions are independent and original with- he worked as an actor before emigrating out becoming offensive or defiant.

63 Dar, Ruth Davies, Howard

Dar, Ruth (1941–) Designer, Israel. Dar for the theatre. As an actor, he has been trained at Sadler’s Wells in London. She described as a charmeur, an elegant, intel- has designed both scenography and cos- lectual actor with delicate irony. tumes for numerous productions of major classics like Chekhov’s Visnevyi sad (The Darwaza, Sawsan (1962–) Director and Cherry Orchard) and The Merchant of Venice, dramatist, Jordan. Darwaza is currently and has become a close collaborator with executive director and partner of Mir’at Hanoch LEVIN, designing several of his Media Production Company and presi- productions. Her work usually stresses the dent of the Jordanian centre of the Inter- textures of the materials, in costumes as national Theatre Institute. She has di- well as in the set, creating different forms rected Beckett’s Waiting for Godot (with of correspondence between them rather Nasser OMAR as Vladimir), than trying to establish a sense of a given SHAFFER’S Five Finger Exercise and sev- location. This stylistic characteristic has eral plays by Jordanian authors, including made her a very sought-after designer for The Lights of Jericho by Haya HUSSEINI. several directors. She designs up to five Darwaza, who has also adapted and co- productions for the Israeli theatre every written plays, is the only female theatre year. director in Jordan who has established a certain continuity and uniqueness in her Darvas, Iván (1925–) Actor and director, theatre projects. Her works are a combi- Hungary. Darvas trained at the Academy nation of Arabic cultural stylistic plays of Theatre and Film Art. In 1946 he be- within a modern (more or less) western came a member of the Mûvész Theatre, vision. This shows best in her adaptation and between 1949 and 1956 was a mem- of Waiting for Godot: she transferred the ber of Madách Theatre, both based in play into an Arabic atmosphere, but kept Budapest. Because of his involvement in the absurd spirit and philosophical conno- the revolution in 1956, he spent two years tations of Beckett. in prison and was removed from the stage. In 1963 he worked for one season in the Davies, Howard (1945–) Director, Great country (Miskolc), and later for another Britain. Davies began his career in the season at the József Attila Theatre in Bu- theatre in 1968 as assistant stage manager dapest. Between 1965 and 1989 he was a at the Birmingham Repertory Company. member of the Vígszínház. Since 1990 he From 1972–4 he was associate director at has worked freelance, apart from a season Bristol Old Vic. Since 1976 he has been with the Mûvész Theatre. He also served associated with the Royal Shakespeare as a Member of Parliament. Major roles Company, where he directed Edward include Orpheus (Anouilh, Eurydike), BOND’S Bingo (1976), Piaf by Pam Romeo (Romeo and Juliet), Ruy Blas (Hugo, GEMS (1978, with Jane LAPOTAIRE) Ruy Bias), von Berg (MILLER, Incident at and Christopher HAMPTON’S adapta- Vichy), Beutler-Newton (Dürrenmatt, Die tion of Les Liaisons Dangereuses (1985, with Physiker (The Physicists)), Astrov (Chekhov, Alan RICKMAN and Juliet Djadja Vanja (Uncle Vanya)), Firs (Chekhov, STEVENSON). Since 1988 Davies has Visnevyi sad (The Cherry Orchard)), also been associated with the National Tuzenbach, Vershinin (Checkhov, Tri sestry Theatre, where his productions include (Three Sisters)), Trigorin (Chekhov, Cajka Ibsen’s Hedda Gabler with Juliet Stevenson (The Seagull)), Martin Dysart (SHAFFER, (1989), David HARE’S The Secret Rapture Equus), Stomil (MROZEK, Tango) and (1989), Arthur MILLER’S The Crucible Tobias (ALBEE, Delicate Balance). Darvas (1990) and Schiller’s Maria Stuart (1996). has also acted in films, and has directed More recent work includes a revival of

64 Davis, Jack De Capitani, Elio

ALBEE’S Who’s Afraid of Virginia Woolf? at tre company for whom he directed and the Almeida with Diana RIGG, Richard acted in the memorable devised pieces La Nelson’s The General from America (1997) faticosa messinscena dell’Amleto di Shakespeare and Wassa after Gorky (1999), both at the (The Tiresome Production of Shakespeare’s Ham- Royal National Theatre. Throughout his let, 1967) and Sir and Lady Macbeth (1968). career, Davies has placed much emphasis De Berardinis and Peragallo then founded on structural and conceptual clarity, allow- the Teatro di Marigliano (1970) and pro- ing his actors to go beyond intellectual duced King lacreme Lear napulitane (1973) understanding in developing deeply felt and Sudd (1974). After 1981 De Berardinis emotions. discontinued his collaboration with Peragallo and worked with Carmelo Davis, Jack (1917–) Dramatist, actor and BENE, on Miguel Cervantes’s Don poet, Australia. Davis’s plays focus on the Chisciotte (1968), with the Cooperativa experiences of the Aboriginal peoples of Nuova Scena (1983–7) and with his own Western Australia and so inevitably deal company Teatro di Leo (from 1987), with oppression and tragedy, but they also which also functions as a research centre. offer humour and a strong sense of sur- De Berardinis, who since 1994 has also vival against the odds. Davis wrote his been the artistic director of the Festival first play at sixty-one, Kullark, which fo- Santarcangelo di Romagna, is a versatile cused on the violent displacement of Abo- actor with an impressive stage presence. riginals and offered an alternative state- His ongoing research into performance ment to the 1979 sesquicentenary of West- skills and his capacity to investigate clas- ern Australia celebrations. Davis’s plays sical roles in the light of alternative thea- The Dreamers (1982), No Sugar (1985, tre practices have made him one of the World Theatre Festival and 1986, Vancou- most challenging, original and entertain- ver) and Barungin (1988) were performed ing artists of the Italian theatre scene. as The First-Born trilogy in 1988, the Aus- tralian Bicentennial year, with several of Deboo, Astad (1947–) Performer, India. Davis’s family taking part. The produc- Astad Aderbad Deboo received training tion, in the imposing Fitzroy Town Hall, in Kathak under Guru Prahlad Das in Melbourne, was semi-promenade; the au- Calcutta and in Kathakali under Guru dience had to get up and follow the E.K. Pannicker. At the London School of Wallitch family when they were moved Contemporary Dance he learnt Martha from their homes to the reserve. At the Graham’s modern dance technique; in end of Barungin, there is a roll call of names New York, he was influenced by Jose of Aboriginals who have died in police Limon and attended workshops at the custody. That the actors then made peace Pilobolus Dance Company. Deboo has signs to the audience is symptomatic of created a dance-theatre style which assimi- how Davis’s plays tell stories that need to lates Indian and Western techniques. He be told but also seek to move beyond vio- has experimented with a variety of forms, lence. themes, concepts and performance spaces. His dance-theatre represents an important De Berardinis, Leo (1940–) Director and segment of Indian theatre, with his direc- actor, Italy. After training at the Piccolo tion of Shakuntala as a classic example of Teatro in Milan, Leo de Berardinis made the East-West fusion. his acting debut in 1962 in Samuel Beckett’s Endgame directed by Carlo De Capitani, Elio (1954–) Director, drama- QUARTUCCI. In 1965 he founded, to- tist and actor, Italy. After training as an ad- gether with Perla Peragallo, his own thea- ministrator and actor, Elio de Capitani

65 Decleir, Jan De Graaf, Rob started working at the Teatro dell’Elfo in MARAINI wrote the script. The film was 1973, mostly in collaboration with Gabriele directed by Marco Ferreri and featured Salvatores. The Italian premiere of Nigel Marcello Mastroianni and Hannah Williams’s Class Enemy (1982) marked de Schygulla as the protagonists. Degli Esposti Capitani’s directorial debut at the Teatro and Maraini also co-wrote Futuro è donna dell’Elfo. Since then de Capitani has intro- (The Future is Female, 1984), again directed duced a number of contemporary European by Ferreri and with Schygulla in the lead authors to the Italian theatre scene, focus- role. Among degli Esposti’s most interesting his practice on the exploration of ing theatre productions are Witold dramaturgically controversial texts and the Gombrowicz’s Operetta (1970), directed by encouragement of social and political aware- Antonio CALENDA, Molly cara (Dear ness. Among de Capitani’s most interest- Molly, 1979), directed by Ida Bassignano, ing productions with the Teatro dell’Elfo are Ibsen’s Rosmersholm (1981–2), directed by Botho STRAUSS’S Trilogie des Wiedersehens Massimo CASTRI, and Bertold Brecht’s (Three Acts of Recognition, 1984), Athol Mutter Courage und ihre Kinder (Mother Cour- Fugard’s The Island (1984), which he di- age and her Children, 1991), directed by rected with Ferdinando Bruni, Rainer Calenda. Degli Esposti’s unique capacity Werner Fassbinder’s Die Bitteren Tränen der to reinvent herself as a performer and her Petra von Kant (The Bitter Tears of Petra von Kant, wide repertoire, both as a performer and 1988), and Copi’s Tango barbaro (Barbaric a dramatist, together with her commitment Tango, 1997). to political and feminist causes, make her one of the most interesting and provoca- Decleir, Jan (1946–) Actor, Belgium. tive artists working in contemporary Ital- Decleir trained at the Royal Academy of ian theatre. Fine Arts and the Studio Herman Teirlinck in Antwerp, then founded the De Graaf, Rob (1952–) Dramatist, The socially engaged Internationale Nieuwe Netherlands. Rob de Graaf, who trained Scène, of which he was a member till 1979, as a librarian, was born in ‘New West’, a with productions such as Majakovskij’s postwar housing development in Amster- Misterium Buffo. Since 1988 he has regularly dam. It gave its name to the three-man played parts for the Blauwe Maandag theatre company Nieuw-West, for which Compagnie, such as Mark Anthony in de Graaf wrote many texts. Nieuw-West John Dryden’s All for Love (1993), directed started in 1978 and was disbanded in the by Luk PERCEVAL. Decleir has also mid-1990s. Some highlights were Rinus made a reputation in films. He is an actor (1987), Pygmalion (1989), Lever (Liver, 1990, of immense stage presence, embodying with Cas ENKLAAR), and A Hard Day’s both physical strength and emotional fra- Night (1991). De Graaf writes his plays gility, a combination which has been (texts is a better word) straight into the labeled as ‘typically Flemish’. veins of his actors. They are tough, centred on language rather than plot, often Degli Esposti, Piera (1938–) Actor and about ‘a man’s world’, and they always dramatist, Italy. Piera degli Esposti started question the truthfulness of acting. After working in the theatre with Teatro the dissolution of Nieuw-West, de Graaf Centouno and made her theatrical debut started writing for the young Dood Paard in 1964 with Gruppo 63. She then worked company. They produced his award-win- at the Teatro Stabile dell’Aquila and, after ning play 2Skin (1996). He has been an a short break, was freelance from 1979. Her editor of magazines on architecture and book Storia di Piera (Piera’s Story, 1983) was theatre, and from 1991–6 he was director made into a film, for which she and Dacia of the Mime Department at the Drama

66 De Groen, Alma Demidova, Alla

School in Amsterdam. Some of his plays a magnificent interpretation of Gina Ekdal have been translated into German. in Ibsen’s Vildanden (The Wild Duck) and a revival of Kaspar Hauser (1997). De Groen, Alma (1941–) Dramatist, Aus- tralia. De Groen was brought up in New de la Tour, Frances (1944–) Actor, Great Zealand but became a naturalized Austral- Britain. De la Tour trained at Drama Cen- ian. She is a feminist playwright who tre, and played Helena in the famous pro- writes in widely disparate dramatic forms duction of A Midsummer Night’s Dream by with a forceful self-consciousness about Peter BROOK for the Royal Shakespeare her artistry. In The Rivers of China (1987), Company (1970). She took on the title part de Groen interweaves the last days of in Hamlet (1979), and achieved a major Katherine Mansfield with a science fiction success as Stephanie in Kempinski’s Duet narrative set in a world where women rule for One (1980, subsequently also on televi- and oppress men. In Vocations (1981), Joy, sion). At the National Theatre she played a woman science fiction writer, and Vicki, the title role in Shaw’s St Joan (1984) and an actor, struggle to maintain their integ- Leonie in Cocteau’s in Les parents terribles rity in the face of demands from men in (The Terrible Parents, 1995), and appeared relationships and careers. The Girl Who in Ostrovsky’s Les (The Forest, 1999). Strik- Saw Everything (1991), which looks at dif- ing features and a dark voice help de la ferent generations of women’s reactions to Tour in her portrayal of women whose feminism, proved controversial. De strength is undergoing severe tests. When Groen’s plays often show characters, es- those women lose control, de la Tour pro- pecially women, becoming trapped or vides shattering insights into the human marginalized and resorting to bizarre, even psyche. dangerous behaviour. De Groen has also written for television, film and radio: ra- Demidova, Alla (1936–) Actor, Russia. dio plays include Available Light (1993), Sto- Demidova trained at Schukin Theatre ries in the Dark (with Ian D.Mackenzie) and College (Moscow Vakhtangov Theatre Invisible Sun (1997). School) and has been an actor of the Taganka Drama Theatre since 1964. Her De Jong, Trudy (1948–) Actor, The Neth- most important parts include Gertrude in erlands. Trudy de Jong went to the Am- Hamlet (1970), directed by Yuri sterdam Drama School, from which she LIUBIMOV, Ranevskaya in Chekhov’s graduated in 1972. She made her debut Visnevyi sad (The Cherry Orchard, 1975), di- with De Appel in The Hague and made a rected by Anatoly Efros, and the title role one-off appearance in the Rocky Horror in Racine’s Phèdre, directed by Viktiouk Show, before joining the Baal company (1988). Demidova is an intellectual actor, where she worked from 1975–85. She an acclaimed performer of tragic parts on starred in Judith HERZBERG’S hit play the modern stage. After 1988 she organ- Leedvermaak (The Wedding Party, 1982), ized her own theatre company (Theatre Botho STRAUSS’S Die Hypochonder (The A) and toured successfully in Greece. Hypochondriacs) and plays by Peter Greek director TERZOPOULOS staged HANDKE including Kaspar Hauser. De Quartett by Heiner Müller for her (1993), Jong, a stocky, emotional actor whose in a highly stylized, modernistic produc- enormous presence always rings true, also tion. Her beauty and intelligence brought worked with Gerardjan RIJNDERS in his her success in film roles in the 1960–1970s, montage plays Bakeliet and Ballet, and has including Tarkovsky’s Mirror and the recently performed regularly in Frans Dutchess Marlborough in Le verre d’eau (A STRIJARDS’S company Art & Pro, with Glass of Water) by Scribe. A winner of

67 De Muynck, Viviane De Pauw, Josse several awards and prizes, she has written of Being Earnest (1982), Cleopatra in Anthony several books about theatre and about her and Cleopatra, directed by Peter Hall and colleagues. with Anthony HOPKINS as Anthony, Chekhov’s Cajka (The Seagull, 1994), and De Muynck, Viviane (1946–) Actor, Bel- David HARE’S Amy’s View (1997, directed gium. De Muynck trained at the Royal by Richard EYRE). Conservatory of Brussels, then started acting with De Mannen van den Dam in Dene, Kirsten (1943–) Actor, Germany. 1980. In 1987 she played the award-win- Dene trained at the Hamburg Academy ning part of Martha in Edward ALBEE’S of Music and Dramatic Arts. Her career Who’s Afraid of Virginia Woolf?, directed by began in Essen (1961–3), and developed Sam Bogaerts at Het Gezelschap van de via Frankfurt (1963–70), Berlin (1970–2), Witte Kraai (White Crow Company). In Stuttgart (1972–9) and Bochum (1980–6) the late 1980s and early 1990s she worked to the Burgtheater in Vienna, where she is in Amsterdam, first with Maatschappij still a member of the company. Major roles Discordia, then with Toneelgroep Amster- include Rosalind in As You Like It, Lena in dam in Gerardjan RIJNDERS’S Count Büchner’s Leonce und Lena, and the title roles your Blessings (1992). In 1994 she starred in Goethe’s Iphigenie auf Tauris and Brecht’s in two productions at the Brussels Mutter Courage und ihre Kinder (Mother Cour- Kaaitheater: Philoctetes Variations, by Jan age and her Children). In 1994 she appeared Ritsema, with Dirk ROOFTHOOFT, in JELINEK’S Raststätte oder Sie Machens and De Pijl van de Tijd (Time’s Arrow), by Alle (Inn, or, They All Do It), in 1995 in Guy CASSIERS. Since 1993 she has been TURRINI’S Die Schlacht um Vienna (The working regularly with director Jan Battle for Vienna), in 1996 in Strindberg’s LAUWERS and Needcompany. Dödsdansen (Dance of Death), in 1998 in Turrini’s Die Liebe in Madagaskar (Love in Dench, Judi (1934–) Actor, Great Britain. Madagascar) and in 1999 in Claus After training at the Central School for PEYMANN’S production of Bernhard’s Speech Training and Dramatic Art, Judi Vor dem Ruhestand (Before Retirement), all at Dench began her career in the theatre as the Burgtheater, Vienna. Thanks to her ex- Ophelia opposite John Neville’s Hamlet at pressive abilities, she is able to fathom and the Old Vic (1957). She soon joined the reveal the characteristics of a role with one Royal Shakespeare Company, where she gesture or one glance. played Titania in A Midsummer Night’s Dream and Isabella in Measure for Measure, De Pauw, Josse (1952–) Actor, dramatist Following seasons in Nottingham and and director, Belgium. Following studies Oxford, Dench returned to the RSC in at the Royal Conservatory in Brussels, de 1969. Since the 1970s Judi Dench has es- Pauw joined Radeis (1977–84), which spe- tablished herself as one of the leading ac- cialized in visual comedy. He then concen- tors in Britain. In 1976 she played Lady trated on his writing, resulting in the two Macbeth in a memorable production of Kaaitheater productions, Ward Comblez. He Macbeth with Ian MCKELLEN, the title do the life in different voices, 1988 and Het Kind role in Brecht’s Mutter Courage und ihre van de Smid (The Blacksmith’s Child, 1990), Kinder (Mother Courage and her Children) in written and directed together with Peter 1984, and the female lead in Peter van Kraaij. In 1992 de Pauw and van SHAFFER’S The Gift of the Gorgon, di- Kraaij completed their first feature film, rected by Peter HALL, in 1992. For the Vinaya. At the Kaaitheater, de Pauw played National Theatre, she has appeared as the part of Richard Rowan in James Lady Bracknell in Wilde’s The Importance Joyce’s Exiles (1993), directed by van

68 Derenne, Josephine Devenie, Stuart

Kraaij, and starred in Chantal Akerman’s would submit that in my plays there is an De Verhuizing (The Removal, 1995), directed organic and symbiotic relationship be- by Jürgen GOSCH. In 1995 he created tween human beings and ideas.’ Chanakya Laagland, a small production unit, with Vishnugupta, a play set at the time of Alex- Dutch actor and director Tom Jansen. De ander the Great’s Indian campaign, exam- Pauw also made a reputation in films. He ines relationships between individual, so- is a remarkably intense actor, whose work ciety and government. His most recent balances on the border between theatre play, Satyashodak (The Seeker of Truth), is and real life. again a political commentary.

Derenne, Josephine (1939–) Actor, Deshpande, Sulaba (1937–) Actor, India. France. Derenne was a mamber of Ariane Deshpande joined professional theatre MNOUCHKINE’S Théâtre du Soleil groups in the 1950s and has appeared in between 1965–83, appearing in Gorky’s more than seventy-five plays on the Mescane (The Petty Bourgeoisie, 1964–5), Marathi and Hindi stage. Among many Théophile Gautier’s Capitaine Fracasse roles that have received acclaim are Miss (1965–6), Arnold Wesker’s The Kitchen Benare in Vijay TENDULKAR’S (1967), A Midsummer Night’s Dream (1968), Shantata Court Chalu Ahe, (Silence! The Court 1789 (1970–1), 1793 (1972–3), Klaus is in Session) and Champa in Tendulkar’s Mann’s Méphisto, The Novel of a Career (1979– Sakhram Binder. Together with her hus- 80) and Twelfth Night (1982). In 1976–7 she band, Arvind Deshpande, she founded the played the part of Madelaine Béjart in theatre group Awishkar, through which Molière, the film written and directed by she has made a significant contribution to Mnouchkine. She has worked with many children’s theatre, representing India in theatre directors, including the part of many international forums. She has also Kunti in Peter BROOK’S Mahabaratha played notable roles in a number of films (1983), as Gerturde in Hamlet (1983) and and television productions. with Christian Schiaretti in Alain Badiou’s Des citrouilles (Pumpkins, 1997). Her acting Devenie, Stuart (1951–) Actor and direc- style is inspired by the commedia dell’arte, tor, New Zealand. Rather than attend the which gives her an immense stage pres- New Zealand Drama School, Devenie ence and intensity of feeling. studied at Victoria University of Welling- ton and Canterbury University. He had, Deshpande, Govind Purushottam however, already accumulated consider- (1938–) Dramatist, India. Deshpande is a able acting experience on radio, television leading Marxist intellectual, and this ideo- and the stage, and in 1977 he won Wel- logical position informs his Marathi plays lington’s best actor award for his Henry in which he confronts the problem of the Law in Tom STOPPARD’S Travesties at the individual enmeshed and struggling in Downstage, where his controlled presence, dark times. His first play, Uddhwasta deft movements and chiselled voice also Dharmashala (A Man In Dark Times, 1975), contributed to his Aubrey Tanqueray in was directed by Shreeram LAGOO, and Pinero’s The Second Mrs Tanqueray (1979). many other Indian directors have ac- His abilities have also made him success- claimed it as important political theatre. ful in roles which are at first sight very Ek Vajoon Gela Ahe (Past One o’ Clock) draws different, such as that of Dr Frank N Furter its title from a poem found in in Richard O’Brien’s The New Rocky Horror Mayakovsky’s pocket after his suicide in Show (1995). After three years acting and 1930. Andhar Yatra (Inner Journey, 1987) directing at the Court Theatre, completes the political trilogy. He says: ‘I Christchurch, where his performance of

69 Devi, Mahasweta Diosdado, Ana

Molière’s miser Harpagon was outstand- Shakespeare Company at the Other Place, ing, he became Artistic Director at the Stratford in 1994, directed by Michael Centrepoint Theatre, Palmerston North, Attenborough. This play was in many ways for a year in 1984 before returning to free- a more recent reaction to political events in lance acting and directing, especially in Northern Ireland, but like Ourselves Alone it Auckland and Christchurch. He also took a very personal perspective and was teaches acting and directing. a development of the earlier work.

Devi, Mahasweta (1926–) Novelist, so- Dibia, I Wayan (1948–) Performer and cial activist and dramatist, India. director, Indonesia. Dibia trained at the Mahasweta Devi is a Bengali writer who National Dance Academy of Indonesia, has worked extensively for and with tribal and obtained an MA in dance and a PhD and marginalized communities. Intense in Interdisciplinary Studies in Southeast commitment, thorough empirical research Asian Performing Arts, both from the into customs and language patterns, and University of California, Los Angeles. He varied and imaginative use of register charis now director of STSI (the Academy of acterize her work; she has adapted five of Performing Arts) in Denpasar, Bali. Pak her best-known stories for the stage (Five Dibia studied traditional Balinese tradi- Plays), and these display a wide variety of tional dance drama from childhood with forms while focusing on the marginalized his parents, who were both dancers, and or oppressed. Mother of 1084, dealing with his later formal studies at institutions were anti-‘terrorist’ measures in Bengal, uses a always augmented by private study with split stage and multiple flashback; Urvashi master performers in his village. He is par- and Johnny presents a commentary on Mrs ticularly renowned as a Barong dancer, but Gandhi’s Emergency Powers law via the also performs Topeng Pajegan and vari- figure of a ventriloquist with throat cancer ous roles in Chalonarang (traditional and is structured around popular film exorcistic dance-drama featuring the songs; Water (about corruption and exploi- widow-witch Rangda), including both the tation by officials and landowners) and Prime Minister and Rangda. As a direc- Bayen (on the outcasting of a woman whose tor, he has choreographed a number of job is to watch over the dead) make use of new Kecak productions in Indonesia, the rural dance and music. Another of her sto- United States and Europe. He has led in- ries, Rudali, was reworked as a play in ternational tours of troupes from the vil- Hindi by the well-known Calcutta direc- lage of Singapadu and from STSI. A tor Usha Ganguli in 1992. scholar, teacher, director and performer of international stature, Pak Dibia also con- Devlin, Anne (1951–) Dramatist, Ireland. tinues to perform regularly in his village Born and raised in Northern Ireland, temples. His performances of masked char- Devlin’s first play Ourselves Alone explored acters, including the Jauk demon and re- the experience of women living within the fined characters of Topeng, show precision patriarchies of nationalism. The play was and musicality, and his comic Bondres first produced at the Liverpool Playhouse characters are brilliantly executed. As a and the Royal Court, London in 1985 and director, his innovative work with perform- was directed by Simon Curtis. Since then ers has produced startlingly powerful pro- she has written plays for BBC radio and ductions of both traditional Balinese ma- television, including A Woman Calling and terial and adaptations of Western classics. The Long March. She adapted Wuthering Heights for Paramount Pictures in 1991. After Diosdado, Ana (1938–) Dramatist and Easter was first produced by the Royal actor, Spain. Born in Buenos Aires where

70 Djimat, I Made Domröse, Angelica her father, a prominent Spanish actor, was his company, and he has many other stu- then working, she made her stage debut dents in Europe, America, Australia and at age four with Margarita Xirgu in a pro- Japan. He also participates in Cristina duction of Lorca’s Mariana Pineda. She WISTARI’S Gambuh Preservation abandoned her studies in philosophy and Project as a teacher, and gives regular per- literature at Madrid’s Complutense Uni- formances of Gambuh in Batuan. versity in 1959 to concentrate full-time on writing. First published as a novelist in Dodin, Lev (1944–) Director, Russia. 1965, she turned to playwriting in 1970 Dodin graduated from the Leningrad when her first work Olvida los tambores (For- State Institute for Drama, Music and Cin- get the Drums) was staged. Since then she ematography, and joined the Leningrad has worked prolifically both as an actor, Children’s Theatre in 1967 where, in adaptor and dramatist whose works, like 1972, he directed Ostrovsky’s Bankrot (The Los ochenta son nuestros (The Eighties are Ours, Bankrupt). Everyday situations were 1988) and Tresceintos veintiuno, trescientos treated as theatre, as a market show, un- veintidós (Three Hundred and TwentyOne, derscored by a subtle lyrical mood, even Three Hundred and Twenty-Two, 1991), the melancholy. Dodin’s production of latter directed by her husband Carlos Dostoyevsky’s Krotkaya (The Meek One) in Larrañaga, have sought to examine gen- St Petersburg revealed his outstanding ca- der, sexual, ideological and generational pacity for inner concentration. At the conflicts in the new democratic Spain. As Moscow Art Theatre, Dodin directed a popular television actor and screenwriter Saltykov-She-drin’s Gospoda Golovlyov (Mes- and award-winning novelist, Diosdado has sieurs Golovlyovs), and revived The Meek One. enjoyed a strong visibility within the cul- His breakthrough came with Bratya & Sestri tural scene of Spain over the past twenty (Brothers and Sisters, 1978, revived 1985), years. adapted from the novel by Fyodor Abramov. Critics stated that it was not Djimat, I Made (1948–) Performer, Indo- merely an outspoken production about nesia. The son of dancers, Djimat studied Russian village life, but an overwhelming traditional Balinese dance with his father event in current culture which awakened from the age of five, and by the age of ten Russians’ interest in themselves as histori- had already made a name for himself with cal personalities. Later work includes ad- Baris and the masked dance, Jauk. At thir- aptations of William Golding’s Lord of the teen he began to study the ancient Flies (1986), of Dostoyevsky’s Besy (The Gambuh dance form with Agung Raka in Possessed, 1991) and of Chekhov’s Platonov Batuan, and later went on to master (1998). Topeng Pajegan. Since 1974 he has had his own company based in Batuan, which has Domröse, Angelica (1941–) Actor, Ger- performed and given workshops all over many. Domröse attended the Babelsberg the world. Djimat himself is very much in Film Academy (1958–61). Between 1961 demand as a dancer and musician in Bali and 1996 she was a member of the Ber- and elsewhere, and has collaborated with liner Ensemble, and in 1966 she joined the Eugenio BARBA on projects for the In- Berliner Volksbühne (GDR). In 1980 she ternational School of Theatre Anthropol- first appeared in West Germany, playing ogy (ISTA). In Bali, he is held to be one Helena in Goethe’s Faust II. Important pro- of the finest dancers who demonstrates the ductions since then include the title role in brilliance of technique which was the hall- Wedekind’s Lulu, Cäcilie in Goethe’s Stella, mark of performers of the previous gen- Charlotte in Lars Norén’s Nachtwache and eration. His children are all dancers with Maria Callas in Terrence MCNALLY’S

71 Donnellan, Declan Dorst, Tankred

Master Class (1999) Critics praised her Ivan RAJMONT). In his roles he mixes ‘strong ability to present different nuances physical and conversational expression, of tone, movement and gesture’. the serious with the comic, the large gesture with the minor detail. He does not Donnellan, Declan (1953–) Director, ‘mould’ with the character but maintains Great Britain. Donnellan began his career a certain distance, and one component of in the theatre as a freelance director with his acting is his perspective on the charac- the Activists at the Royal Court. Since ter as if seen from outside. This oscilla- 1980 he has been working with the de- tion results in certain important elements signer Nick Ormerod, with whom he and comic effects. founded the company Cheek by Jowl, aiming to make classics relevant to a late twen- Dorn, Dieter (1935–) Director and actor, tieth-century audience. In 1988 Donnellan Germany. Dorn studied drama at the and Ormerod directed Lope de Vega’s Theaterschule in Leipzig, and trained as Fuente Ovejuna at the National Theatre, folan actor with Hilde Körber and Lucie lowed by Ibsen’s Peer Gynt (1990) and Höflich at the Max Reinhardt Schule in Kushner’s Angels in America (1992). ‘Rather Berlin. From 1958–68 he worked as ac- than strict adherence to the formalistic tor, director and dramaturg in Hannover. structure of the language, Donnellan’s After some seasons as director in Essen, style places a priority on the clear expres- Oberhausen and Berlin, he joined the sion of the text through the creation of a Münchner Kammerspiele in 1976, becom- specific and detailed physical life for the ing its artistic director and manager from characters.’ 1983–99. Recent productions include King Lear (1992, with Heinz BENNENT as Donutil, Miroslav (1951–) Actor, Czech Fool), The Tempest (1994, with Jürgen Republic. Donutil trained at the Brno HOLTZMANN as Prospero and Gisela Academy of Performing Arts, and worked STEIN as Ariel) and Ithaka by Botho with the Brno experimental group Goose STRAUSS. His productions are character- on a String (Husa na provázku) from 1973. ized by poetic realism, deriving all his Here he played the main part in Ballad for insights solely from the dramatic texts. a Bandit (a musical by Milan Uhde and Miloš Štedron, based on the novel by Ivan Dorst, Tankred (1925–) Dramatist, Ger- Olbracht, 1975), then Brighella in the many. Dorst wrote his first full-length Commedie dell arte (1974), Fyodor stage play, Die Mohrin (The Mooress) in Karamazov in Dostoyevsky’s Brat’ia 1954, and won a major award for his 1960 Karamazovy (The Karamazov Brothers, 1981) play Gesellschaft im Herbst (Society in Autumn). and Creon in Sophocles’s Antigone (1989). Further plays include Toller: Szenen einer In 1990 he became a member of the Na- Deutschen Revolution (Toller: Scenes from a Ger- tional Theatre in Prague where, in addi- man Revolution, 1968) and Eiszeit (Ice Age, tion to his comic roles—the Fool in As Yo u 1973). In Merlin oder das Wüste Land (Mer- Like It, (1991), the Old Man in Ionesco’s lin, or The Waste Land, 1981), Dorst takes Les chaises (The Chairs, 1992, directed by Jan up the myth of King Arthur and Merlin KACER), Truffaldino in Goldoni’s Il to tell a story of our own time, that of the Servitore di due padroni (The Servant of Two failure of utopias. Later plays include Ich, Masters, 1994)—he has also taken on inter- Feuerbach (1986), Korbes (1988), Karlos nally contradictory characters such as (1990) Fernando Krapp hat mir diesen Brief Hjalmar in Ibsen’s Vildanden (The Wild geschrieben (Fernando Krapp Wrote This Letter Duck, 1993) and the title role in Chekhov’s to Me, 1991), and Wegen Rechtum Geschlossen Djadja Vanja (Uncle Vanya, 1990, directed by (Closed Because of Wealth, 1998). Dorst, who

72 Dossa, Pragji Drach, Oleg usually writes with his wife Ursula Ehler, a greater appreciation of Irish drama out- has also been successful writing plays for side Ireland. children as well as prose fiction. Downes, Cathy (1950–) Actor and direc- Dossa, Pragji (1907–) Dramatist, India. tor, New Zealand. Downes graduated Dossa is a dramatist specializing in plays from Nola Millar’s New Zealand Drama in Gujarati for children. Most of his plays School in Wellington in 1973. Her accom- have been translated into other Indian lan- plishment was recognized after 1978 when guages. Chhoru Kachhoru (Spoilt Child) was her solo performance in her own The Case produced in Russia by the Gorky Thea- of Katherine Mansfield, compiled from that tre and had a run of 300 performances at author’s writings, began to win recogni- Tashkent and Moscow. It was also staged tion in many countries throughout the in Britain, Sri Lanka and East Africa. His world, as well as two awards at the 1979 other popular plays include Mangal Mandir, Edinburgh Festival. The piece has had Poonam ni Raat and Agantuk Ek Andheri Raat, continued success, including a full New which have been popular with schools and Zealand tour in the Mansfield centenary colleges. Dossa received many awards for year of 1988. Other notable roles have his work in children’s theatre. been Blanche in Tennessee Williams’s A Streetcar Named Desire (Court Theatre, Dowling, Joe (1948–) Director, Ireland. Christchurch, 1989) and Isobel Glass in Dowling became a member of the Abbey The Secret Rapture by David HARE (Circa acting company while still a student at Theatre, Wellington, 1990). In recent University College Dublin. In 1970 he years she has made a name for direction, founded Young Abbey, a theatre-in-educa- especially of modern American plays, in- tion company. He was director of the Pea- cluding Edward ALBEE’S Three Tall cock Theatre (1973–6), artistic director of Women at the Circa in 1996, but also of the Irish Theatre Company until 1978, Australian and New Zealand plays such and at twenty-nine he became the young- as Good Works by Nick ENRIGHT est ever artistic director of the Abbey (Downstage, 1995), and Tzigane by John (1978–85). Dowling directed the first pro- Vakidis (Downstage, 1996) which won duction of a number of Brian FRIEL’S Wellington’s best director and best pro- plays including Aristocrats for the Abbey duction awards. Theatre (1979). In 1986 Dowling became the managing director of the Gaiety Thea- Drach, Oleg (1959–) Actor, Ukraine. tre, Dublin and founded the Gaiety School Drach graduated from the Karpenko- of Acting. He directed many acclaimed Kary Institute for the Art of the Theatre, productions in Dublin, including Brian Kiev in 1981. As an actor at the Maria Friel’s Faith Healer for the Abbey Theatre Zan’kovets’ka Ukrainian Drama Thea- (1980) and Timberlake tre, Lviv (1981–7) he appeared in more WERTENBAKER’S Our Country’s Good than thirty parts, including D’Artagnan in for the Gate Theatre (1991). Dowling’s Three Musketeers by Dumas (1987). In work in the USA has included Othello with 1988 he joined the Les Kurbas Theatre, Raul Julia and Christopher Walken for the L’viv with a series of major parts, includ- New York Shakespeare Festival, Central ing Panas in Vynnychenko’s Mizh dvokh Park (1991). Dowling is currently the ar- syl (Between Two Powers, 1990); Dos- tistic director of the Guthrie Theatre, toyevsky’s Prestuplenie I nakazanie (Crime Minneapolis. By combining his creative and Punishment), directed by Volodymyr and business skills once again, Dowling KUCHYNS’KY; Raskol’nikov in Sny has developed a wider audience base and (Dreams, 1991); Svidrigailov in Zabavy dlia

73 Drach, Vanya Dudley, William

Fausta (Games for Faust, 1994); and tinues to be his most produced play. Dur- Lopakhin in Chekhov’s Visnevyi sad (The ing the late 1950s and early 1960s, he Cherry Orchard, 1996). Drach also starred wrote prolifically for radio and television. as Lukash in the New York (La MaMa) He also worked as a speech-writer for production of Lisova pisnia (Yara Forest Québec Liberal Leader Jean Lesage. In Song) after Lesia Ukrainka, directed by 1965 he returned to the stage with his play Virliana Tkach (1994). The bright ap- Les Beaux Dimanches (Beautiful Sundays), pearance of the blond, handsome actor is which is heavily influenced by Edward supplemented by deep emotional and ALBEE, and wrote thirteen stage plays in psychological energy, and expressive the next ten years. His plays initially dealt plasticity and articulation. with ‘characters from the urban working classes’, while the second phase of Dubé’s Drach, Vanya (1932–) Actor, Croatia. writing focuses on middle-class characters. Drach trained at the Academy of Dra- He is also known as an essayist, novelist matic Art in Zagreb. For most of his ca- and poet. reer he has worked with the HNK in Zagreb (Croatian National Theatre). Since Dubey, Satyadev (1936–) Director and his breakthrough in 1958, when he played dramatist, India. Dubey, who began his the title role in Matkovic’s Heraklo career in 1965, has directed the plays of (Heracles), he has been praised for his con- most of the prominent Indian play- trol of the stage speech. On the one hand, wrights, including Girish KARNAD’S he completely identifies himself with the Hayavadana, Mohan Rakesh’s Adhe character, while on the other he follows Adhure and Dharmvir BHARATI’S Andha closely the writer’s idea, thus staying truth- Yu g . His production of Badal SIRCAR’S ful to both writer’s and director’s concep- Evam Indrajit is an example of truly mod- tion. His stage credits include strong and ern Indian theatre, capturing the mood of seemingly rough but in fact deeply eroded the Indian middle class. Recently he has characters, such as Edmund Tyrone in written and directed his own play, Insha O’Neill’s A Long Day’s Journey into Night Allah, a strong political drama which re- (1958), Franz in Sartre’s Les séquestreés ceived excellent reviews. Dubey has also d’Altona (The Condemned of Altona, 1962), directed some of the New Wave Hindi Jason in Euripides’s Medeia (1965) and the films. title role in Ibsen’s John Gabriel Borkman (1972). Among the Croatian repertory, he Dudley, William (1947–) Designer, excelled especially in Krleza’s plays. Drach Great Britain. Dudley trained and stud- is also a notable interpreter of Shake- ied at St Martins and the Slade School of speare’s characters, such as Angelo in Art. He worked for Nottingham Play- Measure for Measure (1974), and the title role house (Hamlet, 1970), Newcastle, the in Cymbeline (1986). In 1998 he crowned Royal Shakespeare Company and the the forty years of his acting career by play- National Theatre, where he has been a ing Lear. resident designer since 1981. His designs include an imaginative Don Quixote with Dubé, Marcel (1930–) Dramatist, Paul SCOFIELD (1982), the promenade Canada. While studying at the Université productions of Bill Bryden’s The Mysteries de Montréal, Dubé co-founded his own and David EDGAR’S Entertaining Stran- theatre company, La Jeune Scène. His first gers (1987), Beckett’s Waiting for Godot with critical acclaim came with Zone (1953), Alec MCCOWEN (1988), and Dylan which was equally successful on television. Thomas’s Under Milk Wood (1995). The Un simple soldat (A Simple Soldier, 1958) con- over-elaborate sets for Shaw’s Pygmalion in

74 Dueñas Gonzalez, Miriam Dündar, Hakan

Howard DAVIES’S production in 1992 (The Cherry Orchard, 1981), Mrs Alving in were considered one of Dudley’s few fail- Ibsen’s Gengangere (Ghosts) and Arkadina ures, upstaging the actors. For the Royal in Chekhov’s Cajka (The Seagull, 1986). Court, his designs include Richard From 1976–90 she was artistic director of EYRE’S 1980 production of Hamlet with the New Jersey Whole Theatre Com- Jonathan Pryce. Dudley has also worked pany. Equally adept at comic and dra- in opera, including Peter HALL’S contro- matic parts, her primary work now is in versial production of Wagner’s Ring cycle major supporting roles in motion pic- in Bayreuth. More recent work includes a tures, averaging three films a year revival of Harold PINTER’S The Home- through the last decade. In 1999 she coming at the Royal National Theatre, Pe- made her British debut in Martin ter Hall’s production of A Streetcar Named Sherman’s Rose at the Royal National Desire in the West End, and Terry Theatre. She describes herself as a strong JOHNSON’S Cleo, Camping, Emanuelle and feminist, and teaches at New York and Dick (starring Anthony SHER, Royal Na- Yale universities. tional Theatre, 1998). Dündar, Hakan (1967–) Designer, Tur- Dueñas Gonzalez, Miriam (1944–) De- key. Dündar graduated from the Depart- signer, Cuba. Since her graduation as a ment of Stage Design, Dokuz Eylül Uni- costume designer from the Escuela de versity, Izmir in 1989. Between 1989–91 Artes Dramaticas, Dueñas has worked in he worked as Culture and Arts Advisor more than seventy theatre, dance and for Izmir Buca Municipality. In Buca, he musical productions as well as film. Until restored a 170-year old English Protestant 1991 she was a costume design teacher at church and transformed it into a Culture the Escuela Nacional de Arte and at the and Arts Centre. In 1991 he started to Instituto Superior de Diseño Industrial in work as a stage designer for the Turkish Havana. Among her most representative State Theatres. He also functioned as an works are Lorca’s Doña Rosita la Soltera artistic director for the cinema and televi- (Dona Rosita the Spinster 1968), Vazquez’s sion series and programmes, preparing Para un Príncipe Enano (For a Dwarf Prince, various puppets for numerous children’s 1979), Molière’s Dom Juan (1982), Montes programmes on television. He contrib- y Chico Buarque’s Gota D’agua (Drop of uted to the designs of various theatre Water 1986), Muñoz Seca’s La Venganza de projects of Turkish-English and Turkish- Don Mendo (Don Mendo’s Revenge, 1989), Austrian productions, and worked with Antología del Bolero (An Anthology of Boleros, Swiss, German, Austrian and English di- Madrid, 1993) and La Noche (The Night, rectors. Also, using deserted stone quar- 1995). ries and historical sites dating back to ancient periods, he promoted ‘happenings’ Dukakis, Olympia (1931–) Actor and and ‘installations’. As a professional de- director, USA. Dukakis graduated with signer, he created costume and set dean MFA from Boston University. She has signs and puppet designs for more than enjoyed a very successful career in the sixty plays and modern ballets, including theatre, in film and on television. Major Macbeth, The Merchant of Venice, Twelfth parts for the stage were Widow Leocadia Night, Peter SHAFFER’S Equus and Begbick in Brecht’s Mann ist Mann (A Molière’s Tartuffe. Currently, he is in- Man’s a Man, 1963), the title role in volved in experimental design research, Brecht’s Mutter Courage und ihre Kinder claiming that twenty-first century theatre (Mother Courage and her Children, 1967), will depend more on design, paving the Ranevskaya in Chekhov’s Visnevyi sad way for a Theatre of Design.

75 Duruaku, Toni Dušek, Jan

Duruaku, Toni (1957–) Actor, dramatist meanings and spatial variability of the and director, Nigeria. Duruaku was a stage object, and deliberately works with member of the Oak Theatre at Nsukka simple means to release the stage for the founded by Ossie ENEKWE and Kalu play of the actors. In Coriolanus (1979, Tyl Uka. He is a very powerful performer Theatre, Plzeò), he defined the space whose stage presence and a talent for ef- with thin strips of white canvas, which fective delivery, both for comic and tragic were raised, torn down and so on. The roles, make him compelling. Stage credits costume is a prop for him, which may include Okereke in Sonny Oti’s The Old metamorphose in meaning: the long coat Masters (1977), Ajala in Zulu Sofola’s The in Anouilh’s L’Alouette (The Lark, 1970 Sweet Trap (1978–9), Macbeth in Oak Bezruè theatre, Ostrava) changes into a Theatre production of Macbeth (1979–80 tent. In O’Neill’s A Long Day’s Journey into under the direction of Ossie Enekwe and Night (1983, South Bohemian Theatre, featuring among others, Esiaba IROBI as Ceské Budìjovice), he assembled authen- Duncan), Chima in Emman Owums’s tic objects (boxes, strings, paper) into Too Late, My Son (1979) and Captain ‘situation scenarios’ according to the Bluntschli in Bernard Shaw’s Arms and the course of the action and movement of the Man (1980). His published works include actor. He is a scenographer in great de- Silhouettes (1993) and A Question of Choice mand, working with almost all Czech (1995), both of which he directed and ap- theatres, including opera, where he has peared in as an actor. disrupted the traditional conception with his unpretentious designs (Smetana’s Dušek, Jan (1942–) Designer, Czech Re- Prodana nevesta (The Bartered Bride), 1992 public. After studying at the Prague at the National Theatre Prague). He has Academy of Performing Arts, in the been teaching at the Prague Academy of 1970s Dušek became one of the repre- Performing Arts since 1977, and has been sentatives of so-called ‘action the head of its Scenography Department scenography’. He makes use of the since 1991.

76 E

Eagan, Michael (1942–) Designer, gers was commissioned by Ann Jellicoe’s Canada. Having trained in theatre design company for community theatre; later, the at the National Theatre School, Eagan has National Theatre revived the play in pro- since worked in many of Canada’s major fessional production, (1987, designed by theatres, including the Stratford Festival, William DUDLEY), adopting a prom- the Shaw Festival and the Canadian Stage enade style to maintain some of the inter- Company, as well as in New York. In his action between audience and performers designs, he rejects fragmentation in favour characteristic of the original community of classical forms, combining built and theatre set-up. For the National Theatre, painted reliefs ‘to provide an elaborately Edgar also wrote The Shape of the Table detailed environment that is never with- (1990). He teaches a postgraduate course out a light, fantastic element’. Eagan is in playwrighting at Birmingham Univer- equally well at home in realism, expres- sity, modelled on the postgraduate course sionism, lyricism and parody. in fiction writing created by Malcolm Bradbury at the University of East Anglia. Edgar, David (1948–) Dramatist, Great Britain. Early in his career, Edgar worked Edwards, Gale (1954–) Director, Aus- as a journalist and wrote numerous tralia. Edwards studied at Flinders Univer- agitprop plays, at great speed, for the sity Drama Centre (Adelaide), the Univer- fringe. An early success in mainstream sity of Adelaide, the Mime Centre, Lon- theatre was Destiny for the Royal Shake- don and the National Institute of Dramatic speare Company in 1976, an attempt to Art, Sydney. She began mainstage direct- understand the roots of extreme right- ing in collaboration with John GADEN wing parties. Edgar’s historical-political at the South Australia Theatre Company, awareness informed his adaptation of Adelaide and has since then also directed Dickens’s novel Nicholas Nickleby for the several productions for the Melbourne RSC (1980, directed by Trevor NUNN Theatre Company and the Sydney Thea- and John CAIRD). For the RSC he also tre Company. Edwards’s success as Asso- adapted The Strange Case of Dr Jekyll and ciate Director on Trevor NUNN’S Les Mr Hyde (1991, with Simon Russell Miserables (1987) led to more work on mu- BEALE in the title role), and wrote Pente- sicals and she has directed several Andrew cost in 1994. The National Theatre staged Lloyd Webber musicals, her 1992 produc- Edgar’s Maydays (1983). Entertaining Stran- tion of Aspects of Love being particularly

77 Ekmanner, Agneta Engel, Wolfgang praised. Edwards now works largely in the IROBI as Duncan (and later Macbeth UK; she has directed classics for the Royal when Duruaku left); in 1983 he directed Shakespeare Company (The Taming of the Ngugi WA THIONG’O and Micere Shrew and Webster’s The White Devil) and MUGO’S The Trial of Dedan Kimathi, with her West End production of Shaw’s St Irobi as Henderson. One quality of Joan was later restaged in Sydney. In 1998 Enekwe’s direction is a certain thorough- she directed the British premiere of ness and attention to detail which he Andrew Lloyd Webber’s musical Whistle brings to bear on all his productions, and Down the Wind. Highly acclaimed produc- to this he adds his fondness for spectacle, tions in Australia include Coriolanus (for colourful movement and high energy in STC) starring John HOWARD, Aphra the dramatic action. Enekwe has one pub- Behn’s The Rover (for the State Theatre lished play to his credit, The Betrayal Company of South Australia) starring (1992). Pamela RABE, and Ibsen’s Et Dukkehjem (A Doll’s House) at Belvoir Street, Sydney. Engel, Tina (1950–) Actor, Germany. Edwards has a bold approach to directing Engel trained for the stage at the Staatliche and often opens productions with a strong Hochschule für Musik und Theater in visual statement signalling her interpreta- Hannover. After seasons in Rendsburg, tion of the piece. She is known for her skill Bielefeld and Zürich, she joined the in exploiting big theatre spaces. Schaubühne am Halleschen Ufer in Ber- lin in 1976. She is a powerful actor, radiat- Ekmanner, Agneta (1938–) Actor, Swe- ing strong physical presence. Thus she is den. Ekmanner trained at Malmö School often cast as a character who is actively of Drama as well as at Stockholm City and decisively striving for power. Major Theatre. Early roles include Helena in All’s roles include Celia in As You Like It (di- Well that Ends Well and Celimène in rected by Peter STEIN) and Irene Herms Molière’s Le misanthrope (The Misanthropist). in Schnitzler’s Der Einsame Weg (Lonely Since 1989 she has been a member of the Road, directed by Andrea BRETH). In Royal Dramatic Theatre in Stockholm, 1996 she appeared in Mishima’s Madame where she played in Mishima’s Madame de de Sade, and in 1998 in Eduardo de Sade and in The Misanthropist, both directed Filippo’s Sabato, domenica e lunedi (Saturday, by Ingmar BERGMAN, as well as sev- Sunday, Monday). eral plays by Scandinavian playwrights. In addition to her stage career, Ekmanner Engel, Wolfgang (1943–) Director and appeared on film and television, playing actor, Germany. Engel trained as an actor Rebecca West in Ibsen’s Rosmersholm and at the Mecklenburgisches Staatstheater Mrs Alving in Gengangere (Ghosts). Schwerin, where he also began his career as an actor, adding directing to his credits Enekwe, Ossie Onuora Director, drama- in 1973. After working as a director in tist and poet, Nigeria. During his under- Radebeuel and Berlin, he taught at the graduate days at Nsukka, Enekwe helped Hochschule für Schauspielkunst ‘Ernst found the Oak Theatre, an amateur thea- Busch’ in Berlin. Drom 1980–91 he was tre company that has produced many of resident director in Dresden, and began the very fine actors and theatre artists working in West Germany in the mid- from the eastern part of the country. 1980s. After several seasons as resident Enekwe’s production of Macbeth toured the director in Frankfurt, Engel became artis- Eastern states of Nigeria between 1979– tic director and manager of the theatre in 81 with a cast that included Toni Leipzig in 1995. Recent productions in- DURUAKU as Macbeth and Esiaba clude The Merchant of Venice, Schiller’s Don

78 Englert, Jan Erkal, Genco

Carlos, Titus Andronicus, Goethe’s Clavigo, briefly joined Toneelgroep Amsterdam, Richard III, Woody Allen’s Bullets over and then went his own way again. He has Broadway and Marlowe’s Edward II. He since been at the centre of various produc- regards the theatre as ‘the place where it tions, working with director Matin van has to be beautiful, no matter how VELDHUIZEN (as Blanche in horribly’. Williams’s A Streetcar Named Desire and an adaptation of Wilde’s The Portrait of Dorian Englert, Jan (1943–) Actor and director, Grey), playing in Bernhard’s Minetti and a Poland. Englert trained at the State Thea- dramatization of Kafka’s Letter to Father tre Academy of Warsaw and subsequently (1994). Lanky, tough but with an almost joined the staff, serving as dean of the Act- feminine elegance, Enklaar has played in ing Department (1981–7) and as president many films. He is a typical example of the (1987–93, re-elected in 1996). His acting Dutch ‘actor-dramatist’, creating his own credits include over 100 theatre roles in work. plays by Mickiewicz, Wyspianski, Gombrowicz and four world premieres of Enright, Nick (1950–) Dramatist, actor, plays by MROZEK (Krawiec (The Tailor, director and translator, Australia. Enright 1977), Letni Dzien (A Summer Day, 1978), was artistic director of the State Theatre Kontrakt (Contract, 1985) and Portret (Portrait, of South Australia 1979–81 and head of 1986). From the classical repertory he acting at the National Institute of Dra- played Hamlet, Dom Juan (Molière), Ri- matic Art, Sydney 1982–4. He is currently chard II, Richard III and Mark Anthony enjoying great commercial success as a in Julius Caesar. He also appeared in more playwright, but he is also an actor, a writer than seventy films and directed twenty-six of musicals (such as his smash hit adapta- productions, mainly for television theatre. tion of The Venetian Twins) and has done After an early career playing heroic lov- much work with youth theatre. Enright’s ers, in his later years he developed spe- plays include a community theatre piece cifically sarcastic and ironic qualities, lead- on the Australian Great Depression, On the ing to major success in characterizing peo- Wallaby; a prize-winning, jetsetting farce, ple who face their internal conflicts or Daylight Saving (1989); an exploration of weaknesses, or hypocrites and tyrants. theatre personalities and their rivalries, Mongrels (1991, revised 1997); the depic- Enklaar, Cas (1943–) Actor, The Neth- tion of a community in shock after a terri- erlands. Cas Enklaar was a student at the ble crime has been committed, Black Rock Drama School in Amsterdam from 1965– (filmed 1997); an exploration of ethnicity 8. He first appeared with Toneelgroep and growing up in 1960s Australia, in Play- Centrum, but is best known for his work grounds (1996); and Good Works, which jux- with the Werkteater, which he joined in taposes different time sequences as it un- 1971. This collective, which included Joop folds the stories of two mothers and their ADMIRAAL and—initially—Jan Joris sons. Enright also co-scripted the film LAMERS, attained great fame with their Lorenzo’s Oil with George Miller. Growing improvisational plays about social themes up and sexuality are subjects often treated and everyday people. A movie addict, in detail in Enright’s plays. Enklaar devised a one-man show in which he played Joan Crawford (later taken up Erkal, Genco (1938–) Actor and director, in Germany by television). After the col- Turkey. In 1958, Erkal joined the amateur lapse of the Werkteater in the 1980s, Young Players group. Between 1959–63 Enklaar did some freelance work (for ex- he worked as a professional actor. In 1963 ample, Silicone with Marlies HEUER), he won an award for his successful acting

79 Erten, Yücel Espert, Nuria in Jaroslav Hacek’s Asian Asker Svayk (The Kreidekreis (The Caucasian Chalk Circle, 1988, Heroic Soldier Svayk), staged by Arena Thea- Yugoslavia), A Midsummer Night’s Dream tre. He worked with the Southern Ger- (1991, 1993) and Brecht’s Happy End many Radio Orchestra to narrate (1998). His awareness of space is obvious Stravinsky’s Bir Askerin Öyküsü (A Soldier’s when he uses different playhouses for stag- Tale). In the 1967–8 season he visited ing plays. Through his use of the stage, Rome, Paris, Berlin, Prague and London sound and light effects, costume and to explore theatre schools, regional thea- make-up, he highlights the plays’ crucial tres and people’s theatres. In 1969 he points. His performers do not just ‘enter’ founded Dostlar Theatre in Istanbul to and ‘exit’: they become the characters. stage and act in plays by Weiss, Gorky, Steinbeck, Brecht, Mehmet Akan, Macit Escobar, Ruth (1935–) Actor, Brazil. Koper and Aziz Nesin. He also featured Trained at Schola Cantorum, École in films like At (Horse) in 1982, and Faize Superieure de Musique, Escobar owns a Hücum (Rush for the Interest Rates). His most theatre building with three auditoria in famous acting was seen in Gogol’s Zapiski São Paulo where more than forty plays Sumasshedshego (The Diary of a Madman), a and several international festivals were one-man play that has been staged again staged, events that were crucial for her de- and again since 1966. He also appeared velopment as a theatre woman. Her main The Alchemist (Simyaci), written by Paul jor stage credits as an actor include Irma Coelho and adapted for the stage by in Genet’s Le balcon (The Balcony), Jenny in Mehmet Ulusoy. This play was staged on Brecht’s Die Dreigroschenoper (The Threepenny 7 October 1996 in Paris at Théâtre de Opera) and Mme Merteuil in Heiner Liberté. Müller’s Quartett. Apart from acting and producing, Escobar is a political activist Erten, Yücel (1945–) Director, actor and for human rights. She founded Women’s designer, Turkey. Yücel Erten completed Precinct and was twice elected for con- his theatrical training at the Ankara State gress. Conservatory (Theatre Department) in 1969. In 1974, he graduated from the Espert, Nuria (1935–) Actor and director, Folkwang Schule in Essen (Germany). As Spain. Espert began performing profession- well as training to become a director, he ally in the theatre at the age of twelve. Key specialized in stage and costume design. roles came early with Juliet at sixteen and He has directed at most important thea- the title role in Euripides Medeia at nine- tres in Turkey and the self-styled Turkish teen. She founded the Compañia Nuria Republic of North Cyprus, at the People’s Espert with her husband Armando Theatre in Skopje, Macedonia, at the Yej Moreno in 1959, and the company has Guardia State Theatre in Taskent, since been producing plays almost continu- Uzbekistan, and at the Tiyatrom in Ber- ously. She gained international recognition lin. Between 1992–4 he was the General for her work with the Argentinian direc- Director of the Turkish State Theatres. tor Victor García on a series of produc- Some of his notable productions are tions including the visually audacious Aristophanes’s Ekklesiazusai (Women in Par- Yerma, by Lorca (1971), set on a trampo- liament, 1974, Germany), Brecht’s Der line, and Genet’s Les bonnes (The Maids, Aufhaltsame Aufstieg des Arturo Ui (The 1969) which toured extensively through- Resistable Rise of Arturo Ui, 1979), Peter out Europe. More recently she has worked SHAFFER’S Amadeus (1983), The Taming with García’s contemporary Jorge of the Shrew (1985), Chekhov’s Cajka (The LAVELLI on Lorca’s Doña Rosita la soltera Seagull, 1986), Brecht’s Der Kaukasische (Dona Rosita the Spinster, 1980) and Catalan

80 Espinosa, Victoria Euba, Femi directors Lluís PASQUAL and Mario GAS Comb and the Mirror, first produced in on Euripides’s Medeia (1981), Wilde’s 1958). With his next play, El Robo del Salomé (1985), Haciendo Lorca (Making Lorca, Cochino (The Theft of the Pig), he received 1996) and Terrence MCNALLY’S Master the Casa de las Americas award. In 1962 Class (1998). Her dark angular features and he wrote a musical comedy, Las Vacas compelling intensity made her a leading Gordas (The Fat Cows). He has written sev- tragic actor of her generation. Her direc- eral other plays such as La Casa Vieja (The torial debut, a high profile production of Old House, 1964, directed by Berta Lorca’s La casa de Bernarda Alba (The House MARTÍNEZ), Los Mangos the Cain (Cain’s of Bernarda Alba, 1986) with Glenda Jackson Mangoes, 1965), and La Dolorosa Historia del and Joan Plowright opened up other di- Amor Secreto de Jose Jacinto Milanes (The Pain- recting opportunities in Britain, where she ful Secret Love Story of Jose Jacinto Milanes, has gone on to direct a number of operas 1973). He has successfully directed some including Madama Butterfly for Scottish of his own plays, such as Ni un Si Ni un No Opera (1987) and Rigoletto for The Royal (Neither Yes nor No, 1980) and Que el Diablo Opera House (1988). te Acompane (The Devil Will Be With You, 1987). Estorino has also staged national Espinosa, Victoria (1926–) Director and and international plays such as Lope de actor, Puerto Rico. The ‘grand dame’ of Vega’s La Discreta Enamorada (The Discreet Puerto Rican theatre, Victoria Espinosa Woman in Love), Ibsen’s Et Dukkehjem (A has been active as a theatre director for Doll’s House), Gambaro’s La Malasangre over fifty years, directing more than 200 (Bad Blood) and Luares’s Aristodemo. productions and working with nearly every theatre practitioner of note. She stud- Eszenyi, Eniko (1961–) Actor and direc- ied under don Leopoldo Santiago tor, Hungary. She trained at the Academy Lavandero at the University of Puerto Rico of Theatre and Film Art. In 1983 she (BA, 1949). As a member of the faculty at joined the Vígszínház company. Since the University of Puerto Rico, she has 1990 she has also directed. Major roles managed its Children’s Theatre pro- include Ala in MROZEK’S Tango, Mme gramme, as well as that of the Institute of de Tourvel in Christopher HAMPTON’S Puerto Rican Culture (1984–8). As a di- Les Liaisons Dangereuses, Alison in rector, Espinosa is known for her spectacu- Osborne’s Look Back in Anger, Rosalind in lar stagings of such works as Teresa As You Like It and the title role in Shaw’s Marichal’s La Isla Antilla (The Antillean Is- Saint Joan. Major directing credits include land, 1992), which toured to Washington, Büchner’s Leonce und Lena, Kleist’s Das DC and New York in 1996. Espinosa also Käthchen von Heilbronn and Brecht’s Baal. has the distinction of directing the premier With her ingenue looks and characteristic production of René Marqués’ classic voice and articulation, she adapts the roles Puerto Rican drama Los Soles Truncos (The of tragic heroines or modern girls to her- Fanlights, 1958). She is a recipient of nu- self. She is not simply an actor-director, merous awards, including the Lifetime but is capable of creating a unique world Achievement Award of the XII Interna- on stage, dominated by visual effects. tional Hispanic Theatre Festival in Miami (1997). Euba, Femi Actor and director, Nigeria. His first credits as an actor include his Estorino, Abellardo (1925–) Dramatist gawky but appealing Lakunle in Athol and director, Cuba. Abellardo started his Fugard’s 1966 London production of Wole career as a dramatist in 1956 with the pub- SOYINKA’S The Lion and the Jewel. Before lication of his play El Peine y el Espejo (The then he had also featured in another

81 Evangelatos, Spyros Eyre, Richard

Soyinka play, A Dance of the Forests, in which uct of the Théâtre de la Soif Nouvelle, Exelis he played Dirgeman, Slave Dealer and played in many of their productions for the Forest Crier in 1960. In 1977 he played annual Festival of Fort-de-France, including very convincingly the role of Colonel SOYINKA’S The Trials of Brother Jéro (1986). Moses, who was invited to berate Profes- A strong agile performer who has acted with sor Bamgbapo (equally well played by Kole a wide range of directors, most extensively OMOTOSO). Productions directed in- with José ALPHA, he founded the com- clude Akin Isola’s Madam Tinubu in 1979; pany Derivaj in 1992. Music and movement he was also part of the production team are integral to his plays, as in the for Soyinka’s Requiem for a Futurologist, Chaplinesque two-hander on emigration, which featured Jimi SOLANKE in the lead Endeviran (On the Way Back, 1986), in which role. the fantastic often figures largely, and also Balade Overdose (Overdose Wandering, 1988) Evangelatos, Spyros (1940–) Director, and Bagnia Terria (Land of Hard Labour, 1990). Greece. Trained at the Drama School of In 1995 he won an award for his direction the National Theatre of Greece, of Sylvestre’s musical, H.L.M. Story (1995), Evangelatos currently serves as professor staged in a four-storey building, while 1996 of drama at the University of Athens. He saw him orchestrating an outreach theatri- has directed more than 140 works of Greek cal experience, Paroles et gestes de vous, de nous and foreign classic and contemporary writ- (Words and Gestures from You, from Us). With ers, as well as opera both in Greece and Voyages (1996) and Wo ps o (Wicked, 1997), he abroad (in the USA, Germany, Austria, continues to explore the integration of text Switzerland and Spain). He was general and music. director of the State Theatre of Northern Greece (1977–80) and the Greek National Eyre, Richard (1943–) Director, Great Opera (1984–7). Since October 1992 he Britain. While artistic director at Notting- has been the president of the Greek centre ham Playhouse, Eyre encouraged new of the International Theatre Institute. He writing by Trevor GRIFFITHS, David has published widely, mainly on the thea- HARE and Howard BRENTON. In tre in Crete and the Ionian islands. 1980 he was invited to direct a classic at the Royal Court, and chose Hamlet. Eyre’s Evron, Gilead (1955–) Dramatist, Israel. concept of making the classic come to life Evron began studies at the Bezalel Art for a contemporary audience worked well, Academy but left after a students’ rebel- assisted by a virtuoso performance in the lion, there taking up a job as an art teacher title role by Jonathan Pryce. Since 1980, in a development town. His play Geshem he has also directed at the National Thea- (Rain, 1988) and the script to the televi- tre, whose artistic director he was between sion film Lechem (Bread), which received 1988–97, succeeding Peter HALL. Produc- the Prix Italia, reflect his strong social in- tions there include the musical Guys and volvement. His later plays, Yehu (1991) Dolls (1982), Hamlet (1989), Jonson’s and Har lo zaz (A Mountain Doesn’t Move, Bartholomew Fair (1988), The Night of the 1996), reacting to the murder of Rabin Iguana (Tennessee Williams, 1992), Rich- with a play about 16th century Japan, and ard III (1992, with Ian MCKELLEN), Lev Tov (A Good Heart, 1999) all directed Macbeth (1993) and a trilogy of plays by by Hanan SNIR at the Habima theatre, David HARE, Racing Demon, Murmuring focus on issues of power and corruption. Judges and The Absence of War (1990–4). Under his leadership, the Royal National Exelis, José (1961–) Actor, dramatist and Theatre has been very successful commer- director, France and Martinique. A prod- cially and artistically.

82 F

Fabbri, Marisa (1931–) Actor, Italy. Af- of Theatrical Follies, 1984). In the late 1980s ter training at the Scuola di Recitazione di he moved towards opera and dance, fol- Firenze, Marisa Fabbri started working at lowed by a trilogy for the theatre, Sweet the Teatro Universitario in Florence and Temptations (1991) and Universal Copyrights achieved national recognition while work- 1 and 9 (1995). Gradually, Fabre also ing at the Teatro Stabile of Trieste in the started staging the monologues he wrote, 1960s. Her major theatrical roles have including Het interview dat sterft…(The In- been Thomas Middleton’s The Changeling terview that Dies, 1989), Vervalsing zoals ze is, (1965), Luigi Pirandello’s I giganti della onvervalst (Fake the Way She Is, Without Fak- montagna (The Mountain Giants, 1966), di- ing, 1992) and Een doodnormale vrouw (A Very rected by Giorgio Strehler, Aeschylus’s Ordinary Woman, 1995), all with his muse Oresteia (1972), directed by Luca Els Deceukelier, as well as De keizer van het RONCONI, Sophocles’s Electra (1975) verlies (The Emperor of Loss, 1996 with Dirk and, more recently, Eugene O’Neill’s ROOFTHOOFT). As a visual artist, he Mourning Becomes Elektra (1997). Politically is present in museums and exhibitions all engaged (she worked with Strehler at the over the world. Fabre’s universe is the Gruppo Teatro Azione), Fabbri, who has unique product of his own imagination: also made a number of film appearances, throughout his work his fascination with has been offering innovative and challeng- border zones becomes apparent, in being interpretations of a number of classi- tween order and chaos, light and darkness, cal and contemporary female roles. often transforming from one to the other through a process of metamorphosis. Fabre, Jan (1958–) Director, choreographer, dramatist and visual artist, Belgium. Falk, Rossella (1926–) Actor and direc- Following studies at the Royal Academy tor, Italy. After a period of training at the of Fine Arts and a number of exhibitions National Academy of Dramatic Art in and small performances in his native Ant- Rome, Rossella Falk made her theatrical werp, Fabre startled theatre audiences with debut at the Piccolo Teatro, where she the eight-hour long Het is theater zoals te worked from 1949–51. She then worked venvachten en te voorzien was (It’s Theatre as briefly with the Morelli-Stoppa coopera- was to be Expected and Foreseen, 1982), fol- tive and, for a period of almost twenty lowed by the equally monumental De years, with Giorgio de Lullo, Romolo macht der theaterlijke dwaasheden (The Power Valli and Anna Maria GUARNIERI at

83 Falls, Robert Fedoryshyn, laroslav the Compagnia dei Giovani. Among her Yousuff, 1981), Keramat in Al-Deen’s most interesting productions are Diego Keramat Mangal (The Epic of Keramat, with Fabbri’s La bugiarda (The Liar, 1955), di- Shimul Yousuff as Shamala, set designs by rected by Giorgio de Lullo, Giuseppe Jamil Ahmed, directed by Nasiruddin PATRONI GRIFFI’S Metti, una sera a cena Yousuff, 1985) and the title role in an ad- (Someone is Coming to Dinner, 1967) and, aptation of Brecht’s Arturo Ui (directed by more recently, Schiller’s Maria Stuart Klaus Klusenberg, 1988). Faridi is a char- (1983), directed by Franco Zeffirelli, and ismatic actor whose virtuosity lies in pre- Terence MCNALLY’S Master Class (1998). senting an exploration of the unknown Throughout the last forty years Falk has and the unfamiliar with precise timing and interpreted a large number of both classi- striking effect. He is a member of Dhaka cal and contemporary roles revealing a Theatre (one of the leading theatre groups great spirit of adaptability and an elegant in Bangladesh), and is extremely popular and refined acting style. Falk, who has also in film and on television. made a number of film appearances, most importantly Federico Fellini’s Otto e mezzo Fatunde, Tunde (1951–) Dramatist, Ni- (Eight and a Half, 1963), has recently geria. Among Nigerian dramatists, started adapting and directing her own Fatunde is distinguished by his highly work. agitprop style of drama and theatre structure and also for his radical advocacy of Falls, Robert (1954–) Director, USA. Falls pidgin as a viable language for serious graduated in playwrighting and directing socio-political theatre since it is the lan- at the University of Illinois. From 1977– guage that most Nigerians, irrespective of 85 he was artistic director of the Wisdom class and education, can speak and under- Bridge Theatre in Chicago, and since stand. Because of his view of theatre as a 1986 he has run the Goodman Theatre, weapon for exposing and challenging the Chicago, where he places more emphasis status quo, the recurring theme of his on the classics than did his predecessor plays is the unending economic and po- Gregory MOSHER. His approach has litical exploitation of the masses in the con- been called fearless and cinematic. Produc- text of an authoritarian state divided tions include Brecht’s Leben des Galilei (Life strictly along class lines. Plays include of Galileo), O’Neill’s The Iceman Cometh and Blood and Sweat (1985), No More Oil Boom Horton Foote’s The Young Man from Atlanta (1985), his first pidgin play, No Food, No (1997). His 1999 Broadway production of Country (1985), Oga, Na Thief Man (1986) MILLER’S Death of a Salesman received and Water No Get Enemy (1989). Fatunde’s critical acclaim. theatre is part of the new radical and revolutionary theatre aesthetic in Nigeria Faridi, Humayun (1952–) Actor, Bang- which includes playwrights such as Femi ladesh. Faridi’s major achievements in- OSOFISAN, Bode SOWANDE, Olu clude performances in the role of Takkhak OBAFEMI, Tess ONWUEME and the in Salim AL-DEEN’S Shakuntala (with later plays of Ola ROTIMI. Shubarna MUSTAFA in the title role, Saisul ASAD as Vishwamitra, directed by Fedoryshyn, laroslav (1955–) Director Nasiruddin YOUSUFF, 1978), Chhaya- and actor, Ukraine. In 1976 Fedoryshyn ranjan in Al-Deen’s Kittan Khola (The Fair received his degree from the Ivan of Kitta Khola, with Shubarna Mustafa as Kotliarevs’ky Institute for Arts, Kharkiv, Banasribala, Shimul YOUSUFF as Ukraine, and worked as an actor at dif- Dalimon, Asad as Bayati, set designs by ferent Ukrainian theatres. In 1989 he Jamil AHMED, directed by Nasiruddin graduated from the Russian State

84 Feit, Luc Filatov, Leonid

Academy for Theatre Arts (GITIS), in Macduff (1992–6, Théâtre des Capucins, Moscow, where he was trained as a direc- Luxembourg) and in Ondaatje’s The Com- tor under the master Anatoly Efros. In plete Works of Billy the Kid as Tom (1996, 1990 Fedoryshyn founded the Theatre Théâtre National de la Colline, Paris). He Voskresinnia (Revival), L’viv, serving as also appeared in a number of films, both its artistic director and producer. Since national and international. then he has staged nine productions including Nina Sadur’s Who are We…(1992), Fennario, David (1947–) Dramatist, Valerii Shevchuk’s Pochatok zhakhu (The Be- Canada. Childhood poverty in a working- ginning of Horror, 1993), Byron’s Cain class district of Montréal influenced (1994), Chekhov’s Tri sestry (Three Sisters, Fennario’s Marxist approach. On the Job 1995) and Strindberg’s Till Damaskus (To (1973) and Nothing to Lose (1977) deal with Damascus, 1997). The production of workers rebelling, under the influence of Claudel’s L’annonce faite à Marie (Annuncia- alcohol, against unacceptable working tion of the Blessed Virgin Mary, 1991) was a conditions. Fennario’s plays continue to be success at Edinburgh Festival in 1994, also successful due to his gift for dialogue and winning a first prize at the International his ability to create convincing characters. Theatre Festival Golden Lion, Ukraine Balconville, sometimes billed as Canada’s (which he founded in 1992) as well as at first bilingual play, received the Chalmers the Gozhuw Festival, Poland. His produc- Award in 1979. His 1990 play The Death of tions embrace a psychological-plastic René Lévesque received mixed reviews. methodology which joins the school of Fennario later left mainstream theatre to Stanislavski, Kurbas and the plastics of focus on community theatre work. Eastern Art. Fierstein, Harvey (1954–) Dramatist and Feit, Luc (1962–) Actor, Luxembourg. actor, USA. Fierstien studied at the Pratt After graduating from the Staatliche Institute, and first appeared as an actor in Schauspielschule in Stuttgart in 1986, Feit Andy Warhol’s Park at La MaMa theatre joined the Stadttheater in Ingolstadt where (1971). In 1981 his autobiographical play he was a resident actor from 1988–90, Torch Song Trilogy, in which he also per- playing Riccault in Lessing’s Minna von formed, proved a major success, winning Barnhelm, Merkur in Kleist’s Amphitryon several awards. The play deals with vari- and Erich in Fassbinder’s Katzelmacher. ous views on male homosexuality, and is Thereafter, he could be seen as Wurm in regarded as the first indication that a pre- Schiller’s Kabale und Liebe (Intrigue and Love, viously marginalized subject had entered 1990–1, Saarländisches Staatstheater), Cal the mainstream. Later, Fierstein wrote the in Koltès’s Combat de nègre et des chiens (Black book for the commercially successful mu- Battles with Dogs, 1991, Stadttheater sical La Cage Aux Folles. In another trilogy, Erlangen), Herr in Kandinsky’s Violett Safe Sex (1988), Fierstein tackles the AIDS (1994, Sprengelmuseum Hannover) and issue in his own particular way. A strong Doktor in Büchner’s Woyzeck (1995, advocate for gay rights, he now works Volksbühne Berlin). He has also fre- regularly as a film actor in supporting quently featured in Frank roles. HOFFMANN’S productions, among others in Goethe’s Faust I (designed by Jean Filatov, Leonid (1946–) Actor, director FLAMMANG, with Pol GREISCH), in and reciter, Russia. Following his gradua- Schiller’s Die Räuber (The Robbers), portray- tion from Schukin Theatre College in ing the role of Karl Moor with great en- 1969, Filatov worked as an actor with the thusiasm and dexterity, in Macbeth as Moscow Drama (Taganka) Theatre

85 Filho, Antunes Fisher, Rodney headed by Yuri LIUBIMOV, where he Finney, Albert (1936–) Actor, Great Brit- returned (after director Liubimov returned ain. Finney trained for the stage at the to Russia from exile) after two seasons with Royal Academy of Dramatic Art. In the the Sovremennik Theatre. Later he made title role of Keith Waterhouse’s Billy Liar a film based on the story of misfortunes of (1961), he attracted major public attention. the Taganka theatre and its struggle with His physical stature and rich voice give Soviet censorship (Suns of a Bitch). Main him an impressive stage presence, and he roles as an actor include the Master in excels in tough, earthy characters, includ- Bulgakov’s Master i Margarita (The Master ing the title role in Osborne’s Luther (Paris and Margarita, 1977), and Baron and Don International Festival, 1961), Jean in Carlos in Pushkin’s Pir vo vremya chumi (Feast Strindberg’s Fröken Julie (Miss Julie, Na- amidst Plague, 1989). Leading parts in two tional Theatre, 1965) and Hamlet in Pe- films about contemporary Russian life, ter HALL’S first production as artistic di- Ekipazh (The Team, 1980) and Zabytaya rector of the National Theatre in 1975. melodiya dlya fleity (A Forgotten Melody for a Major parts since then have been in Flute, 1987) brought him a country-wide Arden’s Sergeant Musgrave’s Dance (1984), popularity and film awards. Filatov is also Lyle Kessler’s Orphans (1986), Ronald a brilliant reciter and storyteller, writing Harwood’s Another Time (1989) and Re- poems and tales full of humour and biting flected Glory (1992), and Art by Yasmina satire. Now seriously ill, he has launched Reza (1996). a television project ‘Let’ s Remember…’ devoted to actors and actors who died Fisher, Rodney (1939–) Director and unexpectedly or committed suicide. The dramatist, Australia. Fisher started direct- programme was awarded a special prize ing at the University of Queensland and by the National Television Academy. then studied at the National Institute of Dramatic Art, Sydney. He has worked Filho, Antunes (1929–) Director, Brazil. with all the major Australian theatre com- Filho received a scholarship from the Ital- panies and has won numerous awards. For ian government for a traineeship with the many years he was David Piccolo Teatro di Milano under Giorgio WILLIAMSON’S first choice as director Strehler, from where he contacted the Ber- (often working in collaboration with de- liner Ensemble, Roger Planchon and oth- signer Shaun GURTON), and Fisher diers. He was able to visit Japan at the invi- rected many Williamson premieres. Fish- tation of the Japan Foundation. A mem- er’s often scholarly directorial imprint is ber of the International Committee of always clear in his productions, as is his Theatre Olympics, he is creator and political commitment: in 1969, in collabo- founder of CPT, Centre de Pesquisa ration with George Ogilvie, Fisher wrote Teatral in São Paulo, where he still teaches and directed A Long View, which attempted and trains actors, discovering new tech- to present the white invasion of Australia niques for the theatre through workshops from an Aboriginal perspective—this at a and research. Filho is also involved in time when Aboriginal citizenship had only teaching at various other institutions. just been conceded (1967). While work- Among his many productions are Lorca’s ing as associate director at the State Thea- Yerma, Arthur MILLER’S The Crucible, tre Company of South Australia in the Wesker’s The Kitchen, Peer Gynt by Ibsen, 1970s, Fisher directed several explicitly Waiting for Godot by Beckett, Edward socialist productions; Fisher also collabo- ALBEE’S Who’s Afraid of Virginia Woolf?, rated with Robyn ARCHER in writing and Bonitinha, mas Ordinaria and O Eterno and devising A Star is Torn. In 1992 Fisher Retorno by Nelson Rodrigues. directed Karin Mainwaring’s bleak

86 Fissoun, Petros Flotats, Josep Maria (1939–) outback tragedy The Rain Dancers, a pro- burg, he worked freelance between 1974– duction which included film actor Bryan 9, was artistic director of the Brown’s return to the stage after an ab- Schauspielhaus Köln, and between 1985– sence of ten years. In 1994 Fisher directed 98 was artistic director of the Thalia King Lear for the Sydney Theatre Com- Theater in Hamburg. Among his produc- pany. tions are Büchner’s Leonce und Lena (1973), Ibsen’s Peer Gynt (1985), Chekhov’s Fissoun, Petros (1935–) Actor and direc- Platonov (1989), King Lear (1992), Richard tor, Greece. Fissoun trained at the Karolos III (1993), David MAMET’S Oleanna Koun Drama School and has worked as a (1994), Tartuffe by Molière (1996) and As leading actor at both the National Thea- You Like It (1998). His ‘directorial focus tre of Greece and the National Theatre of centers on the examination of the indi- Northern Greece, in plays by Chekhov, vidual caught within political, social, or Pirandello, Shakespeare and Strindberg, as psychic conflicts. Flimm views the nature well as in all the major Greek tragedies of the actor’s performance as critical in his by Sophocles, Euripides and Aeschylus. productions, as is the scenographic space Besides stage work, which led him on tour in which the actor is placed. He prefers to the USA, Canada, Romania and Spain, concentrated psychological spaces which he has a distinguished career in radio, tel- will frame the character and the action in evision and film. In 1983 he became a an evocative, associational manner.’ City Counsellor for Athens. Florentiny, Jeff (1951–) Author, director Flammang, Jean (1954–) Designer and and actor, France and Martinique. An ex- director, Luxembourg. Originally trained perienced secondary school teacher of as an architect and a town planner, English with a degree from the Université Flammang began his career in theatre as Antilles-Guyane, who has participated in an assistant to Johannes Schütz at La several short courses in drama, Florentiny Monnaie in Brussels and at the has moved from acting into translating Schauspielhaus in Bochum (Germany). and adapting plays from the West Indian Since 1990, he has worked as a freelance repertoire into French and French Creole. stage and lighting designer for the theatre He directed his highly successful version and opera in Germany, Belgium, France of Trevor Rhone’s wry comedy of tour- and Luxembourg. His collaboration on ism, Smile Orange (L’Orange, 1991), for Frank HOFFMANN’S production of Bérard Bourdon’s Poutyi pa Teyat group, Goethe’s Faust (1993, Théâtre des and has translated Rhone’s Two Can Play, Capucins, with Luc FEIT) was particu- WALCOTT’S Dream on Monkey Mountain larly lauded. His debut as a director, and some Trinidadian one-act plays. Dodin Werner Schwab’s Die Präsidentinnen (The (Dodin’s Defeat, 1996), based on a rueful Presidents, 1997, Théâtre du Centaure, with short story by Samuel Selvon, was Michèle CLEES), was similarly warmly awarded the Sony Rupaire Prize for a Cre- received. Flammang’s formation as an ar- ole play, and has proved extremely popu- chitect is instrumental to his creation of lar with audiences in the Caribbean and theatrical spaces which, with the play of in France. A personable actor on stage and the actors, develop a life of their own. screen, Florentiny enjoys the challenge of using the language varieties of the Carib- Flimm, Jürgen (1941–) Director, Ger- bean to create meaningful comedy. many. Flimm was an assistant director at the Münchner Kammerspiele. After sea- Flotats, Josep Maria (1939–) Actor and sons as director in Mannheim and Ham- director, Spain. Having trained as an

87 Fo, Dario Fomenko, Peter actor in Strasbourg, Flotats worked in Party and founded the theatre collective Paris, for a year with Joan Littlewood and La Comune, which sought to expose the for an extended period at the Comédie corruption and oppression of the capital- Française. He was invited back to Catalo- ist system. Fo has written, acted and di- nia and ran his own subsidized company rected pieces for radio, television and the at the Poliorama Theatre in Barcelona theatre, and some of his more theoretical from 1985–94. There he took up direct- writings are collected in The Tricks of the ing and recreated in Catalan some of the Trade (1991). Amongst his most notable main roles he had performed in Paris, plays are Mistero Buffo (1969), Morte such as Rostand’s Cyrano de Bergerac (1985) accidentale di un anarchico (Accidental Death of and the patient in Brian Clark’s Whose Life an Anarchist, 1970) and Non si paga, non si is it Anyway (1987). His original French per- paga (Can’t Pay, Won’t Pay, 1974). A versa- formance in Clark’s play had won him a tile mime, improviser, opinion maker and Best Actor of the Year award in 1980. political satirist, Fo has been one of the Flotats demands long rehearsal periods, most authoritative voices of the Italian stresses the tempo of his productions and theatre scene, offering a commentary on is proud of his attention to detail, often the changes and transformations affecting helping with the stage design and adapt- Italian society over a period spanning from ing texts himself. Other important plays the late 1940s to the present day. In 1997 performed at the Poliorama were Wede- the significance of this contribution was kind’s Frühlings Erwachen (Spring Awakening, recognized by the award of the Nobel 1986), Musset’s Lorenzaccio (1988), Prize. Molière’s Le misanthrope (The Misanthropist, 1989) and SHEPARD’S True West (1990). Fomenko, Peter (1932–) Director and ac- Following criticisms that he had directed tor, Russia. He graduated from the State no Catalan plays, he starred in his own Institute of Theatre Art. In the 1960s he monologue version of the writings of performed several parts on television, and Josep Pla (1990) and adapted Cavalls de mar later joined the Taganka Theatre in Mos- (Sea Horses, 1992) by Josep Lluís and cow. From 1972–5, Fomenko was a direc- Rodolf Sirera. Flotats lasted one year tor at Leningrad Comedy Theatre, and (1997–8) as the first director of the new from 1977–82 was its artistic director. In Catalan National Theatre in Barcelona, 1982 he left Leningrad for Moscow. His where he directed Tony Kushner’s Angels production of Tolstoy’s Plody Prosveschenniya in America. He now works in Spanish as (Fruits of Enlightenment, 1985) won him well as Catalan. popularity in the Moscow theatre scene, and Caligula by Camus at the Mossovet Fo, Dario (1926–) Director, dramatist and Theatre (1990) brought him his first thea- performer, Italy. Fo began his theatrical tre prize. In the late 1980s he started train- career as a set designer and performer of ing actors at the Russian Academy of comic sketches and political cabaret. To- Theatre Art (RATI), and in 1993 he gether with his wife and long-term collabo- founded his own theatre based on a stu- rator Franca RAME, he founded the thea- dent group of RATI. Fomenko combines tre cooperative Nuova Scena (1968) and promotes different traditions of twen- which, under the auspices of the Commu- tieth-century Russian theatre: his passion nist Party, performed dialectical political for paradox and fantasy shows an impact pieces in unconventional theatrical spaces, of Meyerhold’s ideas. At the same time, including factories, universities, mental he is a thorough psychologist: his students hospitals and prisons. In 1970 he and successfully performed Turgenev’s Mesjac Rame discontinued collaboration with the v derevne (A Month in a Country) and

88 Font, Joan (1949–) Fornés, Mara Irene

Ostrovsky’s Volki I Ovcy (Wolves and Sheep). her major stage roles are Cleopatra in He also presented quite an unusual inter- Anthony and Cleopatra, Kattrin in Brecht’s pretation of Pushkin’s Pikovaja Dama (Pique Mutter Courage und ihre Kinder (Mother Cour- Dame, 1995). His most recent production age and her Children), Miss Aggie in Trevor was Chekhov’s Vaudevilles (1997). Rhone’s Old Story Time, Queen Ojuola in Ola ROTIMI’S The Gods are not to Blame Font, Joan (1949–) Director and actor, and Desiree in A Little Night Music. She is Spain. Font did some training under a lecturer in voice and speech at the Ja- Jacques Lecoq in Paris and has headed maica School of Drama. For her work, she the Catalan performance group has received several major awards. Comediants from its inception in 1971. Influenced by groups such as Bread and Foreman, Richard (1937–) Director, de- Puppet Theatre (with whom they have signer and dramatist, USA. After receiv- worked), Comediants have developed ing a BA from Brown University and an their own brand of open air carnival per- MFA in playwrighting from Yale, Foreman formance by reviving and adapting the worked with the playwrighting unit of the traditions of Catalan fiestas with the use Actors’ Studio, writing in the style of of acrobatics, music, huge masks and so- Clifford Odets and Arthur MILLER. In phisticated fire-works. (Audiences fre- 1968 he created the Ontological-Hysteric quently complain of burnt clothing after Theatre, ‘which playfully altered percep- a show.) Venues used range from the aq- tions of space and language. Influenced by ueduct in Segovia to the Sydney Opera the poet Gertrude Stein, his early plays, House. Their important productions in- such as Total Recall (Sophia=Wisdom): Part 2 clude: Moros i cristians (Moors and Christians, (1970) and Hotel China (1971) introduced 1975), Sol, solet (Sun, Little Sun, 1979), his highly formalistic uses of displacement, Dimonis (Devils, premiered in Venice in ritual, fragmentation and repetition, all of 1981), La nit (Night, 1987) and Llibre de les which have joined the currency of bèsties (Book of Beasts, 1995). In 1992 they postmodernism. His scenography is organized the spectacular closing cer- rough, intentionally ugly at times, multi- emony to the Barcelona Olympic Games, referential and disjunctive. His early de- involving 850 participants. Since 1975, signs for his own plays, such as Pain(t) Comediants have mostly been resident in (1974) and Rhoda in Potatoland (1974) were Canet de Mar, a Catalan coastal village. typified by Victorian décor, strings criss- In 1981 they started the Festival of Street crossing the space, Renaissance framing Theatre in T’àrrega. Despite a disastrous devices, and a constant shifting of space fire in 1990, Comediants continue to use and perspective.’ their home base for teaching, making costumes and masks, and as a film set. The Fornés, Mara Irene (1930–) Dramatist, group tours all over the world. It also director and designer, USA. Born in makes television programmes and pro- Cuba, Fornés emigrated to the USA in duces books and recordings. 1945. She has worked as designer and teacher of creative writing and has di- Forbes, Leonie Evadne (1937–) Actor, rected her own and other plays. Among Jamaica. Trained at the Royal Academy her plays and musicals are Tango Palace of Dramatic Art in London, Forbes has (1964), Promenade (1965), Dr Kheal (1968), performed in Jamaica, England, Ireland, Molly’s Dream (1968), Fefu and her Friends Germany, Australia, the Caribbean, USA, (1977), The Danube (1982), The Mothers Canada and India. She has appeared on (1986) and Oscar and Bertha (1991). Al- stage, radio, film and television. Among though these deal with ‘serious individual,

89 Forsström, Ralf Åke François, Juliette national and global problems…they are is one of the few great American actors in most acclaimed for their zany, whimsical classic plays. humour and the use of innovative cinematic techniques’. Foster, Norm (1949–) Dramatist, Canada. Foster is one of Canada’s most produced Forsström, Ralf Åke (1943–) Designer, and prolific playwrights. His best-known Finland. Trained at the Academy of Indus- play is The Melville Boys, which won the Los trial Arts in Helsinki, he travelled to Ja- Angeles Drama League Critics Award in pan, Indonesia, Egypt and the USA for 1988. It is the story of two brothers, one further studies. He worked as artistic di- of whom is terminally ill, spending a week- rector of Pistolteatern (Sweden), as end together at a lakeside cabin, where scenographer at the Swedish Theatre in they meet and have relationships with two Helsinki, Stockholm City Theatre and sisters. Like much of Foster’s work, it is Helsinki City Theatre. In addition to thea- romantic comedy heavily tinged with se- tre, he designed many productions for the rious themes: the irrevocability of death Savolinna Opera Festival and Finnish Na- or the repressiveness of religion. He has tional Opera. Recipient of several major also written The Affections of May and Wrong awards, Forsström has also designed in For Each Other (1992), A Foggy Day (1998) other Nordic countries as well as the USA, and Ethan Claymore (1998). France, Germany, Japan and China. Ma- jor credits include The Tempest (1982, Fox, Fernand (1934–) Actor, Luxem- awarded at Prague Quadriennale 1983), bourg. After attending the Cours de Dic- Katariina Suuri (Cathrine the Great) by Laila tion et d’Art Dramatique at the Hietamies (1996) and the musical Pojken Conservatoire de Luxembourg, he be- Blå (1999). Through Ralf Forsström’s came a comedian with the Compagnons work, scenography in Finland underwent de la Scène before joining the then new a renewal, coming to be recognized as an Kasemattentheater (founded by Tun independent art form. Modern visual arts Deutsch) as a resident actor in 1970. Be- have influenced his work, which he him- sides performing in many plays, both con- self relates to kinetic light-works and in- temporary and classical, on the company’s stallations. stage in the ancient catacombs of Luxem- bourg, he hosted the Cabaret littéraire at Foster, Gloria (1936–) Actor, USA. Fos- his own café Theaterstuff. This and his ter trained for the theatre at the Univer- many appearances on television and in sity of Chicago Court Theatre and with film have made his a household name. Bella Itkin at the Goodman Theatre. She However, he earned widespread critical is an African-American actor, who scored recognition for his work as an actor with her major successes playing non-black his portrayal of Willy Loman in MILL- characters: her many parts include ER’S Death of a Salesman (1992, Théâtre Andromache in Euripides’s Troades (The des Capucins, with Patrick HASTERT) Trojan Women), Ranevskaya in Chekhov’s and of the double bass player in Patrick Visnevyi sad (The Cherry Orchard, 1973), the Süskind’s monologue Der Kontrabaß (The title role in Brecht’s Mutter Courage und ihre Double Bass, 1993, Théâtre du Centaure) Kinder (Mother Courage and her Children, where his dexterity was praised. 1980), the mother in Lorca’s Bodas de sangre (Blood Wedding, 1992) and one of the François, Juliette (1925–) Actor, Luxem- two characters in Emily MANN’S Having bourg. After her training in singing, dic- Your Say (1999). Her work is embued with tion and dramatic art at the Conservatoire extraordinary grace and intelligence. She de Luxembourg, François co-founded the

90 François, Guy-Claude Freibergs, Andris

Compagnons de la Scène. She also acted Street Theatre. In 1986 Fraser became in numerous musicals in the French lan- playwright-in-residence at Edmonton’s guage. Her most notable interpretations Workshop West. His most famous play is are The First Woman in Henri Ghéon’s Unidentified Human Remains and the True Na- Chemin de la Croix (The Way of the Cross), the ture of Love, which deals with young title role in J.P.Wenzel’s Loind’Hagondange Edmontonians who search for true love (Far from Hagondange) and the Mother in and good sex against a backdrop of ur- Bernard Kops’ The Dreams of Anne Frank. ban violence. The exploration of gay and She has also featured in many of Pol straight sexuality, coupled with a unique GREISCH’S plays. voice that is brash and cynical, are hallmarks of his work. Recent plays includes François, Guy-Claude (1940–) Designer, a stage musical version of Craig Russel’s France. François studied at the School of Outrageous, Poor Superman (1994), and Mar- the Louvre and at the School of National tin Yesterday (1998). Arts and Theater Techniques, and has worked with Ariane MNOUCHKINE’S Frayn, Michael (1933–) Dramatist, Great Théâtre du Soleil since 1975, appearing in Britain. Frayn’s play Alphabetical Order L’âge d’or (1975), Mann’s Méphisto, The (1975) was his major breakthrough. Sub- Novel of a Career (1979–80), The Shakespeare sequent plays frequently took an ironic Cycle (1981–4), Hélène CIXOUS’S The look at different spheres of life: Make and Terrible but Unfinished Story of Norodom Break (1980) is set in the business world, Sihanouk, King of Cambodia (1985), The while Noises Off (1982), Frayn’s most popu- Indiad or the India of their Dreams (1987–8) lar success so far, deals with life in the and La ville parjure ou le réveil des Erinyes (The theatre from the backstage perspective. Perjury City or the Awakening of the Furies, Benefactors (1984) shows the problems in- 1994), Les Atrides (1990–3) and Molière’s volved in high-rise architecture. Look, Look Tartuffe (1995). He has also collaborated was criticized for structural problems. Here with architects such as Renzo Piano, (Donmar Warehouse, 1993) plays with the Andrault and Parat, and Robert Reichen concept of time. More recently, the Royal in the conception of performance stages, National Theatre produced Copenhagen including the POPB of Bercy (Paris), the (1998), directed, as with many of the first Cour d’honneur of the Papal Palace at productions of Frayn’s plays, by Michael Avignon, the IRCAM in the Georges BLAKEMORE. Frayn has also been very Pompidou Centre, the Grande Halle de successful with translations of Russian la Villette and the restoration of the Na- drama, mainly Chekhov. tional Opera of Paris. He won a major prize for his setting of the film Molière Freibergs, Andris (1938–) Designer, (written and directed by Mnouchkine) in Latvia. Freibergs trained in the Stage De- 1979. He has worked with film directors sign Department of the Latvian Academy as Bertrand Tavernier (La Passion de of Art, where he has taught since 1971, Béatrice, La vie et rien d’autre), Philip currently serving as head of department. Kauffman (Henri and June) and James Between 1965–73 he was set designer at Ivory (Jefferson in Paris). the Academic Drama (now National) Theatre in Riga (Sophocles’s Electra and Fraser, Brad (1959–) Dramatist, Canada. Henry IV as notable productions), and he Fraser won his first Alberta Culture undertook freelance work in Latvia, Rus- Playwriting competition when he was sev- sia and Estonia, both in theatre and op- enteen years old. In 1981–2 his play era. From 1971–91 he was chief Wolfboy premiered at Saskatoon’s 25th scenographer at the Youth Theatre in

91 French, David Froboess, Cornelia

Riga. Here he ‘skilfully combined meta- the theatre, creating the sets for Claus phoric imagery with functional and maxi- Peymann’s productions of Ibsen’s Peer Gynt mum use of space. Each production found and Zurüstungen für die Unsterblichkeit (Pre- the key to poetic originality’. More recent paring for Immortality) by Peter HANDKE productions include Strindberg’s (1997). In 1999 he directed the first pro- Spöksonaten (Ghost Sonata) and Racine’s duction of Franz Xaver KROETZ’S Die Phèdre. Eingeborene (The Native Woman) in Vienna. As a director, he is influenced by his de- French, David (1939–) Dramatist and signs, working in images, and in the spaces actor, Canada. French is regarded as one he creates. of Canada’s most important dramatists. He studied acting at Al Saxe Studio, Toronto, Friel, Brian (1929–) Dramatist, Ireland. at Pasadena Playhouse, California, and at Friel began writing short stories in 1950 Lawlor School of Acting, Toronto. From under contract to the New Yorker maga- 1960–5 he worked as an actor in Toronto. zine; his first radio plays were produced His first play, Leaving Home, was produced by BBC Northern Ireland in 1958. Rec- in 1972, directed by Bill GLASSCO. It is ognition as a playwright of major signifi- the first of four (to date) Mercer plays, cance came with Philadelphia, Here I Come! which tell the story of a Newfoundland (1964), first produced at the Gaiety Thea- family immigrating to Toronto in the tre, Dublin, which foregrounded themes 1940s. In these plays, French’s tone is of exile and emigration indelibly stamped sometimes bitterly realistic, as in Of The on the collective Irish consciousness. His Fields Lately, and sometimes lyrical, as in subsequent prolific output includes Lovers the vastly popular Salt Water Moon. Apart (1967), The Freedom of the City (1973) and from the Mercer plays, Jitters (1980), a play Faith Healer (1979). Together with actor about the theatre, sometimes compared to Stephen REA, he founded the Field Day Michael FRAYN’S Noises Off, has been Theatre Company in 1980, which com- called the best English-Canadian comedy. bined educational and political as well as French’s recent play Silver Dagger, a mys- theatrical goals, and which produced his tery-thriller, opened at the Bluma Appel celebrated Translations (1980), a savage cri- Theatre in Toronto in 1993. tique of British colonialism and cultural appropriation in Ireland masquerading as Freyer, Achim (1934–) Designer and di- a love story, and Making History (1988). rector, Germany. Freyer studied graphic International awards and acclaim contin- design in East Berlin, followed by two ued with Dancing at Lughnasa (1990), di- years as master-student with Bertolt rected by Patrick MASON at the Abbey Brecht at the Akademie der Künste. After Theatre, Dublin, which won a Tony award Brecht’s death in 1956, Freyer initially for Best Play at the Plymouth Theatre, worked as a freelance painter, returning New York. In 1994 he turned to directing to the stage only after the GDR authori- his own plays, Molly Sweeney (1994) at the ties had prohibited his work. The early Gate Theatre, Dublin, and Give Me Your phase of design for the theatre is charac- Answer, Do! (1997) at the Abbey Theatre. terized by artificiality and non-illusionis- His version of Chekhov’s Djadja Vanja (Un- tic effects. In 1972 Freyer emigrated to cle Vanya) was staged at the Gate Theatre West Germany, working with, among oth- as part of the 1998 Dublin Theatre Festi- ers, Claus PEYMANN in Stuttgart. For val, directed by Ben BARNES. many years, Freyer concentrated on designing for opera, some of which he also Froboess, Cornelia (1943–) Actor, Ger- directed. In the 1990s he has returned to many. As a child and teenager, Froboess

92 Fudda, Asaad was popular as a singer and actor in light manager of Theatre and Music in Syria. entertainment films. She took private act- He directed over twenty-three productions ing lessons in Berlin and made her pro- during his career, including Dostoyevsky’s fessional debut in 1963. After seasons in Brat’ia Karamazovy (The Karamazov Brothers), Braunschweig and freelance work Molière’s Dom Juan, Lorca’s Bodas de in Berlin, Hamburg and Munich, she sangre (Blood Wedding) and Slawomir joined the Münchner Kammerspiele in MROZEK’S Tango. He collaborated with 1972. Her voice, gestures and facial ex- several Syrian and Arab playwrights, es- pression make her one of the most inten- pecially Sa’dallah Wannus from Syria. He sive actors of her generation, whose many directed his An Evening with Abu Khalil AI- roles show preference for broken, seeking Kabbanni, The King is the King for the Da- and doubting women: Sonja in Chekhov’s mascus National Theatre and The Adven- Djadja Vanja (Uncle Vanya), Recha in ture of Slave Jaber’s Head for Weimar’s Na- Lessing’s Nathan der Weise (Nathan the Sage), tional Theatre in Germany. Fudda at- the title roles in Lessing’s Minna von tempted playwriting twice: Hikaya Bila Barnhelm (directed by Dieter DORN) and Nihaya (A Tale Without an End) and Hikayat Wedekind’s Lulu, Ellida Wangel in Ibsen’s Rifeya (Pastoral Tales). He directed Syria’s Fruen fra havet (The Lady from the Sea), top stars, including Muna WASEF, Cäcilie in Goethe’s Stella, Viola in Twelfth Duraid LAHAM and his own wife Maha Night and Xenia in Edward BOND’S Sum- Saleh. He is a well-known actor, who mer (directed by Luc BONDY). She has played the lead in Arthur MILLER’S worked extensively with Dieter Dorn and Death of a Salesman, Shaw’s Saint Joan, Thomas LANGHOFF. Sophocles Oidipus tyrannos (King Oedipus), Dürrenmatt’s Der Besuch der Alten Dame Fudda, Asaad (1938–) Director and ac- (The Visit) and Gogol’s Zapiski tor, Syria. Fudda trained in Cairo, and Sumasshedshego (The Diary of a Madman). He then went to Paris for an apprenticeship. starred in thirty-five television serials and He was appointed artistic director of Da- five feature films, winning three prizes in mascus National Theatre, then general pan-Arab festivals.

93 G

Gabai, Sasson (1947–) Actor, Israel. Af- You Like It); Fool (King Lear); lago, Rich- ter training at the Theatre Department at ard III, Prospere, Shylock, Dom Juan Tel Aviv University, Gabai became fa- (Molière), Alceste (Molière’s L’avare (The mous for his comic roles (in plays by Miser)) and George (ALBEE’S Who’s Afraid Goldoni and Molière). For several years of Virginia Woolf?). After numerous state he worked at the Jerusalem Khan Thea- and professional awards, at seventy-five he tre in the group directed by Mike Alfreds. received the Life Achievement Award at Later he played character parts in plays the 26th Hungarian Film Festival. Since by Hanoch LEVIN and SOBOL and in 1970 he has also worked as a stage direc- classics, such as Claudius in Hamlet. Gabai tor. Major projects have been Shaw’s Man has also played extensively in films and and Superman, MROZEK’S Portret (Portrait), television series, like LERNER’S Kastner, Goethe’s Torquato Tasso and and Oscar a docudrama about the trial against an Wilde’s The Importance of Being Earnest. In Hungarian Jew who negotiated with Adolf 1988 Gábor exhibited his graphics and Eichman during the Second World War. paintings. He has published his diaries and theatre theoretical writings in several vol- Gábor, Miklós (1919–) Actor and direc- umes. He has been described as a theatre tor, Hungary. He trained at the Academy personality of enormous intellect who of Theatre and Film Art and joined the goes deeply into his roles and builds them Madách Theatre in 1941. Between 1945– up with lots of emotion. 54 he was a member of the National Thea- tre in Budapest, and between 1954–75 a Gaden, John (1941–) Actor and director, member of the Madách Theatre. It was Australia. An actor of great range, Gaden here that he first acted the role of Hamlet performed many leading roles with Nim- in 1962, a performance which brought rod Theatre in Sydney during the 1970s. him international fame. Further stages in Gaden moved into directing when he be- his career were the Katona József Theatre came artistic director of the State Theatre of Kecskemet, the Népszinház in Buda- of South Australia (1986–9). Here prag- pest, and the Független Színpad. Since matic programming helped the theatre re- 1995 he has been a member of the Buda- cover from a period of disappointing box pest Chamber Theatre. Major roles in- office income; Gaden himself was often clude Boy (Cocteau’s Les parents terribles both directing and acting. He co-directed (The Terrible Parents)); Romeo, Jaques (As several productions with Gale EDWARDS

94 Gaitanopoulos, Jenny Gálffi, László and their success as a collaborative team ner life, layers of lyricism and sober lasted several years. Gaden has played clas- experience under their rough appearance. sical roles—Lear, Prospero, Menenius, Leontes and Richard II, as well as having Galán, Eduardo (1957–) Dramatist and success with roles in STOPPARD, critic, Spain. A prominent literary critic WILLIAMSON, SEWELL, HAMP- throughout the 1980s, Galán turned his TON and RUDKIN. He has performed attention emphatically to theatre in the in Robyn ARCHER’S Kold Komfort Kaffee 1990s writing intelligently on the coun- and Scandals and has directed big box of- try’s theatrical climate for a range of news- fice successes, such as The Life and Adven- papers and magazines. His first profession- tures of Nicholas Nickleby. Gaden’s versatility ally produced play, La posada del arenal (The is striking, but his forte is roles demand- Inn on Sandy Ground, 1990), co-authored ing intelligence, control and wit. with Javier Garcimartín and set in seventeenth-century Madrid, drew on classical Gaitanopoulos, Jenny (1938–) Actor, antecendents. His most recent work, how- Cyprus. She trained in the drama section ever, has been firmly located within the of the Greek Academy of Music and at- landscape of contemporary Madrid. tended the drama school of Karolos Koun. Anónima sentencia (Anonymous Sentence, 1993) Major parts include many title roles in and Mujeres frente al espejo (Women in Front of ancient Greek tragedies, Olga in a Mirror, 1996, directed by Juan Carlos Chekhov’s Tri sestry (Three Sisters), PÉREZ DE LA FUENTE) have both Ranevskaya in Visnevyi sad (The Cherry Or- chronicled issues around professional and chard), Mrs Venable in Tennessee private lives juggled in an ambitious and Williams’s Suddenly Last Summer and increasingly dehumanised culture. Also Hanna in Night of the Iguana, the title role prominent in promoting theatre for chil- in Schiller’s Maria Stuart, Elizabeth in dren (as both an author of plays for chil- Arthur MILLER’S The Crucible and dren and President of the Spanish associa- Mother in Marsha NORMAN’S ‘night tion for Children and Young People’s Mother. She approaches her parts seriously, Theatre (AETIJ)), Galán’s theories on the paying a lot of attention to characteriza- role of theatre are documented in his 1996 tion details, well assisted by her good, published study Reflexiones en torno a una clear voice and excellent diction. política teatral (Reflections on a Theatrical Poli- tics). During the late 1990s Galán was Gen- Gajos, Janusz (1939–) Actor, Poland. He eral Subdirector of Theatre at the Minis- graduated from the State Theatre and try of Education and Culture. Film Academy in Lódz, where he began his career before moving to Warsaw in Gálffi, László (1952–) Actor, Hungary. 1970. He has been a member of the Teatr Gálffi trained at the Academy of Theatre Powszechny since 1985. Major roles in- and Film Art, joined the Vígszínház in clude Astrov in Chekhov’s Djadja Vanja 1975 and has been member of the com- (Uncle Vanya), He in The Bench by Alexan- pany ever since. He is a frequent guest at der Gelman, Waclaw in Maz I Zona (Hus- other theatres and also a popular film and band and Wife) by Aleksander Fredro, television actor. He put together recital Kotchkaryev in Gogol’s Zenit’ba (The Mar- evenings of poems by Villon and riage) and the title role in Macbeth. He cre- Rimbaud. At the 1996 Sitges Theatre Fes- ated many important roles for television, tival, he led an actors’ training workshop and has a distinguished film career. An based on Chekhov’s Visnevyi sad (The actor with supreme technical skills, he spe- Cherry Orchard). Major roles include Alan cializes in characters hiding their deep in- Strang (SHAFFER’S Equus), Richard II,

95 Gallacher, Frank Gao Xing Jian

Mozart (Shaffer’s Amadeus), Arthur ism too (De Hoeksteen (The Corner Stone), (MROZEK’S Tango), Orin (O’Neill’s 1988). In the past years he has started to Mourning Becomes Electro), Krapp (Beckett’s design for large-scale musicals, like Cats Krapp’s Last Tape), Prince von Berg (MILL- and Phantom of the Opera, and for opera, ER’S Incident at Vichy), Edward II such as Le Nozze di Figaro (The Marriage of (Marlowe) and lago. He has been de- Figaro) at the Nice Opera House, France. scribed as an intellectual, sensitive, vibrant Gallis was awarded the Proscenium Prize personality with boyish charm, a modern in 1991. actor type with a capability for renewal. Gambon, Michael (1940–) Actor, Great Gallacher, Frank (1943–) Actor, Aus- Britain. Although known as a reliable per- tralia. Born in Great Britain, he moved to former throughout his career, Gambon’s Australia in 1963 and has been a major breakthrough did not come until the 1970s, actor for the Melbourne Theatre Com- when he played Jerry in Peter HALL’S pany during the 1980s and 1990s. National Theatre production of Gallacher has a tough, energetic stage PINTER’S Betrayal (1978). At the National presence which has served him well in a Theatre, further successes include the title variety of dramatic roles, such as a no- role in Brecht’s Leben des Galilei (Life of Gali- nonsense Macbeth for the MTC (playing leo, 1980), AYCKBOURN’S A Chorus of in tandem with Stephen SEWELL’S Disapproval (1985) and A Small Family Busi- Dreams in an Empty City), and an earthy, ness (1987), and David HARE’S Skylight and dynamic Caliban in Gale EDWARDS’S Volpone (1995). For the Royal Shakespeare MTC Tempest. He projected intense an- Company, Gambon played King Lear, guish as Eric, a man torn between the Anthony in Anthony and Cleopatra (1982), present and his POW past in Jill SHEAR- and, more recently, in Yasmina Reza’s ER’S Shimada (MTC 1986); his John Proc- L’homme du hasard (The Unexpected Man, tor in Arthur MILLER’S The Crucible 1998). Quiet and unassuming, Gambon (1991) was a raw, passionate man burst- develops a depth of feeling that comes ing with rage at his impotence and inabil- across as genuine and thus lingers in the ity to stop the mis-carriages of justice. spectators’ memory for a long time.

Gallis, Paul (1943–) Designer, The Neth- Gao Xing Jian (1940–) Dramatist, China. erlands. Paul Gallis is a self-taught de- In the early 1980s, Gao became a drama- signer. After working as an accountant and tist in residence in Beijing People’s Art in a pet shop, he was introduced to the Theatre, where he led Beijing’s experi- theatre by director Paul Vermeulen mental theatre movement. From 1982–8 Windsant. His first set design was Eva a series of his plays including Jue Dui Xin Perón in the 1974 Holland Festival. Gallis Hao (Absolute Signal), Che Zhan (The Bus is primarily known for his work with di- Stop) and Ye Ren (Wild Man) were presented rector Gerardjan RIJNDERS at both the at Beijing People’s Art Theatre under the Globe company (1977–85) and direction of LIN Sao Hua. He also had Toneelgroep Amsterdam (from 1987). Pos- strong influence on Chinese theatre as a sibly his most daring design was for Jane theorist: he re-examined the Chinese the- Bowles’s In the Summerhouse (1984), with its atrical heritage from the perspectives of dark diaphragm-like frame that opened up Artaud and Brecht. In 1989 he left China into ‘slots’ through which the audience and has since lived in exile in France, could witness the stage. Gallis’s work of- where he has published a number of suc- ten has a monumental trait (Ballet, 1990), cessful novels and plays and exhibited his although he is good at a lurid sort of real- paintings. The latest production of his

96 Garas, Deszõ Gassman, Vittorio work, Bi An (The Other Shore) was pre- worked at the most important venues in sented by MO Sen in 1994 in Beijing. Barcelona including the Poliorama (Sweeney Todd, 1995), the Liceu (Un ballo in Garas, Deszõ (1934–) Actor and director maschera, 1988), The Romea (Schnitzler’s Hungary. After training at the Academy La Ronde, 1986), The Condal (¡Ai, doctor of Theatre and Film Arts, he worked for quina neurosi! (Oh Doctor! What a neurosis, Madách Theatre (1964–76), 25th Theatre 1987)). Although largely associated with of Budapest, MAFILM, a company of the Catalan stage, his productions for screen actors (1977–90), Szigligeti Theatre Madrid’s Centre Dramático Nacional in- of Szolnok and Mûvész Theatre (1993– clude Dürrenmatt’s Frank V (1989), 4), and now works freelance. He is a ver- Williams’s The Glass Menagerie (1994) and satile and popular artist with an acrid per- Valle-Inclán’s Martes de Carnaval (Carnival sonality and talent for a grotesque-ironic Tuesday, 1995). Gas’s first film as director, style. Major parts include Cardinal El pianista (The Pianist, 1997), featuring a Barberini (Brecht’s Leben des Galilei (Life of superb score by Carles SANTOS, was a Galileo)); Peachum (Brecht-Weill, Die stylish study of two musicians marked by Dreigroschenoper (The Threepenny Opera)); the strong visual sense which character- Sosias (Kleist’s Amphitryon); AA izes his stage work. (MROZEK’S Emigranci (Emigrants)); Prospero (The Tempest); Merlin (DORST’S Gaskill, William (1930–) Director, Great Merlin oder Das Wüste Land (Merlin or The Britain. Gaskill’s early career in the thea- Waste Land)); and Estragon (Beckett’s Wait- tre was influenced by his involvement with ing for Godot). Productions he has directed Joan Littlewood’s workshop in 1955. He include Péter Müller’s Final Performance, directed at the Royal Court, including Emerich Kálmán’s The Csardas Princess, Arden’s The Happy Haven (1960), at the Schwajda’s The Miracle, The Tempest (at the Royal Shakespeare Company and at the Puppet Theatre, winner of Best Director National Theatre. From 1965–73 he was at National Theatre Festival in 1988), and artistic director at the Royal Court, where Bronte-Schwajda’s Wuthering Heights. his productions include Edward BOND’S Saved (1965) and Early Morning (1968). Gas, Mario (1947–) Director and actor, Since then he has been associated with Spain. Born in Montevideo, Uruguay, into Joint Stock (1974–83), an independent a family of performers, Gas has worked theatre company, and the National Thea- prolifically since the 1960s, first within the tre, where he directed Goldsmith’s She university and independent theatre move- Stoops to Conquer (1984), Bulgakov’s Black ment and then with the larger and more Snow (1991) and Pirandello’s I giganti della established companies including the Cen- montagna (The Mountain Giants, 1993). tre Dramàtic de la Generalitat de Gaskill’s work is characterized by clarity Catalunya, Compañia Núria Espert and of argument, and a tendency towards a the Centre Dramático Gallego. He has di- realistic style. rected over thirty-five productions and performed in over forty pieces where his Gassman, Vittorio (1922–) Actor and di- directors have included Lluís PASQUAL, rector, Italy. After graduating from the Jorge LAVELLI and John Strasberg. As a National Academy of Dramatic Arts in director, he is admired for his eclecticism Rome, Gassman rapidly emerged as one and versatility—he is equally at home with of Italy’s leading actors. Best known for the classics, new writing, musicals and his interpretations of classical parts, such opera—and the clarity and elegant chore- as the title roles of Vittorio Alfieri’s Oreste ography of his productions. He has (1950), directed by Luchino Visconti,

97 Gavran, Miro Geary, David

Hamlet (1952) and Seneca’s Thyestes (1953), edies such as Mu• mofe •ene (My Wife’s Hus- which he co-directed with Luigi band, 1991) and the grotesque Pacijent SQUARZINA, as well as his more recent doktora Freuda (Doctor Freud’s Patient, 1993). interpretation of passages from Dante’s The main theme of his comedies is the Divina Commedia (Divine Comedy, 1997), male/female relationship (marital, love, Gassman was also a founding member of adulterous) resolved without tragical con- a number of influential theatre companies, sequences for the characters. The basic with which he worked on both classical characteristics of his plays are fluent dia- and contemporary plays. Amongst his logues and unexpected turning points in numerous film appearances are Riso Amaro the plot. His sentences are perfectly suited (Bitter Rice, 1949) directed by Giuseppe de to the actors. In 1994 he added directing Santis, I soliti ignoti (Unidentified People, 1958) to his credits. directed by Mario Monicelli, Profumo di donna (Scent of a Woman, 1974) directed by Gbadamosi, Gabriel (1961–) Dramatist, Dino Risi and, more recently, Sleepers Nigeria. Gbadamosi is based in the United (1997) directed by Barry Levinson and Kingdom (where there are other overseas- also starring Dustin Hoffman and Robert based African artists such as Wole De Niro. Whether on stage or on the SOYINKA, Ngugi WA THIONG’O, Tess screen, Gassman has time and again ONWUEME, Zakes MOKAE and thrilled his audiences in daring interpreta- Esiaba IROBI). His best known works for tions of both classical and contemporary the theatre are No Blacks, No Irish, Shango, works. A uniquely passionate and eclectic Abolition and Eshu’s Faust. He has also writ- performer, Gassman is not only one of Ita- ten a play for BBC television entitled Fri- ly’s most popular and respected actors, day’s Daughter. For a time he was writer-in- but also an icon of post-Second World residence at the Manchester Royal Ex- War theatre and film. change Theatre, and most recently he worked with the European Theatre Con- Gavran, Miro (1961–) Dramatist and di- vention in Portugal. He also travelled rector, Croatia. With more than twenty across West Africa as a Winston Church- plays to his credit, translated into many ill Fellow looking at theatre traditions and languages, Gavran is one of the most of- practices. Despite living in the United ten performed Croatian playwrights of the Kingdom, Gbadamosi’s plays, especially 1990s. He also writes novels, short stories, Eshu’s Faust and Shango are still inspired and radio dramas, poetry, children’s plays and informed by Yoruba myths and theatre screenplays for film and television. He sensibilities. worked as a dramaturg (1986–9) and art manager (1989–92) at the &TD Theatre. Geary, David (1963–) Dramatist, New From 1990–2 he worked as drama lecturer Zealand. He trained as an actor at the at the Creative Writing Workshop. In 1993 New Zealand Drama School, but turned he founded the literary review Plima (The to playwriting, his first success being Pack Tide) and worked as its editor for three of Girls (Downstage, 1991) which won the years. Serious plays with a touch of melo- Bruce Mason award for most promising drama include Noce bogova (The Night of the playwright. His more notable plays since Gods, 1986), Ljubavi Georgea Washingtona then are Lovelock’s Dream Run (Auckland (George Washington’s Loves, 1988), Cehov je Theatre Company, 1993, directed by Tolstoju rekao zbogom (Chekhov Told Tolstoy Raymond HAWTHORNE) and The Goodbye, 1989), Shakespeare and Elisabeth Learner’s Stand (Circa Theatre, 1995, di- (1994) and Zaboravi Hollywood (Forget about rected by Susan WILSON). His work Hollywood, 1996). He wrote several com- (these three plays feature a female rugby

98 Geddes, Tony Gems, Pam game, Lovelock’s race at the Berlin thought. ‘Geiogamah’s plays move fluidly Olympics and a sheep-shearing shed) ex- through time, in a more cyclical and mul- cites directors and actors through its im- tilayered manner than Western linear aginatively daring theatricality. chronology.’

Geddes, Tony (1947–) Designer, New Gelbart, Larry (1923–) Dramatist, USA. Zealand. He completed an Honours Di- Gelbart is among the most distinguished ploma in Fine Arts at the Ilam School of writers of comedy in contemporary Art, University of Canterbury, but it was America. An early success was A funny only after some years as a secondary Thing Happened on the Way to the Forum, fol- school teacher that his paintings caught lowed by Mastergate (1989), Feats of Clay the attention of Elric HOOPER and he (1991), the television series M*A*S*H*, the was invited to design for the Court Thea- film script for Tootsie with Dustin Hoffman, tre, Christchurch. Work like that for Tom and the book for City of Angels, a very suc- STOPPARD’S On the Razzle (1982) won cessful musical (New York, 1989 and Lon- him appointment there as full-time de- don, 1993). His plays and screenplays re- signer in 1983. He has since designed veal as much pain as laughter in his sharp more than one hundred productions, re- observations of human nature. His 1976 cently acclaimed examples being Gold- adaptation of Jenson’s Volpone captures the smith s She Stoops to Conquer (1995) and wit and cruelty of that work. In 1990, Brecht’s Mutter Courage und ihre Kinder Gelbart received the Lee Strasberg Award (Mother Courage and her Children, 1996). for Lifetime Achievement. Having to please much the same audience year by year, he enjoys working on plays Gélinas, Gratien (1909–) Dramatist and which challenge through their novelty, or actor, Canada. An icon of Québecois (like Shakespeare) through their familiar- popular culture, Gélinas created the urban ity, and like his usual director Elric backstreet character Fridolin for CBC ra- Hooper, he avoids any conscious personal dio in 1937. He went on to perform in style, preferring to search out that appro- many popular stage revues called Les priate to each play. Fridolinades, based on that character, which firmly established ‘the tone of much Geiogamah, Hanay (1945–) Dramatist of the country’s subsequent neo-natural- and director, USA. He is a Kiowa-Dela- ist drama and comedy’ and also ‘the ami- ware Indian from Oklahoma. In 1972 he able Québécois Everyman character that founded the Native American Theatre would mark many of Gélinas’s later Ensemble, and utilized the civil rights en- works’. He wrote his most influential play ergies of the 1970s to create plays by, for Tit-Coq, a love story set against the back- and about Indians that are grounded in drop of Québec society during the Second Indian aesthetics and values, and based in World War, in 1948. He founded the natural Indian idioms and gestures. In the Comédie-Canadienne in 1957, a theatre early 1970s the company toured the USA company which produced most of and several European countries. In 1987 Gélinas’s work as well as the work of sev- Geiogamah became director of the Ameri- eral other important playwrights, includ- can Indian Dance Theatre. His published ing Marcel DUBÉ. Gélinas’s most recent plays, Body Indian (1972), Foghorn (1973) play, in which he also performed, was Le and 49 (1975), mix politics, history, Indian Passion de Narcisse Mondoux (The Passion of familial and tribal traditions, humour, pa- Narcisse Mondoux, 1986). thos and spirituality in an integrated style that is typical of Indian aesthetics and Gems, Pam (1925–) Dramatist, Great

99 Germain, Greg Gielgud, John

Britain. Gems began writing plays only dent of Cinédom+, which aims to forge after her children had grown up. In the links among artistes of the Caribbean 1960s and 1970s she had been interested diaspora. in the feminist movement, and in socialist politics. Feminism in its broadest sense is Gessesse, Tsefaye (1937–) Actor, drama- at the centre of her plays, such as Queen tist and director, Ethiopia. Gessesse, who Christina (Royal Shakespeare Company, began as an amateur actor, is second only 1977), Piaf (Royal Shakespeare Company, to Tsegaye Gabre-Medhin as the foremost 1978, directed by Howard DAVIES, with Ethiopian dramatist and director. He was Jane LAPOTAIRE as Piaf), and Camille for a while a resident director at the Haile (Royal Shakespeare Company, 1982). Selassie 1 Theatre (now the National Some critics consider such adaptations of Theatre) in Addis Abeba when Gabre- existing material, or versions of Chekhov’s Medhin was the general manager, and Djadja Vanja (Uncle Vanya, 1992) and The later took over control of the Ethiopian Blue Angel (1992) as more successful than professional theatre company, The Ager original plays such as Deborah’s Daughter Fikir, in 1974. In 1976 he assumed control (1994). At the Royal National Theatre, of the National Theatre when Gabre- John CAIRO directed Stanley (1996), with Medhin was removed as a result of prob- Anthony SHER in the title role of painter lems with the actors. He too was sacked Stanley Spencer. In 1997 Gems added by the government in 1983 because of his Marlene, a play about Marlene Dietrich, to efforts to improve the working conditions her canon of bio-plays. of actors in the company. Gessesse’s plays include Yeshi (a play about the problems Germain, Greg (1947–) Actor, France of urban prostitution), Iqaw (1975), and Guadeloupe. Tall, well-built star of Tehaddiso (Renaissance, 1979) which explores LAOU’S award-winning Mélodie de brume the issue of state repression and coercion, à Paris (Misty Paris Melody) and winner of Theatre Sidada (When Theatre Begins to Crawl, the 1986 Senghor prize for best actor, 1989) which thematically and stylistically Germain is equally popular on the stage stretches the frontiers of both realism and and the screen. On stage he has played in supernaturalism. It is mainly as a director several Bourseiller productions and took that Gessesse is best known, especially for lead roles in Arrabal’s Bella Ciao, Othello his courageous style in mounting plays and TABORI’S Nigger Lover. Cinema cred- that challenged the status quo and for its include the leads in Marmito and Adam which he was never popular with the au- in Aul’s musical L’Ile heureuse (The Happy thorities. Island). Among his varied television roles, he has starred in four episodes of the tel- Gielgud, John (1904–2000) Actor and di- evision series Médecins de nuit (Night doctors) rector, Great Britain. From a theatrical and the American production Hi Champ. family, Gielgud studied at Lady Benson’s 1997 saw his adaptation of WALCOTT’S School and at the Royal Academy of Dra- Pantomime for the Paris stage, which toured matic Art. One of the most important ac- widely. In 1998 he spearheaded an ambi- tors in Britain this century, Gielgud be- tious programme of six plays representing came especially renowned for his portray- the Theatre d’Outre-Mer en Avginon als of Shakespeare characters; noble bear- (TOMA), a showcase of black French ing and excellent elocution made him an theatre, for which he contributed a one- ideal Hamlet (he played that part more man dramatization of Chamoiseau’s runa- than 500 times). Gielgud also appeared in way slave in Le Vieux homme et le molosse (The modern and contemporary work, such as Old Man and the Hound-Dog), He is Presi- Gayev in Chekhov’s Visnevyi sad (The Cherry

100 Gill, Peter Glassco, Bill

Orchard), SHAFFER’S The Battle of he performed the satirical revue Gillies Live Shrivings and PINTER’S No Man’s Land. at the Club Republic. His last stage appearance to date was as Sir Sydney Cockerell in Hugh White- Gimeno, Luis (1927–) Actor and direc- more’s The Best of Friends (1988). Gielgud tor, Mexico. He attended classes in piano, has also enjoyed a remarkable film career, violin, singing and music theory at the and continues to appear in this medium. Conservatorio Superior de Musica, Bar- celona, while studying philosophy at the Gill, Peter (1939–) Director, dramatist University. In Mexico, he started as an and actor, Great Britain. Gill began as an actor with the Dramatic Art School, which actor in 1957 and moved into directing by belongs to the National Institute of Fine 1965. He directed Twelfth Night for the Arts. A character actor, he played the cen- Royal Shakespeare Company in 1974, and tral roles in Gogol’s Revizor (The Govern- A Patriot for Me by John Osborne in 1995. ment Inspector), Molière’s Le bourgeois He has been associated mainly with the gentilhomme (The Citizen as Nobleman), King National Theatre since 1980. There he di- Lear and Falstaff in The Merry Wives of rected Christopher HAMPTON’S Tales Windsor, Ben Jonson’s Volpone and many from Hollywood (1983), Sam SHEPARD’S others, covering the whole range of theat- Fool for Love (1984) and O’Casey’s Juno and rical genres. In addition to his acting ca- the Paycock (1989). Gill ran the National reer, he served as director of the National Theatre Studio, designated to encourage Theatre Company for eighteen years, and new writing. In 1997, his new play Cardiff has directed many operas. East was premiered at the Royal National Theatre, designed by Alison CHITTY. Glass, Joanna (1936–) Dramatist, Canada. Glass made her breakthrough Gillies, Max (1941–) Actor, Australia. into professional theatre with two one-act Gillies was a drama teacher for many companion pieces, Canadian Gothic and years before becoming involved with the American Modern, at the Manhattan Thea- politically committed, left-wing Australian tre Club in 1972. Her play Artichoke (1979) Performing Group at the Pram Factory in was a critical success, both in Canada and Melbourne. There he played in group-de- the United States. In 1984, Play Memory vised works and political revues. Gillies is was performed on Broadway and received a great impersonator, particularly of right- a Tony nomination. The work is largely wing politicians, and this talent has been autobiographical, dealing with a dysfunc- put to extensive use in various satirical tional family—in particular, with the rela- theatre shows and on television. Gillies tionship of an abusive, alcoholic father and had an early success with the one man his young daughter—in Saskatoon. If We show A Stretch of the Imagination by Jack Are Women (1995) has been produced Hibberd, which he revived for the Mel- across Canada. A compelling lyricism and bourne and Sydney Theatre Companies an evocative use of language are hallmarks in 1991. Gillies also created roles in the of Glass’s work. early Stephen SEWELL plays Traitors and Welcome the Bright World, and he has played Glassco, Bill (1935–) Director and actor, in AYCKBOURN’S A Chorus of Disap- Canada. He studied acting and directing proval for the MTC. His manic head of de- at New York University. In 1971, partment in David WILLIAMSON’S The Glassco, together with his wife Jane, Department was memorable. Gillies has also founded Tarragon Theatre in Toronto, toured Australia with ’Allo ’Allo. In 1996 dedicated to new Canadian writing. Pro- ductions of plays by David FRENCH

101 Glittenberg, Rolf Gökçer, Cüneyt

(Leaving Home, 1972), and David Freeman Theatre Ensemble. Goh began his career as well as English-language premieres of as an actor in 1989 under the tutelage of plays by Michel TREMBLAY proved Kuo Pao Kun and has since graduated to very successful. Since 1982, Glassco has becoming a full-time dramatist and direc- been working mainly freelance, apart tor. Effectively bilingual in both Chinese from four years as artistic director of and English, Goh experiments exten- CentreStage in Toronto (1985–9). sively with style and material both east Glassco has built a reputation for nurtur- and west. His works include site-specific ing new and exciting Canadian drama- performances like OsEAN (1993), which tists; he has developed long-standing pro- was performed at the pool of the Pan Pa- fessional relationships with writers like cific Hotel in Singapore; Posteterne (1992), Freeman and French as well as Michel which was a postmodern re-writing of the Marc Bouchard and Guy Vanderhaege. Chinese folklore of the Butterfly Lovers, ‘He has called the impulse behind his and his most acclaimed work to date, work the need for the “celebratory com- Titoudao (1994), which he wrote and di- munication” with the audience.’ rected. A collage of memories and events from his mother’s life as an Chinese op- Glittenberg, Rolf (1945–) Designer, Ger- era performer, the play was muscular in many. Glittenberg studied design with Teo structure and thought-provoking in its is- Otto and Wilfried MINKS. After free- sues. Recently returning from his BA de- lance designs in Munich, Bochum, Zürich, gree in drama from Rose Bruford Col- Hamburg and Köln, Glittenberg, often lege, London, Goh has since directed a working with his wife Marianne, became total of five plays in 12 months, ranging head of design at Jürgen FLIMM’S Thalia from a musical (Guys And Dolls) to a Chi- Theater in Hamburg in 1986. Early de- nese Classic from China (Cao Yu’s signs include Luc BONDY’S productions Storm). of Edward BOND’S The Sea, Ibsen’s Gengangere (Ghosts), Beckett’s Happy Days Gökçer, Cüneyt (1920–) Director and and Macbeth. More recently, he has de- actor, Turkey. A graduate from the Thea- signed Büchner’s Woyzeck, Twelfth Night, tre Department of the Ankara State Con- Klaus POHL’S Die Schöne Fremde (The servatory in 1942, Gökçer worked with Beautiful Stranger) and Romeo and Juliet Carl Ebert as stage assistant and as stage (Thalia Theater, Hamburg, 1997), Tho- and mime instructor. As a director, he first mas HÜRLIMANN’S Das Lied der Heimat staged Goethe’s Faust in 1946. Between (The Song of Homeland, Zürich, 1998), and 1947–83 he was a director and actor at the Brecht’s Baal and Ibsen’s Fruen Fra Havet Turkish State Theatres, serving as general (The Lady from the Sea, Thalia Theater director of the Turkish State Theatres be- Hamburg, 1998). His scenic spaces and tween 1958–78 and between 1980–3. In costumes are often characterized by pol- addition, he staged and acted in plays in ished elegance, frequently (and at times to Paris, Athens, Venice and Cyprus. Major excess) taking up whatever is currently credits include Sophocles’s Antigone, Julius fashionable. Caesar, Twelfth Night and Wilder’s Our Town, as well as musicals such as Kiss Me Kate, Goh, Boon Teck (1971–) Dramatist and Fiddler on the Roof and My Fair Lady. Direct- director, Singapore. The latest addition to ing credits include Arthur MILLER’S The the Singapore theatre scene, Goh is the Crucible (1970), Max Frisch’s Andorra artistic director of one of the most inno- (1972), SHAFFER’S Equus (1975) and vative and dynamic professional theatre ALBEE’S Who’s Afraid of Virginia Woolf?. companies in Singapore, the Toy Factory He also directed various operas and has

102 Göncz, Árpád Gómez, José Luis acted in film and on television. His most of his own plays including Závist (Jealousy, recent production, Terence MCNALLY’S 1981), Nátvrat ztraceného syna (The Return of Master Class (1997, Ankara State Theatre), the Lost Son, 1983), Písek (Sand, 1988) and shows the inexhaustible strength of his Nekolik historek zde zivota Bédi Jelínka (Stories artistic skill. His respect for the dramatist from the Life of Béd’a Jelínek, 1995). A fre- will always dominate temptations of daz- quent theme of his plays is the conflict of zling an audience with staging or design generations and the ‘history of the soul’ effects. in a social context. His loose structure relates to the anti-illusionary and associative Göncz, Árpád (1922–) Dramatist, Hun- style of HaDiO theatre. Goldflam also gary. Göncz studied law and agriculture. wrote several monodramas (Biletárka (The Because of his involvement in the 1956 Usherette), 1983; Cervená knihovna (Romance revolution, he was sentenced to life im- Novels), 1985), concentrating on character prisonment in 1958 and was released by distortion and unmasking the psychic amnesty in 1963. He has been writing complex. On the domestic stage he has di- since his youth, but until 1965 none of rected Kafka’s Der Prozeß (The Trial, 1989), his workplaces were connected to his Ladislav Klíma’s drama Lidská tragikomedie writing or translating activities. Between (Human Tragicomedy, (1991) and 1965–90 he worked as a freelance writer Dostoyevsky’s Idiot (The Idiot, 1993). and translator, and since 1990 he has been the President of the Hungarian Re- Gómez, José Luis (1940–) Actor and di- public. His play Magyar Médea (Hungarian rector, Spain. He attended the Institute Medea), dedicated to and first performed Dramático of Westfalia and later studied by the late actress Mari Szemes, has been with Lecoq, Grotowski, and Strasberg. translated into several languages and also After working in Germany as an actor, he performed abroad. The world premiere went back to Madrid and in the early of his play Bars was held in Timisoara 1970s directed Kafka’s Bericht an eine (Romania) at the Csiky Gergely Theatre Akademie (Report to an Academy) and in 1992. (The play was translated into Büchner’s Woyzeck. Between 1979–81 he Spanish in 1995). His play Kö a kövön was co-director (with Nuria ESPERT and (Stone upon Stone) was performed at the José Támayo) of the Centro Dramático Budapest National Theatre, and the Nacional. His inaugural production as ar- Pisszimista komédia (Pessimistic Comedy) at the tistic director of the Teatro Español of Merlin Theatre. Six of his plays were Calderón’s La vida es sueño (Life is a Dream) published in 1990 under the title Mérleg was perceived as one of the theatrical high- (Balance). His plays seek answers to the lights of the year. He revived it at the Paris most important dilemmas of his own gen- Odéon-Théâtre de l’Europe in 1992. Dur- eration. As he puts it, he builds up a ing the 1980s he also enjoyed a conspicu- ‘crystal-net’ for himself and his contem- ous success with a revisionist much ac- poraries in the fluidity of the age. claimed Civil War comedy ¡Ay, Carmela! (1986) by José SANCHÍS SINISTERRA, Goldflam, Arnošt (1946–) Dramatist, di- later made into a film by Carlos Saura. rector and actor, Czech Republic. During the 1990s he has gone on to found Goldflam studied directing at the Brno the Teatro de la Abadía in Madrid. Both Academy of Performing Arts. Since 1978, a theatre and theatre school, its produc- he has worked as a resident director (and tions have offered audiences imaginative actor) in the experimental Hanácké thea- interpretations of key Spanish plays. As an tre in Prostejov (now the HaDiO theatre actor, he has worked with a range of film in Brno), where he presented a number and theatre directors including José Carlos

103 Gosch, Jürgen Gow, Michael

PLAZA, for whom he took the title role University of Uppsala and trained at the in a contentious production of Hamlet Drama School in Gothenburg. In the (1989), Carlos Saura, Ricardo Franco and 1970s he contributed to a revival of Swed- Pilar Miró. ish children’s theatre. In his plays he uses the imagination, freedom of form and Gosch, Jürgen (1943–) Director and ac- story-telling techniques. Titles include En tor, Germany. Gosch trained at the Natt in Februari (One Night in February), Den Schauspielschule in East Berlin (1962–4). Gråtande Polisen (The Crying Policeman) and Between 1965–79 he worked as an actor En Uppstoppad Hund (A Stuffed Dog). Al- and director with various GDR theatres. though anchored in reality, Göthe would Jürgen FLIMM invited him to join the never write in a purely realistic style, pre- Schauspielhaus in Köln as director be- ferring to use all the theatre’s devices and tween 1981–5. He also worked at the instruments at his disposal. Thalia Theater in Hamburg in Flimm’s first season as artistic director there. Be- Gotscheff, Dimiter (1943–) Director, Bul- tween 1988–90 Gosch, many of whose garia and Germany. Born in Bulgaria, productions have been associated with Gotscheff worked as a student of and as- great rituals, was co-artistic director of the sistant to director Benno Besson. In 1979 Schaubühne am Lehniner Platz in Berlin. he returned to Bulgaria, where he estab- He directed Beckett’s Endgame in Bochum lished his reputation as a director in 1983 (1991) and Chekhov’s Djadja Vanja (Uncle with a production of Heiner Müller’s Vanya) in Frankfurt (1992). Since 1993 he Philoktet. Since 1986 he has worked mainly has been a director with the Deutsches in Germany, in Köln and Düsseldorf. Theater in Berlin, where productions in- Gotscheff’s productions, which include clude Kleist’s Amphitryon (1993, with Dan- Strindberg’s Fröken Julie (Miss Julie, 1991), iel MORGENROTH), As You Like It and Klaus POHL’S Die schöne Fremde (The (1996), Beckett’s Waiting for Godot (1996), Beautiful Stranger, 1992), ‘show the state of A Midsummer Night’s Dream (1997), Peter our civilization through passions and tell HANDKE’S Zurüstungen für die us about the beauty and the pain of the Unsterblichkeit (Preparing for Immortality, 1997) body’. More recent productions include and Schiller’s Die Jungfrau von Orleans (The Lorca’s Dona Rosita and Walser’s Die Virgin of Orleans, 1998). Zimmerschlacht (The Battle in the Room) in Bochum (1996), Texte by Heiner Müller in Gotanda, Philip Kan (1950–) Dramatist Düsseldorf (1996), Müller’s Germania 3 and director, USA. As a third-generation Gespenster am toten Mann (Germania 3 Ghosts Japanese American, Gotanda is the lead- at the Dead Man) in Hamburg (1997), ing Asian American dramatist. All his PINTER’S Ashes to Ashes (1998, Bochum), plays deal with diaspora experience in the and King Lear (1999, Hamburg, with Josef USA. Song for a Nisei Fisherman (1980) and Bierbichler in the title role). The Wash (1987) have been characterized as lyrical and naturalistic, whereas Yankee Gow, Michael (1955–) Dramatist, actor Dawg You Die (1987) is more satirical, and and director, Australia. Gow’s most popu- Fish Head Soup (1991) is surreal. ‘His best lar play Away has been an international work conveys the Asian-American milieu success. Gow has great energy for and with a directness and compassion that dedication to promoting Australian work render it universal.’ overseas. Sweet Phoebe (1995) about the breakdown of a yuppie couple’s relation- Göthe, Staffan (1944–) Dramatist, actor ship, played in London and South Africa and director, Sweden. Göthe studied at the as well as Australia. Gow has also worked

104 Graber, Yossi Gravina, Carla a great deal with young people. The Kid Britain and Europe. Since 1991 she has (1986) is a dark comedy that deals with been a freelance designer. Amongst ad- nightmare crises involving young people, mired work, for both design and cos- and All Stops Out was written for young tumes, are Chekhov’s Wild Honey (1985) people dealing with pressure over exami- at the Mercury, and Brian FRIEL’S Danc- nations. Gow’s plays often deal with fami- ing at Lughnasa (1995) and Tom lies and generational conflict, with crises STOPPARD’S Arcadia (1997), both for in sexuality and with cultural colonization; the Auckland Theatre Company. She has the latter reaches its most explicit state- acknowledged the influence in her work ment in Europe, a parable of the theatrical of Josef svo-BODA and Frank Lloyd relations between old Europe and young Wright. Her most celebrated success has Australia. Furious centres around a gay been in operatic design both in New Zea- playwright trying to come to terms with land and Australia. In 1997 she gained a his family history and with criticism of his Bachelor of Spatial Design degree from work. Gow is an associate director with the Auckland Institute of Technology. the Sydney Theatre Company and has described himself as ‘the champion of the Grashof, Christian (1943–) Actor, Ger- no-interval play’. many. Grashof trained for the stage at the Staatliche Schauspielschule in East Berlin. Graber, Yossi (1933–) Actor, Israel. After three years in Karl-MarxStadt Graber trained at the Royal Academy of (Chemnitz), he joined the Deutsches Dramatic Art, London. After several years Theater in Berlin in 1970 where he has in South Africa and England where he remained since, apart from guest appear- mainly played roles as a foreigner, his ca- ances at Jürgen FLIMM’S Thalia Theater reer led him to the Haifa municipal thea- in Hamburg and two seasons (1990–2) at tre and later to the Cameri Tel Aviv mu- the Schiller Theater in Berlin. His career nicipal theatre, with numerous major roles is closely associated with director Alexan- like the King (in The King and I), Harpagon der LANG, whose main protagonists he in Molière’s L’avare (The Miser), the Priest has played, including Danton and in Brecht’s Mutter Courage und ihre Kinder Robespierre in Büchner’s Danton’s Tod (Mother Courage and her Children) and Shy- (Danton’s Death, 1981). More recent lock in The Merchant of Venice. Graber has productons include Chekhov’s Djadja also created numerous productions for Vanja (Uncle Vanya, 1995, where he played children, played on television as well as in the title role), Beckett’s Waiting for Godot the puppet theatre, together with Arik (1996) and Rosmer in Ibsen’s Rosmersholm. Smith, and has played in both Israeli and He excels in playing unhappy lovers, or foreign films. vain, self-centred windbags with a nervous presence which, however, can be Grant, Tracy (1961–) Designer, New threatened on occasion by crude manner- Zealand. Grant began work as a window isms. dresser before becoming stage manager at Centrepoint Theatre, Palmerston Gravina, Carla (1941–) Actor, Italy. North, in 1981–2. She then moved into Carla Gravina’s career started in the film design, training and establishing herself industry in the mid-1950s when she ap- in her profession at the Mercury Theatre, peared in films such as Martin Ritt’s Auckland, where she became head of de- Jovanka e le altre (Five Branded Women, sign and, in 1987, associate director. In 1960), Nanni Loy’s Un giorno da leone (A that year, a travelling fellowship enabled Day as a Lion, 1961), Gianni Puccini’s I her to study theatre design in America, sette fratelli Cervi (The Seven Brothers Cervi,

105 Gray, Simon Greenwood, Jane

1968) and, more recently, Ettore Scola’s peer. Gray has the mesmerizing ability to La terrazza (The Terrace, 1980) and transport his audience into his own par- Margarethe von Trotta’s Il lung silenzio ticular world and allow them to find some (The Long Silence, 1993). In the theatre, part of themselves there. she attained national fame in Romeo and Juliet (1960), Peter Weiss’s Marat/Sade Greene, Graham (1952–) Actor, (1967) and Luigi Pirandello’s Come tu mi Canada. Greene was born on the Six Na- vuoi (As You Desire Me, 1985). Gravina, tions Reserve near Brantford, Ontario. In who is also very active in politics and was the 1980s Greene played several roles at a member of parliament between 1980–3, Théâtre Passe Muraille, including the is one of Italy’s most popular actors. Her Crow in Linda GRIFFITH’S Jessica. In performance skills are versatile, charac- 1989, he won a Dora Mavor Moore terized by a bold and eclectic capacity to Award for best actor as Pierre St Pierre in reinvent herself both on stage and on Tomson HIGHWAY’S Dry Lips Oughta screen. Move To Kapuskasing. Major successes in film include an emotionally disturbed Gray, Simon (1926–) Dramatist, Great Lakota Vietnam veteran in the motion Britain. Gray attended Dalhousie Univer- picture PowWow Highway, Kicking Bird in sity, the University of Halifax in Nova Kevin Costner’s Dances With Wolves (for Scotia, Canada, and Trinity College, Cam- which he won an Academy Award nomi- bridge, and for many years was lecturer nation) and Arthur, a murderous native in English at Queen Mary and Westfield, activist, in the film Clearcut (1991). His University of London. Following Wise acting is distinguished by a strong physi- Child (1967), Gray had his first major suc- cal presence and a quirky sense of hu- cess with Butley, directed by Harold mour. PINTER, who has become closely associated with Gray’s work, and with Alan Greenwood, Jane (1934–) Designer, BATES in the title role. Further success- USA. Born in Britain, Greenwood ful plays were Otherwise Engaged (1975), trained at the Liverpool Art School as Close of Play (1979, National Theatre, with well as the Central School of Arts and Sir Michael Redgrave), Quartermain’s Terms Crafts in London. She began her career (1981), Melon (1987) and Hidden Laughter as a costume designer in Britain in 1957, (1990). Cell Mates (1995) was a critical suc- moving to the USA in 1963. She has de- cess on the opening night but had to close signed costumes for numerous classical quickly following the sudden departure of or contemporary plays, such as Measure the main actor. In 1997, Life Support was for Measure (1973), Chekhov’s Cajka (The directed by Harold Pinter and starred Alan Seagull, 1980), Othello (1991), HARE’S Bates. The Secret Rapture (1989), MILLER’S The Last Yankee (1993), Alfred Uhry’s The Last Gray, Spalding (1941–) Actor and Night of Ballyhoo (1997) and Augustus and dramatist, USA. Gray established himself Ruth Goetz’s The Heiress (1997, adapted initially as a traditional actor, and joined from Henry James). She has also served Richard Schechner’s Performance Group as professor of design at Yale University. in 1970. Together with Elizabeth LE Her costumes are characterized by care- COMTE and others, he founded Wooster ful attention to well-researched historical Group in New York in 1975. His series of dress that is then subtly influenced by her thirteen highly autobiographical mono- appreciation of contemporary design and logues, including Swimming to Cambodia fashion. (1984) have been highlighted as without

106 Greisch, Pol Grüber, Klaus Michael

Greisch, Pol (1930–) Dramatist and ac- (with Paul Thompson), about Pierre and tor, Luxembourg. Greisch attended the Maggie Trudeau. She appeared in many Cours de Diction et d’Art Dramatique at of Thompson’s collective creations at the Conservatoire de Luxembourg. As an Théâtre Passe Muraille, for which she also actor, he appeared in many productions wrote or co-wrote new plays. In 1996, her of the country’s companies, most notably play The Duchess was produced at Alberta as Wagner in Goethe’s Faust (1993, Theatre Projects, directed by Paul Théâtre des Capucins, directed by Frank Thompson. Although her acting work has HOFFMANN and designed by Jean been solid, in the 1990s Griffiths devoted FLAMMANG, with Luc FEIT). How- most of her attention to playwriting. ever, since his first play Äddi Charel (Good- bye, Charles, staged 1966 at the Théâtre Griffiths, Trevor (1935–) Dramatist, Municipal de Luxembourg), his major Great Britain. Called the most politically contribution to the theatre in Luxembourg literate playwright since Shaw, Griffiths has been the writing of plays whose recur- first drew attention to his plays in 1970 ring theme is the everyday tribulations of with Occupations, staged by the Royal so-called normal people, spiked with as- Shakespeare Company. Comedians (1975) tute and comical observations on paro- deals with the social and class implications chial pre-occupations. Published widely, of comedy, and starred Laurence Olivier, he is also a novelist and poet, writing in as did The Party at the National Theatre in three languages. 1973. This was a penetrating study of the impotence of the left, providing a critique Griem, Helmut (1932–) Actor and direc- from the inside. The form of the play strik- tor, Germany. Griem has acted with the ingly mirrors the contents: rather than main theatres in Hamburg, Köln, Munich ending in a structural climax, the play and Berlin, in addition to an international winds down and tails off, just as the en- film career. He is currently a member of deavours of the characters portrayed. In Münchner Kammerspiele, where he has 1992 Griffiths took up the Gulf War from added directing to his credits (Orton’s En- the Arab perspective in The Gulf Between tertaining Mr Sloane, Synge’s The Playboy of Us. the Western World and Klaus POHL’S Die Schöne Fremde (The Beautiful Stranger)). Grüber, Klaus Michael (1941–) Director, ‘When choosing texts to direct, he has a Germany. After studies at drama school decided preference for well-made plays. in Stuttgart, Grüber was an assistant stage He sees no problems as a director work- manager with Giorgio Strehler. From ing with the actors at the Kammerspiele, 1969–73 he worked in Bremen, achieving because they have known each other from major acclaim for his production of The other theatres and all appreciate working Tempest. Since 1973 he has been associated together.’ mainly with the Schaübuhne in Berlin, with guest work in Bremen, Stuttgart and Griffiths, Linda (1953–) Actor and Frankfurt. Major achievements include the dramatist, Canada. She trained at the Na- productions of Kleist’s Penthesilea (1970), tional Theatre School, and developed an Pirandello’s Sei personaggi in cerca d’autore early association with 25th Street Theatre (Six Characters in Search of an Author, 1981), in Saskatoon, where she co-wrote OD in Büchner’s Danton’s Tod (Danton’s Death, Paradise (1983) and Jessica (1984, winner of 1989), Hamlet (1981, with Bruno Ganz, Dora and Chalmers awards). Her break- Jutta LAMPE and Edith CLEVER), through came with the one-woman show Kleist’s Amphitryon (1991, starring Otto Maggie and Pierre, which she also co-wrote SANDER, Jutta LAMPE and Imogen

107 Gryegorzewski, Jerzy Gudzuhn, Jörg

Kogge) and Goethe’s Iphigenie (1998). perform it so perfectly that no one sus- ‘Grüber is an expert at working the magic pected his being an upstart dramatizes the of dreamlike scenarios, or inventing vi- artificiality of social distinction. sions of the dark sides of life.’ Guarnieri, Anna Maria (1934–) Actor, Gryegorzewski, Jerzy (1939–) Director Italy. After training at the Teatro Piccolo and designer, Poland. Gryegorzewski in Milan, Anna Maria Guarnieri made her trained at the Fine Arts Academy of Lódz theatrical début in 1954. Between 1955– and the State Theatre Academy of War- 63 she worked at the Compagnia dei saw. Until 1973 he worked in Lódz, Giovani with Rossella FALK and Romolo where he made his debut with Brecht’s Valli. After 1964 she was directed mainly Der Kaukasische Kreidekreis (The Caucasian by Mario MISSIROLI, for whom she in- Chalk Circle). From 1973–5 he worked terpreted some memorable female roles in closely with Teatr Ateneum in Warsaw, plays such as Luigi Pirandello’s I giganti and between 1975–81 with Teatr Polski in della montagna (The Mountain Giants, 1980), Wroclaw. Since 1973 he has also worked Carlo Goldoni’s Trilogia della villeggiatura at Stary Teatr in Cracow, and since 1982 (The Holiday Trilogy, 1981), Antony and Cleo- he has been the director of Teatr Studio patra (1982). She also appeared in in Warsaw. Main theatre credits include Pirandello’s La ragione degli altri (The Rea- Wyspianski’s Wesele (The Wedding), son of Others, 1998) directed by Massimo Chekhov’s Djadja Vanja (Uncle Vanya) and CASTRI. Guarnieri has time and again Cajka (The Seagull), Ten Portraits with the enchanted her audiences by offering loyal Seagull in the Background, based on and evocative interpretations of classical Chekhov’s Cajka, The Death of Ivan Ilyich female roles. after Tolstoi, Love Unspoken, Face Unbroken on motifs of the operetta by Léhar and Gudzuhn, Jörg (1945–) Actor, Germany. Kálmán, and La Bohème after Wyspianski. Gudzuhn trained at the Staatliche His productions are often variations or Schauspielschule in East Berlin. After sea- improvisations based on literary text, and sons in Karl-Marx-Stadt (Chemnitz) and the text is usually dominated by the Potsdam, he worked with the Maxim visual aspect. The combination of visual Gorky Theater in East Berlin (1976–87). elements, sound and movement create a In 1987 he joined the Deutsches Theater dream-like atmosphere. Gryegorzewski in Berlin. Carried by his strong physical often designs sets for his productions. presence and charisma, he appears able to bring to life both classical and contem- Guare, John (1938–) Dramatist, USA. porary characters with effortless indo- Guare obtained an MFA from Yale Uni- lence. Major parts include Adam in versity School of Drama. His work ‘is Kleist’s Der Zerbrochene Krug (The Broken characterized by frank theatricality, lyrical Jug, 1990, directed by Thomas quality, autobiographical base, and satiric LANGHOFF), Leicester in Schiller’s vivacity’. Major plays include The House of Maria Stuart (1991), Valmont in Heiner Blue Leaves, The Landscape of the Body and Müller’s Quartett (1991), the title role in Six Degrees of Separation, his most success- Klaus POHL’S Karate Billy kehrt zurück ful play to date, in which a young black (Karata Billy Returns, 1992, directed by Al- man storms into a Fifth Avenue apartment exander LANG), the title role in Othello pretending to be a movie star’s son and (1998, directed by Lang) and the teacher promising his upper-crust hosts bit parts in Dürrenmatt’s Der Besuch der Alten Dame in a movie. The fact that this con artist (The Visit, 1999, directed by Thomas could learn his new role so quickly and Langhoff).

108 Gürzap, Arsen Gurevitz, Miki

Gürzap, Arsen (1946–) Actor and direc- learning programme at the School of Jour- tor, Turkey. Arsen Gürzap graduated in nalism, People’s University, and a career 1967 from the theatre department of the in journalism with Beijing Evening News, Anakara State Conservatory with the high- Guo wrote Niao Ren (The Bird Master), Qi est grade. She even started acting at the Ren (The Go Master) and Yu Ren (The An- state theatres while she was a senior stu- gling Master). The three works were pre- dent at the theatre department, thus be- sented by Beijing People’s Art Theatre and coming the first student actor ever to ap- directed by LIN Zhao Hua between pear on the Turkish state theatre stage. In 1993–7. They form his ‘men of leisure’ tril- 1978 she joined Istanbul State Theatre and ogy, in which he seeks to show the de- in 1986 Istanbul City Theatre. In addition, structive powers of obsessions. The she has taught phonetics and acting. Arsen dramatist explains that they embody the Gürzap is a dignified actor who has ex- spirit of Zen and that they offer ‘unex- celled in powerfully demanding parts, por- pected readings of human existence’. His traying successfully the internal conflict of most recent work is Huai Hua Yi Tiao Jie characters who strive to maintain their in- (A Street of Obscenities), which was brought tegrity. She has acted in famous plays such to stage by Jin Hui Meng in The Central as MILLER’S Crucible, Pirandello’s Sei Experimental Theatre in 1998. personaggi in cerca d’autore (Six Characters in Search of an Author), Osborne’s Look Back in Guretzki, Miriam (1954–) University, Anger, Ibsen’s Hedda Gabler and Molière’s where she later took up a teaching position Le misanthrope (The Misanthropist). Her di- while at the same time remaining active as recting credits include Harwood’s The a designer. She has worked in most of the Dresser and MILLER’S Orchestra. She re- Israeli theatres as well as for the Polish stage. ceived the best actor award from Ankara Among her more noteworthy productions Arts Lovers Association, Arts Institution, are Ochlim (Eating) by Aharon Shabtai at the and took part in various television theatre Jerusalem Khan Theatre in 1979 (directed programmes. by RONEN), Chekhov’s Cajka (The Seagull, 1984) at the Be’er Sheva Municipal Thea- Gunter, John (1928–) Designer, Great tre (directed by SNIR) and Middleton’s The Britain. Gunter trained at the Central Changeling (also Be’er Sheva, 1994, directed School of Art and Design. After initially by the American director Robert Woodrop). working in regional theatres and in Eu- Guretzki has made an interesting contribu- rope, he became resident designer at the tion to a postmodern, fragmentary stage Royal Shakespeare Company in 1966. He space, which develops dynamically is one of the leading designers in Britain, throughout the performance. She has also working in theatre and opera with emi- applied this approach in productions of re- nent directors such as Peter HALL alistic plays, as in Ibsen’s Hedda Gabler pro- (SHAFFER’S The Gift of the Gorgon, RSC, duced at the Haifa Municipal Theatre in 1992; Piaf, West End, 1993; Julius Caesar, 1993. RSC, 1995; and in Peter Hall’s company at the Old Vic and the Picadilly Theatre) Gurevitz, Miki (1951–) Director, Israel. and Richard EYRE (High Society, West Gurevitz trained as an actor at the Nissan End, 1987; Hamlet, National Theatre, Nativ Studio in Tel Aviv where he also 1989; Skylight, by David HARE, Royal started to direct his fellow students and has National Theare, 1996). taught in this school for several years. Gurevitz is known for his ability to inspire Guo Shi Xing (1952–) Dramatist, China. young actors and his inventive use of the Following the completion of a distance stage, often creating unexpected effects. He

109 Gurr, Michael Gutierrez, Gerald has directed many classics (Macbeth, Much South Australian Theatre Company, Ad- Ado About Nothing, A Midsummer Night’s elaide for many years. He has also de- Dream) as well as Israeli plays and satirical signed several premiere productions of productions at most of Israel’s major thea- plays by David WILLIAMSON, working tres. He has also written a number of plays with director Rodney FISHER In 1991 which he has directed himself. he designed a high-tech set for Simon PHILLIPS’S modern dress production of Gurr, Michael (1961–) Dramatist, Aus- Julius Caesar in Adelaide, a production tralia. Gurr’s early training was via Na- which featured a female Mark Antony and tional Theatre Drama School workshops Casca; Phillips subsequently revived this (1972–6). As a young playwright in resi- production with Robyn NEVIN as Mark dence at the Melbourne Theatre Com- Antony in Melbourne and Brisbane. pany in 1982, Gurr saw several of his plays produced or presented as rehearsed Gutierrez, Gerald (1952–) Director, readings, including A Pair of Claws (1983), dramatist and actor, USA. Gutierrez at- Magnetic North (1983) and Dead to the World tended Juillard School of Music and (1986). Gurr’s early plays often contained Drama. In 1977 he directed MAMET’S an absurd element, but his later plays use A Life in the Theatre, and other credits in- almost filmic realism and feature very clude Much Ado About Nothing (1986), Emily short elliptical scenes. These later plays by Stephen Metcalf and the musical The also contain a strong moral element, the Most Happy Fellow (1991). His 1994 produc- favourite targets being moral corruption tion of Augustus and Ruth Goetz’s The in politics, diplomacy, journalism and do- Heiress drew rave notices and won a gooding; for example Sex Diary of an Infi- Drama Desk Award for Best Direction. del (1992) deals in the multi-layered cor- His style is traditional, but he is very ac- ruption exposed when an award-winning complished in a wide variety of theatrical Australian journalist sets out to write forms. about sex tours to the Philippines. Under- wear, Crash Helmet and Perfume (1994) has Gwon Seong-Deok (1940–) Actor, Korea. an election campaign in its background. Gwon trained at Joong-Ang University. Jerusalem (1996) questions the impact and Having spent seven years at Gagyo, motives of characters crusading to make Gwangjang, Jayoo Theatre Company, the world a better place. Gwon joined the Korean National Thea- tre in 1972 and became the President of Gurton, Shaun (1948–) Designer, actor the company in 1992. He performed as and director Australia. Gurton’s work Peter in ALBEE’S Zoo Story (1965, 1970), ranges across many areas of theatre but the title role in Dürrenmatt’s Romulus der he is best known for his theatre design. Große (Romulus the Great, 1970 and 1978), Gurton has also worked in multimedia: at OH Tae-Seok’s Hanmanseon (Korea-Manchu- the St Martin’s Arts Centre, Melbourne ria-A Ship, 1982), Leader of the Troops in he set up a multimedia arts complex spe- LEE Kang-Baek’s Biong Saong (1986, di- cifically aimed at young people, and at the rected by LEE Sung-Gyu), Cheon Sang- World Expo in Brisbane (1988) Gurton Byeong in Gwicheon (Back to Heaven, 1992) designed the Rainbow Serpent Theatre and the Doctor in Ariel Dorfman’s Death multimedia performance based on Abo- and the Maiden (1998, directed by SOHN riginal legend. Gurton assisted on the de- Jin-Chaek). Gwon has the talent to per- sign of Evita in London, and then super- form the role of the ordinary person and vised the Australian production. He was to create strong characters by using differ- Associate Director and designer for the ent minor actions.

110 H

Haavikko, Paavo Juhani (1931–) man cruelty cannot be shed, and that eve- Dramatist and poet, Finland. Haavikko rything repeats itself. has written plays for the theatre, for radio and for television, as well as opera libret- Hacks, Peter (1928–) Dramatist, Ger- tos, poems, aphorisms, novels, short sto- many. Hacks studied philosophy, sociol- ries and historical texts. His plays include ogy, German and drama in Munich, ob- Ylilääkäri (The Superintendent, 1968), Audun taining his doctorate in 1951. In 1955 he ja jääkärhu (Audun and the Polar Bear, 1967), emigrated to East Berlin, joined Brecht’s Agricola ja kettu (Agricola and the Fox), Berliner Ensemble from 1960–3, and has Ratsumies (The Horseman, 1974, play and li- been a freelance dramatist since. He chose bretto), Rauta-aika (Iron Age, 1982, a play the servility and automatic obedience of for television), Kullervon tarina (Kullervo’s the Prussian tradition as primary targets Story, 1982), Englantilainen tarina (An Eng- for his historical comedy Die Schlacht bei lish Story, 1990), Anastasia ja minä (Anastasia Lobositz (The Battle of Lobositz, 1957). In the and I, 1995, Winner of the Nordic Drama 1960s, together with the late Heiner Award 1996) and Airo ja Brita (Airo and Müller, he set new standards for dealing Brita, 1998). Haavikko examines the hu- with inherent contradictions of socialist so- man condition, different kinds of people’s ciety. History is also dominant for Hacks’s contacts with others in changing circum- later writing. In the 1970s, for example, stances; the study is extended by means two of his plays proved particularly popu- of anachronism from individual events to lar: Das Jahrmarktsfest zu Plundersweilen (The the general. He further studies the whole Market Festival at Plundersweilen) and Ein of human history from the remote past to Gespräch im Hause Stein über den abwesenden events foreshadowing the final entropy. Herrn von Goethe (A Conversation at the Stein Haavikko analyses old and new gods, re- Residence about absent Mr von Goethe). In his ligions and ideologies, the roles of man plays he tries to combine classicism and and woman, rules, subjects, rogues both the everyday. great and small, rich and poor, humanists, psychiatrists, family histories, sol- Hadjisawas, Minas (1948–) Actor, diers and civilians of various ranks; Greece. Trained at the National School of sometimes the dead rise to speak from Dramatic Arts, Athens, as well as with beyond the grave. As a result of such ex- René Simon, Paris, Hadjisawas has amining, Haavikko concludes that hu- worked mainly for the National Theatre

111 Hadlow, Mark Hall, Peter of Greece, the Art Theatre of Karolus the Katona József Theatre (Kamra): each Koun, and the Open Theatre of Yiorgos evening for a month, he and members of Michailidis, and played a number the company chose an article of the daily of leading roles in plays by Aeschylus newspapers and created-improvised one- (Agamemnon in the Oresteia), Sophocles, off performances, based on the events of Euripides, Aristophanes, Shakespeare the day. Major works include Testvérballada (Hamlet, Oberon), Chekhov (Vershinin, (Brother Ballad), A skanzen gyilkosai (Killers of Platonov), Wedekind, Beckett (Willy in the Skanzen), Andy Warhol utolsó szerelme (The Happy Days) and Brecht (Azdak in Der Last Love of Andy Warhol), Mr Dead and Mrs Kaukasische Kreidekreis (The Caucasian Chalk Free, A kínai (The Chinese), Önbizalom Circle)). (Ambitionu), Sanyi és Aranka (Sanyi and Aranka) and Pillanatragasztó (Instant Glue). Hadlow, Mark (1957–) Actor, New Zea- Altogether, Péter Halász is one of the most land. Hadlow trained at the Theatre Cor- unique representatives of Hungarian porate Drama School, Auckland, and a avant-garde theatre. year later joined the Mercury Theatre Company there. He established his claim Hall, Peter (1930–) Director and actor, to be one of the country’s finest comic tal- Great Britain. Hall began acting and di- ents at the Court Theatre in Christchurch, recting while a student at Cambridge where by 1993 he had already appeared University. His position as a first-rate di- in some twenty-five roles, notably Toad in rector was established when he directed Kenneth Grahame’s Wind in the Willows the first British production of Beckett’s and Babs in Brandon Thomas’s Charley’s Waiting for Godot in 1955 (revived with Aunt. In 1992, under Colin MCCOLL’S Ben KINGSLEY in the cast, in 1997). In direction, he made Tobsha Learner’s Sen- 1960 he was appointed director of the sitive New Age Guy his own, appearing to Shakespeare Memorial Theatre, Strat- acclaim throughout New Zealand and at ford-upon-Avon, where he founded the the 1996 Edinburgh Festival. His comic Royal Shakespeare Company (RSC) later roles of Grumio in The Taming of the Shrew, that year. Hall developed a specific style Riff Raff in Richard O’Brien’s The Rocky of playing Shakespeare which he called Horror Show and Herod in the New Zea- selective naturalism, characterized by land tour of Tim Rice and Andrew Lloyd close attention to the text and a balance Webber’s Jesus Christ Superstar have also between intellectual and emotional ap- been critically esteemed. In 1995 he was peal. Among his productions with the named Entertainer of the Year. RSC, The War of the Roses (1964) was perhaps most memorable. He left the RSC Halász, Péter (1943–) Actor, director and in 1968, and, enjoying power and theatre writer, Hungary. Between 1962–6 Halász management, took over from Lord was a member of the Universitas Ensem- Olivier as director of the National Thea- ble, and in 1969 he organized the Kassák tre (1973–88). Major productions include House Studio, which was later banned SHAFFER’S Amadeus (1979, with Paul and operated from 1972 in a private home. SCOFIELD, Simon CALLOW and Fe- In 1976 he left the country with several licity KENDAL in the cast) and members of the ensemble; they settled Aeschylus’s Oresteia (1981), which toured first in Paris, and then in 1977 founded to Greece. Since then he has worked with the Squat Theatre in the United States. his own commercial production com- Since 1992 Halász has been working again pany, taking residence at the Old Vic in in Hungary. In the 1994/95 season he or- London in 1997 and at the Piccadilly ganized a unique project at the studio of Theatre in 1998. Hall has also directed

112 Hall, Roger Han Myung-Gu opera and film. His productions are the- His stage version of Les Liaisons Dangereuses atrical, meticulous and inspired. (Royal Shakespeare Company, 1986, with Alan RICKMAN and Juliet Stevenson, di- Hall, Roger (1939–) Dramatist, New Zea- rected by Howard Davies) was a major land. After immigrating from England, success and served as the basis of two dif- Hall trained as a teacher and studied at ferent film adaptations. Victoria University of Wellington, at the same time beginning to write sketches for Han Sheng (1960–) Designer, China. student and professional revues. His first Han received an MA in stage design from full-length play Glide Time (Circa Theatre, the Shanghai Academy of Drama (1988), Wellington, 1976) helped establish a new where he is now associate professor of wave of indigenous playwriting. This, stage design. His main works include de- along with his second play, Middle Age signs for Ma Zhong Jun’s Da Qiao (The Big Spread (Circa, 1977), which also broke Bridge, 1991), Twelfth Night (1986), SHA Ye New Zealand attendance records and ran Xin’s Christ, Confucius and John Lennon for over a year in London, winning the (1988), Cao Lu Sheng’s Bai Niang Niang Comedy of the Year award there in 1979, (Lady White Snake, 1990), Wei Ming Lun’s have proved his most successful works. He Zhong Guo Gong Zhu Du Lan Duo (Chinese has continued to write a play a year since, Princess Turandot, 1995), Yang Bao Chen’s seldom unsuccessfully; examples include Beijing Wang Bei Shi Bei Da Huang (To the The Share Club (1987), Conjugal Rites (1989) North of Beijing Lies the Big Wilderness, 1995) and Social Climbers (1995). He often and Zhao Yao Min’s Ge Xing Yu Xing Xing chooses topical issues to satirize, but is at (The Gorilla and the Pop Star, 1998). He his best when he undercuts his complacent works towards a smooth and unobtrusive yet dissatisfied middle-class characters integration of set and stage action. with a degree of warmth and sympathy. Han Myung-Gu (1960–) Actor, Korea. Hampton, Christopher (1946–) Drama- Han trained at the Seoul Institute of Arts tist, Great Britain. It is not easy to pigeon- and soon afterwards joined the Mokhwa hole Hampton’s dramatic output, which Repertory Company in 1984 as one of its is characterized by a variety of themes, founder members. In many of his works subjects and styles. His early career is as- he was closely involved with OH Tae- sociated with the Royal Court Theatre, Seok, the head of the company. Han where The Philanthropist was staged in 1970 played Son in Choonpoongeui Cheo and Savages in 1973. The National Thea- (Choonpoong’s Wife, 1986), Lee-Gae in Ta e tre produced Tales from Hollywood, a play (The Navel Cord, 1986), Officer Yoon in about European war exiles in 1940s Hol- Jajeongeo (Bicycle, 1987), and acted the title lywood (1982), and White Chameleon, a role in Boojayoochin (The Struggle between King strongly autobiographical play (1991, di- and the Crown Prince as a Father and Son, rected by Richard EYRE). Apart from 1987), the Shipowner in Simcheonginun Wae original plays, Hampton has written sev- Indangsooe Doobeon Momul Deonjeotnunga? eral ‘new versions’ of plays, such as (Why did Shimcheong throw herself into the Ibsen’s Hedda Gabler for the National Indangsoo Sea twice? 1990), Kitahara in Theatre (1989, with Juliet STEVENSON, Doraji (Ballon Flower, 1992) and the Crown directed by Howard DAVIES) and Ibsen’s Prince of the Baekje Kingdom in En Folkefiende (An Enemy of the Poeple, 1997, Baekmagang Dalbame (Moonlight of the River Royal National Theatre, directed by Baekma, 1993), which were written and Trevor NUNN, designed by John directed by Oh Tae-Seok. He sometimes NAPIER and starring Ian MCKELLEN). acted for other companies, playing Lee

113 Hands, Terry Harcourt, Kate

Gang-Gook in Jeong Bok-Gun’s Na Kim Powszechny, 1988), Ibsen’s Peer Gynt (Teatr Soo-Im (Me, Kim Soo-Im, 1997), and Jang Studio, Warsaw, 1991), Dom Juan by Woo-Je’s Mokpoeui Noonmool (Tears of Mokpo Molière (Comédie de St.Etienne, France, City, 1998). Han has the unique talent to 1994, and Teatr Studio, Warsaw, 1996), express the theatricality of primitive per- and La Bohème after Wyspianski (Teatr Stu- formances using a modern method. He dio, Warsaw, 1995). Working mostly with was awarded the Dong-A Theatre Prize Grotowski and devoted to his poetics, she for best actor in 1992 and 1997. designs costumes operating numerous cultural and historical quotations, non-natu- Hands, Terry (1941–) Director, Great ralistic, both conceptual and literary as Britain. Hands founded the Everyman well as visual. Theatre in Liverpool in 1964. In 1966 he joined the Royal Shakespeare Company Hannah, Dorita (1961–) Designer, New as artistic director of the touring section. Zealand. Hannah has an Honours degree From 1967–1977 he was associate direc- in architecture from Auckland University tor, and from 1978–1991 joint artistic di- and lectures in architecture at Victoria rector (with Trevor NUNN) of the RSC. University of Wellington, but she also Among many productions of Shakespeare, trained in production design as a resident a series of productions of all the history designer at the Mercury Theatre, Auck- plays, with Alan Howard playing the re- land, in 1985, and has since 1991 been spective Kings, was striking because of the regularly involved in set and costume de- geometrical formations of the characters sign in Auckland and Wellington. She has on the stage, emphasized by symbolical particularly enjoyed working on new patterns of spotlights. In addition, Hands plays, and since 1994 has made a name in directed Peter Nichols’s Poppy (1982), Pe- bi-cultural productions. Her design for ter Barnes’s Red Noses (1986), Chekhov’s Nga Tangata Toa by Hone KOUKA (Taki Cajka (The Seagull, 1991) and Marlowe’s Rua Theatre, Wellington, 1994) was Tatnburlaine (1993). Since 1997 he has been widely recognized, being chosen for the director of Theatr Clwyd in Mold, Wales, 1995 Prague Quadrennial, and she won where productions include an award for design for Dürrenmatt’s Der AYCKBOURN’S The Norman Conquests Besuch der alten Dame (The Visit, Downstage (1998) and Twelfth Night (1999). A 1996 Theatre, Wellington, 1996). She has also mini-profile of Hands in the Guardian worked on the design or re-development reads: ‘At heart, a European populist in the of theatre buildings in England and New tradition of Jean Vilar. At his best…a great Zealand. animator of a text…. His contribution to the RSC—where he was the first really to Harcourt, Kate (1927–) Actor, New Zea- give women directors their head—has been land. Harcourt trained as a singer at the underrated and his productions have al- Melbourne University Conservatorium ways looked astonishing.’ and the Joan Cross Opera School, Lon- don, but it was only in her fifties, after Hanicka, Barbara Maria (1952–) De- extensive work on children’s radio pro- signer, Poland. Hanicka graduated from grammes, that she developed a name for the Academy of Fine Arts in Cracow. Im- her roles as an older family mother. Nota- portant productions include Brecht’s Die ble examples have been parts in the Dreigroschenoper (The Threepenny Opera, Teatr premières of Roger HALL’S Prisoners of Studio, Warsaw, 1986), Ronald Mother England (1979) and RENÉE’S Harwood’s The Dresser (Teatr Powszechny, Wednesday to Come (1984), and in Lorca’s Warsaw, 1986), Euripides’s Medeia (Teatr La casa de Bernarda Alba (The House of

114 Harcourt, Miranda Harifai, Zahirira

Bernarda Alba, 1989), all at the Downstage, worked with many other theatre directors, Wellington. Though generally found in appearing as Horgauer in Brecht’s Baal subordinate roles, she has an ambient (1975, directed by André Engel), and warmth that endears her to her audiences. Tardiveau in Labiche’s Chapeau de paille She has also appeared in television drama d’Italie (The Italian Straw Hat, 1997, directed and films. by Georges Lavaudant). He worked with the Polish movie director Andrej WAJDA Harcourt, Miranda (1962–) Actor, New on the film Danton in 1977. Zealand. After training at the New Zea- land Drama School, Harcourt began her Hare, David (1947–) Dramatist, Great career at the Fortune Theatre, Dunedin, Britain. Hare was the Royal Court’s liter- where she presented Leah Poulter’s solo ary manager from 1969–70, and resident piece about a prostitute, Kaz: A Working dramatist from 1970–71. Successful plays Girl (1985), and learnt sign language for include Slag at the Royal Court (1970), the part of Sarah Norman in Mark Brassneck, written together with Howard Medoff’s Children of a Lesser God (1986). BRENTON (1973), and Fanshen (1975). Both productions toured, and established The National Theatre has staged many of a pattern: she has chosen work of social his plays, including Plenty (1978), The Map concern, often presented in prisons or to of the World (1983), Pravda (again with the emotionally or physically disabled, Brenton) and The Secret Rapture (1989). In work sometimes co-written and devised by the early 1990s Hare wrote a trilogy of herself, or more usually a production in plays about contemporary Britain which which she has been a driving force. In were again produced at the Royal National 1990–1 she spent a year at the Central Theatre, all directed by Richard EYRE. School of Speech and Drama, London, Racing Demon, considered the most success- studying drama therapy. With Justice De- ful, deals with the Church of England; partment sponsorship, she and William Murmuring Judges scrutinizes the legal sys- Brandt prepared Verbatim (1993), another tem in Britain, and The Absence of War takes solo piece which toured widely. She is es- a very close look at politics, showing the teemed by directors as an ‘excellent inner mechanisms of a Labour Party elec- craftsperson’ who is wholly committed, tion campaign. In writing this play, Hare and she has a striking stage presence. benefited much from having been allowed to sit in on the Labour Party’s meetings Hardy, Gérard (1935–) Actor, France. during the 1992 election campaign. Hare Hardy joined Ariane MNOUCHKINE’S continued his successes with Skylight, star- Théâtre du Soleil in 1967, where he played ring Michael GAMBON, Amy’s View in Arnold Wesker’s The Kitchen (1967), A (1997, with Judi DENCH), both at the Midsummer Night’s Dream (1968), The Clowns Royal National Theatre directed by Rich- (1969), 1789 and 1793 (1971–2). He was ard Eyre, and Via Dolorosa (1998, Royal Chevalier d’Assoucy in the film Molière, Court, directed by Stephen DALDRY). written and directed by Mnouchkine and played a brilliant Hoefgen, the title role in Harifai, Zahirira (1930–) Actor, Israel. Méphisto, The Novel of A Career by Klaus Harifai trained at the Cameri Studio, con- Mann. At the Theatre du Soleil he also tinuing as an actor at the Cameri Tel Aviv developed the notion of collective service, municipal theatre. In 1961 Harifai was which was based on Jean Vilar’s concep- among the founders of the Haifa municipal tion of public service and theatre. The goal theatre, where she played Grusha in was to attract a broader public to the thea- Brecht’s Der Kaukasische Kreidekreis (The tre, and in this he was very successful. He Caucasian Chalk Circle) and Kattrin in

115 Harris, Julie Hastert, Patrick

Brecht’s Mutter Courage und ihre Kinder designer John Senczuk for their produc- (Mother Courage and her Children), a role she tion of Williamson’s play Heretic. In box also played later at the Camei theatre. She office terms, one of Harrison’s most suc- has played leading roles in many of cessful productions has been the Mary Hanoch LEVIN’S plays as well as in sev- Morris adaptation of Morris Gleitzman’s eral Israeli films. Two Weeks with the Queen.

Harris, Julie (1925–) Actor, USA. Harris Haspari, Shmuel (1954–) Dramatist and attended Yale University School of Drama director, Israel. Haspari studied philoso- and trained at the Perry-Mansfield School phy and theatre at Tel Aviv University, of Dance and Theatre as well as at the and began his directing career in fringe Actors’ Studio. Harris has enjoyed a dis- theatre productions at the Acco festival for tinguished career on stage, in film, on tel- alternative theatre. His trilogy—Kid-dush, evision and on radio. Among her major Chametz and Shiva—deals with contempo- stage credits are Margery Pinchwife in rary Israeli families living in the shadow Wycherley’s The Country Wife (1957), Juliet of the Holocaust, confronting their reli- in Romeo and Juliet (1960), Blanche in gious and national identities. It has been Williams’s A Streetcar Named Desire (1967) one of the most successful productions on and Emily Dickinson in a one-woman the Israeli stage. Haspari directs his own show, The Belle of Amherst (first in 1976). In plays but has also directed other plays 1988 she toured the USA as Daisy in Al- such as Tony Kushner’s Angels in America. fred Uhry’s Driving Miss Daisy; in 1992–3 He has written and directed a film, Sh-chur, she toured in SHAFFER’S Lettuce and about mystical practices among Moroccan Lovage; and in 1997 she played Miss Helen Jews in Israel. in FUGARD’S The Road to Mecca and appeared in a rehearsed reading of O’Neill’s Hastert, Patrick (1959–) Actor, Luxem- A Long Day’s Journey into Night. Critics have bourg. Hastert attended the University of admired her ‘air of vulnerability and fra- the Saarland, Saarbrücken and the gility, coupled with remarkable stage tech- Conservatoire de Luxembourg, where he niques’. has taught diction and dramatic arts since 1987. Hastert is an accomplished multi-lin- Harrison, Wayne (1953–) Director and gual actor and has appeared in most ma- actor, Australia. Artistic director of the jor productions of the country, both in Sydney Theatre Company (STC) from classical and contemporary repertory. 1990–8, Harrison has steered the com- Most notably, he has portrayed Jean in pany through a difficult period financially, lonesco’s Les Rhinocéros, the Soldier in with funding cuts on the increase, and has Stravinsky’s L’Histoire du Soldat (The Sol- overseen several extremely successful sea- dier’s History), the Actor in Woody Allen’s sons. Harrison has extensive theatre ex- God, Happy in MILLER’S Death of a Sales- perience: he was a child actor and a man (1992, Théâtre des Capucins, with dramaturg (he directed Dramaturgical Fernand FOX) and, with great aplomb, Services Inc. 1987–90 and was dramaturg Leopold in Howard BARKER’S The Eu- at STC 1981–7), and he has also worked ropeans (1995, Théâtre d’Esch, directed by alongside Philip Parsons on Elizabethan Eric SCHNEIDER). Hastert won ac- style productions of Renaissance plays. In claim for his playing of Philip in the world 1996 the relationship between director, premiere of Alexey Shipenko’s two-hander playwright and designer became debated Moskau-Frankfurt (1994, Théâtre des in the national press when David Capucins, directed by the author, designed WILLIAMSON attacked Harrison and by Jeanny KRATOSCHWILL, with

116 Haumann, Péter Havel, Václav

Jean-Paul MAES). He has also featured in Castorf comes across as intellectual, many films. Haußmann seems rather naive without being simplistic.’ Following productions Haumann, Péter (1941–) Actor and di- in Frankfurt am Main, Munich, Weimar, rector, Hungary. Haumann trained at the Vienna and Berlin, Haußmann has been Academy of Theatre and Film Arts and Intendant at Schauspielhaus Bochum joined the Csokonai Theatre in Debrecen, since summer 1995, where recent pro- and between 1966–70 was with the Na- ductions include Sophocles’s Antigone, The tional Theatre of Pécs. From 1970–2 he Taming of the Shrew, Much Ado About Nothing worked at the 25th Theatre of Budapest. and Brecht’s Die Dreigroschenoper (The After a season with the Józef Attila Thea- Threepenny Opera). tre, he joined the Madách Theatre in 1973. Between 1988–91 he was with the Na- Havel, Václav (1936–) Dramatist, Czech tional Theatre of Budapest. In 1991 he Republic. Havel worked as a theatre tech- joined the Arizona Theatre, then the nician, and later as an assistant director Radnóti Theatre, and since 1994 he has and dramaturg (in 1966 he completed his been member of the Katona József Thea- studies at the Prague Academy of Perform- tre. Haumann is also a popular screen and ing Arts) at the Prague Theatre on the television actor, who recently added direct- Balustrade Na zábradlí, where he and Jan ing to his credits. Major roles include Grossman contributed to making that Woyczeck (Büchner’s Woyzeck), Arturo Ui venue one of the most important of the (Brecht’s Der Aufhaltsame Aufstieg des Arturo 1960s. It was here that his first plays were Ui (The Resistable Rise of Arturo Ui)), performed, including Zahradni Slavnost Benedick (Much Ado About Nothing), Eddie (The Garden Party, 1963, directed by Carbone (MILLER’S View from a Bridge), Otomar KREJCA), Vyrozumení (The Memo- Norman (Harwood’s The Dresser), randum, 1965, directed by Grossman), Estragon (Beckett’s Waiting for Godot), Ztizena moznost soustredení (Hindered Concen- Harpagon (Molière’s L’avare (The Miser)) tration 1968). His plays comprised a spe- and Judge Adam (Kleist’s Der Zerbrochene cifically Czech variation of absurd drama, Krug (The Broken Jug)). Haumann is a demonstrating the bureaucratic mecha- strong character actor with dramatic nisms that reduce the individual. After the strength, special humour and clown char- invasion of the Warsaw Pact forces in Au- acteristics. gust 1968, Havel became a leading dissi- dent, and was imprisoned several times. Haußmann, Leander (1959–) Director His plays were banned in Czechoslovakia and actor, Germany. Haußmann trained until the fall of communism in 1989. Be- at the Hochschule für Schauspielkunst ginning with the autobiographical one-act ‘Ernst Busch’. After seasons as an actor Audience (1976, Burgtheater Vienna), the and director in Pachim, he joined the question of human identity gradually Deutsches Nationaltheater in Weimar, comes to the surface in Largo Desolato where he directed Büchner’s Leonce und (1985, Burgtheater Vienna), the transpo- Lena (Leonce and Lena) and Ibsen’s Et sition of the Faust theme in Pokoušení (Temp- Dukkehjem (A Doll’s House), as well as tation, 1986, Burgtheater Vienna), and the Schiller’s Kabale und Liebe (Intrigue and political allegory Asanace (Slum Clearance, Love) in Frankfurt an der Oder. In each premiered 1989, Zürich). From 1989–92 case, a classical text was re-interpreted he was the president of the Czech and but not destroyed, as in the productions Slovak Federal Republic, and has been of Frank CASTORF, who is a major in- president of the Czech Republic since fluence on Haußmann’s style. ‘Where 1993.

117 Hawthorne, Nigel Helminger, Nico

Hawthorne, Nigel (1929–) Actor, Great sestry (Three Sisters, 1984) at Theatre Cor- Britain. Born and raised in South Africa, porate and Arthur MILLER’S A View from Hawthorne made his London debut in the Bridge (1989) at the Mercury. Not one 1951. In 1968 he played Prince Albert in to spare himself and known as a hard task- Edward BOND’S Early Morning at the master, he has the power to win total com- Royal Court, directed by William mitment to his productions. GASKILL. At the Royal Court he also appeared in Total Eclipse (1968) by Hayat, Abul (1944–) Actor, Bangladesh. Christopher HAMPTON. Major parts Hayat’s illustrious career in theatre is dis- since then include Brutus in Julius Caesar tinctly remembered for the roles of (Young Vic, 1972), the title role in Sitanath in Badal Sircar’s Baki Itihas (The Chekhov’s Djadja Vanja (Uncle Vanya, 1979), Other Side of History, with Sarah ZAKER Orgon in Molière’s Tartuffe (1983) and as Kona and Ataur RAHMAN as STOPPARD’S Hapgood, with Felicity Saradindu, 1973), the title role in KENDAL. In 1991 he played the title part Walliullah’s Bahipeer (directed by Zia in Alan BENNETT’S The Madness of King HYDER with Ataur Rahman as Jamidar, George III (directed by Nicholas Asaduzzaman NOOR as Jamidar’s son HYTNER), a major success for the Royal and Sarah Zaker as Peer’s wife, 1974), National Theatre, later made into a film. Matti in an adaptation of Brecht’s Herr He appeared on Broadway in the lead of Puntila und sein Knecht Matti (Mr Puntila and William Nicholson’s Shadow-lands (1992), his Servant Matti, directed by Noor with Aly repeating the role he had created in Lon- ZAKER as Puntila, 1977), Pozzo in a don in 1989. Hawthorne is also well translation of Beckett’s Waiting For Godot known from television, especially for the (directed by Ataur RAHMAN, with Noor series Yes Minister. as Vladimir, 1984), and as the Lawyer in an adaptation of Dorfman’s Death and the Hawthorne, Raymond (1936–) Director Maiden (directed by Sarah Zaker, with and actor, New Zealand. After three years Noor as the Doctor, 1993). These roles with the New Zealand Players, Hawthorne have identified him as an actor who is a trained at the Royal Academy of Dramatic master of subtle interplay of emotion and Art, London, and was a member of staff nuances. Hayat is also a popular and re- there for twelve years. He joined the Mer- nowned television, radio and film actor. cury Theatre, Auckland, in 1971 as direc- He is one of the founder members of tor, actor and tutor, but a passion for train- Nagorik Natya Sampradaya (a leading ing actors led to his founding Theatre theatre group in Bangladesh) and has ex- Corporate in Auckland, where he tensively performed abroad. achieved outstanding artistic results with mostly younger casts. From 1985–92 he Helminger, Nico (1953–) Dramatist, Lux- was artistic director at the Mercury Thea- embourg. Helminger studied German and tre, where he became particularly re- Latin language and literature and drama nowned as a director of musicals and op- in Luxembourg, Saarbrücken, Vienna and era. Since then he has been a freelance di- Berlin. His first theatrical experiences were rector and has run popular acting classes. with student amateur theatre and chil- He is known for a theatrical rather than dren’s theatre. In the 1970s and 1980s, he naturalistic style, and for his skill in man- belonged to a group of authors who re- aging large casts with grace and precision. vived the Luxembourg language theatre. Notable productions amongst many in- His breakthrough came in 1982 with the clude Wedekind’s Frühlings Erwachen Theatre GMBH’s controversial produc- (Spring Awakening, 1979) and Chekhov’s Tr i tion of rosch oder déi lescht rees (rog or the

118 Henare, George Henry, Martha last voyage) at the Escher Schluechthaus SHAFFER’S Equus. She began her direct- arts centre, a play dealing in a radically ing career at the Bet-Zvi theatre school, inventive style with a group of outcasts directing for example, Sherman’s Bent. who struggle to define their condition and Between 1991–93 she was the ‘house’ di- the inner ravages caused by the economic rector at Habima (Williams’s The Glass crisis of the country’s steel industry. Simi- Menagerie and Strindberg’s Fordringsägare lar themes are recurring in Helminger’s (Creditors) as well as Israeli plays). In 1996 later plays Atlantis, Happy Birthday (1986) she was appointed as artistic director of and Miss Minett (1993). He found a new the Khan Jerusalem municipal theatre direction in the libretto to Camille where she is developing a young ensem- Kerger’s opera Melusina which was pre- ble and has directed several new Israeli miered together with Helminger’s two- plays. hander Vorspiel in 1995 at the Théâtre d’Esch (both directed by Frank Henley, Beth (1952–) Dramatist and ac- HOFFMANN). He is also a novelist and tor, USA. Henley originally worked as an poet, writing in German and actor, which shows in the strong female Luxembourgeois, and has written a series characters in her plays. Important titles of innovative radio plays. include Crimes of the Heart (1979), The Miss Firecracker Contest (1980), The Debutante Ball Henare, George (1945–) Actor, New (1985), The Lucky Spot (1987) and Control Zealand. Henare broke off training at Freaks (1992). The plays often provide a Ardmore Teachers’ College to join the humorous treatment of death, disaster and New Zealand Opera Company (1965– freakish accidents: Sam SHEPARD has 71), but at the same time developed theat- called Abundance Henley’s ‘most ambitious rical skills in radio and television as well and richly textured play. Dealing with con- as through New Zealand Maori Theatre flicting images of the American frontier Trust productions. He was particularly and a reversal of character, one might call associated with the Mercury Theatre, it a feminist True West’. Auckland, first appearing there in 1971 and joining as a lead actor in 1972, tak- Henry, Martha (1938–) Actor and direc- ing, like other successful New Zealand actor, Canada. Born in Detroit, Martha tors, as many as six leading parts in a Henry studied at the Carnegie Institute of year. Notable roles there have been King Technology (Pittsburgh) and later, after Lear (1974) and Polonius in Hamlet moving to Canada in 1959, at the National (1990). Only occasionally did he appear Theatre School. In 1961 she made her elsewhere, for example as Midge in Herb debut at the Stratford Festival, where she Gardner’s I’m Not Rappaport (1987) and has been performing regularly since, no- Othello (1989), both at the Downstage, tably as Miranda in The Tempest (1961), Wellington. Even before the collapse of Isabella in Measure for Measure (1976) and the Mercury Theatre in 1992 he was Goneril in King Lear (1980). She was also veering back towards musicals and op- associated with the Manitoba Theatre era, and he has worked in those areas in- Centre (1961–82) and was artistic direc- creasingly since, both in New Zealand tor of the Grand Theatre, London, On- and Australia. tario (1988–95), where she directed numerous productions. For her continued Henig, Ofira (1961–) Director, Israel. and distinguished success in the theatre, Henig trained at the Kibbutz seminar and Martha Henry has received several hon- received the first price at a student theatre orary titles from Canadian universities festival in Moscow for her production of as well as national awards. She is a

119 Henshaw, James Ene Hermanis, Alvis

Companion of the Order of Canada. Heras, Guillermo (1952–) Actor and di- Henry is justly famous for her attention rector, Spain. Very much associated with to detail as an actor and for her intelligent the alternative theatre movement of the and sensuous portrayal of character. 1970s, Heras enjoyed a strong association with Tábano and then went on in 1983 to Henshaw, James Ene (1924–) Dramatist, take over the directorship of the CNNTE Nigeria. Henshaw’s plays elegantly mix a (Centro Nacional de Nuevas Tendencias tragic impulse with an essentially comic Escénicas), at the time perhaps the most mode. Without formal training in the thea- innovative and adventurous company in tre, Henshaw occupies a position between Spain. From 1984–93 he promoted many the coarse plays of the Onitsha Market lit- young emerging dramatists and staged erature tradition and the more dramatically much eclectic dance theatre as well as sophisticated plays of Wole SOYINKA, productions with a strong visual appeal, J.P.CLARK-BEKEDEREMO and the amongst them Geografía (Geography) by other university-trained dramatists. His Alvaro del Amo (1985), Hilo seco (Dried plays include This is Our Chance (first pro- Thread) by Marisa Ares (1986) and La duced in Dublin in 1947 and published in soledad del guardaespaldas (The Loneliness of 1957), A Man of Character (1957), Jewels of the Bodyguard) by Javier Maqua (1987). As the Shrine (1957), Children of the Goddess well as promoting the work of contempo- (1964), Companion for a Chief (1964), Magic rary Spanish playwrights, Heras brought in the Blood (1964), Medicine for Love (1964), a range of international works to a wider Dinner for Promotion (1967), Enough is Enough Spanish audience. These include the pre- (1976) and A Song to Mary, Irish Sister of Char- miere of Bernard-Marie Koltès’s Dans la ity (1984). solitude des champs de coton (In the Solitude of Cottonfields) (1990) and Steven Berkoff’s Henwood, Ray (1937–) Actor, New Zea- Greek (1992). After the closure of the land. Henwood emigrated to New Zea- CNNTE, Heras has continued working land as a teacher and forensic toxicologist as a director both in Spain and in Latin after studying at University College, America. Swansea, but became one of Wellington’s leading actors from 1966, especially at the Hermanis, Alvis (1965–) Director, actor Downstage Theatre, and from 1976 at the and designer, Latvia. Hermanis gradu- Circa Theatre, which he co-founded. He ated from the Latvian State Conserva- created the part of Hugh in Roger tory Theatre Department in 1988. In his HALL’S Glide Time (1976) and played productions, which include Madame de Brack in the Colin MCCOLL production Sade by Mishima and an adaptation of of Ibsen’s Hedda Gabler, which was invited Wilde’s The Picture of Dorian Gray, he em- to the Edinburgh Festival in 1990. His phasizes small stages, powerful aesthetics, highly successful one-man show No Good sensuality and atmosphere. He considers Boyo, based on the life of Dylan Thomas, himself one of the first directors to at- toured New Zealand and Australia in the tempt to use cyberpunk aesthetics and early 1980s and has been revived since. philosophy in modern theatre. A critic Otherwise seldom seen outside Welling- wrote of his production of Madame de ton, his skills have been sometimes un- Sade: ‘Hermanis…discovers a world of fairly discounted from over-exposure, for desire where Time, Place and Truth no he is a reliable actor of considerable pres- longer exist. Theatre here is a ritual that ence who builds subtly distinct and con- ascends to the heights of poetry and sistent characterizations. music.’

120 Herrmann, Edward Heuer, Marlies

Herrmann, Edward (1943–) Actor, where the events of many years ago still USA. Herrmann trained at the London rear their head in apparently ‘normal’ Academy of Music and Dramatic Art lives. Principally, Herzberg is a poet, writ- (1968–9). He played Raymond Brock in ing about small but meaningful events in David HARE’S Plenty (1982), T.S.Eliot in a deceptively simple style. In 1997 she was Michael Hastings’s Tom and Viv (New York awarded the prestigious P.C.Hooft Prize and London, 1985), Siegfried Sassoon in for her poetry. Herzberg took up Stephen MacDonald’s Not About Heroes playwriting in the 1970s, learning from (1985), and appeared in Richard Nelson’s practice. The Baal company, directed by The End of a Sentence and Rattigan’s The Leonard Frank, with actors Kitty Deep Blue Sea (1998, directed by Mark COURBOIS and Trudy DE JONG, put LAMOS). Critics have commented on his on many productions of her work, includ- ability to fade into the people he portrays. ing Leedvermaak, En/of (And/Or, 1983) and He is regularly cast in biographical roles her adaptation of The Dibbuk (1984). A also in film and television, having twice great champion of her work is Jan Joris played Franklin Roosevelt. He also starred LAMERS, who directed a much-praised as baseball great Lou Gehrig. version of Kras (Scratch, 1989). Recently Herzberg wrote Rijgdraad (Tacking Thread, Herrmann, Karl-Ernst (1936–) Designer, 1996), a sequel to Leedvermaak. Herzberg’s Germany. Herrmann studied at the poignant plays appear straightforward, but Meisterschule für Kunsthandwerk and the they bend reality. Many of them have Hochschule für Bildende Künste in Ber- been translated, and many have been pro- lin. From 1962–9 he worked for Kurt duced in Germany. Herzberg also wrote Hübner in Ulm and Bremen, where he the script for the film Charlotte. also started designing for Peter STEIN, whose main designer he later became at Herzog, Jens Daniel (1964–) Director, the Schaubühne am Halleschen Ufer and Germany. Herzog began as an assistant Lehniner Platz. He has also worked with director with Dieter DORN and Hans Claus PEYMANN (Bochum and Vi- Lietzau at the Münchner Kammerspiele, enna), Frank-Patrick STECKEL and Luc where he has worked since on his own BONDY. Since 1982 he has directed op- productions, which include New York, New era, often with his wife Ursel. Herrmann’s York by Marlene Streeruwitz (1993), Beth set designs are not obvious at first sight, HENLEY’S The Debutante Ball (1993), they develop in the spectator’s mind in the Molière’s Tartuffe (1995) and Gleichgewicht course of the performance. They contain (Balance) by Botho STRAUSS. At the a secret. Recent work includes Marlowe’s Thalia Theater in Hamburg he directed Edward II (1998, directed by Peymann in A Midsummer Night’s Dream (1996) and Pe- Vienna), and TURRINI’S Die Liebe in ter Handke’s Zurüstungen für die Madagaskar (Love in Madagaskar, 1998, Vi- Unsterblichkeit (Preparing for Immortality, enna). 1997), followed by Chekhov’s Cajka (The Seagull) in Munich (1997) and Lessing’s Herzberg, Judith (1934–) Dramatist, The Minna von Barnhelm in Vienna (1998, with Netherlands. The daughter of author Abel Anne BENNENT in the title role). Herzberg, who wrote about the horrors of the Nazi camps, Judith remained hid- Heuer, Marlies (1952–) Actor, The Neth- den during the war. She used her experi- erlands. Born into an acting family, ences as a ‘second generation’ Jew in her Marlies Heuer studied at the mime depart- best-known play Leedvermaak (The Wedding ment of the Amsterdam Theatre School. Party, 1982). It is situated at a wedding She graduated in 1976 and was

121 Hewett, Dorothy Hickey, Tom subsequently involved in creating radio plays, plays for children, poetry, nov- and playing in various fringe productions. els and autobiography. Apart from a brief stint at the large, mainstream company Toneelgroep Amsterdam Heyme, Hansgünther (1935–) Director (from 1987–90), she has always remained and actor, Germany. Heyme began his an independent actor who often makes career in the theatre as an assistant direc- her own productions. She was involved in tor and actor in Mannheim (1958–60), Silicone by Gerardj an RIJNDERS (with and subsequently held positions as direc- Cas ENKLAAR), and beautifully adapted tor in Wiesbaden (1961–7), as artistic di- Nathalia Ginzburg’s novel È stato così (The rector in Köln (1968–1978), director in Way of Was) for the stage, playing the lead Stuttgart (1980–5), and artistic director in role of a grey, tormented housewife. This Essen (1985–92) and Bremen (1992–3). strongly contrasted with her normal ap- Since 1993 he has worked freelance. pearance, with its sensual mysteriousness Heyme, who regards the theatre as subsi- and precise way of moving. In 1991 Heuer dized opposition, is a typical representa- joined Matin VAN VELDHUIZEN to tive of political theatre, often radically lead the Carrousel company. This pro- modernizing classical plays in order to vides her with a steady base for her pro- comment on our contemporary life. ductions, and she often plays in van Veldhuizen’s productions, for example in Hickey, Tom (1944–) Actor and director, Shaw’s Mrs Warren’s Profession (1995) and Ireland. Hickey trained at the Stanislavski as an excellent Hedda in Ibsen’s Hedda Studio, Dublin and was a founder mem- Gabler (1998). Heuer teaches at the mime ber of Dublin’s Focus Theatre in 1967. His department of the Amsterdam Drama roles at the Abbey Theatre, Dublin, in- School. clude J.P.W.King in The Gigli Concert by Tom MURPHY (1983) and Roulston in Hewett, Dorothy (1923–) Dramatist, poet Frank MCGUINNESS’S Observe the Sons and novelist, Australia. In the midst of the of Ulster Marching towards the Somme (1985), blokish renaissance of Australian drama both directed by Patrick MASON. Dur- in the early 1970s, while so many new ing the 1980s Hickey collaborated with plays were devoted to the rocker and his Patrick Mason and playwright Tom MAC rituals, Hewett was proclaiming that a INTYRE at the Peacock Theatre, Dublin, woman’s life was as heroic as an Arthurian on a series of theatre-of-image plays, in- quest in The Chapel Perilous (1971). Hewett’s cluding the controversial The Great Hunger plays have inspired and infuriated femi- (1983). Hickey’s method training and vi- nists and anti-feminists alike. Her in- brant physical presence on stage were tensely autobiographical playwriting is of- strong elements of his portrayal of Patrick ten anti illusionistic, non-linear and overtly Maguire and thus of The Great Hunger’s theatrical, and mixes styles (poetry, melo- success. Roles at the Gate Theatre, Dub- drama, musical). Her musical play The lin, include Vladimir in Beckett’s Waiting Man from Mukinupin, written for the For Godot (1988), Mr Hardcastle in Gold- sesquicentennary of Perth, is a sophisti- smith’s She Stoops to Conquer (1995), di- cated piece simultaneously celebrating rected by Jonathan MILLER, and white culture but also acknowledging the Dermot in Bernard Farrell’s Stella by Star- genocide practised against Aboriginal peo- light (1996). His most recent work inludes ple. Hewett’s first play, This Old Man Comes Judge/Morris in MacIntyre’s Caoineadh Airt Rolling Home (1966), is a predominantly uí Laoghaire (The Lament for Art O’Leary, realistic evocation of inner city Sydney life. 1998) and Mr Cassidy in Marina Carr’s Hewett has written musicals, rock operas, By the Bog of Cats (1998). Plays directed by

122 Highway, Tomson Hirata Oriza

Hickey include Strawboys by Michael DALDRY’S production of Sophie Harding for the Peacock Theatre Treadwell’s Machinal and recently Larry in (1987). Patrick Marber’s Closer (1997). His extensive television career includes Potter’s Cold Highway, Tomson (1951–) Dramatist, Lazarus, and his many film appearances Canada. Highway uses total theatre—song, include December Bride, Circle of Friends and dance, spectacle—to create a powerful and Some Mother’s Son. often surreal depiction of the lives of Ca- nadian natives. At the same time, he tries Hipólito, Carlos (1956–) Actor, Spain. to make non-native audiences familiar After graduating in Architecture, Hipólito with native culture and spiritual mythol- studied acting with William Layton, ogy. The Rez Sisters (1986), about women Miguel Narros and José Carlos PLAZA in an Indian reservation, was followed in in Madrid. Associated with the TEI 1989 by Dry Lips Oughta Move to (Teatro Español Independiente), the inde- Kapuskasing, about the men in the same pendent theatre movement, he worked as reservation. The central figure in both an actor in productions such as the splen- plays is Nanabush, the trickster, a key did El concierto de San Ovidio (The Concert of character in Ojibway spiritual mythology. Saint Ovidio), a masterpiece of the ‘realista’ Highway has won Dora and Chalmers generation by Antonio Buero Vallejo, di- Awards, and he has served as artistic directed by Miguel Narros in 1986, and in rector of Native Earth Performing Arts O’Neill’s Long Day’s Journey Into the Night (1986–92), where most of his plays have in 1989. Since the beginning of the 1990s been produced. he has enjoyed extensive residencies with the Compañia de Teatro Clásico (National Hinds, Ciarán (1953–) Actor, Ireland. Classical Company) in plays like After training at the Royal Academy of Calderón’s El medico de su honra (The Doc- Dramatic Art, London, Hinds joined the tor of His Honour) in 1995, a production de- Citizens’ Theatre Glasgow, where roles signed by the company’s artistic director included McLeavy in Orton’s Loot (1977), Adolfo MARSILLACH, and Molière’s Le Captain Boyle in O’Casey’s Juno and the misanthrope (The Misanthropist), directed by Paycock (1983) and the title role in Richard Ariel García Valdés in 1996. A slight, III (1988). His striking appearance, stat- blond actor, his lithe features, agility and ure and charisma contributed greatly to vulnerabilty have made him one of the the Citizen’s many design-oriented pro- most respected classical actors in Spain. ductions. In Ireland he played Giovanni More recently he has gained a wider popu- in Ford’s ‘Tis Pity She’s a Whore and Jack lar base with performances in Yasmina Worthing in Wilde’s The Importance of Be- Reza’s Art (1998–9) and his extensive ing Earnest (1985), both directed by Garry work in film and television. HYNES of Druid Theatre, Galway. His international profile was raised by joining Hirata Oriza (1962–) Dramatist and di- Peter Brook’s multinational company rector, Japan. Hirata toured the world by (CIRT) in Paris for The Mahabharata (1987, bicycle on his own when he was sixteen. and on tour 1988), in which he played the This opened his eyes to the world and roles of Nakula (one of the Pandava twins) made him interested in the position of Ja- and Ashwattaman (son of Drona). He has pan in Asia. In 1982 he founded made many appearances in London since, Seinendan (the Young People’s Associa- at the Donmar Warehouse, Royal Court tion Theatre Company) with his fellow and at the Royal National Theatre, where students at ICU International Christian he appeared as Man One in Stephen University. In 1984 he built Agora Gekijô

123 Hirsch, Judd Hodgman, Roger

(the Agora Theatre), Komaba in Tokyo, Aeschylus’s Oresteia, 1981), for which she which has become the office and the thea- is suitably equipped physically with a no- tre of the company. His plays includes ble figure, an alto voice and a beautiful Kaijin (The Sea God) and Sôru Shimin (The face. She is also comfortable in comic roles Citizen of Seoul) in 1989, and Kagakusuru (Beatrice, Much Ado about Nothing, 1976), Seishin (A Scientific Mind) in 1990. The Citi- and endows her characters with the attrac- zen of Seoul was translated into Korean and tive and seductive charm of her mature staged by Hirata in Seoul in 1993. In his womanhood. In all her actions she empha- direction, Hirata puts the emphasis on the sizes the features of creativity, energy, and language and tries to establish a new act- self-assurance. Since 1994, she has been ing method in which actors’ prime con- acting at the Vinohrady theatre, where her cerns are the way of phrasing the text and roles include Christine in O’Neill’s Mourn- the tone of the voice. Because of this fea- ing Becomes Electra (1995). ture, his theatrical style is said to fall into the category of ‘the Theatre of the Quiet’. Ho, Jeffrey (1956–) Actor and director, China (Hong Kong SAR). Trained at York Hirsch, Judd (1935–) Actor, USA. Hirsch University and at the National Theatre trained at the American Academy of Dra- School of Canada in Montréal, Ho joined matic Arts, the Herbert Berghof Studios, the Hong Kong Repertory Theatre (HK at Gene Frankel Studio, and with Uta Rep) in 1979 as a full-time actor. Ho has Hagen, Viveca Lindfors and Bill Hickey. played a variety of characters in close to a Although Hirsch is well-known for his hundred productions. He was Judge Brack many successful television series, such as in Ibsen’s Hedda Gabler (1983), Marquis de Taxi (1978–83), he has a considerable Sade in Peter Weiss’s Marat/Sade (1984), record of acting in the theatre. He received Lear in King Lear (1993, directed by Dan- an award for his part of Wiseman in iel YANG) and Black Elk in Christopher Feiffer’s Knock Knock (1975), played Sergel’s Black Elk Speaks (1994, also di- Trigorin in Chekhov’s Cajka (The Seagull, rected by Yang). Ho was the Producing 1983), and won further awards for the part Artistic Director of the Wan-chai Theatre of Nat in Herb Gardner’s I’m Not Rappaport Company, a leading amateur theatre (1985–6) and the one-man show Conversa- group, from 1987–92. Later, Ho rejoined tions with My Father (1991 onwards). In the HK Rep, where he directed 1998 he appeared in the Matthew AYCKBOURN’S Absurd Person Singular WARCHUS Broadway transfer of his (1993), Dürrenmatt’s Der Besuch der Alten orignal London production of Reza’s Art. Dame (The Visit, 1994), Raymond TO’S He is a superb comic actor who brings an Miss To Sup-neung (1996), Carlo Goldoni’s enormous urban intelligence to all of his Il servitore di due padroni (The Servant of Two roles. Masters, 1995) and Molière’s Le malade imaginaire (The Imaginary Invalid, 1998). Hlavácová, Jana (1938–) Actor, Czech Since 1993, Ho has been the assistant ar- Republic. After studying at the Prague tistic director of the HK Rep. Academy of Performing Arts, Hlavácová was a member of the Plzeò theatre for five Hodgman, Roger (1943–) Director, Aus- years, before joining the Prague National tralia. Married to actor Pamela RABE, Theatre in 1965. Here she soon estab- Hodgman directed for ABC television in lished her name with complex female Tasmania (1965–70) before working in parts (Madame de Merteuil in HAMP- theatre in London and Canada (Artistic TON’S Les Liaisons Dangereuses, 1988) and Director of the Vancouver Playhouse tragic heroines (Clytemnestra in 1978–81). In Canada, the experience of

124 Höpfner, Ursula Hoger, Hannelore working with Tennessee Williams made a Germany, Switzerland, France and Luxem- big impact on Hodgman, and his work bourg. He was named best young direc- there seems to have been more experimen- tor by Theater Heute in 1990, best direc- tal than some productions in Melbourne. tor for the production of Odön von Hodgman was Dean of Drama at the Vic- Horváth’s Geschichten aus dem Wiener Wald torian College of the Arts, Melbourne, (Tales from the Vienna Woods) at the Schauspiel before becoming artistic director of the Bonn in 1993, and won the Prix Lyons for Melbourne Theatre Company in 1987, his artistic work in 1995. In the same year, taking over from John Sumner who had he directed the world premiere of Camille held the post for thirty-two years. Kerger’s opera Melusina (libretto by Nico Hodgman has directed a wide range of HELMINGER) in conjunction with the theatre at the MTC although it has tended author’s Vorspiel. He is also the director of to be staple subscriber audience fare, two films: Die Reise Das Land (The Journey something Hodgman argues is inevitable the Land) and Schacko Klak (Top Hat, winner given that so much of the MTC’s funding of Best Director at the Festival of Tehe- goes on rent for the company’s tenancy ran) and has written three plays: Der Kitsch of the Victorian Arts Centre. bei Max Frisch (The Kitsch with Max Frisch, 1983), Genet—Der Zerbrochene Diskurs (Genet— Höpfner, Ursula (1949–) Actor, Ger- The Broken Discourse, 1984) and Trilogie der many. Höpfner trained in dance at the Wut (Trilogy of Wrath, 1985). Hochschule für Musik und Theater in Hannover. After a season at the Hoff Monsen, Helge (1942–) Designer, Staatstheater in Hannover, she joined the Norway. Hoff Monsen graduated from ballet company of the theatre in Bremen. Bergen Kunsthandverskole and trained at Here she met George TABORI, whom the Akademia Sztuk Picknych, Krakow, she married. They have worked together Poland, as student of Professor Stopka. He since, in Munich (Kammerspiele, 1978– has worked in residence at most Norwe- 81), at Tabori’s Theater der Kreis in Vi- gian theatres. From 1976–82 he was at the enna (1986–90), and freelance, frequently Rogaland Theatre, Stavanger, (produc- in Bochum. Since 1990 she has been a tions include Coriolanus, and Euripides/ member of the Burgtheater in Vienna, Sartre’s Women of Troy). In 1982–6 he was working again with Tabori (most recently at Den Nationale Scene, Bergen (produc- in Beckett’s Endgame, 1998, with Gert voss tions include As You Like It, and Lessing’s in the cast), and also appearing in produc- Nathan der Weise/Nathan the Sage). Since tions directed by Claus PEYMANN and 1986 he has been resident designer at Det Manfred KARGE. Norske Teatret, Oslo (productions include Ibsen’s Kongs-Emnerne (The Pretenders), Hoffmann, Frank (1954–) Director and Figaro by Beaumarchais and Mishima’s dramatist, Luxembourg. After studying Madame de Sade). Many of his sets are tech- literature and philosophy in Luxembourg nically very simple but rich in detail. He and Heidelberg, Hoffmann was accepted has been described as basically ‘a painter, as a research assistant at the university of not an architect, and his colours are won- Heidelberg from 1978–83, where he com- derfully rich in range and depths’. Hardly pleted his doctoral thesis on Michel a realistic designer, ‘his voice is that of a Foucault. Thereafter he turned his atten- poet, beautiful, passionate and very often tion to theatre, and became assistant to grotesque’. David MOUCHTAR-SAMORAI from 1981–2. Since 1983 he has worked as a Hoger, Hannelore (1941–) Actor and di- freelance director of plays and operas in rector, Germany. Hoger trained

125 Holbrook, Hal Holtz, Jürgen with Eduard Marcks at the Staatliche first full-length play was Mother Country Hochschule für Musik und Darstellende (1980), followed by, among others, Alma Kunst in Hamburg. In 1961 she joined the Victoria (1990) on a topic also dramatized company of Kurt Hübner in Ulm, where by Terrence Rattigan in Cause Celèbre and she first met Peter ZADEK. She later fol- in Simon GRAY’S Molly, and Making lowed him to Bremen, Stuttgart, Bochum Greenpeace (1992). Her work is wide-rang- and Hamburg. Since 1986 she has worked ing in style and subject, with sexuality, the freelance as an actor and director. She ex- search for a home and war as recurring cels in giving convincing and life-like por- themes. Her recent play In Confidence trayals of strong-willed, self-confident and (1994) was produced at the New Play independent women. Major parts include Centre in Vancouver. Anna in Richard III (1968), the Fool in King Lear (1974), the title role in Hollmann, Hans (1933–) Director, Aus- ACHTERNBUSCH’S Susan (1980), tria. Hollmann trained as an actor and di- Irina in Chekhov’s Cajka (The Seagull, rector at the Max Reinhardt Seminar in 1984), Irma in Genet’s Le balcon (The Bal- Vienna. Plays by Kraus, Arthur Schnitzler cony, 1989) and, more recently, and Elias Canetti have been at the centre TURRINI’S Alpenglühen (Glowing Alps, of Hollmann’s work, but he has also di- Berlin, 1993). rected many important plays of the canon. ‘He is regarded as a perfectionist, whose Holbrook, Hal (1925–) Actor, USA. curiosity and foolhardiness have added Holbrook trained with Uta Hagen at the provocative, colourful and witty produc- Herbert Berghof Studios. After his debut tions to the German speaking theatre.’ with a stock company in 1942, he won Recent work includes HANDKE’S major acclaim with his one-man show Zurüstungen für die Unsterblichkeit (Preparing Mark Twain Tonight! (first 1954). Other for Immortality, Frankfurt, 1997), parts include Quentin in MILLER’S After Sternheim’s Die Hose (The Trousers, 1998, The Fall (1964), Odets’s The Country Girl Frankfurt), and Oscar Wilde’s The Impor- (1984) and more recently, classical parts tance of Being Earnest (Berlin, 1998). such as the title roles in King Lear (1990), Chekhov’s Djadja Vanja (Uncle Vanya, Holmberg, Kalle (1939–) Director, Fin- 1991), Shylock (1991), and Willy Loman land. Holmberg trained at the Finnish in Miller’s Death of a Salesman (1994). In Theatre School and was a director at the 1997 he appeared in Wasserstein’s An Helsinki Student Theatre, Helsinki City American Daughter opposite Kate Theatre (1965–70), principal of the Finn- NELLIGAN. His work reveals an enor- ish Theatre School (1968–71), film direc- mous range and exceptional dramatic im- tor with the Finnish Broadcasting Com- agination. No American actor of his gen- pany (1977–81) and chief director at Hel- eration has succeeded in so many differ- sinki City Theatre (1984–93). In addition, ent forms and styles. he has directed in Gothenburg, Budapest, Oslo and Los Angeles. Major productions Hollingsworth, Margaret (1940?–) include Richard III, Macbeth, Schiller’s Die Dramatist, Canada. Born in Britain, Räuber (The Robbers), Molière’s Tartuffe and Margaret Hollingsworth emigrated to numerous opera productions. He has been Canada in 1968 where she obtained an called an enfant terrible, critically assessing MFA in theatre and creative writing from national values and theatrical conventions. the University of British Columbia, Van- couver (1974). She has held several teach- Holtz, Jürgen (1932–) Actor, Germany. ing positions in Canadian universities. Her Holtz trained at the Theaterinstitut in

126 Holtzmann, Thomas Hooper, Elric

Weimar and the Theaterhochschule in University of Barcelona, Homar worked Leipzig. After seasons in Erfurt, with a number of independent theatre Brandenburg/Havel, Greifswald and the groups within Catalonia, gaining an in- Volksbühne in Berlin, he worked with the creasing reputation as a versatile per- Deutsches Theater in Berlin (1966–74), former. In 1976, together with Fabià the Berliner Ensemble (1974–7), and the Puigserver, Lluís PASQUAL and Anna Volksbühne (1977–83). He came to West LIZARÁN, he inaugurated the Teatre Germany in 1983, working with directors Lliure in Barcelona, a theatrical venture such as B.K.Tragelehn, Einar SCHLEEF, which was to see him perform in more Heiner Müller, Manfred KARGE and than thirty productions. These include Thomas LANGHOFF. After two seasons Büchner’s Leonce und Lena (1977), at the Bayerisches Staatsschauspiel in Chekhov’s Tri sestry (Three Sisters), Munich, he has been with the company Molière’s Le misanthrope (The Misanthropist) of the theatre in Frankfurt since 1985. His in 1982, a dazzling rendition of artistry with language is remarkable, and Strindberg’s Fröken Julie (Miss Julie) in he is equally at home playing power-hun- 1985, and Heiner Müller’s Quartett in gry rulers or cunning and thoughtful co- 1994. These productions defined the medians. Notable roles include Claudius Lliure as the most consistently innovative in Hamlet (1985), Gloucester in King Lear venue for Catalan-language theatre. Fol- (1990, with Marianne HOPPE in the ti- lowing the death of Fabià Puigserver in tle role, directed by Robert WILSON), the 1992, Homar took over the company’s one-man show Katarakt by Rainald Goetz artistic directorship. During the following (1992) and, more recently, in Jürgen six years he worked increasingly as a di- GOSCH’S production of Schiller’s Die rector, collaborating with artist Frederic Jungfrau von Orleans (The Virgin of Orleans, AMAT on a production of Schiller’s Die 1998). Räuber (The Robbers, 1998) as well as fostering the work of young directors. He Holtzmann, Thomas (1927–) Actor, Ger- was replaced as artistic director by Lluís many. Holtzmann took private acting les- Pasqual and Guillém Jordi Graells in 1998. sons in Munich. After employment in During the 1980s he has also made a Schleswig, Nürnberg and Köln, his break- number of cameo appearances in films through came in 1961 in Berlin when he such as Mario Camus’s Después del sueño played the title role in Kleist’s Prinz Friedrich (After the Dream, 1992) and Ventura Pons’s von Hamburg. Following roles in Berlin, El perquè de tot plegat (What It’s All About, Salzburg, Munich and Vienna, he has 1994). been a permanent member of the Münchner Kammerspiele since 1977, Hooper, Elric (1936–) Director and actor, where important parts include Malvolio New Zealand. Following studies at Can- (1980), Vladimir in Beckett’s Waiting for terbury University, where he fell under Godot (1984, directed by George the theatrical spell of Ngaio Marsh, and TABORI), Gloucester in King Lear (1992) the London Academy of Music and Dra- and Prospero in The Tempest (1994). Very matic Art, Hooper worked in the Old Vic tall, haggard, with a markedly furrowed Company (1960–3) and Joan Littlewood’s face, Holtzmann has been for many years Theatre Workshop (1964–5), as well as one of the most striking performers on the with various other British and European German-speaking stage. companies. He returned to a career of acting and directing in New Zealand in 1974, Homar, Lluís (1957–) Actor and director, becoming in 1979 artistic director of the Spain. After graduating in law from the Court Theatre, Christchurch, a position

127 Hopkins, Anthony Howe, Tina he has held since: an exceptional tenure guerite Duras in 1986, and in 1990 she in New Zealand. He has made his name played the title role in King Lear, directed as a master of European and twentieth- by Robert WILSON. century classics, and although sometimes said (rather unfairly given his audience’s Horowitz, Danny (1941–) Dramatist, Is- demands) to be cautious in choice of play, rael. Since his debut with Brothers in 1969 he can also point to highly successful pro- Horowitz has written plays about a broad ductions of newly commissioned plays like range of Jewish and Israeli subjects. His Bruce Mason’s Blood of the Lamb (1980) best-known plays, confronting different and of new overseas works like Tony aspects of Jewish identity, are Cherli Ka Kushner’s Angels in America (1993). He has Cherli about the archetype of the mytho- also directed notable productions of opera. logical Israeli hero figure, (which pre- Style he believes is to be found within the miered at the Jerusalem Khan Theatre), play, not imposed from without, and his Yossele (which premiered at La Mama in productions are always responsible to the 1982), and Daf min Ha-Talmud (A Page from text, highly intelligent and finely finished. the Talmud, 1984) where he goes back to traditional Jewish sources. In Hadod Artur Hopkins, Anthony (1937–) Actor, Great (Uncle Artur) Horowitz has taken up the Britain. Hopkins trained for the stage at painful memories from the Holocaust. He the Royal Academy of Dramatic Art and has also published a book about Israeli Cardiff College of Music and Drama. He Arab (Palestinian) actors. He teaches at has been associated with the National the Kibbutz seminar. Theatre since 1966, where major roles include Edgar in Strindberg’s Dödsdansen Howard, John (1952–) Actor and direc- (Dance of Death, 1967), Coriolanus (1971) and tor. Australia. Trained at the National In- Macbeth (1972). He spent many years in stitute of Dramatic Arts, Sydney, Howard America working on films, but, having has a very powerful, physically imposing overcome his alcoholism, returned to the and intelligent stage presence and he has National Theatre in 1985 to take the lead played starring roles for most of the main Pravda by Howard BRENTON and jor theatre companies in Australia. Particu- David HARE. Since then he has played larly notable were his performances as the King Lear and Anthony there, as well as leads in David EDGAR’S adaptation of the lead in David HWANG’S M. Butterfly Nicholas Nickleby, Coriolanus, Aphra Behn’s for the West End (1989). Following his The Rover and, most acclaimed of all, John major successes in Hollywood films, espe- Proctor in Arthur MILLER’S The Crucible cially Hannibal Lecter in The Silence of the for the Sydney Theatre Company. In Aus- Lambs, he has appeared on stage less fre- tralian plays, Howard has starred in David quently. WILLIAMSON’S Dead White Males and Top Silk, Louis NOWRA’S The Incorrupt- Hoppe, Marianne (1911–) Actor, Ger- ible and Nick ENRIGHT’S Mongrels. many. Hoppe trained with the Deutsches Howard has also appeared in film and tel- Theater in Berlin and took private lessons evision and has been working as an asso- with Lucie Höflich. In her long and dis- ciate director of the Sydney Theatre Com- tinguished career, she has played at all the pany with the Australian People’s Thea- major theatres in Germany. Most notably tre, which is dedicated to combining she was with her husband Gustaf multiculturalism and popular theatre. Gründgens in Berlin, Düsseldorf and Hamburg. Active well into her old age, she Howe, Tina (1937–) Dramatist, USA. Fol- played Madeline in Savannah Bay by Mar- lowing several plays indebted to the

128 Ho-You-Fat, Yasmina Huang Hai Wei

Theatre of the Absurd, including The Nest Ostrava, and as of 1965, of the Prague (1969), Birth after Birth (1973), Museum C?inoherní Club. He has demonstrated (1976) and The Art of Dining (1979), Howe’s his sense of relief composition on the shal- breakthrough came with Painting Churches low stage, assembled with an inventive (1983), an autobiographical play about a combination of authentic and mock-up painter making peace with her parents. In details in productions including O’Casey’s this and subsequent plays such as Coastal Midnight Adventure (1965), SMOCEK’S Disturbances (1986), Approaching Zanzibar Podivné odpoledne doktora Zvonka Burkeho (1989) and One Shoe Off (1993), she is a (The Strange Afternoon of Dr Zvonek Burke, ‘marvellously perceptive observer of con- 1966, directed by Smocek), and Gogol’s temporary mores. At her best, Howe’s Revizor (The Government Inspector, 1967, di- comedies probe beneath the surface to re- rected by Jan KACER). After emigrating veal the mixture of humorous and horrific to Norway in 1969, he became resident to which modern culture is a barely ad- scenographer and in 1972 head equate response’. scenographer of the Nationalteatret in Oslo, where he developed that conception Ho-You-Fat, Yasmina (1964–) Actor, of Czech scenography which forms the France and Guyane. Qualified in arts, stage as a changeable space-time. Sincer theatre and especially social anthropology, the fall of communism in Czechoslovakia she has also studied method acting and he has returned from time to time to singing. Ho-You-Fat began acting as a Prague stages (for example, the set and schoolgirl in Cayenne with parts in Elie costumes for the modern dress production STEPHENSON’S plays such as O of Molière’s L’avare (The Miser, 1992) at the Mayouri (Working Together, 1979), and then C?inoherní Club). acted with Jules-Rosette’s Théâtre Noir, playing and touring in Marie-Line Hu Zong Wen (1922–) Actor, China. Ampigny’s adaptation Carmen la Matadore With neither university education nor pro- (That Feisty Carmen, 1983), and adaptations fessional training, Hu joined Beijing Peo- of novels and folktales. In 1993 she ple’s Art Theatre in 1952. She appeared founded the Pitt à Pawol (Cockpit of in many major parts in the Soviet Russian Words), a regular series of encounters plays which dominated the Chinese stage over a theme or new work in Caribbean in the 1950s. She played the eponymous literature, where dramatic readings, mu- heroine in Jin Jian’s Zhao Xiao Lan (1952), sic and discussion allow authors to meet Sifeng in Cao Yu’s Lei Yu (Thunderstorm, and debate with a keen and informed sec- 1954) and Mariane in Moliere’s L’avare tion of their public. The series continues, (The Miser, 1959), Wu Su Xin in Su Shu increasingly touring the Caribbean after Yang’s Dan Xin Pu (Devoted Heart, 1978), a presentation in Paris and widening the Kang Shun Zi in Lao She’s Cha Guan (Tea- range of authors. Ho-You-Fat has also un- house, 1979) and Hu Niu in Mei Qian’s dertaken some film and television work. dramatization of Lao She’s Luo Tuo Xiang In 1997–9 she appeared in the dramatic Zi (The Camel Son, 1980). She is known for version of Chamoiseau’s Chemin d’Ecole her understated and natural acting. (School Days). Huang Hai Wei (1959–) Designer, Hruza, Luboš (1933–) Designer, Czech China. Huang graduated from the Depart- Republic and Norway. After studying ment of Stage Design at the Hunan Pro- scenography at the Prague Academy of vincial Art School in 1980, and from the Performing Arts, Hruza became the resi- Department of Stage Design at the Cen- dent designer of the Bezruc theatre in tral Academy of Drama in 1988. From

129 Hubay, Miklós Hussein, Ebrahim

1992–4 hestudied at L’Ecole Supérieure 1984) and Where Has the Rose’s Spirit Gone Nationale de L’Art Dramatique de Stras- (1997). A common feature of his plays of bourg with a scholarship awarded jointly different subjects, genres and styles is that by the French Ministry of Culture and the they are all based upon the contradiction Ministry of Foreign Affairs. Since 1994 he between social and particular existence. has been teaching stage design in The His heroes are people with a mission, who, Central Academy of Drama. He designed due to their personalities and ideas, get sets for Wu Zu Guang’s Niu Lang Yu Zhi into conflict with the expectations of their Nu (The Cowboy and the Weaver Girl, 1986), society. Alexei Arbuzov’s Little Boar (1988), and Euripides’s Bakchai (1995, for which he Hübchen, Henry (1947–) Actor and di- also designed the masks). In 1997 he de- rector, Germany. Hübchen trained at the signed the set for Shanghai People’s Art Staatliche Schauspielschule in East Berlin. Theatre’s production of Yao Yuan’s Shang Following employment in Magdeburg, he Yang, the set and mask for Florence Op- joined the Volksbühne in East Berlin in era House’s triumphant Turandot (directed 1974, appearing in several of Heiner by Zhang Yi Mou), Zheng Tian Wei’s Gu Müller’s plays. Since 1985 he has become Wan (Antiques) at Beijing People’s Art one of the main actors working with di- Theatre, and, most recently, the Chinese rector Frank CASTORF, appearing classic Mu Dan Ting (The Peony Pavilion) by among other roles as Claudius in Hamlet the Ming playwright Tang Xianzu, a co- (1989), Fernando in Goethe’s Stella (1990), production between Lincoln Centre and Franz Moor in Schiller’s Die Räuber (The Shanghai Kunqu Traditional Opera Com- Robbers) and the title role in Molière’s Le pany (1998). He has expressed his under- misanthrope (The Misanthropist). Productions standing of the aesthetics, ideas and forms he directed include Horvath’s Glaube, of Chinese traditional theatre in the pro- Liebe, Hoffnung (Belief, Love, Hope) and ductions of Chinese themes he designed. Goethe’s Clavigo (1990).

Hubay, Miklós (1918–) Dramatist, Hun- Hürlimann, Thomas (1950–) Dramatist, gary. After studies at the Pázmány Péter Switzerland. Hürlimann studied philoso- University, Hubay became editorial sec- phy in Zürich and Berlin, followed by retary of Nouvelle Revue de Hongrie in three years as assistant director and 1940. In 1942 he went to Geneva on a dramaturg at the Schillertheater in Berlin. scholarship, and between 1945–8 served His first play, Großvater und Halbbruder as director of the Geneva Hungarian Li- (Grandfather and Half-brother), was produced brary. From 1949–57 he worked as a in 1981. It deals with the way an emigrant teacher of drama history at the Academy is treated in a Swiss village. In Stichtag (Key of Theatre and Film Art, and from 1955 Date, 1985), Hürlimann wrote about a as dramaturg at the National Theatre of very personal topic, his brother’s long ill- Budapest for two years. Between 1974–88 ness and death from cancer. Das Lied der he was teacher of Hungarian literature at Heimat (The Song of the Homeland) was pre- the University of Florence. His plays are miered in 1998 in Zürich. ‘Hürlimann has constantly on repertory at home and been called a specialist in melancholy and abroad. They include Egy szerelem három dark humour.’ éjszakája (Three Nights Of a Love Affair, 1961), C’est la guerre (1962), Késdobálók (Knife- Hussein, Ebrahim (1943–) Dramatist, Throwers, 1964), Zsenik iskolája (A School Of Tanzania. Ebrahim Hussein was the first Geniuses, 1966), Freud vagy az álomfejtö álma highly educated Tanzanian writer (BA in (Freud, or the Dream of the Dream-Reader, theatre arts from the University of Dar es

130 Husseini, Haya Hyder, Zia

Salaam) to choose to write his plays in gious range is demonstrated in the vari- Swahili, his mother tongue. Hussein’s ety of roles he has played at Stratford, in- theatre can be said to have emerged out cluding Prospero (The Tempest), Feste of the taarab, a tradition of extempore po- (Twelfth Night), the title role in Molière’s etry compositions/recitations in Swahili, Tartuffe, Trigorin (Chekhov, Cajka (The the baraza, a form of formal men’s talk ses- Seagull)), Lady Bracknell (Wilde, The Im- sions and the impromptu tradition of short portance of Being Earnest), Vanya (Chekhov, poetry recitations at weddings. His best Djadja Vanja (Uncle Vanya)), Falstaff and published Swahili plays are Kinjiketile Titus Andronicus. He has appeared on (1970) and Mashetani (Devils, 1971), two Broadway in Shaw’s Saint Joan and as plays that deal with Tanzanian history James Tyrone in the Bristol Old Vic pro- (past and recent), the politics of both re- duction of A Long Day’s Journey into Night sistance to colonialism and the tensions of (1959), and in the 1995 motion picture the Tanzanian revolution. Other plays in- with Martha HENRY. Hutt is well-known clude Wakati Ukata (Time is a Wall, 1970), for his mellifluous voice and, in his more Alikaona (She was Punished, 1970), Jogoo recent work, for his economy and subtlety Kijijini (A Cock in the Village, 1976), Ngao ya onstage. Jadi (The Ancestral Shield, 1976) and Arusi (1980). A central theme which runs Hwang, David Henry (1957–) Drama- through Hussein’s drama is the concern tist, USA. Hwang attended Yale Univer- with the unending struggle to create a just sity School of Drama. He scored his ma- society in Tanzania. jor success with M.Butterfly (1988, London 1989 with Anthony HOPKINS), a com- Husseini, Haya (1962–) Dramatist, Jor- plex play about the relationship between dan. Husseini obtained a Diploma in Edu- a French diplomat and his Chinese mis- cation from the University of Western tress who turns out to be a man. Other Australia and a BA in English and Span- plays include FOB (1978), Broken Promises ish from the University of Birmingham. (1983), Rich Relations and Golden Child After some time as a teacher of English, (1997). Hwang is interested, as he himself she now works as a journalist with Jordan says, ‘in the dust that settles when worlds Times in Amman. Initially her plays, in- collide. Sometimes these worlds are cul- cluding Shades of Eve, Spirals and The Lights tural, as in my exploration of a Chinese of Jericho, were inspired by the conflict be- past meeting an American present. Some- tween East and West. She wanted to times they are spiritual, as in Rich Relations, deconstruct what she knew of both, ex- where the gung-ho materialism of a Cali- pose their similarities and differences, and fornia family struggles with its Christian revel in undoing their established literary mysticism. Most of the time I also try to structures and norms. In due course, her walk the fine line between tragedy and interest shifted to issues grounded in the comedy.’ political and religious roots of Jordan. Her writing is characterized by a sense of op- Hyder, Zia Dramatist and director, Bang- posed elements placed casually together. ladesh. Hyder trained in theatre at the University of Hawaii from 1966–8. Impor- Hutt, William (1920–) Actor, Canada. tant among his original works as a play- Born in Toronto, Hutt began performing wright are Shubhra, Sundar, Kalyani, Ananda at Hart House Theatre. He joined the (The Four Passengers, 1970) and Elebele (The Stratford (Canada) Festival’s first com- Baloney, 1981). An allegorical-symbolist pany in 1953 and has been a regular on play, Shubhra, Sundar, Kalyani, Ananda shows the Stratford stage since then. His prodi- that it is impossible for human society to

131 Hyland, Frances Hynes, Garry attain perfection in which peace and hap- Coleburn in Alfred Uhry’s Driving Miss piness can exist. Hyder has translated Daisy (1987), Pickering in Shaw’s Pygmalion Sartre’s Huis clos (No Exit, 1969) and Gogol’s (1991) and the title role in Ibsen’s Bygmester Zenit’ba (The Marriage, 1970) jointly with Solness (The Master Builder, 1992). Since Ataur RAHMAN. He has directed trans- 1957, Hyman has been a teacher at the lations of Sophocles’s Oidipus tyrannos (King Herbert Berghof School of Acting in New Oedipus, 1969), Camus’s Le Malentendu York City. His work is filled with grace (Cross Purposes, 1973), Sartre’s Hus clos (No and intelligence. This was clearly evident Exit, 1987) and his own Elebele (1990). Zia in his performance of Gayev in Chekhov’s Hyder has also published five collections Visnevyi sad (The Cherry Orchard, 1973), of essays on theatre, four volumes of his- which was one of the finest portrayals of tory of world theatre and a volume on that role in the last twenty-five years. Stanislavski, all in Bengali. Professor of Theatre at the Chittagong University, Hynes, Garry (1953–) Director, Ireland. Hyder has travelled extensively abroad to In 1975, Hynes established Galway’s attend various seminars and workshops. Druid Theatre Company with actors Mick LALLY and Marie MULLEN. In Hyland, Frances (1927–) Actor, Canada. 1983 Tom MURPHY became Druid’s Hyland studied acting at the University playwright-in-association, and in 1985 of Saskatchewan and at the Royal Acad- Hynes directed the first productions of his emy of Dramatic Art, London. She made Conversations on a Homecoming and her London debut as Stella in Tenessee Bailegangaire, the spareness of her direction Williams’s A Streetcar Named Desire underlining the strength of these plays. (Aldwych, 1950). Returning to Canada, From 1990–4 Hynes was artistic director she performed leading roles with the of the Abbey Theatre. Her work during Stratford (Canada) Festival, the Cana- this controversial period in her career indian Players, the Manitoba Theatre Cen- cluded Famine by Tom Murphy and tre, the National Arts Centre and the O’Casey’s The Plough and the Stars (1991), Vancouver Playhouse (where she played whose expressionist interpretation upset Rita Joe in the celebrated premiere of traditionalists. Hynes’s commitment to the George Ryga’s The Ecstasy of Rita Joe). In work of young playwrights is evident in 1997 she played Augusta Caulfield in her sparse, uncompromising staging of Raymond Storey’s South of China at the Portia Coughlan by Marina CARR for the Citadel Theatre in Edmonton. Hallmarks Peacock Theatre, Dublin (1996), the of Hy-land’s acting style are her truthful- Druid Theatre/Royal Court co-production ness, her vulnerability and her attention of Martin McDonagh’s The Beauty Queen to psychological detail. She has won the of Leenane (1996), and the The Leenane Tril- Governor-General’s Award for lifteime ogy by McDonagh (1997) for Druid Thea- achievement in the arts. tre and at the Duke of York’s Theatre, London. Hynes has also directed for the Hyman, Earle (1926–) Actor, USA. Royal Shakespeare Company, the Royal Hyman trained with Eva le Gallienne at Exchange, Manchester and the Royal the American Theatre Wing, and at the Court Theatre, London, where she is an Actors Studio, New York City. His stage associate director. In 1998 Hynes directed debut was in 1943, and he has played the première of Arthur MILLER’S Mr Pe- major parts in many productions since ters’ Connections on Broadway and became then, including the title role in Othello, the first ever female director to win a Tony Vladimir in Beckett’s Waiting for Godot award, for the Druid production of The (1957), Cominius in Coriolanus, Hoke Beauty Queen of Leenane.

132 Hytner, Nicholas Hytner, Nicholas

Hytner, Nicholas (1956–) Director, Great tional Theatre, he directed SOBOL’S Britain. Hytner studied in Cambridge, Getto, Alan BENNETT’S adaptation of where he had already begun directing. Via The Wind and the Willows, and especially the Kent Opera, the Northcott Theatre in Ex- successful The Madness of George III by Alan eter and the Leeds Playhouse, he arrived Bennett (starring Nigel HAWTHORNE at the Royal Shakespeare Company in in the title role), which was later made into 1988, directing Measure for Measure and a film, also directed by Hytner. More re- then the large-scale musical Miss Saigon in cently, he directed Martin McDonagh’s the West End (1989). At the Almeida he The Cripple of Inishmaan at the Royal Na- directed Ben Jonson’s Volpone; at the Na- tional Theatre.

133 I

Ichikawa Danjûrô XII (1946–) Kabuki Ennosuke revived some of the traditional actor, Japan. The first son of Ichikawa techniques of Kabuki in Yoshitsune Senbon Danjûrô XI, he succeeded to the present Zakura (Yoshitsune Thousand Cherry Trees) by stage name by playing Sukeroku in Izumo Takeda, Shoraku Miyoshi and Sukeroku Yukari no Edo-Zakura (Sukeroku: Senryu Namiki, at the National Theatre. Flower of Edo) by Jihei Tsuuchi and He revived the traditional elements of Hanemon Tsuuchi, Benkei in Kanjincho Kabuki acting such as keren (playing to the (The Subscription List) by Gohei Namiki, audience) with acrobatic movements, Narukami Shonin in Narukami Fudo hayagawari (instant costume change) and Kitayama Zakura (Saint Narukami and the God chunori (the mid-air stunts) in his produc- Fudo) by Hanjuro Tsuuchi, Abun Yasada tions, and has restored the spectacle and and Mansuke Nakada, and Kamakura the liveliness in Kabuki in his productions. Kengoro in Shibaraku (Wait for a Moment) Ennosuke acts and dances both male and by Ichikawa Danjûrô I at the Kabuki female parts. His acting style is energetic Theatre in Tokyo in 1985. His acting style and athletic. He also produces ‘Super Ka- is dynamic, bold, loud and cheerful, which buki’ in a more elaborate, grand, visual represents the artistic family tradition of and modern style of Kabuki, for example the Danjûrô family aragoto (rough) style. Oguri (1982) and Yamato Takeru (Takeru His mie, expressions and postures on stage, Yamato, 1986). He also directed an opera, is exquisitely beautiful and authentic. Coq D’or (1984) at Théâtre Chatèle in When Danjuro XII plays a role in Paris. A Chinese opera, Ryuo (King Ryu, sewamono (domestic) plays, he draws his 1989) was a joint production with the Pe- audience into the drama by his restrained king Opera Academy. Ennosuke has acting. Thus Danjuro XII is one of the played an important role in restoring the most important and acomplished Kabuki spirit of Kabuki as the people’s theatre actors both in name and reality. He toured while at the same time exploring the pos- the USA in 1985, Australia in 1988 and sibilities of Kabuki. Europe in 1989. Idlbi, Hussein (1939–) Director, Syria. He Ichikawa Ennosuke III (1939–) Kabuki trained in Austria. In Syria, he directed for actor and director, Japan. The first son of several years in Aleppo, the second-larg- Ichikawa Danshirô III, he succeeded to est city in the country, becoming Artistic this stage name in 1963. In 1968 Director of its People’s Theatre. He

134 Igawa Tôgo Ikranagara worked closely with playwright Walid include, Kayfa Tas’ado Duna An Taka (How IKHLASSI and produced his first play Al- to Climb up without Falling, 1973); Sahra Ayamu’lati Nansaha (The Days We Forget), Dimocratya Ala’l’Khashaba (A Democratic which was among several plays he di- Evening on the Stage, 1979); Itlaku l-Nari rected there. He then joined Damascus Mina’l-Khalf (Firing from the Back, 1981); Ors National Theatre, where he directed sev- Sharqi (An Eastern Wedding, 1981); and Oedi- eral productions including Kleist’s Der pus (1981). His Maqam Ibrahim Wa Saffia Zerbrochene Krug (The Broken Jug), Molière’s (The Shrine of Ibrahim and Saffia, 1981), was L’avare (The Miser), Riad Ismat’s Lubato ‘l- his last major play, considered by critics Hub Wa’l-Thawra (The Game of Love and his best because it dealt with the confron- Revolution) and Sean O’Casey’s Juno and tation between love and traditions in a the Paycock. He is considered a traditional tragic story with a credibility that resulted director, whose work started out quite in a catharsis. Its success carried it to Da- promising but became disappointing later mascus as a play for television. In general, in his career. Ikhlassi is heralded more as a novelist and short story writer than a dramatist, be- Igawa Tôgo (1946–) Actor, Japan. Igawa cause he experimented on the basis of lit- trained at Haiyû-za (the Actors’ Theatre) erary rather than theatrical experience. and Tôhô Gakuen Drama Schools and became a founder member of Engeki Cen- Ikranagara (1943–) Dramatist, per- tre (the Black Tent Theatre) in 1969. Af- former, director and designer, Indonesia. ter moving to the UK, from 1986–8 he Ikranagara studied medicine in acted in productions of the Royal Shake- Yogyakarta and psychology in Jakarta. speare Company and played the parts of Having left Bali to attend university in El Jefe in Howard Sackler’s The Great Yogyakarta, he performed with several White Hope, Alcade in Trevor NUNN’S theatre companies including production of Thomas Haywood’s The W.S.RENDRA’S Bengkel Theatre. He Fair Maid of the West and Sebastian in Aphra moved to Jakarta where he continued to Behn’s The Rover. As a member of the To- perform, translate and adapt plays for a tal Theatre group, he played the role of number of companies. In 1975 he formed Japanese Man in Strindberg’s Stora his own group, Teater (Siapa) Saja which landsvägen (The Great Highway) at the Gate has performed twenty-four of his own Theatre in 1993 and 1994. He also played plays. He has given lectures, workshops Takano in the translation of Epitaph for the and performances throughout the United Whales by SAKATE Yoji at the Gate Thea- States and Southeast Asia, and in 1990–1 tre in 1998. was a Fulbright visiting artist in the theatre department of Ohio State University. Ikhlassi, Walid (1935–) Dramatist, nov- Plays include Era of the Bat (a one-man elist and short story writer, Syria. Al- mask theatre based on Balinse Topeng though he studied agricultural engineer- Pajegan), Rites of the Mask, Zaman Kalong, ing, he became one of the top literary fig- Tok Tok Tok, Ssst!, Gusti and Byurrr…! He ures. He lives in Aleppo, the second larg- describes his approach as total theatre, est city to the north of Syria. His prose born of his interest in ritual and his and dramatic writing developed together. Balinese heritage. He is also a poet, editor His first produced play, Al-Ayamu’lati of the literary magazine Horison and a Nansaha (The Days We Forget, 1969), pro- regular contributor to the Malaysian jour- duced by The People’s Theatre in Aleppo, nal Tenggara. Two volumes of his plays and dealt with a national theme during the two of his poetry are published in Indo- French mandate. His other contributions nesian, and he is currently writing a

135 Ilie, Gheorghe Iordache, Stefan history of Indonesian theatre in English. tional Theatre. Major topics in his plays As a performer and director, he is ener- are the collision between political power getic and innovative; as a writer he bal- and the ethos of individuals, and the tragic ances the boldly satirical with the surreal discrepancy between ideal and reality. to create a strange and vivid theatrical world. Inoue Hisashi (1934–) Dramatist and novelist, Japan. Inoue first became known Ilie, Gheorghe (1940–) Actor, Romania. as a television scriptwriter for the NHK After graduating from the Bucharest In- TV’s children’s puppet play series, stitute of Theatre and Film (1967), Ilie Hyokkori Hyôtan Island, in the 1960s. With joined the National Theatre of Craiova his play Nihon no Heso (Japan’s Navel, 1969), where he became one of the most impor- he gained attention as the author of a new tant members of the company. To date he comedy. Further plays include Yabuhara has performed about eighty-six parts, Kengyô (Yabuhara the Blind Monk, 1973), most of them major roles in Romanian Keshô (Greasepaint, 1982) and Zutsû Katakori and world repertory by authors such as Higuchi Ichiyô (Headache, Stiff-Shoulders and I.L.Caragiale (in all his comedies), D.R. Higuchi Ichiyô, 1984). He became the head POPESCU (Paznicul de la depozitul de nisip of the Komatsu-za Theatre Company in (The Guardian at the Sand Storehouse) and 1983, where he writes plays as a resident Piticul din gradina de vara (Dwarf in the Sum- writer. Keshô (Greasepaint, 1982), in the col- mer Garden)), A.Baranga, Tudor lection of one-woman plays, Haha (Moth- POPESCU, Marin Soreseu and also ers), directed by KIMURA Kôichi, was Calderón, Gogol, Gorky and Shaw (Al- toured in Europe and the USA in 1986 fred Doolittle in Pygmalion). The roles and 1989. British actor Frances DE LA which brought him national and interna- TOUR went to Japan to study the move- tional acclaim were Aaron in Titus ments of the play and acted Greasepaint in Andronicus and Theseus in Phèdre (after English translation at the Lyric Hammer- Seneca and Euripides), directed by Silviu smith, London in 1993. PURCARETE. In 1995–6 he played Caliban in The Tempest at the Nottingham Iordache, Stefan (1941–) Actor, Roma- Playhouse and Theatre Clwyd Company, nia, Iordache graduated from the Insti- under Purcarete’s direction. Critics praised tute of Theatre and Film in Bucharest in his energy and technical ability. 1963. As an actor of the Nottara Theatre in Bucharest, he played major parts in a Iliev, Konstantin (1937–) Dramatist, Bul- large variety in plays by I.L.Caragiale garia. Iliev studied German at Sofia Uni- (Rica Venturiano in O noapte furtunoasa (A versity, graduating in 1961, and obtaining Stormy Night)), Dostoyevski (Raskolnikov his Ph.D. with a thesis on Swiss dramatist in an adaptation of Prestuplenie I nakazanie Friedrich Dürrenmatt. The productions of (Crime and Punishment)), Jean Anouilh his first plays, Longing for Colours (1961) and (Antigone), and Shakespeare (Hamlet, an Without You in October (1968), were prohib- especially notable achievement under the ited for ideological reasons. His first work direction of Dinu Cernescu in 1974). In to be staged was Music from Shatrovets 1978 he joined the Teatrul Mic (Little (1973), followed by The Window (1978), Theatre), where he played a wide range Basils for Draginko, (1979), Easter Wine of main roles in Pirandello’s Vestire gli (1981), Nirvana (1983), Odysseus Travels to ignudi (Let’s Dress the Naked) and Ithaca (1984), Red Wine for Good Bye (1990) Bulgakov’s Master i Margarita (The Master and Canine Holy Mother (1995). Since 1995 and Margarita), both directed by Catalina Iliev has been head dramaturg at the Na- BUZOIANU, and also in MROZEK’S

136 Irobi, Esiaba Ispirescu, Mihai

Emigranci (Emigrants) and the title role in most interesting directors, Isidori has so Richard III, directed by Silviu far focused his work on classical texts. PURCARETE. At the National Theatre Among his most notable productions are in Craiova, he played the title role in Titus Studio (Study, 1986), Palcoscenico ed Inno (Stage Andronicus, again directed by Purcarete. and Hymn, 1991), Spettacolo (Spectacle, 1993) Back at the Nottara Theatre, he played and Happy Days in Marcido’s Field (1997). The Prince of Darkness by Iris Murdoch (1994) and at the Comedy Theatre, and Ismat, Riad (1947–) Dramatist, critic and in 1995, General Tcharnota in Beg by director, Syria. Ismat trained in the UK at Bulgakov, directed by Catalina Buzoianu. the Drama Centre, the Mime Centre, the A special voice timbre, elegant movement BBC and University College, Cardiff. In and a capacity for refined emotionality the USA, he trained in San Francisco with are marks of his acting. Jean Shelton and Mark Epstein, and worked as an assistant to Joseph Irobi, Esiaba (1960–) Actor, dramatist CHAIKIN. His plays include Lubato ’l- and director, Nigeria. Irobi is a sensitive Hub Wa’l-Thawra (The Game of Love and artist whose playwriting and acting show Revolution, 1975), Al-Hidad Yaleek Bi-Antigone committed and constant experimentation (Mourning becomes Antigone, 1978) and with both dramatic form and staging tech- Columbus (1989). Sinbad (1981), and Layali niques. His plays include Nwokedi, What Shahryar (Shahryar’s Nights, 1982) are adap- Song Do Mosquitoes Sing?, Hangmen Also Die, tations from The Arabian Nights. Shahryar’s Gold, Frankinsence and Myrrh, Why the Vul- Nights premiered in English at the ture’s Head is Naked, The Other Side of the Sherman Arena, Cardiff, directed by Mask, Am I Too Loud?, A Tent to Pass the Night Ismat, who also revived it in 1995 at the and The Fronded Circle. Among his acting Damascus National Theatre. Television credits are Styles/Buntu in John KANI, credits include the mini-series Al-Fannan Athol FUGARD and Winston Wa’l-Hub (The Artist and Love, 1985), and NTSHONA’S Sizwe Bansi is Dead (1982 the twenty-three-episode serial Taj Min and 1986), Elesin Oba in Wole Showk (A Crown of Thorns), a saga set in the SOYINKA’S Death and the King’s Horseman pre-Islamic Arabian desert. Ismat aims to (1982), and Duncan and later Macbeth in bridge the gap between Arabian and West- Macbeth (directed by Ossie ENEKWE and ern cultures by tackling such immortal co-starring Toni DURUAKU as themes as freedom and democracy, in- Macbeth). His directing credits include co- spired mostly by his own heritage and in- directing Sizwe Bansi is Dead (1986), Romeo ternational classics. More recently, he and Juliet and Death and the King’s Horseman wrote and directed the first Syrian musi- (Plymouth, 1992). cal comedy, Safar El-Narjes (1997), set his production of Tennessee Williams’s A Isidori, Marco (1948–) Directror, drama- Streetcar Named Desire in Damascus in the tist and actor, Italy. In 1984, Marco Isidori 1950s, and commemmorated Brecht’s an- founded, together with the painter and set niversary with a production of The Visions designer Daniela Dal Cin and the per- of Simone Machard (1998). former Maria Luisa Abate, the theatre company Marcido Marcidorjs e Famosa Ispirescu, Mihai (1941–) Dramatist, Ro- Mimosa. Since then, Isidori has been ex- mania. Ipirescu emerged as a playwright ploring the boundaries of dramatic form in 1977 with Concediu Nelimitat (Unlimited by abolishing the notional separation be- Holidays), produced at the Toma Caragiu tween the world of the stage and the audi- Theatre in Ploiesti. The satirical comedy torium. Considered to be one of Italy’s Trasura fa scara (The Coach at the Porch, 1983)

137 Iwamatsu Ryô Iwamatsu Ryô won recognition from critics and audi- Theatre Company) (1976–91). Initially ences, as did Tehnica raiului (Heaven’s Tech- Iwamatsu helped the actors’ improvisa- nique, 1997). Ispirescu’s plays follow the tions, then became the company’s resident style of a parable containing humour and playwright and director. His plays include tragical warnings alike. Awarded many O-cha to Sekkyô (Tea and Lecture, 1986), Futon prizes, he is a founder of the Romanian to Daruma (Futon and Daruma, 1988) Tonari Humorists’ Association and editor in chief no Otoko (The Man Next Door, 1990) and TV of the humoristic publication Moftul Roman Days (1996). Iwamatsu is one of the lead- (Romanian Trifle). ing playwrights in the trend of ‘the Thea- tre of the Quiet’ which appeared in the late Iwamatsu Ryô (1952–) Dramatist, direc- 1980s. The power of dialogues and drama tor and actor, Japan. Iwamatsu attended created by words and pauses are closely the Jiyû Gekijô Drama school before be- examined in this sort of theatre. His coming a member of Gekidan Tokyo drama shows close resemblance to that of Kandenchi (the Tokyo Electric Battery PINTER.

138 J

Jacobi, Derek (1938–) Actor, Great Brit- TENDULKAR’S Sakharam Binder, Girish ain. Jacobi first appeared on the stage in KARNAD’S Tughlaq, Kalidasa’s Shakuntala 1960 at the Birmingham Repertory Thea- and G.P.DESHPANDE’S Uddhwasta tre. He is well-known for his portrayal of Dharmashala (A Man in Dark Times). He has the title character in the television series I explored the relevance of the ancient rasa Claudius, and, more recently, Cadfael. A theory in his productions and sometimes beautiful voice is helpful in rendering his uses pop or jazz, as for instance in his re- classical characters highly poetic. An air cent production of his play Ram Kalha, Ram of innocence makes him vulnerable. He Kahani. has a distinguished career both in Shake- speare, such as Hamlet (1977, also televi- Jancar, Drago (1948–) Dramatist, sion), Richard II (1988), Richard III (1988) Slovenia. He studied law and worked as a and Macbeth (1993, Royal Shakespeare journalist, editor and freelance writer. In Company, directed by Adrian NOBLE, 1975 he was sentenced for ‘enemy propa- with Cheryl CAMPBELL as Lady ganda’. In 1985 he went to the USA as a Macbeth), and in modern and contempo- Fulbright fellow, in 1988 he was in Ger- rary plays (Whitemore’s Breaking the Code, many with a Bavarian scholarship for writ- 1986, Anouilh’s Beckett, 1991 and the title ers. From 1987–91, he was president of role in Chekhov’s Djadja Vanja (Uncle the Slovenian PEN Centre. His novels and Vanya), 1996). short stories have been translated into many languages and have won several Jalan, Shyamanand (1934–) Director, prizes. Major plays include Profesor Arnoz India. Jalan brought post-independence in njegovi (Professor Arnoz and His Followers, Hindi theatre into Bengal with the first 1982), Veliki briljantni valcek (The Brilliant production of Mohan Rakesh’s Ashad ka Grand Waltz, 1985), Nocni prizori (Night ek Din (1960). He is one of the founder Scenes, 1986), Zalezujoc Godota (Stakeout on members of the Anamika theatre group, Godot, 1987), Klementov padec (Klement’s Fall, which committed itself to the ancient rasa 1987), Dedalus (1988), Dvoboj (Duel, 1992) theory. Some of his notable productions and Halstst (Hallstatt, 1994). The surrealist include his Janata Ka Shatru, (an adapta- Brilliant Grand Waltz was considered by Jan tion of Ibsen’s En Folkefiende (An Enemy of Kott as ‘one of the best works to come out the People)), Badal SIRCAR’S Evam Indrajit, of the Communist countries, as good as Mohan Rakesh’s Adhe Adhure, Vijay anything being written in the eighties’.

139 Jang Min-Ho Jernidier, José

Jang Min-Ho (1924–) Actor, Korea. Jang disoriented relationship of human beings trained at the Joseon Actors’ School. Since to the external world. his first appearance in 1947, Jang has been recognized as a follower of the realistic Jelinek, Elfriede (1946–) Dramatist, trend in modern Korean theatre. He has Austria. Jelinek studied piano and com- performed the largest number of title roles position at Wiener Konservatorium, as on the modern Korean stage, including well as theatre and art history. Besides Guss in Andersen’s Both Your Houses plays for the stage, including Clara S, (1954), the title role in Goethe’s Faust Krankheit oder Moderne Frauen (Illness or (1965, 1979, and 1984), Lee Soon-Sin in Modern Women, 1987), Totenauberg (1990) Seongwoong Yi Soon-Sin (Admiral Soon-Sin Lee, and Raststätte oder Sie machens alle (Inn, or 1973, in the opening programme of the They All Do It, 1994), and radio, she has New National Theatre of Korea), Father written poems and novels. ‘Any attempts in OH Tae-Seok’s Sachoogi (Adult at Puberty, by critics to stir up a scandal around her 1979) and Sin Che-Ho in Kumhanul (Heaven radical texts have failed, because of their in a Dream, 1987, directed by KIM Suk- artificiality, brokenness and hermetically Man). Jang received the honourable title closed language.’ of ‘actor of no failure’ from Korean drama critics. He was the president of the Jernidier, Joël (1965–) Actor, France and Korean National theatre from 1967–71 Guadeloupe. An ambitious and very per- and 1979–87. sonable member of a keen theatrical family, Jernidier initially took part in work- Janz urová, Iva (1941–) Actor, Czech Re- shops and plays with brother José, then public. A graduate of the Prague Academy graduated with much success in 1990 of Performing Arts, Janzurová worked for from the Cours Florent, Paris. He took a year in the Liberec theatre, whence she part in the celebration of black poetry Cent moved to the leading Prague Vinohrady vers sans chaînes (A Hundred Unchained Verses, theatre. It was here she developed her ex- 1991) in festivals in Morocco and Senegal, traordinary range in dozens of characters and in a production of Koltès Dans la soli- such as Jana in Anouilh’s L’Alouette (The tude des champs de coton (In the Solitude of the Lark, 1965), Josie in O’Neill’s A Moon for Cotton Fields) by the TNP Villeurbanne. the Misbegotten, 1969 and Madame von Back in Guadeloupe, he joined, as ‘Mad- Stein in Peter Hacks’s Ein Gespräch im Hause ame le Président’, in the virtuoso masking Stein über den abwesenden Herrn von Goethe of Michèle Montantin’s Vie et mort de Vaval (A Conversation in the Stein Residence About the (Life and Death of Carnival, 1991), played in Absent Mr von Goethe, 1977). She has been the popular work for children’s theatre, Les a member of the Prague National Thea- Deux Bossus et la Lune (The Two Hunchbacks tre since 1987, where she played Dorina and the Moon), in Gerty DAMBURY’S (Molière’s Tartuffe, 1988), the Old Woman Madjaka ou la fin du Bal (The Party’s Over), (Ionesco’s Les chaises (The Chairs), 1992, di- and in Carêmes (Dry Seasons, 1998). Film rected by Jan KACER) and Gina Ekdal roles include Codou in Christian Lara’s (Ibsen’s Vildanden (The Wild Duck), 1993). Sucre amer (Bitter Sugar, 1997). The trademark of her acting is the contrast between the exterior mad, confused Jernidier, José (1959–) Actor, author and expression and the interior world of the director, France and Guadeloupe. On re- characters. This contrast allows her a turning from France, where he studied tragicomic effect as well as capturing one photography, Jernidier joined a drama of the key themes of modern times: the workshop in Petit-Bourg and launched

140 Jivanov, Emilia Jones, Marie into satirical comedy in Creole with his Recipient of many awards, she partici- group TTC (Théâtre Tradition et Cul- pated in national and international exhi- ture) + Bakanal. After a collective creation bitions in Bucharest, Novi Sad and Prague Plus Bakanal (More Bacchanal, 1985) and (Quadriennale). Emilia Jivanov is ac- other plays mocking the media and con- claimed for her capacity of creating set- sumer society, his nostalgic comedy Moun tings with a poetical touch, where light and Koubari (The Folk of Locust Tree Village, 1990) colour radiate emotional power. was a popular hit and toured the French Caribbean and France, to be followed in Johnson, Terry (1955–) Dramatist and 1996 by Mal Maké (Branded Bad). Though director, Great Britain. Johnson shot to farcical in method, Jernidier’s comedy fame with Insignificance (1982), which had springs from observation of the clash of the curious combination of Marilyn values as a distinctive rural society is ex- Monroe, Einstein, McCarthy and Joe posed to assimilation by French urban diMaggio as characters. Some subsequent pressures. His work attracted the attention plays did not live up to the quality of this of Maryse CONDÉ, and after a folk play first success, until Hysteria, about a meet- on slavery, Les Sept voyages de Ti Noel (The ing between Freud and Dali, and Dead Seven Journeys of Little Noel), he took the role Funny. More recently, he has directed a few of Toussaint-L’Ouverture in Condé’s An productions at the Royal National Thea- Tan Revolisyon (Revolution Time, 1989), as tre, including his own Cleo, Camping, well as assisting director Sonia Emmanuel. Emanuelle and Dick (designed by William He subsequently directed and played in DUDLEY). Condé’s Comédie d’Amour (The Comedy of Love, 1993). Inspiring much loyalty from Jones, Gillian (1947–) Actor, Australia. his small semi-professional group, Trained initially as a ballet dancer before Jernidier has made his mark especially in graduating from the National Institute of Guadeloupean comedy in Creole. Dramatic Art, Sydney in 1968, Jones has played a wide variety of roles, classical and Jivanov, Emilia (1938–) Designer, Roma- modern, including Viola in Twelfth Night, nia. Soon after graduating from the Fine Gertrude in Hamlet and Barbara in Arts Institute N.Grigorescu in Bucharest Michael GOW’S Europe. Jones is particu- in 1963, Jivanov joined The National larly known for her work with directors Theatre in Timisoara and has been work- Neil ARMFIELD at Company B, Belvoir ing there since, creating set and costume St, Sydney, Rex Cramphorn at his Per- designs for more than ninety productions. formance Syndicate, and Jim She has collaborated also with the Na- SHARMAN. Jones was in the original tional Theatre in Târgu Mures, the Na- Australian Hair, and went on to work with tional Theatre in Bucharest, the State Sharman at the Lighthouse ensemble in Theatre in Oradea and others. Among her Adelaide. She brings intensity and intelli- most acclaimed designs are many plays by gent clarity to her roles along with a sense Romanian authors, such as Dumitru Radu of discipline and a powerful sensuality, POPESCU (Mormântul calaretului avar (The and has rarely played comic roles. Jones Grave of an Avar Horseman), Dalbul pribeag also wrote and performed the monodra- (The Wanderer)) and Matei VISNIEC mas Passengers in Overcoats and Anorexia (Arthur osânditul (Arthur the Convict)), and by Sometimes. world classics and contemporary authors such as Shakespeare, Chekhov (Tri sestry Jones, Marie (1951–) Dramatist and ac- (Three Sisters), Djadja Vanja (Uncle Vanya)), tor, Ireland. Marie Jones was writer-in- Goldoni, Gorki, Peter Weiss and Ibsen. residence with Charabanc Theatre Com-

141 Jude, Nouman Junker, Marja-Leena pany, Belfast from its foundation in 1983 Aeneas. He taught design at the Syrian until 1990. Plays for the company in- Academy of Dramatic Arts for cluded Lay up your Ends co-written with sixteen years, before moving to teach in Martin Lynch (1983), Gold in the Streets Kuwait. (1986) and Weddin’s, Wee’ins and Wakes (1990). Jones’s work has taken an unerr- Juliani, John (1940–) Director, Canada. ing look at Irish society, having addressed Juliani trained as an actor at the National such issues as life in a block of high-rise Theatre School. After two seasons at the flats in 1980s Belfast in Some-where Over Stratford Festival, he joined Simon Fraser The Balcony (1988). By co-founding and University, British Columbia, to teach writing for Charabanc, Jones not only theatre. Here he developed experiments staged the condition of Irish women but in theatre called Savage God, with an em- actively placed women on the Irish stage. phasis on ‘economy, flexibility and mobil- She has consolidated her position as a ity’. He continued his work while at York leading Irish playwright as a founder University, Toronto (1974–6) and Ed- member of Dubbeljoint Theatre Com- monton (1976–81). Since 1981 he has pany, Belfast, where she is writer-in-resi- worked as CBC radio drama producer in dence and associate director. Her work Vancouver as well as a freelance director for the company includes A Night in No- for theatre, film and television. vember (1994), Women on the Verge of HRT (1996) and Stones in his Pockets (1996). Junker, Marja-Leena (1945–) Actor and Jones has also written for Replay Theatre director, Luxembourg. After graduating in Education Company, for radio and tel- from the Conservatoire de Luxembourg, evision. As an actor, Jones has worked the Finnish-born Junker joined the extensively with Charabanc, Théâtre du Centaure and played a great Dubbeljoint, and on radio and film. number of roles in both classical and contemporary repertory, mostly in French. Jude, Nouman (1945–) Designer, Syria. She was particularly lauded for her per- Jude studied in St Petersburg, Russia. Af- formance of Cocteau’s monologue La ter his return to Syria, he designed sets, Voix Humaine (1985–9, Luxembourg, costumes and lighting for over ninety Paris and Athens). She also won great ac- productions for theatre, television and claim for the parts of Ysé in Claudel’s film. For the Damascus National Thea- Partage de Midi (Noontide, 1989, Théâtre tre, he designed Sean O’Casey’s Juno and des Capucins), Martha in ALBEE’S the Paycock, and Sa’dallah Wannus’s The Who’s Afraid of Virginia Woolf? (1992, King is the King. For the Experimental Théâtre d’Esch, with Philippe NOESEN Theatre he designed the sets of all Fawaz and Myriam MULLER, designed by Sajer’s productions. He participated in in- Jeanny KRATOSCHWILL) and Mama ternational exhibitions in Egypt, Tunisia in Coline Serreau’s Lapin Lapin (1996). In and Germany and won prizes. He is the 1992 she assumed the artistic director- only Arabic member of OISTAD, an in- ship of the Théâtre du Centaure and has ternational organization of theatre de- since directed the company’s productions signers, and participated in its two confer- of Molière’s Les fourberies de Scapin (1993), ences in Prague in 1991 and 1995, win- Lyie Kessier’s Orphans (1996) and ning in the later the third prize among Camus’s Les Justes (The Just, 1997). artists from forty-three countries. He de- Junker is an actor of immense stage pres- signed the set for the first Syrian opera ence and emotional depth and, through co-production with the support of the her teaching, has inspired many younger British Council, Henry Purcell’s Dido and theatre artists.

142 Jurisic, Melita Justin-Joseph, Annick

Jurisic, Melita Actor, Australia. Born in Justin-Joseph, Annick (1949–) Director Croatia, Jurisic is now based in Melbourne and writer France and Martinique. With and began her career there with the Ac- diplomas in movement, mime and tors Company. Jurisic has played a vari- drama, her gentle determination and ety of extraordinary roles with astonish- commitment to the development of ing, sometimes blazing intensity. Jurisic Martinican theatre have informed her created the role of Betsheb in Louis roles as head of the SERMAC theatre NOWRA’S The Golden Age with a sense workshop (1977–81), founding director of animal vitality, otherness, weirdness of the Théâtre de la Soif Nouvelle (1982– and passion which was extremely power- 7), head of the Centre Dramatique ful. She appeared in several of Nowra’s Régional (1987–9) and municipal cultural early works, first working with him at the administrator (1995–). After an interlude Lighthouse Company in Adelaide, which of study she returned to Martinique in she joined in 1982 and where she also 1992 to work with a group of disadvan- played in A Midsummer Night’s Dream, taged children, with whom she created Brecht’s Mutter Courage und ihre Kinder the bilingual musical Rosia Siguine O (Mother Courage and her Children) and (1996). She is fascinated with local his- Kleist’s Prinz Friedrich von Homhurg. More tory and motivated by ‘the aesthetic of recently she played Gretchen in the Mel- our traditions’. Her directing credits in- bourne Theatre Company’s production of clude montages poétiques, Placoly’s Mas- Goethe’s Faust, six different roles in sacre au bord de mer (Massacre on the Seashore, CHURCHILL’S Mad Forest, a hundred 1989), a television adaptation of Ina year old Balinese woman in Graeme Shiel Césaire’s Dame Kéléman for RFO, and a Bali Adat and Cordelia in a SUZUKI-in- commissioned piece for the Museum of fluenced Lear at Playbox, Melbourne. Pre-Columbian Art. Among those with Jurisic’s acting is visceral; her stage pres- whom she has worked, she particularly ence is compelling and she is unafraid to credits SOYINKA, whom she assisted on seek out extremes within the characters Trials of Brother Jéro for the 1984 Festival she plays. of Fort-de-France, with inspiring the direction of her company Carib Studio.

143 K

Kacer, Jan (1936–) Director and actor, Ukraine. Kadyrova trained at the Drama Czech Republic. Kacer studied direction Studio at the Maria Zan’kovets’ka Ukrain- at the Prague Academy of Performing Arts ian Drama Theatre (L’viv), graduating in and began work for the Youth Theatre in 1963. In 1981 she received a degree from Ostrava (1959–64), where he directed the Karpenko-Kary Institute for the Art of Brecht’s Mutter Courage und ihre Kinder the Theatre, Kiev. Her major roles at the (Mother Courage and her Children, 1961) and Maria Zan’kovets’ka Ukrainian Drama Romeo and Juliet (1962). In 1965 he co- Theatre, L’viv (1963–93) in productions founded the experimental C?inoherní directed by Serhii DANCHENKO and Club in Prague, whose profile was further Alla Babenko include Donna Anna in shaped by Kacer’s productions of Gogol’s Lesia Ukrainka’s Kam’ianyi hospodar (The Revizor (The Government Inspector, 1967) and Stone Host, 1971), Mavka in Ukraina’s Chekhov’s Visnevyi sad (The Cherry Orchard, Lisova pisnia (The Forest Song, 1983), Larisa 1969), Djadja Vanja (Uncle Vanya, 1973) and in Ostrovsky’s Bespridanittsa (The Dowerless Cajka (The Seagull, 1975), in which he al- Girl, 1985), the title role in Racine’s Phèdre ways tried to bring the dramatic and comic (1988) and Natalia Petrivna in Volodymyr qualities of the text to a head. He also Vynnychenko’s Brekhnia (The Lie, 1991). played the part of Raskolnikov in Kadyrova is an actor of an intellectual Dostoyevsky’s Prestuplenie I nakazanie (Crime plane; exalted refinement and nervousness and Punishment, 1966). Politically perse- are characteriztic of her heroines. Since cuted, he was forced to leave Prague and 1993 she has been an actor of the Ivan worked in Ostrava until returning again Franko Ukrainian Drama Theatre, Kiev in 1986. His direction is marked by a large where she played Rebecca in Rosmersholm range of styles, both in terms of means as by Ibsen (1994). Kadyrova has also ap- well as repertoire, from the absurd peared in the role of Ranievskaia in (Ionesco’s Les chaises (The Iva Chekhov’s Visnevyi sad (The Cherry Orchard, JAN•UROVÁ and Miroslav 1996), at the Les’ Kurbas Molodizhny DONUTIL) to poetic drama (Ibsen’s Peer Theatre, L’viv, directed by Volodymyr Gynt, National Theatre, 1995). He works KUCHYNS’KY. in small and large venues, with puppet theatre and in the opera. Kahn, Michael (1940–) Director, USA. Kahn graduated from New York’s High Kadyrova, Larysa (1943–) Actor, School of Performing Arts, and trained

144 Kainy, Miriam Kalyagin, Alexander with Michael Howard and the Actors Stu- (An Enemy of the People)), Volpone (Ben dio. In a prolific career, he has directed Jonson’s Volpone), Mayor (Gogol’s Revizor numerous productions in all genres and (The Government Inspector)) and Polonius styles. He was artistic director of the (Hamlet). Kallai is convincing as dramatic American Shakespeare Theatre (1969–74), hero, petty tyrant or suppressed ordinary McCarter Theatre (1974–9) and the Act- man. In some plays (like the Hungarian ing Company (1978–88). Since 1986 he national tragedy, József Katona’s Bánk Bán has been very successful as artistic direc- (Banus Bánk)) he played several roles dur- tor of the Shakespeare Theatre at the ing his career. Folger in Washington. Kahn is mainly known for his Shakespeare productions. Kaloc, Zdenek (1938–) Director and His work places great emphasis on clear dramatist, Czech Republic. Kaloc studied story telling and fine speaking with little direction at the Prague Academy of Per- regard to directorial concepts. forming Arts. In all his productions, he joins psychologicalism with the stage Kainy, Miriam (1942–) Dramatist, Israel. metaphor. From 1962–6 he worked at the Kainy studied history at Tel Aviv Univer- Mrštík Brothers theatre, where he di- sity. Her first play Hashiva (The Homecom- rected, amongst others, Dürrenmatt’s Die ing, produced 1973 and 1975) and Hem Physiker (The Physicists, 1964). His produc- (They, produced together with Joseph tions of Euripides’s Troades (The Trojan CHAIKIN in 1980) dealt with the Arab- Women) and Shudraka’s Mrcchakatika (The Israeli conflict as an expression of the ex- Little Clay Cart), both in 1968 at the Na- perience of the outsider/other. In her later tional Theatre, were characterized by a plays like Bavta (1986), Sof Onat Hachlomot poetically and musically stylized stage (The End of the Dream Season, 1991) and form. He has often reworked the dramatic Bianca (1995), she has focused on female text quite fundamentally, such as issues. Kainy has also written screenplays Pushkin’s Boris Godunov (1970), and has for television and radio plays and is ac- directed his own prose adaptations tive as a translator and has adapted sev- (Tolstoy’s Vojna I mir (War and Peace), 1970; eral plays. Dostoyevsky’s Brat’ia Karamazovy (The Karamazov Brothers), 1995), which are in- Kállai, Ferenc (1925–) Actor, Hungary. formed by his interest in Russian authors After training at the Academy of Theatre and their fascinating portrait of the human and Film Art he joined the Belvárosi Thea- soul. He is also inclined to Paul Claudel, tre in 1945, and from 1948 until his re- with productions of Annonce faite à Marie tirement in 1986 he was a member of the (Annunciation to Mary, 1991), and Le Soulier National Theatre. Since 1977 he has been de Satin (The Satin Slipper, 1993). Among a teacher at the Academy of Theatre and his own plays are Mejdan na písku (Party on Film Art, and since 1981 the president of the Sand, 1977), Holátka (The Nestlings, 1982) the Hungarian Theatre Art Association. and V zajetí nezne chiméry (In the Clutches of Between 1985–9 he served as an MP. A the Gentle Chimera, 1985). significant screen actor, he became the symbol of an era in the leading role of Kalyagin, Alexander (1942–) Actor and Péter Bacsó’s political satire A tanú (The director, Russia. Kalyagin started his ca- Witness). Major roles include Romeo reer in the theatre as an amateur actor. (Romeo and Juliet), Edmund (King Lear), Later he trained at the Schukin Theatre Jourdain (Molière’s Le bourgeois gentilhomme College in Moscow. He joined the Taganka (The Citizen as Nobleman)), Orgon (Molière’s Theatre Company, where he successfully Tartuffe)), Stockmann (Ibsen’s En Folkefiende played Galileo in Bertolt Brecht’s Leben des

145 Kambar, Chandrasekar Kang, Waldo

Galilei (Life of Galileo). After that he joined Government Inspector, 1992), Die Zeit und der the Moscow Yermolova Theatre. Since Raum (The Time and the Room by Botho 1976 he has worked with the Moscow Art STRAUSS, 1992), and January by Bulgar- Theatre. His most important parts with the ian dramatist Yordan RADICHKOV Moscow Art Theatre include Popryschin (1995). His strength lies in his ability to in Gogol’s Zapiski Sumasshedshego (Diary of recognize the qualities of space as the ba- a Madman), Orgon in Molière’s Tartuffe and sis for the structure of performance, espe- Protassov in Tolstoy’s Zivoj Trup (Living cially in terms of his choice of unconven- Corpse). Kalyagin is a brilliant comic actor, tional spaces. Mutual relationship with the assisted by his round face and rather stout actors, in the process of which both sides figure. Nevertheless, he is also an accom- are challenged to improvisations, charac- plished performer of serious drama, mainly terizes his work as a director. Gorky and Chekhov. He toured for some seasons in France with his partner Kancel, Harry (1948–) Actor and direc- Anastasya Vertynskaya, giving lessons in tor, France and Guadeloupe. A trained dramatic art to foreign colleagues. In 1993 teacher, Kancel began by organizing short he founded his own theatre, Et Cetera, plays as leisure activity for young people playing Chekhov and other Russian clas- on free afternoons. He took part in the sics. Kalyagin has a profound interest in 1970 workshop run by Jean-Marie actor training and is a professor at the Serreau, out of which Arthur LÉRUS and Moscow Art Theatre Studio. others constituted the Théâtre du Cy- clone. Until 1978 he was closely involved Kambar, Chandrasekar (1937–) Drama- in Cyclone’s annual collective produc- tist and actor, India. Kambar has written tions, then worked independently. Since more than twenty plays in Kannada, some 1982 he has mainly directed works by socio-political, such as Jokumaraswamy and Jean-Michel Palin, with whom he created Rishyasirunga, and more recently comedy, a small group Pawol a Nèg Soubarou’ such as Siri Sampige. His most significant (Words of a Roots Man), named after contribution to Indian theatre is the use their play, also called L’arbre aux masques of Bayalata, the folk form of North (The Tree of Masks, 1984) in which Kancel Karnataka, and the Sangya-Bayalata, a played an ancient black man interrogated folk play of Karnataka. In his plays, he is by a little girl. As well as a number of po- concerned with human relation with the etic ‘montages’ on Caribbean texts, Kancel beyond. Winner of many awards, he is the has directed Henri Corbin’s Baron samedi chairman of Karnataka State Nataka (1989), Lucie Julia’s Jean-Louis: un nègre Academy, and has also acted in some of pièce d’Inde (Jean-Louis: A Negro, Piece of In- his plays. dia, 1991), Jean Metellus’ Anacoana (1993) and Raymond Boutin’s Cris et silence (Cries Kambarev, Stoyan (1953–) Director, Bul- and Silence, 1995). He has become a lead- garia. He trained at the National Academy ing exponent of serious Guadeloupean of Theatre and Film Arts, Sofia (1979–83). theatre with a special interest in demon- In addition, he studied at the Silvio strating the poetic possibilities of dialogue D’Amico Theatre Academy and La in Creole as well as French. Sapienza University in Rome and at the Vispyanski Theatre, Katowice, Stary Thea- Kang, Waldo (1936–) Dramatist, Korea tre and Bagatela Theatre, Cracow, Poland. (also known as Pagoon or Pagune). He His major productions include Sam attended Seoul National University, SHEPARD’S Fool for Love (1986), Beckett’s studied at the University of Indiana, Happy Days (1988), Gogol’s Revizor (The Bloomington, USA and received a Ph.D.

146 Kani, John Bonisile Kara Jûrô degree in philosophy from Columbia Uni- member of Kanze School of no, he was versity, New York. From the early 1960s, initially taught by his father and Kanze he wrote one-act plays for fringe theatres Kasetsu. After the Second World War he in New York, including Among Dummies changed to Kita School and studied un- (1962, Cafe Cino Theatre), Head Hunting der Kita Roppeita VI and Kita Minoru. (1962, at Cafe La MaMa) and Between Yes- He once left nô in 1958 but in 1979 re- terday and Tomorrow (1964). Since the mid- turned to the Kanze School. He formed 1980s, Kang has been involved in Korean Seinen Geijutsu Gekijô (The Youth Art theatre, writing some plays in Korean in- Theatre Company) with the playwrights cluding Eocheonji Dolyeonbyeoni (Mutating for Yoshiyuki Fukuda and Ken Miyamoto, No Reason, 1988), Beondaegijeon (Tales of Pu- and also formed Jiyû Gekijô (the Freedom pae, 1990) and Bakdeongi Romance (Romance Theatre Company) with SATÔ Makoto of a Ground, 1995). All these works deal in 1966. He acted in Shigosen no Matsuri with the typical pattern of human behav- (Requiem on the Meridian, 1979) by iour in hazardous situations. KINOSHITA. He appeared in the film of Suna no Onna (The Woman in Dune) by Abe Kani, John Bonisile (1943–) Actor, South Kôbô, which won an award at the Cannes Africa. Kani acquired his performing skills International Film Festival. He was also through workshops with the Serpent Play- involved in the productions of Greek trag- ers. Sizwe Bansi is Dead (1976), which had edies by Mei no Kai (The Group Mei evolved out of workshops and improvisa- Theatre Company). Since returning to nô, tions, is the play that launched the inter- he has revived old nô plays such as Ikenie national acting careers of John Kani and (The Sacrifice), Sanekata and Take (The his co-actor and devisor, Winston Banboo). He has attended many interna- NTSHONA. However, the play did more tional theatre festivals to introduce no than that, for more than any other play widely to the world. Kanze Hideo was one before or even after it, except possibly Woza of the forerunners of the new theatre Albert!, it brought the evil of apartheid onto movement of the 1960s. His open-minded the international stage. Kani was remark- and courageous attitude and an attempt able in his twin roles of Styles and Buntu. to bridge traditional and modern theatre Kani has subsequently featured in many by recognizing Japanese theatre as a whole of Fugard’s other plays, including Sam in have contributed tremendously to theatre Master Harold and the Boys, and leading char- in Japan. Apart from acting, he directs acters in Playland, Marigolds in August, The plays, operas and choreographs dance. Island and most recently My Children! My Africa! in which he plays Mr M (the school Kara Jûrô (1940–) Dramatist, director, teacher stoned to death at the end for be- artist and novelist, Japan. Kara attended trayal). Kani’s performance in all these and Seihai Drama School. He felt that social- other plays in which he has appeared has ist realism did not satisfy his appetite for been acclaimed locally and internationally. theatre, and went back to his student thea- He is the complete performer, who brings tre group and renamed it Jôkyô Gekijô to his roles an inner life, fire and joy that (the Situation Theatre Company, inspired are peculiarly his own. Other credits in- by Sartre). Kara’s concept of drama, and clude Jean in Strindberg’s Fröken Julie (Miss of theatricality was completely different Julie), and the title role in Othello. from the shingeki paradigm. Soon he became one of the leading figures of angura Kanze Hideo (1927–) Nôgaku shite actor, (the underground or alternative) theatre actor and director, Japan. The second son movement of the 1960s. The company of Kanze Tetsunojôgasetsu VII and a was widely known as Aka Tento (Red

147 Karanth, B.V. Karlík, Josef

Tent) because of their mobile big red tent (The Memory, after Borys Oliinyk, Kiev, theatre, and the performances were given starring Bohdan STUPKA, 1987), Valerii in a shrine precinct, on the street or by a Shevchuk’s Sad bozhestvenukh pisen’ (The pond in the park. His plays include Shôjo Garden of Divine Song, Kiev, directed by Kamen (Virgin’s Mask, 1969, directed by Oleksii KUZHEL’NYI and starring SUZUKI), Nito Monogatari (The Tale of Two Bohdan Stupka, 1989), Peter SHAFFER’S Cities, Seoul, 1972), Bengaru no Tora (The Lettuce and Louage (Sevastopol’, 1989 and Bengalese Tiger, Bangladesh, 1973) and Binro St. Petersburg, 1996), Iago, after Othello no Fuin (The Seal of Binro, Taiwan, 1992). (Kiev and Edinburgh, 1994), Lesia His concept of internationalism focuses on Ukrainka’s Oderzhyma (One Possessed, Kiev Japan’s neighbouring countries in Asia. and Augsburg, Germany, directed by His plays attract other theatre directors. Serhii PROSKURNIA, 1995) and Brat’ia For example, Shitaya Mannen-cho Monogatari Karamazovy (The Karamazov Brothers, after (The Story of Shitaya Mannen Street, 1981), Fedor Dostoevsky, Moscow and Kiev, di- and Taki no Shiraito (The Water Jugglar, rected by Iuri LIUBIMOV, 1997). 1989) were both directed by Karashevsky avoids stage properties in his NINAGAWA. scenic designs, and is drawn to the synthesis of functional subjective structures Karanth, B.V. (1929–) Director, India. One and philosophical generalization. of the controversial directors of the Indian scene, Karanth received early education at Karge, Manfred (1938–) Director, actor the Gubbi Theatre Company. He was the and dramatist, Germany. Karge studied at director of the National School of Drama, the Staatliche Schauspielschule in East director of the Bharatiya Bhavan, Bhopal Berlin. From 1961–8 he worked at the and director of the drama institute Berliner Ensemble, where he directed Rangayana in Mysore. Some of Karanth’s many Brecht productions together with best-known productions are Girish Thomas LANGHOFF. Karge and KARNAD’S Tughlag and Hayavadana, Badal Langhoff continued their co-directions SIRCAR’S Evam Indrajit, KAMBAR’S when Karge joined the Berliner Jokumaraswamy, TENDULKAR’S Volksbühne (1969–78). From 1986–93 Ghashiram Kotwal and Birnam Vana, an adap- Karge regularly directed at the tation of Macbeth. He has composed music Burgtheater in Vienna under Claus for many theatre productions including his PEYMANN’S artistic directorship. In own, and has directed some avant-garde many of his productions, Karge also films like Chomana Dudi and Vamsa Viruksha. played leading parts. More recent work Karanth pursues a restless quest for the includes Hassenreuther in Hauptmann’s meaning of the arts in the modern world. Die Ratten (The Rats) at the Maxim Gorky Theatre in Berlin (1997). His productions Karashevs’ky, Volodymyr (1955–) De- are often shrill in making their point; as a signer, Ukraine. In 1981 Karashevs’ky re- result, critical and audience response is ceived his degree from the Taras split between enthusiatic support and Shevchenko Kiev State Institute for Arts, harsh rejection. the Faculty of Painting, Theatrical Depart- ment (the workshop of Daniil LIDER). Karlík, Josef (1928–) Actor, Czech He is one of the most original modern Republik. Karlík studied at the Brno Con- Ukrainian scenographers. He designed servatory joined the State (today the Na- many successful experimental projects in- tional) Theatre in Brno in 1956, where he cluding Shal’tianis’s ’Skazka o Monike (The has remained to this day, taking lead roles Fairy Tale about Monika, Kiev, 1978), Pam’iat’ from the early 1960s. He literally acts with

148 Karnad, Girish Ragunath Kasoma, Kabwe his entire body, and can be nimble despite development of modern Indonesian thea- his heaviness, as could best be seen in his tre, Teguh Karya founded his Teater Popu- acrobatic rendition of Puck (A Midsummer lar in the early 1960s in Jakarta. The com- Night’s Dream, 1977). His non-illusionary pany performed translations and adapta- style, which is heavily theatrical, and his tions of classics by Molière, Ibsen, Gogol, exaggerated expression and demonstrative Büchner and Strindberg, as well as plays figure find their best application in the by Coward, KOPIT, Hartog, Lorca, plays of Brecht, as in Azdak in Der C?apek, PINTER, Brecht and Tennessee Kaukasische Kreidekreis (The Caucasian Chalk Williams. Karya also directed productions Circle, 1959), the title role in Leben des Galilei of original plays by contemporary Indo- (Life of Galileo, 1978), and as Dürrenmatt’s nesian playwrights Putu WIJAYA and Romulus der Große (Romulus the Great, 1965), W.S.RENDRA. Karya provided a train- Edgar in Dürrenmatt’s Play Strindberg ing ground for many young theatre art- (1969) and Ill in Der Besuch der Alten Dame ists who have since established their own (The Visit, 1991). At the same time he companies or found success in film and presents brilliant portraits of psychologi- television. Karya himself is now a distin- cally complicated characters, such as guished film director. Stepan Verkhovensky (Dostoyevsky/ Camus: Besy (The Possessed, 1992) and Kasapoglu, Isil (1955–) Director, Turkey. Serebryakov (Chekhov’s Djadja Vanja (Un- After graduating from the Theatre Depart- cle Vanya, 1996). ment of the Sorbonne in 1981, Kasapoglu worked at the Pierre Vial Theatre Work- Karnad, Girish Ragunath (1938–) shop of the Paris State Conservatory. Pro- Dramatist and actor, India. Karnad is in- ductions he directed between 1978–83 in fluenced by his native tradition as well as Paris include Gogol’s Mertvye dusi (Dead impressions gained during his training and Souls). In 1983, he founded his own thea- education in the West (Rhodes Scholar, tre group, Théâtre â Venir. In 1987, he Oxford, Fulbright scholarship, visiting joined Istanbul Municipality City Theatres professorship in Chicago and writer-in- to direct Goldoni’s Il servitore di due padroni residence at the Tyrone Guthrie Theatre), (The Servant of Two Masters), King Lear and especially Shakespeare and Anouilh. His Gogol’s Revizor (The Government Inspector). first play, Yayati, and many other plays in Between 1991–6 he directed various plays Kannada including Hayavadana, Bali, Naga- in Turkey for different theatre companies: Mandala, Tale Dhanda and his recent Agni Macbeth, Twelfth Night and Measure for Meas- Mattu Male, re-interpret Indian myths and ure for Diyarbakir State Theatre, and The folk stories in a contemporary sensibility, Merchant of Venice for Trabzon State Thea- mixing Indian and Western theatre tech- tre. In 1997, he established Izmir City niques; he also translates many of his own Theatre and directed a controversial Ham- plays into English. His Tughlag, a political let. In general, Kasapoglu is interested in play, was directed by Ebrahim ALKAZI. revealing new dimensions of well-known He served as chairman of the Sangeeth plays. Highly aware of the give-and-take Natak Academy, has directed many films relationship between text/ director and di- and is also an actor of repute. rector/actors, his productions manage to ignite and sustain audience interest. Karya, Teguh (1937–) Director, Indone- sia. Karya trained at ATNI (Academi Kasoma, Kabwe (1933–) Dramatist, Teater Nasional Indonesia) and Zambia. Kasoma came to the University ASDRAFI (Academi Seni Drama dan of Zambia as a mature student after his Film), Yogyakarta. A seminal figure in the active involvement in the local politics of

149 Kaul, Bansi Keane, John B. the Copper Belt during the independence dividual and group exhibitions at home struggle. His university education was to and abroad. From 1970–8 he was a mem- improve his prospects for a career in poli- ber of the Biafra Group. He worked for tics. Kasoma started his playwriting career almost all Croatian theatres. His own po- as a hobby, but his stay at university etics of design developed gradually, pass- helped him to develop his perception of ing several phases, from shock design his role as a politically aware playwright. through structural design to design of Like Steve CHIFUNYISE, he is a prod- symbols or signs. He makes no attempt uct of the Chikwakwa Theatre experience, at naturalistic presentation but, whenever learning and honing his dramatic skills possible, gives up illustrative scenery. He and technique through participation in the always tries to find a balance between the projects and tours of Chikwakwa. His dynamics of dramatic action and its visual plays are in the main concerned with ex- expression, often using comic book ele- ploring the social problems of Zambia. ments in his designs. His recent aim has Following in the style of Chikwakwa, been a highly functional setting included Kasoma’s plays make extensive use of train the dramatic action and placed on equal ditional Zambian folk forms of dance, footing with other elements of the per- music, ritual, movement, mime and sto- formance. He designed his first set in 1974 rytelling techniques to ensure mass/popu- for Brecht’s Im Dickicht der Städte (Jungle of lar appeal. His major works are The Poi- Cities). His major designs include Krle•a’s soned Cultural Meat, The Fools Marry, The Banquet in Blitva (directed by PARO, 1981), Black Mamba Plays (a trilogy on Kenneth Lisinsky’s opera Porin (1993) and Kaunda and the Zambian struggle for in- Chekhov’s Ivanov (directed by dependence) and Distinction. KUNCEVIC, 1978). He also worked abroad, in Slovenia, Bosnia-Herzegovina, Kaul, Bansi (1949–) Director, India. Kaul Malta and Germany. In 1996 he directed graduated from the National School of Verdi’s Rigoletto, making the spatial out- Drama, New Delhi, specialized in stage- look of the stage the basis of his direction. craft and later joined the School as a professor. He has directed more than a hun- Keane, John B. (1928–) Dramatist, Ire- dred plays and a number of workshops. land. Keane’s first play Sive was produced In 1986 he founded the Rang Vidushak, a by the Listowel Drama Group. Among his repertory in Bhopal, where he has been later plays, The Field was produced by working with actors, clowns and acrobats Gemini Productions at the Olympia Thea- in an attempt to evolve a new theatre idiom tre, Dublin (1965) and Big Maggie was pro- rooted in the physical culture of the coun- duced by Gemini Productions at the Op- try. Recently Kaul directed Sooch ka Doosara era House, Cork (1969). Joe DOWLING, Naam, a collage of wisdom tales. It set a as artistic director of the Abbey Theatre trend of using folk tales as narrative in thea- in the 1980s, instigated a reappraisal of tre. He has also directed Western plays like Keane’s work as directed by Ben Beckett’s Waiting for Godot, Gogol’s Revizor BARNES. Sive was produced at the Ab- (The Government Inspector), Ben Jonson’s bey Theatre in 1985, followed The Field Volpone and many Indian plays. with Niall TÓIBÍN as the Bull McCabe in 1987 and Big Maggie with Brenda Kauzlaric Atac, Zlatko (1945–) Designer Fricker in the title role in 1988. Sharon’s and director, Croatia. Kauzlaric Atae Grave was directed by Ben Barnes for the trained at the Academy of Fine Arts in Gate Theatre, Dublin in 1995. In August Zagreb, where he now works as a profes- 1998 Keane was awarded the prestigious sor. From the mid-1960s he had many in- Gradam Award by the National Theatre

150 Kelly, David Kente, Gibson

Society (Abbey and Peacock Theatres) in theatre with the alternative Stasis Group recognition of his contribution to Irish at The Pram Factory, Melbourne, and her theatre, a remarkable yet fitting gesture self-authored work is often slightly eso- given his lack of recognition by the Na- teric, although breathtakingly beautiful. tional Theatre earlier in his career. A na- Using music, fragmented language and tive of Listowel in County Kerry, where language as music, Kemp’s play texts of- he still lives, Keane’s background has en- ten work as soundscapes with unstable riched his drama, which remains ex- and infinitely varying meanings. Of the tremely popular with amateur drama productions Kemp has authored and di- groups. Keane’s profile was raised consid- rected, The Call of the Wild (1989) played erably by the film version of The Field, di- with the notion of the gaze as well as of- rected by Jim Sheridan in 1991, with Ri- fering sumptuously beautiful visions to the chard Harris as the Bull McCabe. audience; The Black Sequin Dress (1996) used repetition and dream to explore ex- Kelly, David (1929–) Actor, Ireland. perience and psyche; and Remember (1992) Kelly’s international fame in television sit- explored interiority, memory and the sur- coms belies his extensive fifty-year career vival of trauma. as a critically acclaimed theatre actor, having trained at the Abbey Theatre, Dublin. Kendal, Felicity (1946–) Actor, Great A former member of Joan Littlewood’s Britain. Kendal was born in India where Theatre Workshop in London (playing in she toured with her parents’ theatre com- Beckett’s Waiting for Godot) and of John pany, making her debut at the age of nine Neville’s Nottingham Playhouse, he gave as Puck in A Midsummer Night’s Dream. the first solo performance in Ireland of Since 1965 she has been in Britain, where Beckett’s Krapp’s Last Tape, produced pro- she scored successes in AYCKBOURN’S fessionally at Trinity College, Dublin, in The Norman Conquest (1974) and seasons at 1959. He played this role again in the 1992 the National Theatre including Constanze Beckett Festival at the Gate Theatre, Dub- in SHAFFER’S Amadeus (1979, with Paul lin, which subsequently toured to Chi- SCOFIELD, and Simon CALLOW, di- cago, Seville and New York. His career in- rected by Peter HALL) and Desdemona cludes work with major directors such as (with Scofield as Othello, again directed Polanski, Olivier and MacLiammóir. Re- by Hall). Recently she has become associ- cent roles at Dublin’s Abbey Theatre in- ated mostly with revivals and new plays clude Giles Corey in Arthur MILLER’S by Tom STOPPARD, ranging from The The Crucible (1995), and the kleptomaniac Real Thing (1982) to Indian Ink (1994). In Jack in Brian FRIEL’S Give Me Your An- 1997 she joined Peter Hall’s company at swer, Do! (1997). In his many roles he has the Old Vic in London, appearing oppo- been noted for his comic sensitivity and site Michael PENNINGTON in sense of pathos. Granville-Barker’s Waste and as Arkadina in Chekhov’s Cajka (The Seagull), both di- Kemp, Jenny (1949–) Director and rected by Hall. dramatist, Australia. Kemp’s style is very distinctive and she creates extremely Kente, Gibson (1932–) Director and thea- visual texts (often inspired by the art of tre manager, South Africa. Kente’s early Paul Delvaux) which are non-linear, cycli- cultural influences were Christian hymns cal and associative. Although Kemp has and Xhosa traditional music. He joined the worked in the mainstream (Melbourne Union of South African Artists (USAA) Theatre Company, the State Theatre of and set up his own theatre company, which South Australia), she started working in was to produce mostly vaudeville/musical

151 Kenter, Müsfik Kertonegoro, Madi dramas for black township audiences. His in Britain, Europe and the USA. He trav- musical Sikalo set the basic pattern for the elled widely, acting in former Yugoslavia, township musical with its successful and the USA, Russia, Germany and the Turk- later widely adopted formula and format ish Republic of Cyprus. He has also con- of situations and popular/stock characters tributed to the Turkish theatre world by that the township audiences find endear- his publications on theatre. As well as being. Inspired by the commercial success of ing a renowned actor and a director, he the politically committed Sizwe Bansi is Dead has gained fame in film. (by Athol FUGARD, John KANI and Winston NTSHONA), Kente wrote How Kenter, Yildiz (1928–) Actor, director and Long (1974). In 1976, Kente was arrested artistic director, Turkey. Following her while working on a film version of How graduation from the Ankara State Con- Long. On his release in 1977 he returned servatory’s Theatre Department in 1948, directly to theatre work, but it was evident Kenter spent eleven years as an actor and that the brush with the law had changed a director at the Turkish State Theatres. his new style and subject; his next musi- After receiving a Rockefeller Scholarship, cal, Can You Take I completely avoided poli- she studied acting and new techniques of tics, as did his subsequent productions, in- teaching drama at the American Theatre cluding Mama and the Load. Wing, Neighbourhood Playhouse and at Actors Studio. On her return to Turkey, Kenter, Müsfik (1932–) Actor and direc- she founded her own company, The Kent tor, Turkey. Following two years with the Players, with her actor brother, Müsfik Children’s Theatre of the Ankara State KENTER and her actor husband Sükran Theatre, Kenter trained at the Theatre Güngör, in 1962. In 1968, she moved into Department of the Ankara State Con- her own theatre in Istanbul, Kenter Thea- servatory. He worked for the Ankara State tre, of which she is the artistic director. She Theatre between 1955–9. Going to Istan- has performed and directed over 100 plays bul, with his sister Yildiz KENTER, he in Turkey and abroad, including works by joined Karaca Theatre under the director- Shakespeare, Chekhov, Gorky, Brecht, ship of Muhsin Ertugrul in 1959. During Ionesco, PINTER, AYCKBOURN, the 1960–1 season he co-founded Site Arthur MILLER, ALBEE and Tennessee Players Group with his sister and friends. Williams as well as many Turkish drama- After the 1961–2 season the same group tists. As an actor, her performances are became Kent Players, which has been ac- based on a persistent ‘action-reaction’ prin- tive until the present day. Since 1959, he ciple: she immediately establishes an in- has been directing and acting in numer- teraction with her audience. While in char- ous plays of internationally known play- acter as Maria Callas in Terence wrights such as PINTER, Osborne, MCNALLY’S Master Class (1998), she Ionesco, Brecht, Shakespeare, MILLER, gave a master class to opera singers. At Chekhov, AYCKBOURN, Gorky, the same time, she also gave a master class O’Neill and Tennessee Williams, and in acting to her audience. Turkish dramatists such as Mehmet BAYDUR, Turgut Özakman and Adalet Kertonegoro, Madi (1955–) Performer Agaoglu. In acting, he approaches his roles and director, Indonesia. Kertonegoro is a with incomparable sensitivity and portrays self-taught painter, writer, actor, dancer, his characters with admirable credibility choreographer and director from Central and consistency. Scholarships from the Java who now lives and works in Bali. British Council and from the Rockefeller Basing his work on traditional models, Foundation enabled him to study theatre Kertonegoro strives to create a total

152 Khadour, Mahmoud Khuri, Makram theatre of drama, dance and music. Ma- signed by Jamil ARMED, 1982). Possibly jor pieces include Resi Jaran Goyang (Crazy his most striking directorial venture is Horse Bishop, 1981) and Bunga Bangkai Syed HUQ’S Juddha Ebang Juddha (with (Corpse Flower, 1982) with Teater Mentah, Ferdausi Majumdar as Rabeya, Al- Denpasar and Release from World Disaster Mamun as Barkatullah and Ramendu created with the villagers of Petulu MAJUMDAR as Kalimullah, 1986). His Gunung (1988) Since 1991 he has concen- production of That Scoundrel Scapin has trated his efforts upon establishing the been particularly praised for his ‘ability to Dayu Putih Foundation. He sees ‘the the- improvise without distorting Molière’s atrical process as spiritual process’ and the text’. His unique quality as an actor and foundation combines aspects of esoteric director lies in his capability for combin- philosophy and performance for spiritual ing a sense of stability with explosive en- development. In 1997 he was collaborat- ergy. He has adapted a number of plays ing on a stage adaptation of his 1987 novel and is the founder director of Natya The Guard of Ubud Corner. Kendra (an important theatre group in Bangladesh). He has also extensively Khadour, Mahmoud (1943–) Director, toured abroad as a designer for perform- Syria. After training in Moscow he worked ance troupes from Bangladesh and is a briefly in Aleppo, where he directed three well-reputed television and film actor. productions, including Walid IKHLASSI’S Yawma Askatna Taera’l-Wahm Khostikoiev, Anatolii (1953–) Actor, (The Day When We Shot down the Bird of Illu- Ukraine. Khostikoiev graduated from the sion, 1974). Then he moved to Damascus, Karpenko-Kary Institute for the Art of the where he worked with its National Thea- Theatre, Kiev (1974) and gave his debut at tre. His collaboration with Mamdoub the Maria Zan’kovets’ka Ukrainian Drama Adwan was notable, he directed his liberal Theatre, Lviv in the role of Chernysh in adaptations: Hamlet Wakes up Late (1978) Praporonostsy (Standard-Bearers) after the and Don Quixote (1979), as well as his origi- novel by Ukrainian writer Oles’ Honchar nal scripts, Zeyaratul-Malika (The Queen’s (directed by Serhii DANCHENKO, 1975). Visit, 1981) and Al-Khaddameh (The Maid, In 1978 he joined the Lesia Ukrainka Rus- 1984). He also directed Aleksei Arbuzov’s sian Drama Theatre, Kiev. Since 1980 he The Promise (1980) and Peter SHAFFER’S has been an actor at the Ivan Franko Black Comedy (1981). His latest contribution Ukrainian Drama Theatre, Kiev. is Nabukhaz Nasser (1998), based on a play Khostikoiev is an actor of brilliant appear- by a new playwright, Talal Naser’l Deen. ance and deep dramatic temperament, a wonderful character actor. Major roles in- Khan, Tariq Anam (1953–) Actor and clude Astrov in Chekhov’s Djadja Vanja director, Bangladesh. Tariq Khan trained (Uncle Vanya, 1985), Aenei in Eneida (Aeneid) at the National School of Drama, India, by Ivan Kotliarevsky (1986) and from 1976–9. His commendable acting Komandor in Lesia Ukrainka’s Kam’ianyi career includes title roles in the transla- hospodar (The Stone Host, 1988). He has re- tions of Othello (with Ferdausi cently appeared with a very successful work MAJUMDAR as Desdemona and AL- in Hrynyshyn’s and Zholdak’s adaptation MAMUN as Iago, 1981), Girish of Shveik after Hashek, playing four ex- KARNAD’S Tughlaq (also directed by him, tremely different roles (1996). He has also 1992), adaptations of Molière’s L’avare appeared in many films. (The Miser, directed by Kamaluddin NILU, 1983) and Balraj Pundit’s Panchwan Khuri, Makram (1945–) Actor, Israel/- Sawar (The Paper Tiger, directed and de- Palestine. Khuri trained at Mountview

153 Kilroy, Thomas Kim Hyun-Sook

Theatre School in London and has played Kim Ara (1956–) Director, Korea. Kim both in Hebrew and Arabic in bilingual trained at Hunter College Graduate productions of Joseph CHAIKIN’S and School in New York, and is renowned for Miriam KAINY’S They (1980) and ap- being able to combine logical and emo- peared as an Arabic-speaking Didi in an tional elements in one production. Since Israeli production of Beckett’s Waiting for 1986, she has directed Williams’s The Rose Godot (directed by Ilan RONEN at the Tattoo (1986), Chung BokGun’s Dokbae Haifa Municipal Theatre), and in many (The Poison Glass, 1988), Peter SHAFFER’S Hebrew productions. Among the roles Equus (1990) and Captured Soul (1991, pro- where his Palestinian background was induced by the Korean National Theatre). terestingly used, Lopachin in Chekhov’s After establishing the Muchon Theatre Visnevyi sad (The Cherry Orchard) at the Group in 1992, she directed Chung’s Habima theatre is worth noting. Khuri is Soomun Mool (Hidden Water, 1992), Jang co-founder of the Arab-speaking theatre, Jeong-Il’s Oedipuswaeui Yeohaeng (A Journey Beit-Hagefen, in Haifa. In 1987 he re- with Oedipus, 1995), Jang’s Isesang Gut (The ceived the Israel prize, an unusual distinc- End of the World, 1996) and LEE Kang- tion for a non-Jewish artist. Has also Baek’s Naema (1998). These productions played on film and television. share the theme of exploring the internal human being. In 1996, she moved to the Kilroy, Thomas (1934–) Dramatist, Ire- country-side where she built ‘Theatre in land. Kilroy held a professorship in Mod- the Mountain’, in order to establish a ern English at University College Galway. unique acting style through the collective As a dramatist, he is drawn to what he life of the company, and produced describes as ‘the moral see-saw on which Sophocles’s Oidipus tyrannos (King Oedipus, the character is placed’ and ‘how this moral 1997). see-saw tips’. This fascination can be seen particularly in Double Cross, first produced Kim Hyun-Sook (1954–) Designer, Ko- by Field Day Theatre Company, Derry, in rea. Kim trained at the University of Illi- 1986. Double Cross juxtaposes the lives of nois, Chicago (MA in costume design) two men, Brendan Bracken and William and the University of Illinois, Urbana Joyce (Lord Haw-Haw) and their involve- (MFA in costume design). She has tried ment in the Second World War. The play, to modernize and reconstruct Korean tra- a theatrical study of the shaping of iden- ditions by using a variety of materials in tity, used various staging techniques to al- sets and costumes. She worked as a cos- low the characters to acknowledge each tume and set designer for Jeong Bok- other while being played by the one actor; Gun’s Dokbae (Poison Glass, 1988, directed in Field Day’s acclaimed production, by KIM Ara), KIM Kwang-Lim’s Jip Stephen REA played both Bracken and (House, 1994), Woo Bong-Gyu’s Noongot Joyce. Other plays by Kilroy include The (Snowflakes, 1995, directed by KIM Suk- O’Neill (1969), Talbot’s Box (1977), and ver- Man), the musical MyeongSeong Hwanghoo sions of Chekhov’s Cajka (The Seagull, (Empress Myeong-Seong, 1995, starring 1981) and Pirandello’s Sei personaggi in cerca YOON Suk-Hwa), Kim Ji-Won’s Gooreongi d’autore (Six Characters in Search of an Author, Sinranggwa Gueui Sinboo (Serpent Bridegroom 1996). In 1997 Kilroy’s The Secret Fall of and His Wife (1996, directed by CHOI Constance Wilde (about the love triangle of Hyung-In), LEE Gun-Sam’s Choonhyanga Constance, Oscar and Lord Alfred Doug- Choonhyanga! (ChoonHyang!, 1996, directed las) was directed by Patrick MASON at by Kim Kwang-Lim), Saeduldo Sesangul the Abbey Theatre and toured to the Mel- Tunungoona (Even The Birds are Leaving, bourne Festival in 1998. 1997, directed by Kim Suk-Man) and

154 Kim Jae-Kun Kim Suk-Man

Yoorangeui Norae (Song of Wandering, 1998, Choi Hyung-In in the cast), Bookeo Daegari written and directed by KIM Myeong- (Head of a Dried Pollack, 1993, by LEE Gon). Kang-Baek) and Choonhyanga Choonghyanga! (Choon-Hyang!, 1996, by LEE Gun-Sam). Kim Jae-Kun (1947–) Actor, Korea. Kim Kim’s main theme in both written work trained at the Seoul Institute of Arts and and directing expresses the difference be- soon afterward joined the Korean Na- tween practical reality and ideal social jus- tional Theatre, performing in Seongwoong tice. Yi Soon-Sin (Admiral Soon-Sin Lee, 1973, by Lee Jae-Hyeon), Namhan-sanseong (Moun- Kim Seong-Nyu (1950–) Actor, Korea. tain Castle of Namhan-san, 1974, by Kim Kim graduated from Dan-Gook Univer- Eui-Kyung), Moolbora (Spray, 1978, by OH sity (BA, classical Korean music). Born Tae-Seok), Sachoogi (Adult at Puberty, 1979, into a theatre family with dramatist-actor by Oh Tae-Seok), Yennal Yetjeoge Hwei parents, she first appeared on stage at the Hwei (Shoo Shoo Once upon a Time, 1985, by age of five. Soon after her professional CHOI In-Hoon), Biong Saong (1986, by debut as an actor, performing the title role Lee Gang-Back, directed by LEE Sung- in Oh Young-Jin’s Hanneui Sungcheon (As- Gyu), Yennal Yetjeoge Hwei Hwei (The cension of Hanne, 1975), Kim crossed gen- Heaven in a Dream, 1987, by Cha Beom- res from realistic theatre to musicals and Seok, adapted and directed by KIM Suk- Korean traditional performances. She per- Man), Ibsen’s Vildanden (The Wild Duck, formed the title role in Porgy and Bess 1987), Sophocles’s Oidipus tyrannos (King (1975), Soondan in OH Tae-Seok’s Oedipus, 1990), So (Cow, 1991, by Yoo Chi- Baekmagang Dalbame (In a Moonlight on the Jin), Maengjinsadak Gyeongsa (The Maeng River Bakma, 1991) and Man-Hee LEE’S Family’s Happy Day, 1992, by Oh Young- Doejiwa Otobai (The Pig and the Motorcycle, Jin), Pigojigo Pigojigo (Blooming Falling 1993). In 1986, she founded the Michoo Blooming Falling, 1993, by LEE Man-Hee), Theatre Company with her husband, di- Choonhyanga Choonghyanga! (Choon-Hyang!, rector SOHN Jin-Chaek and played The 1996, by LEE Gun-Sam, directed by Kim Chief Mourner in Jikimi (The Keeper, 1987), Kwang-Lim), and Faust 1997 (adapted Paulina in Dorfman’s Death and the Maiden and directed by LEE Youn-Taek). As an (1992), the Head Mistress in YOUN Dai- actor with a friendly traditional appear- Sung’s Namsadangeui Hanul (Sky of ance, Kim has specialized in parts which Namsadang the Wandering Troupe, 1993) and portray the contemporary Korean, living performed title roles in many Madang- between the traditional and industrialized Guk performances, such as Sim-Cheongjeon eras. (The Story of Sim-Cheong, 1988) and Choon- Hyangjeon (The Story of Choon-Hyang, 1995), Kim Kwang-Lim (1952–) Director and both produced and directed by Sohn Jin- dramatist, Korea. Kim trained at UCLA Chek. (MA, theatre arts), and has directed his own plays, including Dallajin Jeosung (The Kim Suk-Man (1951–) Director, Korea. Other World is Changed, 1987, with CHOI Kim trained at the University of Califor- Hyung-In), Sarangul Chajaseo (In Search of nia, Berkeley (BA in dramatic arts) and Love, 1990), Jip (House, 1994) and New York University Graduate School Nalboreowayo (Come to See Me, 1996). He has (MA in performance studies). Returning also directed Apa Eolgool Yepooneyo (Your Face to Korea after eleven years in the USA, is Beautiful, Dad!, 1987, by Kim Min-Gi), Kim started a new era of political drama Franz Xaver KROETZ’S Nicht Fisch Nicht for Korean intellectuals, adapting Fleisch (Neither Fish Nor Meat, 1988, with elements of epic theatre, cinema and

155 Kimele, Mara Kingsley, Ben documentary production. As a member drama school he now leads. His roles in- and president of the Yeonwoo Stage clude the classical repertory, Shakespeare Company, he directed Hansi Yeondaegi (Mr (Hamlet, Macbeth, Petrucchio), Chekhov Man’s Chronicle, 1985), Hyun Ki-Young’s (Treplev, Platonov, Ivanov), and contem- Byeonbange Woojitnun Sae (The Crying Bird in porary parts such as Clive in SHAFFER’S the Periphery, 1987, with CHOI Hyung-In Five Finger Exercise. He has directed in the cast), Saeduldo Sesangul Tunungoona Chekhov’s Cajka (The Seagull), Gogol’s (Even the Birds are Leaving, 1988), his own Revizor (The Government Inspector), The Tam- Choi Seonsaeng (Miss Choi, Our Teacher, ing of the Shrew and many other produc- 1990) and Yoo Jin-Oh’s Parkcheomji (Park, tions. In addition, he has translated many Esquire, 1991). For the Korean National plays into Greek, such as Rumours by Neil Theatre, he adapted and directed SIMON and Strindberg’s Fröken Julie Goomhanul (Heaven in a Dream, 1987, by (Miss Julie). Cha Beom-Seok) and Woo Bong-Gyoo’s Noongot (Snowflakes, 1995). His main Kimura Kôichi (1931–) Director and theme is the unintentional ruin of per- translator, Japan. Kimura joined Bungaku- sonal life resulting from political circum- za (The Literature Theatre Company) in stances. 1955 and translated and directed Arnold Wesker’s The Kitchen in 1963. He contin- Kimele, Mara (1943–) Director, Latvia. ued to stage Wesker’s trilogy, Chicken Soup In 1963 Kimele graduated from the with Barley, Roots and I’m Talking about Jeru- Theatre Arts Department of the Latvian salem. His production of A Streetcar Named State Conservatory, and continued her Desire by Tennessee Williams in 1964 was training as a director at the Anatoly Efros a success, and productions by British con- Master Class in Directing at the Moscow temporaries such as Osborne, Arden and Theatre Institute, graduating in 1969. Robert Bolt followed. He also staged plays She has led several major companies in by Miyamoto Ken, Mizukami Tsu-tomu Latvia, and has become one of the most and INOUE Hisashi. He co-founded interesting and challenging directors in Gogatsu-sha (Theatre Group May) in Latvia. An experience ranging over 1973, and the company’s first production twenty-five years gives her the possibility was Yabuhara Kengyô (Yabuhara the Blind to develop clear expression and precise Monk) by Inoue. Kimura left Bungaku-za form. This has, however, not hampered and formed the Chijin-kai Theatre Com- her readiness to experiment. Adapting pany in 1982. There he directed Keshô performance styles to the psycho-physical (Greasepaint, by Inoue) which was one of peculiarities of the individual actor, six plays collected for one-woman plays Kimele creates an inner world full of in- Haha (Mothers). Keshô was performed in Eu- tellectual and spiritual tension. She uti- rope and the USA in 1986 and 1989. lizes theatrical models of past and Watanabe Misako played the part of the present, and searches for inspiration from leader of the touring company and won other art forms. Major productions in- critical acclaim for her one-woman per- clude Othello, King Lear, Anouilh’s Medea formance. and Peter Nichols’s Passion Play. Kingsley, Ben (1943–) Actor, Great Brit- Kimoulis, George (1956–) Actor and di- ain. Kingsley made his debut as an actor rector, Greece. Kimoulis trained in popu- on a schools tour with Theatre Centre. He lar experimental theatre and at Veaki’s was for many years associated with the Drama School. In 1986 he founded the Royal Shakespeare Company, where ma- Contemporary Theatre of Athens, whose jor parts include Demetrius in Peter

156 Kinoshita Junji Kishida Kyôko

BROOK’S production of A Midsummer giving way at times to mannerisms. She is Night’s Dream (1970), Squeers in Trevor frequently cast in the parts of unhappy, NUNN’S production of Nicholas Nickleby bored women spoilt by luxury. In 1984 she (1980) and title roles in Hamlet (1975) and played Irina in Peter STEIN’S production Othello (1986). His outstanding portrayal of Chekhov’s Tri sestry (Three Sisters, with of Gandhi in Attenborough’s film (1982) Jutta LAMPE and Edith CLEVER as her won him an Academy Award, brought in- sisters). Further parts include the title role ternational fame and led to many further in Die Fremdenführerin (The Tourist Guide) by leading roles in major films, from Botho STRAUSS (1986, directed by Luc PINTER’S Betrayal (1983) to Spielberg’s BONDY), Herminone in Bondy’s produc- Schindler’s List (1994). After a long break, tion of The Winter’s Tale (1990) and the title Kingsley returned to the theatre in Peter role in Ibsen’s Hedda Gabler (1994, directed HALL’S production of Beckett’s Waiting for by Andrea BRETH). She also appeared Godot at the Old Vic, London (1997). He in Mishima’s Madame de Sade (1996), and brings a remarkably felt depth of emotion played Elena in Chekhov’s Djadja Vanja to all his roles, greatly supported by a rich (Uncle Vanya), 1998) and the title role in vocal range. Goethe’s Stella (1999), both directed by Breth. Kinoshita Junji (1914–) Dramatist, Japan. Kinoshita wrote plays based on traditional Kirchner, Ignaz (1948–) Actor, Germany. Japanese stories. Most important, Tsuru Kirchner trained at the Schauspielschule Nyôbô (A Crane Wife), which was revised as Bochum. Following freelance work in pro- Yûzuru (Twilight Crane) in 1949 and had ductions by Wilfried MINKS at the Freie been performed more than 1,000 times by Volksbühne Berlin, and seasons in Stutt- 1984, has made its way into school text- gart (1974–8), Bremen (1978–81) and the books and is considered one of the clas- Münchner Kammerspiele (1982–6), he was sics of modern Japanese drama. The play a member of the Burgtheater in Vienna has been adapted to the other forms of from 1987–92, where major parts include theatre such as nô, Kabuki and opera. His Iago in George TABORI’S production of other plays are Kaeru Shôten (The Ascension Othello (with Gert voss in the title role). of a Frog, 1951), Ottô to Yobareru Nihon-jin (A Since 1992, Kirchner has worked at the Japanese called Ottô, 1962), Kami to Hito no Deutsches Theater in Berlin, playing Aida (Between the God and Man, 1972) and among other roles Sosias in Kleist’s Shigosen no Matsuri (Requiem on the Meridian, Amphitryon (1993, directed by Jürgen 1979). In these plays, Kinoshita discusses GOSCH), but also appearing elsewhere, issues such as socialist political movements for example in Beckett’s Endgame (1998, in Japan and the Japanese nation’s respon- Vienna, directed by Tabori, with Voss and sibility for the Second World War. He Ursula HOEPFNER in the cast). adopts the syle of socialist realism, shingeki orthodoxy. Kinoshita also examines the Kishida Kyôko (1930–) Actor and writer, nature of the Japanese language in his Japan. Kishida is the second daughter of plays. Kishida Kunio (1890–1954), who was one of the leading dramatists of modern Japa- Kirchhoff, Corinna (1958–) Actor, Ger- nese theatre. She is a founder member of many. Kirchoff trained at the Engeki Syûdan En (The Circle Theatre Schauspieischule Berlin, and since 1983 she Company). The roles she has acted in has been a member of the Schaubühne am Japanese translations include Salome in Lehniner Platz, She has developed a way Wilde’s Salome (1959), Lady Macbeth of using language that is rich in nuances, (1975) and Blanche in Williams’s A

157 Kiyingi-Kagwe, Wycliffe Koenig, Leah

Streetcar Named Desire (1990). Kishida also Vershinin (Chekhov, Tri sestry (Three Sis- acts in contemporary plays by Japanese ters)) and Friar Peter in Measure for Meas- dramatists such as BETUYAKU Minoru, ure. In 1980 he won awards for playing the SHIMIZU Kunio and ÔTA Shôgo. She pirate king in Gilbert and Sullivan’s The acted the Woman’s part in Ôta’s two- Pirates of Penzance. Following the beginning hander Sarachi (Vacant Lot), which toured of his film career in 1983, he continued in the USA in 1996 and in Poland in 1997. performing in the theatre with title roles Kishida understands the styles of the in Richard III (1983), Henry V (1984) and dramatists’ works and their theatrical lan- Hamlet (1986 and 1990). In 1993 he was guages and materializes those elements in appointed artistic associate of the New her acting. She played the role of the York Shakespeare Festival, and played the woman in the film of The Woman in Dune Duke in Measure for Measure. Now fre- by Kôbô Abe, which won an award in the quently seen in starring roles in film, he is Cannes International Film Festival. particularly adept at physical humor.

Kiyingi-Kagwe, Wycliffe (1934–) Ko Tin-lung (1954–) Director, actor and Dramatist, Uganda. Kiyingi-Kagwe is seen dramatist, China (Hong Kong SAR). In by many as the moving spirit behind mod- 1983, Ko began his acting career at the ern Ugandan theatre. In 1954 he founded Hong Kong Repertory Theatre. In 1987, he African Artists’ Association, the first all- received the Lee Hysan Foundation Grant Ugandan theatre company. Kiyingi- from the Asian Cultural Council and vis- Kagwe’s theatrical style is essentially far- ited various theatre companies in New York. cical, with topical satire which he employs Returning to Hong Kong in 1989, he be- for social commentary in the style of came the assistant artistic director of the George Bernard Shaw and Sean O’Casey, Hong Kong Repertory Theatre, where he whose influence he readily acknowledges. wrote and directed One of the Lucky Ones His plays have remained popular, espe- (1990, revived in 1991) and directed cially his television plays, which are seen Raymond TO’S Tokyo Blues (1991), I Have by a wider Ugandan audience. His major a Date with Spring (1992, revived in 1993) plays and productions include the radio and The Legend of the Mad Phoenix (starring series Wokulira (By the Time You Grow Up, TSE Kwanho, 1993 and 1995). Ko became begun in 1961), the television series Buli the artistic director of the Chung Ying Thea- Enkya, Buli Ekiro (Day In, Day Out, begun tre Company in 1993. For Chung Ying (lit- in 1962), Gwosussa Emwanyi (The Ignored erally, ‘Chinese-English’), his major success Guest becomes the Saviour, 1962), his first full- came with The School and I (1993), winning length play Lozio ba Cecilia (Lozio, Cecilia’s the fourth Hong Kong Drama Awards for Husband, 1972, performed in the Luandan best director. Ko’s recent directions also language) and Muduuma kwe Kwaffe include The First Emperor’s Last Days (1998, (Muduuma Our Home, 1977). by Tan Tarn How) and his own play The Merchant of China (1999), dramatizing the life Kline, Kevin (1947–) Actor, USA. Kline of a Chinese businessman, Hu Xu-yin, for obtained a BA in speech and theatre from the opening programme of the twentieth an- Indiana University in 1970 and graduated niversary celebration series of the Chung with a diploma from the Juillard Drama Ying. Centre in 1972. He began his professional career in 1970, and from 1972–6 he ap- Koenig, Leah (1933–) Actor, Israel/Pales- peared mainly with the Acting Company tine. Daughter of two famous Yiddish ac- in New York City, of which he was a tors, Koenig started her stage career in founder member. His roles include Romania at the age of sixteen. She emi-

158 Koltai, Ralph Komorowska, Maja grated to Israel in 1961, where she has great stillness onstage, which can be ex- played numerous roles, mainly at the tremely powerful and was put to good use Habima theatre. Most remembered roles in Neil ARMFIELD’S production of are her Mother Courage (Brecht), the Hamlet, in which he played a Claudius who mother in Lorca’s Bodas de sangre (Blood had a focused coldness in his drive for Wedding) and Laura in Strindberg’s Fadren power and whose relationship with (The Father). In 1987 she received the Is- Gertrude was devoid of sensuality. Koman rael Prize. She has also appeared in many then played Roy Kohn in Armfield’s 1994 films. production of Kushner’s Angels in America, a performance which was highly praised Koltai, Ralph (1924–) Designer, Great for its chilling portrayal of a power-hun- Britain. Born in Germany, Koltai trained gry evil. at the Central School of Arts and Crafts, Holborn, London, and has designed for Komine Lili (1947–) Designer, Japan. theatre and opera worldwide. For many Komine first worked for the production years he was an associate of the Royal department of the Shiki Theatre Com- Shakespeare Company. Major theatre pany, and joined the Royal Shakespeare credits include Brecht’s Der Kaukasische Company in the UK from 1970–2. Her Kreidekreis (The Caucasian Chalk Circle), designs in Japan include Romeo and Juliet Sophocles’s Oidipus tyrannos (King Oedipus, (1974), Sophocles’s Oidipus tyrannos (King 1974), Hamlet (RSC, 1981), Troilus and Oedipus, 1976), Brecht’s Die Dreigroschenoper Cressida (RSC, 1985), Othello (RSC, 1986, (The Threepenny Opera, 1977) and The with Ben KINGSLEY in the title role) and Tempest (1987), directed by NINAGAWA the musical My Fair Lady (1993). He is and produced by the Tôhô Company. She known for his ‘contemporary and some- designed the costumes for Ninagawa’s times experimental approach to scenic de- production of Mishima’s Kantan and Sotoba sign, and employs modern-day materials Komachi in Edinburgh, New York and and techniques’. Canada (1991) and also his Tango Fuyu no Owari ni (Tango at the End of Winter), an Eng- Koman, Jacek Actor, Australia. Koman lish adaptation of a play by SHIMIZU obtained an MA from the State Academy Kunio at the Royal National Theatre in of Film, Television and Theatrical Stud- London in 1991. She sometimes uses the ies, Lódz, Poland in 1978. After moving elements of the costumes found in tradi- to Australia in 1981, Koman first worked tional Japanese theatre, nô and kyogen. in Perth and was acclaimed for his performance in Slawomir MROZEK’S Komorowska, Maja (1937–) Actor, Po- Emigranci (Emigrants, 1987), a play he re- land. Trained at the State Theatre Acad- turned to in Melbourne in 1990. Koman emy in Cracow, Komorowska started her was associated for several years with Jean- career with Jerzy Grotowski at his Thea- Pierre Mignon’s Anthill theatre in Mel- tre of 13 Rows in Opole, then the Thea- bourne, where he appeared in a wide va- tre Laboratory in Wroclaw. Later she riety of plays ranging from Molière’s Le worked at Teatr Wspolczesny and Teatr malade imaginaire (The Imaginary Invalid) to Polski in Wroclaw, and since 1992 she has Beckett’s Endgame. Koman was particu- been a member of the Teatr Wspolczesny larly praised for his comically lugubrious, in Warsaw. Her main stage credits include Chaplinesque Estragon to Alex Menglet’s the title roles in Sophocles’s Antigone, Vladimir in Mignon’s production of Strindberg’s Fröken Julie (Miss Julie), Beckett’s Waiting for Godot for the Mel- Hamm in Beckett’s Endgame and Winni in bourne Theatre Company. Koman has a Happy Days, Lettuce in Peter SHAFFER’S

159 Kon, Stella Kosky, Barrie

Lettuce and Lovage, Claire Zacanassian in Among larger venues, he has worked re- Dürrenmatt’s Der Besuch der Alten Dame peatedly with the Municipal Theatre in (The Visit) and Ambassador’s Wife in Zlín, for which he designed the set for MROZEK’S Ambassador. Komarowska is HAVEL’S Zahradní Slavnost (Garden Party, also a distinguished film actor, working 1990). He teaches at the Brno Academy with Zanussi, Wajda and Kieslowski. An of Performing Arts. actor of deep and potent emotions, she is particularly good in tragedy, pathos and Kopit, Arthur (1937–) Dramatist, USA. lyricism, creating heroines of spiritual Kopit studied at Harvard University. His power and nobility, or sensitive and edu- first play, Oh Dad, Poor Dad, Mamma’s Hung cated unmarried women, full of sympathy You in the Closet and I’m Feelin’ So Sad, a and warmth towards other people. parody of the Oedipus complex, launched Kopit’s success as a playwright. It also Kon, Stella Dramatist, Singapore. Stella gained him the label of absurdist, an inac- Kon has been credited with putting Sin- curate assessment of Kopit’s later work, gapore on the International theatre map. including The Road to Nirvana (1991). The Her best-known play, Emily of Emerald Hill early play does, however, show some of (1983), was the first Singapore play to be Kopit’s most striking characteristics: ‘a fac- performed at the Edinburgh Fringe Festi- ulty with language, an ear for the cliches val in 1986 and has enjoyed much revival. of art and life, an eye for the effective stage In total, it has been revived some thirty- image, a strategic use of caricature, and seven times in Singapore and Malaysia. the talent for being funny about a subject The play is a monodrama that tracks the that is not at all comic’. life of a Peranakan (Straitsborn Chinese) matriarch and showed great fondness to- Kosky, Barrie (1967–) Director, Aus- wards a vanishing culture in Singapore. A tralia. Known for his shock tactics and Peranakan herself, Kon’s depiction of the boldness of his theatrical vision, Emily Gan in the play has been widely Kosky initially directed mostly opera; he acclaimed as one of the most sensitive por- claims his passion for opera began when traits of women in Singapore. Since then, he saw his first opera at the age of seven. Kon has written Dragon Teeth’s Gate (1986) Kosky founded his own theatre company, and Butterflies Don’t Cry (1989). She is di- Treason of Images, when he was eight- vorced and has two sons, who live in Lon- een. His Jewish theatre company Gilgul don and Sydney respectively. With six won awards for its 1991 production of grandchildren, Stella herself is becoming Solomon Ansk’s The Dybbuk, which was the matriarch of an extended family. performed in a disused factory in St Kilda, Melbourne. Kosky’s strident confi- Konecný, Jan (1951–) Designer, Czech dence has led to accusations of arro- Republic. After studying at the Technical gance; when he directed Therese Radic’s College in Brno, Konecný attended Josef The Emperor Regrets, Radic claimed Kosky SVOBODA’S architecture atelier in completely ignored her wishes. Kosky Prague. Since the end of the 1970s he has has been quoted as saying ‘writers’ thea- been working regularly with Moravian tre is dead’ and his Gilgul production The experimental studios (Ha theatre, the Wilderness Room, about five Jews travelling Goose on a String (Husa na provázku) to Australia on the First Fleet, was devoid theatre), playing in non-typical spaces. He of dialogue, relying on song, images and often uses simple geometric constructions props to communicate. Kosky was artistic and relies on the proximity of the specta- director of the 1996 Adelaide Festival of tors surrounding the playing space. Arts.

160 Kotler, Oded Krasinski, Janusz

Kotler, Oded (1937–) Actor and director, tor, Ukraine. Kozak graduated the from Israel. Kotler started as a youth actor and L’viv State Ivan Franko University, Fac- completed his training with the Actors Stu- ulty of Philology (1972) and trained at the dio and the Neighbourhood Playhouse in Drama Studio at the Maria Zan’kovets’ka New York. After a number of leading roles Ukrainian Drama Theatre (L’viv, 1963). at the Cameri Tel Aviv municipal theatre, Later he joined this theatre, where he he founded a small theatre called The Ac- played over 100 roles in productions di- tors’ Stage which was later incorporated rected by Serhii DANCHENKO, Alla into the Haifa municipal theatre. For a Babenko and Fedir STRYHUN, includ- decade from 1970, Kotler was the artistic ing Clarence in Richard III (1976), Iago in director of this theatre introducing new Othello (1985), the title role in Macbeth playwrights like Hanoch LEVIN, (1992), Polonius in Hamlet (1997), Arbenin Yehoshua SOBOL and Hillel in Lermontov’s Maskarad (Masquerade, MITTELPUNKT. In 1980 Kotler 1982), the title role in Molière’s Tartuffe founded the Acco festival for alternative (1986), Vozny in Ivan Kotliarevs’ky’s theatre, and in 1981 was co-founder of the Natalka Poltavka (1991) and Tesman in Neve Zedek theatre centre, a provocative Ibsen’s Hedda Gabler (1993). Directing political theatre. After directing the Israel credits include Chekhov’s Tri sestry (Three Festival for a few years, he returned to the Sisters, 1982), Zapolska’s Zhabusya (1994) Haifa municipal theatre in 1990. As well and French Vaudevilles by Labiche (1997). as his stage roles and the plays he has di- He worked as a teacher (1978–86) at the rected, Kotler is also known for his many Drama Studio at the Maria Zan’kovets’ka film roles, and in 1967 he received the Ukrainian Drama Theatre. Since 1990 he Golden Palm at the Cannes Film Festival has been teaching at the Drama Faculty for best actor in the Israeli film Three Days of Mykola Lysenko Conservatory, L’viv. and a Child. The artistic method of Bohdan Kozak takes its inspiration from the theatre of Kouka, Hone (1968–) Dramatist, New Europe. In addition, he experiments with Zealand. An Honours degree at Otago non-linear forms of theatre. University led to training as an actor at the New Zealand Drama School, but Krasinski, Janusz (1928–) Dramatist, Kouka quickly turned to playwriting, ap- Poland. Krasinski worked as one of the pearing in his own solo piece Mauri Tu in editors of the radio drama department, 1991. With Hori Ahipene, he wrote Hide and was co-editor of the weekly Kultura ‘n’ Seek (1992), winning the Bruce Mason and of the monthly theatre magazine award for most promising playwright in Dialog. A member of PEN and the Polish that year. He joined Colin MCCOLL as Writer’s Association, his main plays in- co-artistic manager of the Taki Rua Thea- clude Czapa Czyli Smierc na Raty (Death in tre, Wellington, in 1993, where Nga Instalments or The Black Cap), Wkrótce Nadejda Tangata Toa, directed by McColl, won an Bracia (The Brothers Will Come Soon), award for best new play in 1994. This pro- Kochankowie z Klasztoru Valldemosa (The Lov- duction and that of Waiora (1996) have ers from Valldemosa), Obled (Madness, an ad- both travelled by invitation to Europe. Al- aptation of a novel by Jerzy Krzysztón) though his plays feature Maori characters and Krzak Gorejacy (The Burning Bush). His and family relationships, he can be seen themes are the individual versus the de- to be achieving his aim to transcend the structive power of ruling authorities, the limiting label of ‘Maori’ playwright. price of truth, the importance of self-identity, protest against capital punishment and Kozak, Bohdan (1940–) Actor and direc- insensibility.

161 Kratoschwill, Jeanny Krishnamoorthy, N.

Kratoschwill, Jeanny (1960–) Designer, abroad until 1989, including Goethe’s Luxembourg. Kratoschwill graduated in Faust (1976, Burgtheater Vienna), and costume and stage design at the Beckett’s Waiting for Godot (1978, Festival Hochschule für Musik und Darstellende d’Avignon). In 1991, he launched the Kunst, Mozarteum in Salzburg. She Theatre Beyond the Gate II (Za branou gained practical experience at the II) with Chekhov’s Visnevyi sad (The Cherry Stadttheater in Trier, the Ruhrfestspiele in Orchard). After closing of this theatre 1994, Recklinghausen and the Salzburger he directed as a guest at Comédie Festspiele. Since 1986, she has worked as Française and at Prague National Thea- a freelance costume and stage designer in tre (Goethe’s Faust, 1997). Krejca is par- Luxembourg, Belgium, France and Ger- ticularly sensitive to the strong internal many and has collaborated on most of the drama of Chekhov’s characters. His pro- Luxembourg’s major productions, such as ductions are distinguished by the complex ALBEE’S Who’s Afraid of Virginia Woolf? combination of the stage components, fre- (1992, Théâtre d’Esch, with Philippe quent reworking of the text, and the psy- NOESEN, Marja-Leena JUNKER and chological base of the acting developed Myriam MULLER), MILLER’S Death of from the principles of Stanislavski. a Salesman (1992, with Fernand FOX and Patrick HASTERT), Schiller’s Die Räuber Krisanc, John (1956–) Dramatist, (The Robbers, 1995, directed by Frank Canada. Krisanc’s plays include Crimes of HOFFMANN, with Luc FEIT) and Jean- Innocence (1976), Uterine Knights (1979), Paul MAES’S Good Night Sweet Heart Tamara (1981, Los Angeles Drama Crit- (1996, Théâtre des Capucins). For the ics’ Circle Award) and Prague (1984, Gov- world premiere of Alexey Shipenko’s ernor General’s Award), all directed by Moskau Frankfurt (1995, Théâtre des Richard Rose. The plays are characterized Capucins, with Jean-Paul Maes and by a melodramatic exploration of the role Patrick Hastert), she designed the remark- of the artist, by experiments with simulta- able stage artefact of an aeroplane’s wing neous staging and by innovative use of on which the play’s protagonists travel space. Krisanc is a founding member of across Europe. Kratoschwill has also the Necessary Angel Theatre Company in worked as a costume designer on several Toronto. His latest play is The Half of It films. (1989).

Krejca, Otomar (1921–) Director and Krishnamoorthy, N. (1951–) Designer, actor, Czech Republic. Krejca played India. Krishanmoorthy founded the Othello (1951), Molière’s Dom Juan Soorya Stage and Film Society in (1957) and Malvolio (1963) at the Prague Thiruvananthapuram. Music, dance and National Theatre. As the head of its thea- film festivals organized by the society tre department (1956–61), he selected new have become major cultural events in the plays by Czech authors and directed the country. He has also designed and pre- first production of HAVEL’S Zahradní sented a number of sound and light Slavnost (Garden Party, 1963 in the Theatre shows, including Tamaso ma Jyothirgamaya, on the Balustrade (Na zábradlí)). In 1965, Veluthampi Dalava, Sthree Parvam, Deep he founded the Theatre Beyond the Gate Shika Anjali and Soorya Kanti. He has led (Za branou), where productions include troupes of Indian performing artists to Chekhov’s Tri sestry (Three Sisters, 1966), Sweden, Japan, Britain and Germany and Musset’s Lorenzaccio (1969) and Chekhov’s has designed the sets for performances. A Cajka (The Seagull, 1972). After his theatre concern with geometrical forms charac- was closed by the authorities, he directed terizes his work.

162 Kroetz, Franz Xaver Kuncevic, Ivica

Kroetz, Franz Xaver (1946–) Dramatist, chard, 1996). International theatrical col- director and actor, Germany. Kroetz laborations include the International trained at the Max Reinhardt Seminar in Laboratory of Anatoly Vassilyev (direct- Vienna. Between 1966–70 he worked as ing participant, Moscow, 1988–94), the an actor, mainly in small parts. He began Theatrical Laboratory conducted by Pe- writing plays in 1968, specializing in real- ter BROOK (Moscow, 1990), Les istic folk plays in Bavarian dialect. A phase Kurbas Theatre with Yara Arts Group at of agitprop writing was followed by re- La MaMa (New York, 1994), Les Kurbas newed emphasis on critically realistic folk Theatre at the Saratoga International theatre, combining precise observation Theatre Institute (New York, 1996) and with communist optimism. Following ma- Les Kurbas Theatre at the Work Centre jor plays in the 1980s, including Nicht Fisch, of Jerzy Grotowski (Pontedera, Italy, nicht Fleisch (Neither Fish nor Meat, 1981), 1996). Kuchyns’ky has conducted theatre Furcht und Hoffnung der BRD (Fear and Hope training workshops since in Kiev, of the FRG, 1983), Bauern sterben (Farmers Kharkiv, L’viv and Sevastopol’ Dying, 1985) and Heimat (Home, 1987), as (Ukraine), Moscow and St Petersburg well as major success as an actor on tel- (Russia), Krakow and Warsaw (Poland), evision, he withdrew from the theatre for New York City, Boston and Philadelphia several years, facing a major writing block. (USA), and Pontedera (Italy). Since 1994 he has returned to writing for the stage, most recently with Die Kugrèna, Làsma (1952–) Actor, Latvia. Eingeborene (The Native Woman, 1999, Vi- Since her graduation from the Latvian enna, directed by Achim FREYER). He State Conservatory in 1975, Kugrèna has has also added directing to his credits (in- been working with the Latvian National cluding, in 1998, Brecht’s Herr Puntila und Theatre. Among her roles are Juliet sein Knecht Matti (Mr Puntila and his Servant (1984), Queen Elizabeth in Schiller’s Maria Matti) in Munich). Stuart (1989) and the title role in Ibsen’s Hedda Gabler (1991), about which a critic Kuchyns’ky, Volodymyr (1958–) Direc- wrote: ‘Kugrèna’s star was born as Juliet, tor, Ukraine. Kuchyns’ky trained at the grew brighter and solidified with her Russian State Academy for Theatre Art Queen Elizabeth. Kugrèna has intricately (GITIS), Moscow (with Mark etched Hedda Gabler’s destructiveness. ZAKHAROV and Anatoly Enveloped in a fog of mystery, she enters VASSILYEV, 1984–8). As a resident di- and exits and lives her true life like one of rector at the Maria Zan’kovets’ka Renoir’s enigmatic women.’ Ukrainian Drama Theatre, L’viv, he staged Marusia Churai, after Lina Kuncevic, Ivica (1945–) Director, actor, Kostenko (1987). Kuchyns’ky is a Croatia. Kuncevic trained at the Academy founder and artistic director of Les of Dramatic Art, Zagreb. From 1969–77 Kurbas Theatre, L’viv (1988). He created he worked at the Theatre Marin Dr•ic in about twenty theatre productions, includ- Dubrovnik and from 1977–82 at the ing The Court of Henry III, after Dumas Zagreb Theatre Gavella. In 1992 he be- (1988), Hryhorii Skovoroda’s Blahodarnyi came a resident director of the Croatian Erodii (Grateful Erodii, 1993), Zabavy dlia National Theatre in Zagreb. He has di- Fausta (Games for Faust) after Dostoevsky’s rected more than seventy productions Prestuplenie i nakazanie (Crime and Punish- from a worldwide repertory, including ment, 1994), Apokryfy (Apocrypha) after the Sophocles, Jonson Ibsen, Checkov, works of Lesia Ukrainka (1995) and Ionesco, Genet and, in particular, Shake- Chekhov’s Visnevyi sad (The Cherry Or- speare (Julius Caesar (1974), Macbeth (1977),

163 Kuo Pao Kun Kuzhel’ny, Oleksii

Romeo and Juliet (1986), Troilus and Cressida was the first polyglottal and multi-cul- (1990), Measure for Measure (1991), The tural play featuring an mixed ethnic en- Merchant of Venice (1995) and King Lear semble cast. Kuo’s later plays, namely (1998)). He is equally known for his pro- Lao Jiu (1993), and Descendants of the Eu- ductions of Creation authors, especially nuch Admiral (1996), are lyrical and alle- the Dubrovnik writers Dr•ic, Gundulic gorical pieces that make allusions to the and Vojnovic. He prefers working with the Singapore condition. His latest offering, same circle of people (including set and Spirits Play, is heavily influenced by no costume designers, composers, theatre’s narrative and expositional style. dramaturgs and actors). Many productions are characterized by his radical Kusumo, Sardono W. Director, choreog- changes in text, believing that a text comes rapher and performer, Indonesia. Al- to life only as a performance. The start- though born in Java, Kusumo spent a pe- ing point of his direction is the spatial out- riod of time in Bali in the 1970s studying look of the stage. In addition to directing, with masters Nyoman Kakul and Ketut Kuncevic tried his skill as an actor both Rinda, among others. It was there that he in theatre and on film. In Ante Babaja’s created a new Kecak in modern style film Kamenita vrata (The Stone Gates) he which, unique among Kecak productions, played the part of doctor Boras. In his own features the Subali-Sugriwa episode of the adaptation of Dostoyevsky’s Brat’ia Ramayana. This spectacular version of the Karamazovy (The Karamazov Brothers) he battle of the monkey armies is still per- played Alyosha. formed regularly by the people of Teges Kangin, Peliatan village. As part of the Kuo Pao Kun (1939–) Dramatist and di- burgeoning Jakarta arts scene, he was also rector, Singapore. Kuo is revered as the influenced by W.S.RENDRA’S Mini- leading playwright and director in Singa- Word Theatre and created the theatre pore. With a career spanning close to piece Dongeng dari Dirah. He is now known forty years, Kuo has been active pre- primarily as a dancer and choreographer. dominantly in the Mandarin-speaking drama community, but in recent years Kuzhel’ny, Oleksii (1953–) Director, has crossed over to the English medium. Ukraine. Kuzhel’ny graduated from the He began in radio drama in 1956, and in Karpenko-Kary Institute for the Art of the 1963 graduated from the National Insti- Theatre, Kiev in 1983 (the course of tute of Dramatic Art in Sydney. In 1965, Volodymyr Nelli and Mikhail Rudin). In he founded the Practice Performing Arts 1987 he founded the Studio for the Art of School with his wife, Goh Lay Kuan. His Theatre Suzir’ia (Galaxy). At his theatre career in the late 1960s to 1970s was inex- he has directed Sad bozhestvennykh pisen’ tricably linked to political activism which (The Garden of the Divine Songs, 1989) by resulted in his arrest and incarceration contemporary Ukrainian author Valerii from 1976–80 under the Internal Security Shevchuk, The Eradiation of Parenthood by Act of Singapore. Upon his release, Kuo Karol Voityla (Pope John Paul II) (1993) returned to the stage as dramatist/direc- and The Letter of the Stranger after Zweig tor and in 1985 wrote his first English (1994). Since 1993 he has been the organ- play, The Coffin is Too Big For The Hole. The izer and director of the Annual Interna- 1980s saw Kuo experimenting with dif- tional Festival of Chamber Theatres ferent styles and techniques: Silly Little (Kiev). According to critical opinion, Girl and The Funny Old Tree (1987) was Kuzhel’ny’s dramaturgy is marked by heavily influenced by Grotowskian meth- moments of spirituality and scenic expo- odology. Mama Looking For Her Cat (1988) sure of the soul.

164 Kylätasku, Jussi Juhani llmari Kylätasku, Jussi Juhani llmari

Kylätasku, Jussi Juhani llmari (1943–) crime attracts Kylätasku as a playwright. Dramatist, Finland. In addition to plays Many of his main characters are murder- for the theatre, including Runar ja Kyllikki ers who are seen in their own social sur- (Runar and Kyllikki, 1974), Maaria Blomma roundings which provide the reasons for (Mary Bloom, 1980), Haapoja (1989), Hetki their actions. Kylätasku also turns regu- Lähtöni Lyö (1992) and Caligula (1996), he larly to historical events to comment on has written for television, film and radio, the politics of today. as well as poems and novels. The myth of

165 L

Laberge, Marie (1947–) Dramatist, actor D’Avoine Bergotha? (Who Has Eaten Madam and director, Canada. Laberge attended D’Avoine Bergotha?, 1984), Antoine m’a vendu the Conservatoire de l’Art Dramatique. son destin (Antoine Sold Me His Destiny, 1986) Following several earlier plays, she and Moi veuve de l’empire (I, Widow of the achieved national acclaim in 1981 with Empire, 1987). His performed but as yet C’était avant la guerre à l’Anse à Gilles (Before unpublished plays are La Rue des mouches the War, Down at l’Anse à Gilles). Other no- (The Street of Flies, 1985) and an adapta- table plays include L’Homme Gris (trans- tion of Romeo and Juliet, which was pro- lated by Rina Fraticelli as Night, 1984), duced in Bordeaux in 1990. Aurélie ma soeur (Aurelie, My Sister, 1988) and Le Faucon (The Falcon, 1991). Her plays fea- Lagoo, Shreeram (1927–) Actor and di- ture some recurring themes, including ‘the rector, India. Lagoo established the Pro- emptiness of personal relationships, the gressive Dramatic Association in Pune in ludic allusions of love, the inbred subser- 1951. He gave up his practice of medicine vience of women in a patriarchal society to become an actor; much influenced by founded on religious and political con- John GIELGUD and Laurence Olivier, servatism’. he has become a celebrated actor on the Bombay stage. His first landmark role was Labou Tansi, Sony (1947–1995) Drama- in Vasant Rao Kanekar’s Vedyache Char tist, Congo. In 1979, Labou Tansi founded Unhat. Lagoo adopted Stanislavski’s tech- the Rocalo Zulu Theatre, the leading thea- niques, which he popularized in India. His tre company in the Congo that makes use pioneering of the naturalistic style of act- of collectively devised productions which ing has been noted, for example in V.V. it tours and presents at international festi- Shirwadkar’s Natasmrat. During emer- vals and venues, especially in France. gency legislation in India in the 1970s, Labou Tansi’s published plays deal with Lagoo directed Anouilh’s Antigone to high- political and moral issues arising from the light the problem of the state versus the numerous dictatorships that have charac- individual. terized post-independence African states. The plays are Conscience de tracteur (The Con- Laham, David (1934–) Actor and direc- science of a Tractor, 1979), La Parenthèse de sang tor, Syria. After early success in television, (Blood Parenthesis, 1981), Je sous-signé (I, the Laham’s contribution to theatre began Undersigned, 1981), Qui a mangé Madame when he co-founded the Thorn theatre in

166 Lally, Michael Lamos, Mark

1969. There he gathered well-known ac- Lamers, Jan Joris (1942–) Actor, director tors, who used their stock characters to and designer, The Netherlands. Jan Joris pass strong political messages. Their criti- Lamers is a modern homo universalis, who cism was daring in Jerk, Maraya (Mirrors) trained as an actor (1960–1), director and Baraweez (Frames). Such political thea- (1966–9) and sculptor (1968–70). The im- tre soon became fashionable commer- portance of Lamers in the development of cially, and Laham abandoned this style for Dutch theatre after 1968 cannot be over- something else: he produced, performed estimated. A brilliant didactic, he blazed in and co-directed four plays by Mohamed the trail with anti-illusionary, aesthetic, MAGOUT—Day’at Tishreen (The October montage-oriented, highly ironic, rhetorical Village, 1974), Ghurba (1976), Kasak Ya performances with his Onafhankelijk Wattan (Cheers, My Country (1979) and Toneel and, from 1983, with Discordia. Shaqaeq ’l-Nouman (Red Anemones, 1986)— Both are true actors’ companies: the ac- integrating songs and dances with politi- tors do everything, from making their own cal farce, which made these plays very sets and translations to the lighting. Some popular. In 1992 he directed Richard high points were The Favourites (ready- Nash’s The Rainmaker and a children’s play, made world classics), Stijl (an enquiry into Al-Usfoura-l-Sa’ieda (The Happy Bird). Today, style, 1980), What happened to Majakovski Laham confines his work to film and tel- (1981), Wilde’s An Ideal Husband (1982), evision. HANDKE’S Über die Dörfer (Across the Vil- lages, 1983) and many Shakespeare, Lally, Michael (Mick) (1945–) Actor, Ire- Bernhard and Schnitzler plays. Lamers land. Lally worked as an actor with championed the work of Judith Taibhdhearc na Gaillimhe before becom- HERZBERG, directing an award-win- ing a founder member of Galway-based ning production of her play Kras (Scratch, Druid Theatre Company in 1975. His roles 1991). He is also a first-class designer. Re- with Druid included Uncle Larry in Wild cently, his lateral approach to the theatre Harvest by Ken Bourke (1989). Other roles and his inability to memorize his lines include Manus in Brian FRIEL’S Transla- have met with disapproval. However, tions (1980), Canon Pratt in The Field by through working with young actors, he John B.KEANE at the Abbey Theatre continues to influence the Dutch theatre (1987) and Peter in The Power of Darkness outside the proscenium arch stages. by John McGahern, directed by Garry HYNES for the Abbey Theatre (1991). Al- Lamos, Mark (1946–) Director and ac- though Lally has become familiar to Irish tor, USA. Lamos trained as an actor at the television audiences as Miley in RTE’s Guthrie Theatre. In 1976 he began direct- weekly rural soap Glenroe, he remains coming, first at the Guthrie II (Fugard’s Hello mitted to the stage. In 1997 Lally appeared and Goodbye and Jerome Kilty’s Dear Liar), as Mick Dowd in A Skull in Connemara by then at the California Shakespeare Festi- Martin McDonagh (part of The Leenane val (Taming of the Shrew, Hamlet, A Midsum- Trilogy), produced by Druid Theatre Com- mer Night’s Dream). He also served as artis- pany and directed by Garry Hynes. Lally tic director of the Arizona Theatre Com- played Raphael Bell in Pat McCabe’s The pany (directing Chekhov’s Cajka (The Dead School, adapted for the stage by Seagull) and Twelfth Night). In 1980 he be- McCabe and produced by Macnas Thea- came artistic director of the Hartford Stage tre Company Galway in 1998. His rugged Company, where he has since presented but gentle features and his masterly sense his radical, spectacular and fantastic inter- of the comic make him one of the most pretations of classical plays. Working with popular actors in Irish theatre. scenographer Michael Yeargan, his

167 Lampe, Jutta Långbacka, Ralf Runar production of Twelfth Night was staged as 1944 and acting at the Central Academy a late-night party with Cole Porter piano of Drama from 1954–6. Upon graduation background. John CONKLIN designed he joined Beijing People’s Art Theatre, his two-part production of Ibsen’s Peer where he played the Political Commissar Gynt, and he presented The Greeks as a in Cao Yu’s Qing Lang De Tian (Clear Sky, nine-play seven-hour marathon. More re- 1954), Zeng Wen Qing in Cao Yu’s Peking cently, he directed Rattigan’s The Deep Blue Characters (1957), Sun San in Mei Qian’s Sea (1998, with Edward HERRMAN in dramatization of Lao She’s novel Luo Tuo the cast). Xiang Zi (The Camel Son, 1957), Butler He and Yu Shi Pu in Tian Han’s Guan Han Lampe, Jutta (1943–) Actor, Germany. Qing (1958), Feng Di Ping in Cao Ming’s Lampe took private acting lessons with Cheng Feng Puo Lang (Riding Waves and Eduard Marcks. After first working at Winds, 1961) and Qi Xiao Xuan in Zhao theatres in Wiesbaden and Mannheim, Qi Yang’s Hong Yan (Red Cliff, 1961). He she joined the theatre in Bremen where puts an emphasis on carriage and deliv- she played Elisabeth in Schiller’s Don Carlos ery, and seems to specialize in roles as and, directed by Peter STEIN, Lady handsome young men. Milford in Schiller’s Kabale und Liebe (In- trigue and Love) as well as Leonore in Lang, Alexander (1941–) Director and Goethe’s Torquato Tasso. Since 1971 she has actor, Germany. After training as a poster been a member of the Schaubühne am designer and working as a stagehand, Halleschen Ufer, later Lehniner Platz. Lang studied acting at the Staatliche There her roles include Solveig in Ibsen’s Schauspielschule Berlin (East). In the Peer Gynt, Rosalind in As You Like It, GDR, he acted at the Maxim-Gorky- Ophelia in Hamlet directed by Klaus Theater, the Berliner Ensemble, and the Michael GRÜBER, and Alkmene in Deutsches Theater. In 1985 he made his Kleist’s Amphitryon. Theatre critic Benjamin debut as a director in West Germany, at Henrichs wrote about her: ‘She can look the Münchner Kammerspiele. After some with such large, surprised eyes. She can seasons at the Thalia Theater in Hamburg create the most beautiful, calm songs of and the Staatliche Schauspielbühnen Ber- voice. She can. She can. She can do any- lin, he now works freelance. His style has thing, masters her abilities as no one else been described as radical. In a production with the Schaubühne. And she does not of Büchner’s Danton’s Tod (Danton’s Death), apply all those means like a prima-donna, for example, he cast the same actor, Chris- but with all cleverness’. Recent work in- tian GRASHOF, as Danton and cludes RONCONI’S production of Robespierre. Recent productions include Pirandello’s I giganti della montagna (The Goethe’s Iphigenie in Tauris, Corneille’s Le Mountain Giants, 1994, Salzburg), and with Cid, Goethe’s Tasso, Sophocles’s Oidipus the Schaubühne she appeared in Tyrannos (King Oedipus), Toller’s Hinkemann Mishima’s Madame de Sade, Borchardt’s (Limping Man, 1998, Munich), DORST’S Hausbesuch (Visit at Home, 1996, directed by Wegen Reichtum Geschlossen (Closed due to Edith CLEVER), and as Cäcilie in Wealth, 1998, Munich) and Othello (1998, Andrea BRETH’S production of Goethe’s Berlin, with Jörg GUDZUHN in the title Stella (1999, with Corinna KIRCHHOFF role). in the title role). Långbacka, Ralf Runar (1932–) Direc- Lan Tian Ye (1927–) Actor, China. Lan tor and writer, Finland. Långbacka was a studied Western-style painting at the Pe- director at the Little Swedish Theatre and king National Academy of Fine Arts in the Swedish Theatre in Helsinki, artistic

168 Langhoff, Thomas Laou, Julius Amédée director of the Åbo Swedish Theatre, di- ist, poet and performer, Belgium. Lanoye rector at the Finnish National Theatre, is currently one of the most versatile con- assistant artistic director of the Swedish temporary Flemish writers. His first po- Theatre in Helsinki, director at the etry collection appeared in 1984. Since Gothenburg City Theatre, Sweden, artis- then he has published several novels. His tic director of Turku City Theatre and ar- work has been translated into German, tistic director of the Helsinki City Thea- French, English, Frisian and Afrikaans. He tre. Långbacka combines precise intellec- made his debut as a dramatist in 1989 with tual analysis with a socially oriented ap- De Canadese muur (The Canadian Wall), writ- proach in his productions. He has fought ten in collaboration with his contempo- to create ensembles of thinking, creative rary Herman Brusselmans. After that fol- artists. In the 1990s, his influence on thea- lowed Blankenberge (1991), Bij Jules en Alice tre in Finland extended into the areas of (At Jules and Alice’s, 1991) and Celibaat (Celi- teaching and theory as he became a noted bacy, 1993). More recently he worked on analyst of theatre and dramatic art. Ma- Ten Oorlog (To War!), an adaptation of jor theatre credits include Brecht’s Leben Shakespeare’s history plays, for the des Galilei (Life of Galileo, 1973), Chekhov’s Blauwe Maandag Compagnie in collabo- Visnevyi sad (The Cherry Orchard, 1974), ration with Luk PERCEVAL. The eight Ibsen’s Peer Gynt (1991), As You Like It plays were performed together as part of (1992) and Chekhov’s Tri sestry (Three Sis- a grand project during the 1997–8 season. ters, 1998, Copenhagen). Tom Lanoye’s stage writing can be seen as a reaction to today’s intellectualist thea- Langhoff, Thomas (1938–) Director and tre. He searches for the typically Flemish actor, Germany. Born in Zürich, Langhoff aspects of his roots. attended the Theaterhochschule Leipzig, and between 1963–71 he was an actor in Laou, Julius Amédée (1950–) Dramatist Potsdam. From 1971 onwards he worked and cinematographer, France and as a director in several GDR theatres. Pro- Martinique. Founding director of the ductions include Chekhov’s Tri sestry (Three Paris-based company La Comédie du Sisters, 1979), A Midsummer Night’s Dream 21ème Siècle, the titles of his work reflect (1980) and Ibsen’s Fruen fra havet (The Lady themes of alienation and issues of colour. from the Sea, 1989). Since August 1991 he Ne m’appelez jamais nègre (Don’t Ever Call Me has been artistic director of the Deutsches Nigger, 1982), is set amidst the European Theater, Berlin, where productions in- black diaspora, while Sonate en Solitude clude Hof-mannsthal’s Der Turm (The Majeure (Sonata in Solitude Major, 1986) ex- Tower), Ostrowski’s Les (The Forrest), plores the jealousy of a white servant to- Hauptmann’s Der Biberpelz (The Beaver Fur wards his famous black employer. His with Dieter MANN), Das Gleichgewicht highly successful Folie ordinaire d’une fille de (Balance) and Ithaca by Botho STRAUSS, Cham (Ordinary Madness of a Daughter of Chekhov’s Djadja Vanja (Uncle Vanya), Ham) starred Jenny ALPHA in its inau- Brecht’s Der Kaukasische Kreidekreis (The gural 1984 production. New York’s Ubu Caucasian Chalk Circle, 1998) and Repertory Theatre produced Une Autre Dürrenmatt’s Der Besuch der Alten Dame Histoire ou le malentendu (Another Story or The (The Visit, 1999). He considers theatre ‘as Misunderstanding). His 1984 prize-winning a space for various forms of resistance, in- short fiction film, Solitaire à micro ouvert (Mi- cluding an unspectacular reflection of hu- crophone Solo), was followed by Melodie de man values’. brumes à Paris (Misty Paris Melody), starring Greg GERMAIN. With the full-length La Lanoye, Tom (1958–) Dramatist, novel- vieille quimboiseuse et le majordome (The Old

169 Lapotaire, Jane Lavelli, Jorge

Sorceress and the Valet), Laou revisits his Lauwers, Jan (1957–) Director, designer moody exploration of multi-cultural rela- and author, Belgium. After studying paint- tionships to great critical acclaim. For Avi- ing at the Arts Academy in Ghent, he gnon in 1998, he wrote and directed a sar- made his theatre debut when he founded castic anti-racist farce, Madam Huguette et the Epigonenensemble (1979). In 1981 this les français souche de souche (Madame Huguette company became a collective and the True French Stock). (Epigonentheater zlv), which surprised with concrete, direct, strongly visual pro- Lapotaire, Jane (1944–) Actor, Great ductions using music and language as their Britain. Lapotaire trained for the stage at structuring elements. In 1985 the collec- the Bristol Old Vic. Apart from freelance tive was dissolved and Lauwers founded work, she has been associated with the Needcompany. Lauwers’s casts are always National Theatre, where she has ap- international. Each production is per- peared in Strindberg’s Dödsdansen (Dance formed in different languages. Lauwers’s of Death, 1967) and Sophocles’s Antigone training as a visual artist is important for (1984), and with the Royal Shakespeare his way of dealing with theatre as a me- Company, where she played the title role dium: he created a highly individual and in Piaf by Pam GEMS (directed by revealing theatrical language, which char- Howard DAVIES), Gertrude opposite acterizes not only his early, strongly visual Kenneth BRANAGH’S Hamlet (1992, di- productions such as Need to Know (1987) rected by Adrian NOBLE), and Mrs and ça va (1989), but also his direction of Alving in Ibsen’s Gengangere (Ghosts, di- Julius Caesar (1990, with actor Dirk rected by Katie MITCHELL, with ROOFTHOOFT), Anthony and Cleopatra Simon Russell BEALE as Osvald). (1992), Needcompany’s Macbeth (1996) Lapotaire’s performances are convincing and his latest project, The Snakesong Trilogy and impressive because of their emo- (1994–6, with actor Viviane DE tional intensity, facilitated by her method MUYNCK). acting approach. Lavelli, Jorge (1931–) Director, France. Lause, Hermann (1939–) Actor, Ger- Born in Argentina, Lavelli studied at the many. After training with Ellen Mahlke in University of Buenos Aires before becom- Munich, Lause performed in the theatres ing involved with the Independent Thea- in Berlin, Essen and Oberhausen, and tre Organization. He directed a number joined Peter ZADEK in Bochum (1972– of contemporary Argentinian plays before 7) and Hamburg (1977–9). Since then he coming to Paris in 1960 to study in Paris has worked freelance, playing major parts remaining at L’Université du Théâtre des (Shylock, Jack Worthing in Wilde’s The Nations where his contemporaries in- Importance of Being Earnest, Karl Moor in cluded Jerôme SAVARY, Copi and Victor Schiller’s Die Räuber (The Robbers), the title García. His first significant production, a role in King Lear) in productions by bold and violent staging of Witold Werner SCHROETER, Zadek, Luc Gombrowicz’s Slub (The Wedding) won him BONDY and Michael BOGDANOV. the Concours des Jeunes Compagnies in More recent work includes Lopakhin in 1963 and with it instant recognition. Dur- Chekhov’s Visnevyi sad (The Cherry Orchard, ing the 1960s he gained much acclaim Burgtheater Vienna, 1996) and Licht in with a series of striking and resolutely Kleist’s Der Zerbrochene Krug (The Broken non-naturalistic productions of pieces by Jug, Bayerisches Staatsschauspiel, Munich, Eugene O’Neill, Claudel, HANDKE and 1997). His strength is in playing sad, funny Arrabal. Thoroughout the 1970s and or grotesque everyday characters. 1980s he worked regularly at the most

170 Lavia, Gabriele LeCompte, Elizabeth prestigious theatre and opera houses in The Doll was less successful in New York, Europe including La Comédie Française, and a very dull film version (The La Scala and Bonn’s Theater der Stadt. Canecutters) does not do the play justice. The Between 1987–96 he was artistic director Doll is a realistic, well-made play set in of France’s newest national theatre, La Melbourne, seventeen years into a rela- Colline, where he juggled an impressive tionship between Olive, a barmaid, and repertoire of modern classics and contem- Roo, a canecutter who comes south for the porary works. He continues to work free- lay-off period. In the mid-1950s it very lance, largely in Paris. much appealed to Australian audiences tired of watching British and American Lavia, Gabriele (1942–) Actor and direc- lifestyles enacted onstage. The Doll is fre- tor, Italy. After training at the Academy quently studied and revived in Australia, of Dramatic Art in Rome, Gabriele Lavia and Lawler eventually wrote two prequels rose to national fame by performing in to The Doll, Kid Stakes and Other Times. The Titus Andronicus (1967), directed by Luca phenomenal success of The Doll tends to RONCONI, and King Lear (1973), di- overshadow Lawler’s achievements, for rected by Giorgio Strehler. In 1975 he example, as a director and dramaturg for founded his own theatre company, which the Melbourne Theatre company. is devoted to neo-naturalistic forms of dramaturgical research and for which he Lébl, Petr (1965–) Director and acts and directs mainly classical texts. scenographer, Czech Republic. Lébl stud- Lavia, who has also made a number of ied directing and scenography at the television and film appearances such as Prague Academy of Performing Arts, and Dario Argento’s Profonde Rosso (Deep Red, drew attention to himself through the in- 1974), has a compelling stage presence and ventive and fantastically graphic amateur is a good interpreter of leading male roles. productions of Grotesques (1985, based on Among his most notable productions are Kurt Vonnegut, Jr), The Serpent (1987, Othello (1975), Schiller’s Die Räuber (The based on Mircea Eliade), and Metamorpho- Robbers, 1981), Kleist’s Prinz Friedrich von sis (1988, an adaptation of Kafka). In Homburg (1985) and, more recently, Luigi 1988 he began to work in professional Pirandello’s Il gioco delle parti (The Game of theatres, and in 1993 he became artistic Roles, 1996) and Ingmar Bergman’s Scenes director of the Prague Theatre on the from a Marriage (1998). Since 1997 Lavia Balustrade (Na zábradlí), where he di- has been artistic director of the Teatro rected Genet’s Les bonnes (The Maids, Stabile Torino. 1993), Chekhov’s Cajka (The Seagull, 1994), Gogol’s Revizor (The Government In- Lawler, Ray (1921–) Dramatist and di- spector, 1995), Synge’s The Playboy of the rector, Australia. Lawler left school at thir- Western World (1995), the musical Cabaret teen. He started writing plays as well as (1995) and the new Czech play by J.A. acting and directing with the Melbourne PITÍNSKÝ, Pokojícek (The Little Room, Union Theatre Repertory Company. 1993). With his typical stylistic heteroge- Lawler is best known for his landmark neity and radical reinterpretation of the play, The Summer of the Seventeenth Doll. This text, he is considered as the most signifi- play, which won joint first prize along with cant representative of the postmodern Oriel Gray’s The Torrents in a playwriting Czech theatre. competition in 1955, was produced by the Union Theatre Repertory Company and LeCompte, Elizabeth (1944–) Director, was an enormous success in Australia be- USA. A graduate in applied art and art fore transferring to London’s West End. history at Skidmore College, Lecompte

171 Lee Byung-Boc Lee Gun-Sam joined Richard Schechner’s Performance Hunt of the Sun (1984, also directed by Group in 1970 as an actor and assistant George) and Cheung Tatming’s The Leg- director. When Schechner left the Per- end of a Storyteller (1993, directed by Fredric formance Group in 1980, LeCompte be- MAO). Lee also played in his one-man came artistic director of the Wooster shows, including Kuo Paokun’s No Park- Group, formed at the same venue by ing on Odd Days (1987) and James Cheung’s LeCompte and other former Perform- Taxi Driver (1993). He is chiefly remem- ance Group members including Spalding bered for his leading role in Cheung Tat- GRAY. Schechner, Richard FORE- ming’s musical Old Master Q (1994), claim- MAN’S use of non-representational ges- ing the Hong Kong Drama Awards for ture and Robert WILSON’S ‘minimal best actor. In 1995, Lee was invited to Sin- rather than logical structure’ have been gapore for the Festival of Asian Perform- influential for Le-Compte’s work. She ing Arts with Old Master Q. Lee has also has led the Wooster Group to become adapted and directed numerous popular ‘arguably America’s most important ex- productions for the Chung Ying. His di- perimental group’. Her theatre works rection of Leung Ka-kit’s The Professional emerge from process: they are not prede- (revived in 1998) won him the Best Di- termined. rector in the 1998 Hong Kong Drama Awards. Lee Byung-Boc (1927–) Designer, Korea. Lee graduated from Ewha Women’s Uni- Lee Gun-Sam (1929–) Dramatist, Ko- versity and trained at the Académie de rea. Lee trained at the Department of Coupe de Paris. As a costume and set de- Dramatic Arts, University of North signer, Lee introduced semiotics onto the Carolina and at New York University. He Korean stage. Her career began in 1966, was the director of the Min-Joong Theat- and she has worked on more than one rical Company during the 1970s and hundred productions including CHOI In- 1980s. Since 1957, Lee has written fifty- Hoon’s Eodiseo Mooeosi Doieo Dasi Mannarya two plays, including three plays in Eng- (When, Where to Meet Again as What, 1970, lish. He is mainly known for his com- with PARK Jung-Ja in the cast) for the edies Wongoji (The Manuscript Papers, 1960), Korean National Theatre, Tennessee Daewangun Jooggirul Geoboohatda (The Williams’s Cat on a Hot Tin Roof (1974), Great King Refuses to Die, 1961), Je Sipal Baram Boonun Naledo Gotun Pigo (Flowers are Gonghwagook (The 18th Republic, 1965), Blooming on Windy Days, 1984), Lorca’s Gookmool Itsaomnida (Taking the Lion’s Share, Bodas de sangre (Blood Wedding, 1985, 1988), 1966), Yooranggukdan (Travelling Troupe, Hamlet (1993), Brecht’s Mutter Courage und 1971, directed by LEE Sung-Gyu), ihre Kinder (Mother Courage and her Children, Samsipilganeui Yayoohoi (A Thirty-day Picnic, 1997) and Comedy of Errors. Her sets and 1974), Goommeogo Moolmasigo (Dreaming costumes signify the unity of images, pat- and Drinking, 1981), Makchatan Donggi terns and signs. Dongchang (The Enemies Meet on the Last Train, 1991), Yi Seong-Gyeeui Boodongsan Lee Chun-Chow (1958–) Director and (The King Yi’s Property, 1994) and Acasia actor, China (Hong Kong SAR). Lee’s pro- Gotipun Barame Naligo (Wind Spread Acasia fessional debut was with the Chung Ying Flowers (1998, with YOON Ju-Sang in the Theatre Company in 1981 as an actor. He title role). Lee’s contribution to Korean appeared in many productions including theatre is in tackling cultural gravity and Carlo Goldoni’s Il servitore di due padroni introducing modern comedies into the (The Servant of Two Masters, 1982, directed Korean theatre which had been domi- by Colin George), SHAFFER’S The Royal nated by realistic drama.

172 Lee Kang-Baek Lee Seung-Chul

Lee Kang-Baek (1947–) Dramatist, Ko- practical way. He is known as ‘the alche- rea. Trained with the Gagyo Theatre mist of the Korean language’. Company and at the Korea Playwrighting Workshop. Lee was Lee Ming Cho (1930–) Designer, USA. mainly known for his short plays for the Born in China, Lee studied Chinese wa- fringe theatre, such as Daseot (Five, 1971, ter-colour before emigrating to the USA directed by LEE Sung-Gyu) and Gyeolhon in 1949. In the mid-1950s he became an (Marriage, 1974). From the 1980s, Lee assistant to Jo Mielziner for five years, and converted his dramaturgy onto a large also worked with George Jenkins, Rouben scale. He wrote Jokbo (Family Tree, 1981), Ter-Arutunian and Boris Aronson. ‘Lee Juragieui Saramdul (People in the Jurassic Pe- virtually changed the US approach to de- riod, 1982), Homo Separatus (1983), Bomnal sign overnight with his 1964 production (One Spring Day), Biong Saong (1986, di- of Electra for the New York Shakespeare rected by Lee Sung-Gyu), Chilsanli (The Festival’s outdoor theatre in Central Park. Town of Chilsanli, 1989), Bookeo Daegari The set was a multilevelled thrust stage (Head of a Dried Pollack, 1993, directed by backed by three highly textured emblem- KIM Kwang-Lim) and Nukim Gukrakgatun atic scenic pieces hanging from a pipe-bat- Feeling Like Heaven (1998, directed by LEE ten gridwork. The set appeared to be Youn-Taek). Lee’s greatest talent is his carved out of stone. Lee considers the ability to dramatize his main concern, po- style he forged in the 1960s an American litical matters, in the form of allegory. Brechtianism, although his approach owes more to the visual aesthetics of Brecht’s Lee Man-Hee (1954–) Dramatist, Korea. chief designer Caspar Neher than to any Lee graduated from Dong-Gook Univer- reflection of Brechtian theories. In place sity, Seoul (BA, philosophy of India) and of poetic realism Lee created sculptural trained as a monk at the Gumsan Bud- settings of natural materials such as wood dhist Temple. His first play, Moondi (Lep- and metal; painterly fantasy was replaced ers), published in 1983 but staged six years by texture; colour and ornament were re- later, received a huge response. Each of placed by formality and spatial relation- his plays, Gugeotsun Moktak Goomeongsokeui ships.’ His work is also well represented Jakun Eodoomieotsumnida (That was a Small in the worlds of opera and dance. Patch of Darkness in the Wood Block, 1990), Booljom Geojooseyo (Turn Off the Switch, Please, Lee Seung-Chul (1950–) Actor, Korea. 1992), Doejiwa Otobai (The Pig and the Mo- Lee was a trainee at the Maekto Theatre torcycle, 1993), Pigojigo Pigojigo (Blooming Fall- Company and with the Seongjowa Thea- ing Blooming Falling, 1993, with GWON tre Group. He usually took the role of Seong-Deok in the cast), Gurae Woori cool, measured, self-controlled characters Amsterdame gaja (Let’s go to Amsterdam, 1995), in urban life. The majority of his perform- Dolaseoseo Deonara (Don’t Look Back When ances are in European and American con- You Leave, 1996, with CHUNG Kyung- temporary plays, such as Anthony Soon, and HAN Myung-Gu in the cast), Shaffer’s Sleuth (1981), Neil SIMON’S Arumdawoon Geori (Beautiful Street, 1997), Barefoot in the Park (1983), Williams’s A Yongdi Wuie Gaedi (Marridge Stories, 1998) Streetcar Named Desire (1986) and The Rose and Ni Deok Nae Tat (Your Virtue My Fault, Tatoo (1986, directed by KIM Ara), Willy 1998), were long-running box office hits. Russell’s Educating Rita (1991) and Harold Lee is recognized as the most influential PINTER’S Betrayal (1991). In Korean Korean dramatist of the 1990s, described originals, he performed in the musicals by Korean drama critics as a dramatist Majimak Choomun Nawa Hamge (Why not dealing with a philosophical theme in a Have the Last Dance with Me, 1993, by Joo

173 Lee Sung-Gyu Lei Que Sheng

Chan-Ok) and Soo-Il Lee & Soon-Ae Shim KIM Suk-Man, performed at LA City (1997, by Kim Sang-Yeol). Theatre, USA), Gwicheon (Back to the Ha- ven, 1993, with GWON Seong-Deok in Lee Sung-Gyu (1939–) Director, Korea. the cast), OH Tae-Seok’s Jajeongeo (Bicycle, Lee graduated from the Drama and Cin- 1994), The Comedy of Errors (1997, directed ema Department of Joongang University by LEE Sung-Gyu) and Mi-ri Yoo’s in 1966. In the same year he established Moolgogieui Chookje (Fishes’ Festival, 1997), the Gagyo theatre company, and contin- each of them functionally symbolized ued with this group until 1979. In 1983 and minimalized. Lee gained an MA from the Department of Performance Studies, New York Uni- Lee Youn-Taek (1952–) Director and versity. He was the artistic director of the dramatist, Korea. Lee studied at the Seoul Korean National Theatre from 1985–6, Institute of Arts. After directing Citizen K and held the same position in the Noori (1989), and Ogoo-A Funeral Ceremony (1990), Korean Theatre Company in New York a mixture of an obsessive attitude with from 1991–3. During the first fifteen bodies, movements and literary language, years of his career, Lee directed many Eu- he became known as ‘a cultural guerrilla’ ropean classical plays and Korean origi- by Korean critics. His main aim is to de- nals including LEE Gun-Sam’s molish conventions for reviving primitive Gwanginduleui Chookje (The Madmen’s Festi- theatricality. He continues his experiment val, 1968), Yoorang Gukdan (Travelling with the Yeonhee Street Gang Theatre Troupe, 1971) and LEE Kang-Baek’s Group in Pusan (1986–) and the Theatre Naema (1974). After settling down in Ko- Laboratory for Our Theatre (1994–). Lee rea in 1993 as the artistic director of the is interested in merging language and Incheon City Theatre Company, his in- body together by staging both classical terests changed to a more fundamental is- plays and his own adaptations. His recent sue, harmony between different cultures. works include KIM Eui-Kyung’s Gil In his recent productions of Dürrenmatt’s Deonanun Gajok (A Family on the Road, 1991), Der Besuch der Alten Dame (The Visit, 1994), Kim Kwang-Lim’s Hongdongjinun Salaitda The Comedy of Errors (1994), and (Hongdongji is still E[A]live, 1993, for the Gooweoldong Scrooge (The Scrooge in Town of Korean National Theatre), OH Tae-Seok’s Gooweoldong, 1995), he has tried to com- Viniy Hot-house (1994), Cheongbajirul Ipun bine Korean theatrical elements with the Faust (Faust in Jeans, 1995), Moonjejeok Ingan European originals. Yeonsan (King Yeonsan—A Controversial Figure, 1995 with YU In-Chon in the cast), Ham- Lee Tae-Sup (1954–) Designer, Korea. let (1996), Faust 1997 (for the Korean Na- Lee trained at Hong-Ik University (BFA tional Theatre) and LEE Kang-Baek’s in fine art), Joong-Ang University (MA in Nukim Gukrakgatun (Feeling Like Heaven, theatre art) and Brooklyn College of the 1998). City University of New York (MFA in scene design). Lee has been involved in Lei Que Sheng (1936–) Actor, China. theatre, opera and dance performances. After graduation from the acting depart- For the theatre, he designed the set of ment of the Central Academy of Drama Waldo KANG’S Beondaegijeon (Tales of Pu- in 1960, Lei became a member of the Cen- pae, 1990), Oirowoon Byeoldul (Solitary Stars, tral Experimental Theatre. A versatile ac- 1991), and LEE Kang-Baek’s Moolgeopoom tor, in thirty years he played more than (Water Bubble, 1991), the musical two hundred roles in both Chinese and Goomgoonun Gicha (The Dreaming Locomo- foreign plays. Between the 1970s and tive, 1992), Lost Angels (1993, directed by 1990s, major parts include Jian Zhen, the

174 Lepage, Robert Lérus, Arthur

Chinese monk who brought Buddhism to size the meaning of the play: ‘texture is a Japan in Qi Zhi Xiang’s Jian Zhen Dong vital element in her work, whether con- Du (Jian Zhen’s Eastward Voyage), the epony- veyed through a wealth of detail or with mous hero in Chen Bai Cheng’s A Q Zheng extreme simplicity’. Zhuan (An Anecdotal History of Ah Q) and Zen Hao in Cao Yu’s Peking Characters, as Lerner, Motti (1949–) Dramatist and di- well as Falstaff and Ford in The Merry Wives rector, Israel. Lerner studied Literature at of Windsor. the Hebrew University in Jerusalem and began his theatre career as dramaturg and Lepage, Robert (1957–) Director and ac- director at the Khan Jerusalem municipal tor, Canada. Lepage studied at the theatre. His play Kastner, about a histori- Conservatoires d’Art Dramatique in cal figure with that name who negotiated Québec and trained in Paris with Alain with Eichmann for releasing Jews and was Knapp. His theatrical work has been vi- later accused of collaboration with the tally influenced by the concepts devel- Nazis, was performed at the Cameri Tel oped by Théâtre Repère, which recom- Aviv municipal theatre. It was later fol- mends ‘approaching creation through the lowed by a television series about the trial slant of resources (objects, sounds, texts, itself. His play The Pangs of Messias presents music, etc.) explored through scores… an apocalyptic vision of the settlers in the The results of these free explorations are occupied territories, and Else deals with summarised in an Evaluation before be- the life of poetess Else Lasker-Schueler in ing brought out in Representation’. In his Jerusalem. own creations (such as The Seven Streams of the River Ota, 1996), as well as produc- Lérus, Arthur (1948–) Actor, director and tions of classics (A Midsummer Night’s author, France and Guadeloupe. Trained Dream, The Tempest, 1992), he has created as a teacher in special education, Lérus a theatrical magic often tied to his pres- was inspired by Jean-Marie Serreau’s ence on stage as an actor, but also result- 1970’s drama workshops to found the ing from mastery of stage space and time. group Théâtre du Cyclone, which has His productions are characterized by a proved an enduring focus for independ- non-linear dreamlike surrealism. Re- ent dramatic creation. With Lérus and his cently, he directed The Confessional (1995), wife as anchor, Cyclone has aimed to which won a Genie Award for Best Cana- transpose in dramatic form core issues of dian Film, and La Géométrie des miracles Guadeloupean resistance—against the (The Geometry of Miracles, 1997), a the- pressures of urbanization and migration, atrical inquiry into the works of Frank and corrupt political mores—using dy- Lloyd Wright. namic symbolism, music and dialogue in Creole. Well received in Fort-de-France at Lepage, Sue (1951–) Designer, Canada. the annual summer festivals, noteworthy Lepage joined the Stratford Festival as an productions include the collective crea- assistant in the paint shop. In 1975, she tions, Nuit blanche (White Night, 1975), the designed the national tour of REANEY’S biography of a militant youth; Ma Man The Connellys. Other major productions in- Nasis sek (Mrs Nassis’s Pond is Dry, 1978) ex- clude David FRENCH’S Salt-Water Moon posing injustice over rural water shortages, (1984), STOPPARD’S Rosencrantz and written by Lérus; Atoufanm (Lassie, 1986), Guildenstern are Dead (1985) and Brecht’s about a mother and her dog faced with Mutter Courage und ihre Kinder (Mother Cour- relocation in a tower block while her son age and her Children). Rather than reflect- lives in France; and Oti Tannis? (What’s being a personal style, her designs empha- come of Tannis?, 1988), a search for treasure

175 Lev Ari, Shimon Levine, Michael

(values) by three characters on a derelict programmes at the students’ club during beach. In 1998, Karata, a fable using the late 1960s. Levin is the most prolific Egyptian and Inca mythology to reflect on and probably the most controversial play- terrorist violence and the choice of values, wright in Israel. He has published fifty was put on at the Artchipel. Nicknamed plays, of which about half have been per- ‘Mandingo’, Lérus radiates a quiet moral formed on the stage, mostly directed by and theatrical authority, rooted in his te- Levin himself. His third satirical pro- nacious independence. gramme Malkat Ambatia (The Queen of the Tub, 1969) was performed at the Cameri Lev Ari, Shimon (1942–) Actor, Israel. Tel Aviv municipal theatre and caused a Lev Ari studied acting at Tel Aviv Uni- major scandal. His satirical revue versity. His first main role was Happy in Hapatriot (The Patriot), written during the Arthur MILLER’S Death of a Salesman. He war in Lebanon, was partly censored. has also played Vladimir in Yossi His earlier full-length plays from the 70’s YZRAELI’S production of Beckett’s Wait- like Yaakobi and Leidenthal, Chefetz and Shitz ing for Godot, as well as in three additional are strongly influenced by absurd theatre productions of this play, Edgar in and depict the everyday life of the charac- Strindberg’s Dödsdansen (Dance of Death) as ters from a grotesque perspective. In well as Sender in Hanan SNIR’S produc- plays like Hot-saa Lehoreg (Execution), tion of The Dybbuk at the Habima theatre Yesorei Iov (Job’s Sorrows) and Hazona in 1998. His one-man show Vincent by Hagedola Mibavel (The Great Whore of W.G.Smith was a long-running success Babylon) from the early 1980s, Levin de- (1975–81). He has also played in several veloped a more poetic allegorical style, television series. Lev Ari is founder and basing his plots on different mythical nar- director of the Tel Aviv University thea- ratives on the basis of which he made his tre archives. personal statement. These plays have a strong nihilistic subtext. In plays like Levi, Rakefet (1968–) Designer, Israel. Halvaia Chorpit (Winter Funeral) and Orzei Levi studied at the Ramat Hasharon Arts Hamizvadot (Suitcase Packers) the poetical College and began her career as a de- and the absurd are mixed. His more re- signer for children’s television programs. cent plays like Hayeled Cholem (Dreaming She has designed several performances Child), Peorei Pe (Mouth Open) and Kritat for the Bat-Sheva dance company. In the Rosh (Beheading) and Haholchim Bachoshech theatre she has designed both sets and (The People that walked in Darkness) could costumes for Romeo and Juliet (directed by be termed horror fantasies, mixing the Rina YERUSHALMI), Kritat Rosh (Be- poetic and the allegorical with strong heading) and Ashkava (Requiem) (both writ- ideological statements. Among his later ten and directed by Hanoch LEVIN) and plays, Retsach (Murder) deals with the re- Gilead Evron’s Har lo zaz (A Mountain peated circles of violence in the Israeli- Doesn’t Move, directed by Hanan SNIR). Palestinian conflict, while Ashkava Levi has developed an eclectic (Requiem) like most of his plays dealing postmodern style with highly stylized with the confrontation with death, is aesthetic qualities. based on three short stories by Chekhov. He has also published short stories and Levin, Hanoch (1943–) Dramatist and poetry and has written and directed two director, Israel. Levin studied philosophy films. and literature at Tel Aviv University, where he wrote articles for the students’ Levine, Michael (1961–) Designer, newspaper and mounted two satirical Canada. Levine studied at the Ontario

176 Levyts’ka, Maria Lider, Daniil

College of Art and at the Central School with Argonauts, 1987), directed by Anne of Art and Design in London, England. Teresa de Keersmaeker, Wittgenstein in He has designed for the Glasgow Citizens’ the monologue Wittgenstein Incorporated Theatre, the Royal Shakespeare Com- (1989), directed by Jan Ritsema pany, the Old Vic and the English Na- (Kaaitheater), and Brutus in Julius Caesar tional Opera. His first major success was (1990), directed by Jan LAUWERS as co-designer for O’Neill’s Strange Inter- (Needcompany). In 1996 he starred in lude in London and New York. His surre- Heiner Goebbels’s Die Wieder-holung/La alistic and imaginative designs for the Reprise/The Repetition. Leysen also made a Shaw Festival have been widely acclaimed. reputation in films by directors such as André Delvaux and Jean-Luc Godard. Levyts’ka, Maria (1955–) Designer, Ukraine. Levyts’ka graduated from the Li Liu Yi (1961–) Director, China. Fol- workshop of Daniil LIDER at the Taras lowing graduation from the directing de- Shevchenko Kiev State Institute for Arts. partment of the Central Academy of Her first independent work was seen in Drama, Li’s major productions include a the experimental production of Calderón’s Sichuan opera version of Brecht’s Der Gute El principe constante (The Constant Prince) at Mensch von Sezuan (The Good Person of Sezuan, the Molodizhny Teatr, Kiev, which was 1987) and Su Li Qun’s Zhunag Zhou Shi Qi banned by the Soviet authorities (1981). (Zhuang Zhou Tests his Wife, 1995, designed At the beginning of the 1980s she worked by YAN Long). He draws on his good un- at the Crimea Maksim Gorky Russian derstanding of Chinese operatic traditions, Drama Theatre, Sevastopol’, Ukraine, de- and seeks new forms from his own feel- signing set and costumes for Bulgakov’s ings and experiences, refusing to be avant- Master i Margarita (The Master and Margarita, garde for its own sake. He aims to em- 1981), and Chekhov’s Tri sestry (Three Sis- brace the audience in the whole theatrical ters, 1981). Lately she has been working process. His productions reveal an experi- fruitfully at the Taras Shevchenko Opera mental attitude towards stage space and and Ballet House (chief designer since time. 1989), and at the Lesia Ukrainka Russian Drama Theatre, Kiev, including Lider, Daniil (1917–) Designer, Ukraine. Sheridan’s The School for Scandal (1995) and Lider trained at the Institute for Painting, Toibele and her Demon by Bashevis Zinger Sculpture and Architecture, Leningrad, and Fridman (1996, Kiev; 1997, Haifa, Is- and has been teaching at the Taras rael). She has also made set and costume Shevchenko Kiev State Institute for Arts, designs for numerous films, and worked the Faculty of Painting, Theatrical Depart- in icon painting and paintings on silk and ment, since 1975. Andrii ALEKSANDRO- other fabrics. VYCH-DOCHEVS’KY, Volodymyr KARASHERVS’KY and Maria Leysen, Johan (1950–) Actor, Belgium. LEVYTS’KA are among his pupils. Lider’s Following studies at the Studio Herman designs, for more than 100 productions, Teirlinck in Antwerp, Leysen worked with were seen in numerous Ukrainian and several Dutch companies such as De Russian theatres. Active and metaphoric Appel, RO Theatre, Globe and Baal. Since imagery and deep philosophical interpre- the late 1980s, Leysen has been freelanc- tation of the subject are characteristic of ing all over Europe. Major parts include his work, as well as the polyphony of tex- Jason in Heiner Müller’s Verkommenes Ufer tures and volumes and the functioning of Medeamaterial Landschaft mit Argonauten space. Selected productions include Ivan (Run-down Shore Medeamaterial Landscape Kocherha’s Iaroslav Mudry (Kiev, 1970),

177 Liensol, Robert Linehan, Rosaleen

Ostrovsky’s Goriachee serdtse (The Warm Glace Bay Miners’ Museum. Her work is Heart, Kiev, 1973), Macbeth (Khmel’nyts’k, characterized by a strong commitment to Ukraine, 1977), King Lear (The Maly Thea- social and political causes. The Fighting tre, Moscow, 1979), Chekhov’s Visnevyi sad Days, for example, chronicles Nellie (The Cherry Orchard, Kiev, 1980) and Sha- McClung’s rise to prominence as a suffra- lom-Aleichem’s Tevie-Tevel’ (Tevie the Milk- gette. Lill was elected Member of Parlia- man, Kiev, 1989). ment in 1997.

Liensol, Robert (c.1930–) Actor, France Lin Zhao Hua (1936–) Director, China. and Guadeloupe. While studying for an Lin studied acting at the Central Acad- arts degree at the Sorbonne, Liensol de- emy of Drama and later became an actor veloped a passion for the theatre, obtain- with the Beijing People’s Art Theatre. In ing walk-on parts in films and at the 1982 he made his directorial debut with Comédie Française and TNP. At the GAO Xing Jian’s Jue Dui Xin Hao (Abso- Cours Charles Dullin he met other pio- lute Signal), creating a great stir in the neering drama students from the Carib- capital. After the initial success he col- bean and Africa, teaming up with them to laborated closely with Gao, staging his found the first professional black theatre Che Zhan (The Bus Stop) and Ye Ren (Wild company, Les Griots. After several pro- Man). In 1986 he directed Liu Jin Yun’s ductions directed by Roger Blin, they tri- Uncle Doggie’s Nirvana. He collaborated umphed in Genet’s Les nègres (The Blacks, with designer Xue Dian Jie in staging Pe- 1959) with Liensol as Ville de Saint- king Characters and Faust. In 1990 he di- Nazaire. Roles followed in productions rected a critically acclaimed studio pro- by several major Paris directors, though duction of Hamlet. In recent years he has Liensol was especially concerned to lend produced dramatist GUO Shi King’s his support to worthwhile black and ‘men of leisure’ trilogy, Niao Ren (The Bird Third World theatre, including Master), Qi Ren (The Go Master) and Yu R e n FUGARD’S Boesman and Lena (1976) and (The Angling Master). Lin’s name has been plays by Julius Amédée LAOU. A main- closely connected with the experimental stream success was in the 1991 French theatre in China, which since the end of version of Alfred Uhry’s Driving Miss the Cultural Revolution has seen an in- Daisy. His role as the jailer in L’Exil de creasing emphasis on an ‘expressive’ ap- Béhanzin (King Béhanzin’s Exile) by Guy proach towards acting and stage presenta- Deslauriers exemplified the dignity and tion. strength of conviction of this doyen of French Caribbean actors, and gained him Linehan, Rosaleen (1937–) Actor, Ire- an award as Best Francophone actor at land. After beginning in musicals, by 1962 Namur (1994). she was a household name, appearing in satirical revues and her own RTE (Radio Lill, Wendy (1950–) Dramatist, Canada. Telefis Eireann) television series Me And Lill has had a long-standing association My Friend. Her varied talents include writ- with the Prairie Theatre Exchange (in ing music for the smash hit mini-musical Manitoba), which produced The Fighting Mary Makebelieve in 1981 at the Abbey Days (1982), The Occupation of Heather Rose Theatre, Dublin. This was revived at the (1985) and Memories of You (1988). More Gate Theatre, Dublin, in 1993. Since 1985 recent work includes Sisters (1989, pro- she has embarked on a ‘legitimate’ acting duced at Ships Company in Nova Scotia), career which brought her to work with All Fall Down (1993, Alberta Theatre most major Irish directors. In 1994 her Projects) and a stage adaptation of The one-woman show, Mother of All The Behans,

178 Liptsyn, Oleg Liubimov, Yuri which she co-wrote with Peter Sheridan Liu Shu Gang (1940–) Dramatist, China. and which had won an Edinburgh Festi- Liu graduated from the Acting Depart- val Fringe First in 1989, was revived for ment, of the Central Academy of Drama the Irish Repertory Theatre, New York. (1958–62). He has published Shi Wu Recent critically acclaimed roles include Zhuang Li Huen An De Diao Cha Fen Xi (Fif- Mrs Hardcastle in Goldsmith’s She Stoops teen Divorce Cases Analysed, 1983) and Yi Ge to Conquer, directed by Jonathan MILLER Si Zhe Dui Sheng Zhe De Fang Wen (A Dead at the Gate Theatre, Dublin; Winnie in Man’s Visit to the Living, 1985), both per- Beckett’s Happy Days at the Gate, and on formed by The Central Experimental tour to London and New York (1996), di- Theatre, where he is a dramatist in resi- rected by Karel Reisz; and Lady Bracknell dence. Although he was trained in the in Wilde’s The Importance of Being Earnest Stanislavski method, he has tried to free (1997) at the Abbey Theatre. In 1990 she himself from its influence. Seen as a mod- won the Radio Telefís Eireann Hall of ernist by the old generation but as a tradi- Fame Award for her contribution to Irish tionalist by the young, he seeks to com- Theatre, and is now widely regarded as a bine stage effect and conceptual depth. leading actor of the classical repertoire in Ireland. Liu Yuan Sheng (1942–) Designer, China. Liu obtained an MA from the Liptsyn, Oleg (1960–) Director and ac- Central Academy of Drama in 1981, tor, Ukraine. Lipstyn studied in the Rus- where he is professor and dean of the sian State Academy for Theatre Art stage design department. His representa- (GITIS), Moscow (with Mikhail tive designs are Huanh Zhi Long’s Butkevich and Anatoly VASSILYEV, Songzanganbu (1982), Ibsen’s Peer Gynt 1983–8), and was in residence at the Mos- (1983), Sophocles’s Oidipus tyrannos (King cow State Theatre School of Dramatic Art Oedipus, 1986) and Antigone (1988), Sang under Vassilyev (1988–90) and at the Ping Ji Shi (Story of Songshuping Village Schaübuhne, Berlin (1991). Liptsyn is (1988, by Zhu Xiaoping and Yang Jian), founder and artistic director of Theatre Ibsen’s Brand (1990), Long Yun Li’s Sa Club, Kiev (1989), an international avant- Man Yue Guang De Huang Yuan (Moonlit garde theatre company from the Theatre Wasteland, 1993, directed by XIAO Union of the Ukraine. He directed eight- Zhong Xu), Yang Xiao’s Sha Zhao Ping een theatre productions, among them (Shazhou Village, 1994), Chen Jian Qiu’s Sophocles’s Antigone (1991), an adaptation Ou Ren Ji (Adventures of the Marionettes, of Ulysses by Joyce (1993) and Starukha (The 1996) and SHI Xing Guo’s Yu Ren (The Old Woman) by Gogol and Kharms (1995). Angling Master, 1998). He strives for visual Liptsyn participated in several interna- appeal of material and free association of tional projects. He also conducted several the mind. educational projects, such as a practical course in acting at the Konrad Wolf High Liubimov, Yuri (1917–) Director and ac- School of Film and TV (Potsdam- tor, Russia. He trained at the Schukin Babelsberg, Germany, 1994), and a prac- Theatre College in Moscow, and soon be- tical seminar for acting and directing stu- came a leading actor of the Vakhtangov dents at the National School of Drama Theatre Company. Next he turned to ac- (Delhi, 1995). As actor and director, he tor training, and a group of his students participated in theatre festivals in Austria, soon formed the Moscow Drama Thea- Germany, Italy, Canada, France, Hun- tre, now known all over the theatre world gary, Mexico, Croatia, Spain, the UK, the as the Taganka Theatre. In conflict with USA, Poland and Russia. the authorities because of his

179 Lizaran, Anna Lobel, Adrienne non-conformism, he was expelled from ing sensuality and deep intensity for which the USSR. Between 1983–9 he lived in she is best-known. Increasingly, she has Israel and worked in different theatres played a key role in the educational pro- throughout Europe. In Gorbachev’s era, grammes for young performers at the Liubimov was reappointed as director of Lliure. the Taganka and his Russian citizenship was restored. Liubimov combines the lines Lo Koon-lan (1954–) Actor, China of Vakhtangov, Meyerhold and Brecht. (Hong Kong SAR). Lo’s recent appear- His trademarks were not only a new ar- ances were in Richard Sheridan’s The tistic style and language, but also his po- School for Scandal (Hong Kong Cultural litical outlook which he firmly expresses Centre, directed by Henry Woronicz, in modern plays and well-known classics 1996) and Raymond TO’S The Magic is alike. One of his most rebellious produc- the Moonlight (with TSE Kwan-ho, 1997). tions was Hamlet (1970), showing Russia A former principal actor of the Hong rather than Denmark as a prison. Other Kong Repertory Theatre (HK Rep), she classic productions include Bulgakov’s appeared in over sixty productions, in- Master i Margarita (Master and Margarita), cluding Anti-gone in Jean Anouilh’s Pushkin’s Boris Godunov, Pasternak’s Antigone (1991), Regan in King Lear (1993, Zhivago and Mozhayev’s Zhivoi (Alive), directed by Daniel YANG) and Maggie in about the destruction of Russian peas- Tennessee Williams’s Cat on a Hot Tin Roof antry by Bolsheviks. (1995, also directed by Yang). She played Mei Ling in Those Inconvenient Sisters (1989, Lizaran, Anna (1944–) Actor and direc- directed by William Hurt) for the Circle tor, Spain. Lizaran attended a course at the Repertory Theatre in New York. For the Jacques Lecoq School in Paris. Back in HK Rep, she also played Kam Lu-lu in Barcelona in 1976, she co-founded the now Raymond To’s I Have a Date with Spring legendary Teatre Lliure which was to pro- (1992), a role she repeated on film in vide Barcelona with a Catalan-language 1993. Lo’s portrayal of the leading role in theatre specializing in contemporary and Dürrenmatt’s Der Besuch der Alten Dame classical works. With Carlota Soldevila (The Visit, 1994) won the Fourth Hong and Lluís HOMAR, she was amongst the Kong Drama Awards for best actor. Since company’s most prestigious performers. the early 1990s, Lo has been a familiar Her central performances in the compa- face on film and television. ny’s most acclaimed works include Ibsen’s Hedda Gabler (1977), a sensual Julie in Lobel, Adrienne (1955–) Designer, USA. Strindberg’s Fröken Julie (Miss Julie, 1986), Trained at Yale University School of Natasha in Chekhov’s Tri sestry (Three Sis- Drama and by LEE Ming Cho, Lobel has ters, 1979) and an outstanding performance become ‘one of the most daring of as the Comtessa Saint-Fond in Mishima postmodern designers’, whose sets are Yukio’s Madame de Sade in 1986. More re- ‘typified by bold uses of line and colour cently she has appeared in Pasqual’s pro- to create dominant images with a humor- duction of Beckett’s Waiting for Godot ous or ironic sensibility’. Lobel has worked (1999) and in a number of well-received with director Peter SELLARS on the films, including Ventura Pons’s Actrius Mozart operas Cosi fan tutte, The Marriage (1996) and Miguel Albaladejo’s La primera of Figaro and the Glyndebourne produc- noche de mi vida (The First Night of My Life, tion of The Magic Flute. Theatre credits 1998). Since 1995 she has also worked in- both for repertory and in New York increasingly as a director, but it is as an ac- clude sets and costume for Wedekind’s tor of chameleon-like versatility, surpris- Lulu (1980), Gogol’s Revizor (The Inspector

180 Löscher, Peter Lukavský, Radovan

General, 1980), The Taming of the Shrew been working as a professor of stage (1986), Harry Kondoleon’s Zero Positive speech and acting at the Academy of Dra- (1988) and Frances Goodrich and Wendy matic Art in Zagreb. Kesselman’s Diary of Anne Frank (1997). Loquasto, Santo (1944–) Designer, USA. Löscher, Peter (1938–) Director and ac- Loquasto began his career designing for tor, Germany. Trained as an actor and di- repertory companies (Hartford Stage and rector in Frankfurt an der Oder, after three Long Wharf Theatre). His New York de- years as dramaturg in Wuppertal and but was in 1970. Loquasto also works with some time observing the work of the modern dance companies (mainly cos- Royal Shakespeare Company, Löscher has tumes only). ‘His actual settings can be worked mainly in Frankfurt am Main, monumental structures, immense cubes, Theater am Turm, at the Schauspielhaus heavily textural, or they can be con- in Düsseldorf and in Hamburg, as well as structed out of interesting components in Munich. One of his most remarkable such as pipe, wood, or other found mate- productions was Die Räuber (The Robbers) rials. At the other extreme, they can be by Schiller, which he directed in highly realistic, filled with the clutter of Düsseldorf, not in the traditional theatre everyday life.’ Recent productions include space but in a huge old trade exhibition William Luce’s Barrymore (1997), the mu- hall. Recent productions include sical Ragtime (1997) and Leslie Ayvazian’s Pirandello’s Sei personaggi in cerca d’autore Nine Armenians (1999, directed by Lynne (Six Characters in Search of an Author, Bonn, MEADOW). He has also been the pro- 1994). duction designer for motion pictures, including several by Woody Allen. Lonza, Tonko (1930–) Actor, Croatia. Lonza trained at the Academy of Dra- Lubienski, Tomasz (1938–) Dramatist, matic Art in Zagreb. Since his debut at the Poland. A member of PEN and the Polish Dubrovnik Summer Festival in 1953, he Writer’s Association, Lubienski graduated has become one of the most renowned in Polish philology from the University of actors in Croatia. From 1953–68 he was a Warsaw in 1960. His most important member of the Zagreb Theatre Gavella; plays include Gra (A Game, 1959), Zegarty since then he has been with the Croatian (The Clocks, 1970), Cwiczenia z Aniolem (Ex- National Theatre in Zagreb. He played ercises with an Angel, 1977), Smierc Komandora Orestes in Aeschylus’s Choephoroi (Libation (Death of the Commander, 1984), Historia z Bearers, 1956), Oronte in Molière’s Le mis- Psem (History with a Dog, 1988) and Sniadanie anthrope (The Misanthropist, 1960) and do Lozka (Breakfast in Bed, 1994). His plays, Kowalski in Williams’s A Streetcar Named produced by theatre, radio and television Desire (1960). In 1963 he gave a deeply and frequently published in the theatre tragic portrait of Oedipus in Sophocles’s monthly Dialog, are influenced by an open Oidipus tyrannos (King Oedipus). It was a turn- form of romantic drama. Stage directions, ing point in his career: he fascinated the often extended, are of great autonomic im- audience with his vocal potential and el- portance. His themes are both historic and egance in speaking verse. In 1986 he contemporary. scored another major success with Pedro Crespo in Calderón’s El alcade de Zalamea Lukavský, Radovan (1919–) Actor, (The Mayor of Zalamea). He is one of the Czech Republic. A graduate from the most important interpreters of Krleza’s Prague Conservatory, Lukavský first characters. He also tried his hand as a di- made use of his comic talent and then suc- rector and film actor. Since 1962 he has ceeded in roles as a modest romantic hero,

181 Luo Jin Ling Luzzati, Emanuele such as Bill Starbuck in Nash’s The State Theatre Academy, where he joined Rainmaker (Prague Municipal Theatre, the staff in 1984. Between 1977–86 he 1957). He soon joined the National Thea- worked at Teatr im. Cypriana Kamila tre, where he performed an up-to-date, Norwida in Jelenia Gora and Stary Teatr rational Hamlet (1959) and where he first of Cracow, and since 1987 exclusively made thorough use of his expressive un- with Stary and abroad. His most impor- derstatement, thereby influencing subse- tant productions include Witkiewicz’s quent Czech acting. His characters com- Pragmatysci (Pragmatists, 1981), Bezimienne bine the search for truth, the defence of Dzielo (The Anonymous Work, 1982), Maciej moral values and a firm ethical base, in- Korbowa I Bellatrix (Maciej Korbowa and formed by the actor’s masculine, emotion- Bellatrix, 1986), Miasto Snu (The City of ally restrained expression. He is known Dreams, Lupa’s scenario after Po Tamtej for the precision of his technique, includ- Stronie (On the Other Side) by Kubin, 1985), ing the control of his body, and for a qual- The Dreamers (Robert Musil, 1988), The ity of stage diction that is without rival in Brothers Karamasov (Dostoyevsky, 1990), his country. His most accomplished roles Malte (after Rilke, 1991), Kalkwerk (after include Lysander in Calderón’s El Mágico Thomas Bernhard, 1993), Lunatics (after Prodigioso (The Wonderful Wizard, 1995) and Herman Broch, 1995) and Immanuel Kant Theatre Director in Otomar KREJCA’S (Thomas Bernhard, 1996). Lupa treats his production of Goethe’s Faust (1997). Both theatre as an existential and epistemologi- his teaching and his acting are informed cal experience. His first productions (the by Stanislavski’s principles. Witkiewicz ones) were directly devoted to the problem of cognition. Later the ethi- Luo Jin Ling (1937–) Director, China. cal issues dominated (showing the influ- Upon graduation in 1961 from the direct- ence of Jung), and his work became con- ing department of the Central Academy cerned with man’s spiritual situation in of Drama, Luo stayed on to teach direct- times of great cultural change (the age of ing in the same institution, where he is Aquarius). Lupa has also designed the set now the deputy director and professor of for all his productions. directing. His directing debut was Shen Xi Meng’s Ni Hong Deng Xia De Shao Bing Luzzati, Emanuele (1921–) Scenographer, (Guards Under Neon Lights, 1977). He estab- Italy. After a period of training at the Insti- lished his position in Chinese theatre as tute of Fine Arts in Lausanne, Emanuele the first to stage full-scale productions of Luzzati made his theatre debut in 1947 in Greek tragedies in China, directing, a production of Lea Lebowitz, written and among ohers, Sophocles’s Oidipus tyrannos directed by Alessandro Fersen. Luzzati’s (King Oedipus, 1986), Antigone (1988), and long career as a painter, set designer, cos- Euripides’s Medeia (1989) and Troades (The tume designer and cartoonist in various Trojan Women, 1992). At times he intro- theatres and opera houses all over the duced elements of Chinese traditional world has made him one of Italy’s most theatre in some of his productions of original and innovative theatre designers. Greek tragedy, which were well received His films La gazza ladra (The Thieving Mag- in the European countries they visited. pie, 1965) and Pulcinella (1973) have received Academy Awards, and the former has been Lupa, Krystian (1943–) Director, de- nominated as one of the most successful signer, painter and graphic artist, Poland. animations of all times. Luzzati under- Lupa trained at the Academy of Fine Arts stands design as an extension of text and in Cracow and studied directing at the often elaborates his materials pictorially.

182 M

Maan, Trudi (1954–) Designer, The by Israeli poet-playwright Nathan Netherlands. Trudi Maan trained as a Alterman, won the first prize at the first handicraft teacher and later as a sculptor Acco festival for alternative theatre. at the Van Eyck Academy (1981–3). She Ma’ayan founded the Acco Centre for got involved in the theatre through theatre, where his five-hour kaleidoscopic Bonheur, a loosely knit circle of actors and performance Arbeit macht frei von Toit-land artists originating from the Drama School Europa, confronting the Holocaust in the in Arnhem in the mid-1980s. With them, contemporary Israeli context, creating in- she has shaped many productions. Maan teresting analogies between the Holocaust is not a classical ‘give me a story and I’ll and the Israeli-Palestinian conflict, pre- make a picture’ kind of designer; in her miered in 1991. This extraordinary per- hands the set, or rather the environment, formance has also toured different coun- becomes an additional actor. She turns tries and it has made Israeli alternative spaces (like Bonheur’s old gym hall in theatre internationally known. Rotterdam) into theatrical environments, unrecognizable from earlier visits. She also Mac Intyre, Tom (1931–) Dramatist, Ire- likes to give work by other artists a place land. Mac Intyre has brought a liberating in the show. Some titles (all adapted from sense of play to Irish theatre by combin- books and directed by Anneke van ing a creative grasp of language with a Blokland) include Hotel Bonheur (1988), commitment to theatre of image. Early Comptons and Burnetts (after Ivy Compton work includes Eye Winker Tom Tinker (1972) Burnett, 1989), Orlando (after Virginia and Jack Be Nimble (1976), directed by Woolf, 1992), Krazy Kat (after George Patrick MASON. During the 1970s in Herriman, 1994) and The Hearing Trumpet New York, Mac Intyre was influenced by (after Leonora Carrington, 1997). Maan’s the work of Martha Graham and Pina spunky, irreverent taste shines through, Bausch, and his work with the American too, in work she does for others. She Calck Hook Dance Theatre in Paris re- teaches scenography at the Performing sulted in Doobally—Back Way (1979). This Arts Academy in Utrecht. involvement with dance has strongly influenced Mac Intyre’s physical vision of Ma’ayan, Dudu (1954–) Director, Israel. theatre, as evidenced by The Great Hunger Ma’ayan trained at the Tel Aviv Univer- (1983), an interpretation of Patrick sity. His first production, The Inn of Spirits Kavanagh’s poem The Great Hunger for the

183 McAnuff, Des McColl, Colin stage. Developed in collaboration with McCarten, Anthony (1961–) Dramatist, Patrick Mason and actor Tom HICKEY, New Zealand. After completing a BA at this was a stark compelling work. Their Victoria University of Wellington in which collaboration also included The Bearded he abandoned political science for drama Lady (1984) and Snow White (1988). Recent and creative writing, and with only a brief work includes the irreverent and highly apprenticeship at a small Wellington thea- successful Good Evening Mr Collins (1995) tre, McCarten wrote in collaboration with and You Must Tell the Bees produced in col- Stephen Sinclair the farcical comedy La- laboration with Irish Modern Dance dies’ Night (1987), which was an immedi- Theatre (1996), The Chirpaun (1997) and ate hit in New Zealand and Australia, has Caoineadh Airt uí Laoghaire, a bilingual play been performed in the United States and taken from the traditional poem The La- in Europe, and enjoyed extensive British ment for Art O’Leary (1998). tours during the early 1990s. His early work may be ‘brazenly populist’, but later McAnuff, Des (1952–) Director and plays such as Via Satellite (1991) and dramatist, USA. McAnuff founded F.I.L.T.H. (1995), though achieving more Dodger Productions in the 1970s. Later he moderate success, have been at the same directed some of his own plays at Joseph time wittier and more thought-provoking. Papp’s Public Theatre. In 1982, he be- Overall, his popularity leapfrogs any criti- came artistic director of La Jolla Playhouse cal hesitation and his success is already in San Diego, where he directed both clas- second only to Roger HALL’S. sics (Chekhov’s Cajka (The Seagull, 1985)) and new plays. As in Keefe’s Gimme Shel- McColl, Colin (1948–) Director and acter at the Brooklyn Academy of Music tor, New Zealand. After professional train- (1978), McAnuff frequently combines pop ing limited to a drama school in music and culture and more traditional Christchurch, McColl first appeared in forms of theatre. This, together with his Wellington as an actor at the Downstage willingness to explore contemporary po- Theatre in 1968. Several years of theatri- litical and ethical questions distinguish his cal experience in England followed. He direction. returned to the Downstage as associate artistic director (1974–7), and after three McCalla, Barbara Stanwyck (1947–) years in Australia became artistic director Actor, Jamaica. McCalla is a qualified at- (1984–92). Though unavoidably restricted torney at law (she holds BA and law de- by his audience to a middle-class choice grees from the University of the West of play, he aimed for a theatricality and Indies). She trained at the Jamaica School fresh interpretation which resulted in star- of Drama. In her distinguished career, she tlingly unconventional productions of has played in traditional theatre (Makak plays like Oscar Wilde’s The Importance of in Derek WALCOTT’S Dream on Monkey Being Earnest (1991). He was the first New Mountain, Gloria in Trevor Rhone’s Two Zealand director invited to the Edinburgh Can Play, and Miss Aggie in Rhone’s Old Festival with his (equally unconventional) Story Time, as well as Bloody Mary in South production of Ibsen’s Hedda Gabler (Down- Pacific). In addition, she has appeared in stage, 1990). This went on to the inaugu- film, on radio and on television. She seeks ral Ibsen Festival in Oslo, where McColl continually to find more and more chal- returned in 1991 to direct a Norwegian lenging roles which will help her to refine cast in Ibsen’s The Vikings at Helgeland. In her craft. Her general sensitivity to the New Zealand, he has consciously pre- needs of fellow actors make her a reliable sented twentieth-century European clas- working companion. sics from a contemporary New Zealand

184 McCowen, Alec McGrath, Tom perspective, for example Dürrenmatt’s Der the RSC Stratford include the Mother in Besuch der alten Dame (The Visit, 1996). He Roberto Zucco by Koltès (1997) and Maurya has also directed several premières of New in Synge’s Riders to the Sea as part of Shad- Zealand plays, including John Broughton’s ows, a presentation of the work of Synge Michael James Manaia (1991) and Hone and Yeats as directed by John CROWLEY KOUKA’S Nga Tangata Toa (1994). (1998). As a trained singer, McCusker has brought a musical dimension to her many McCowen, Alec (1925–) Actor, Great roles. She has also worked on radio, tel- Britain. McCowen trained for the theatre evision and film, with credits including at the Royal Academy of Dramatic Art. Ballykissangel for BBC television. Milestones in his long and acclaimed career have been the Fool in Peter McGovern, Barry (1948–) Actor, Ireland. BROOK’S production of King Lear (1962, After training at the Abbey School of Act- with Paul SCOFIELD as Lear), Martin ing, McGovern spent two years with the Dysart in Peter SHAFFER’S Equus (1973) RTE (Radio Telefis Eireann) Players and his solo performance of St Mark’s working as a radio actor. Throughout his Gospel (first 1978). As Alceste in Molière’s stage career he has played many roles on Le misanthrope (The Misanthropist) opposite the Abbey Theatre stage in plays ranging Diana RIGG’S Célimène, he movingly cut from Molière and Shakespeare to through intellectual insincerity and hypoc- O’Casey. Perhaps his most significant role risy of society. More recently he appeared at the Abbey was his performance of Fa- in Stephen Churchett’s Tom and Clem op- ther Jack in the world première of Brian posite Michael GAMBON in the West FRIEL’S Dancing at Lughnasa (1990). He End (1997) and at the Royal National is, however, more closely associated with Theatre as Storyteller in John CAIRD’S the work of Samuel Beckett. In 1985 he production of Peter Pan (adapted by Caird won a Harveys Theatre Award for I’ll Go and Trevor NUNN). On, a one-man Beckett show (made up of texts from the novels Molloy, Malone Dies McCusker, Stella (1942–) Actor, Ireland. and The Unnamable) selected by McGovern Stella McCusker has worked extensively and Gerry Dukes. His version of Krapp in Ireland both north and south, and has in Krapp’s Last Tape (1996) was a towering worked with Northern Irish playwrights display of meticulousness and sensitivity. Stewart Parker, Graham REID, Ron He has written music for many shows and Hutchinson and Robin Glendinning. Her collaborated on the lyrics for two musi- roles include Mrs Tancred in Joe cals, The Happy-Go-Likeable Man and DOWLING’S production of O’Casey’s Thieves’ Carnival with actor Bryan Murray. Juno and the Paycock (1986) and Vi in the He also has directed plays and operas. first production of Christina REID’S The Belle of the Belfast City at the Lyric Theatre McGrath, Tom (1935–) Dramatist and (1989). In 1992 McCusker appeared as director, Great Britain. McGrath began his Lizzie Boles in the acclaimed Druid Thea- career as a BBC television director and tre production of Vincent Woods’s At The writer. In his plays, he initially pursued a Black Pig’s Dyke, directed by Maeliosa Staf- clearly socialist agenda (Events While ford and revived in 1994 for a national Guarding the Bofors Gun). After 1968 his and international tour. McCusker played style became more popular, including Julie in the first production of The Mai by songs in a loose structure. For the Every- Marina CARR (1994) and Marianne man Theatre, Liverpool, he wrote Soft, or Scully in the first production of Carr’s a Girl (1971). He founded the company Portia Coughlan (1996). Recent roles with 7:84 (7 per cent of the population control

185 McGuinness, Frank McPherson, Conor

84 per cent of national wealth), which had became capable of extraordinary realism: a decidedly socialist political agenda. Plays he played Iago in Trevor NUNN’S pro- written for 7:84 include Black Oil (1973) duction of Othello, as an ageing army of- and Blood Red Roses (1980). McGrath re- ficer reduced to vocal mannerisms. He signed as artistic director in 1988. Recent appeared with the National Theatre (title work includes Border Warfare (1989), John parts in Coriolanus, Chekhov’s Djadja Vanja Brown’s Body (1990) and Watching for Dol- (Uncle Vanya) and Richard III), the Royal phins (1991). Shakespeare Company (most notably Macbeth with Judi DENCH, 1975), as McGuinness, Frank (1953–) Dramatist, Salieri in SHAFFER’S Amadeus for its Ireland. McGuinness is the most innova- transfer to Broadway (1991), and in tive Irish playwright of international re- AYCKBOURN’S Henceforward (1988). In nown, whose prolific output is marked by 1997 he played Dr Stockman in an extraordinary sensitivity to opposing Christopher HAMPTON’S version of traditions and sensibilities in contempo- Ibsen’s En Folkefiende (An Enemy of the Peo- rary Ireland. Observe the Sons of Ulster March- ple) at the Royal National Theatre, di- ing Towards the Somme (Peacock Theatre, rected by Trevor NUNN and designed by Dublin, 1985) questions the myths and John NAPIER. loyalties of eight Ulster Protestants fighting for the British at the Battle of the McNally, Terence (1939–) Dramatist, Somme in 1916, to reveal an emotional USA. McNally began his career with one- and moral battle raging beneath an expres- act plays which already show his main sionistic dance of death representing the concerns: ‘the theatre, the outsider, long First World War. McGuinness’s most monologues, the hero addressing the au- commercially successful play to date, Some- dience as a character in the play’, which one Who’ll Watch Over Me (Hampstead and are more fully developed in his full-length Vaudeville Theatres, London, 1992 and plays. It’s only a Play (1982) deals with thea- Booth Theatre, New York), featured the tre on Broadway and has been compared plight of three western hostages in an un- to Michael FRAYN’S Noises Off. Frankie and named Middle Eastern country. Other Johnny in the Claire de Lune (1987) is a ro- plays include The factory Girls (1982) and mantic love story, later made into a film. The Bird Sanctuary (1992), an allegory for Lips Together, Teeth Apart (1991) deals with Ireland’s endangered species, the Protes- AIDS, and Master Class (1995) has Maria tant family in the crumbling big house in Callas as its main character. South Dublin. In 1997 Mutabilitie (Royal National Theatre, London, directed by McPherson, Conor (1971–) Dramatist, Trevor NUNN) brought Shakespeare and Ireland. On leaving college McPherson co- Spenser to Ireland. He is also renowned founded Fly by Night Theatre Company, for his translations/versions of European which produced his early work including classics and the plays of Ibsen in particu- Rum and Vodka (1992) and The Good Thief lar, including NINAGAWA’S production (1994), winner of a Stewart Parker award. of Ibsen’s Peer Gynt (1992) and Et In 1995 This Lime Tree Bower transferred Dukkehjem (A Doll’s House, London and to the Bush Theatre London where New York, 1997). McPherson became the 1996 writer in residence. St Nicholas was subsequently McKellen, Ian (1939–) Actor, Great Brit- produced at the Bush Theatre in 1997 be- ain. Towards the beginning of his prestig- fore touring to New York. The Royal ious career McKellen was romantic, em- Court Theatre London commissioned a phasizing verbal music. In maturity, he has new play from McPherson and produced

186 Maddy, Yulisa Amadu Pat Madzik, Leszek

The Weir at the Theatre Upstairs in 1997; Arts Institute ‘N.Grigorescu’, Bucharest, in the play was then restaged at the Royal 1963 and began his career as Court Theatre Downstairs in 1998, before scenographer (set and costume design) at touring to Brussels, Toronto and Dublin. Teatrul Tineretului (Youth Theatre) in McPherson’s work is notable for a strong Piatra Neamtz. After ten years he joined element of storytelling, which relies heav- Teatrul Mic—Little Theatre, and in 1978 ily on evocative language, monologue and he joined the Bulandra Theatre, Bucha- reportage. However, in recent plays a bal- rest, working with major directors, such ance has been struck with an increased use as Andrei SERBAN (Brecht’s Der Gute of theatricality. McPherson won Best Mensch von Sezuan (The Good Person of Screenplay at the San Sebastian film festi- Sezuan), Goldsmith’s She Stoops to Conquer val for I Went Down, directed by Paddy and Chekhov’s Visnevyi sad (The Cherry Or- Breathnach and premiered at the 1997 chard)), Catalina BUZOIANU (Ibsen’s Cannes Film Festival. Other awards in- Peer Gynt, Dumitru Radu POPEScu’s Ca clude Play-wright of the Year at the Ka/ frunza dudului din rai (Like the Mulberrytree Sunday Independent ‘Spirit of Life’ Leaf) and Sam SHEPARD’S Buried Child), awards, and an Evening Standard Award, Silviu PURCARETE (Il Teatro Comico by a Critics’ Circle Award and a George Goldoni at Bulandra Theatre) and many Devine Award for The Weir. others, distinguishing himself as a poet and an architect of the scenic space, a Maddy, Yulisa Amadu Pat (1936–) Ac- builder of suggestive spatial structures. He tor, dancer, dramatist and director, Sierra was awarded many prizes, and his works Leone. Maddy trained in theatre and act- gained critical acclaim during international ing at the Rose Bruford College of Speech tours to Nancy, Madrid, Copenhagen, and Drama in Britain. He is the best ex- Mexico City, Milan and Bogota. ample of the migrant or roving theatre artist, and he has had an immense impact on Madzik, Leszek (1945–) Designer, direc- theatre, not only in his native Sierra Leone tor and dramatist, Poland. Madzik stud- but in many other countries including Ni- ied art history at the Catholic University geria and Zambia. He is the founder-di- of Lublin, where he founded and serves rector of Gbakanda Afrikan Tiata, a thea- as artistic director of the Visual Stage. His tre company which he founded in productions and exhibitions were shown Freetown in 1969 and which has followed at many international festivals. Abroad, him everywhere he has travelled. His he worked with students at the Theatre plays include Alla Gbah (The Big Man, Academy in Helsinki, the Academy of 1967), Yon Kon (Clever Thief, 1968) and Arts in Berlin and the Academy of Arts in Obasai (Over Yonder, 1971), Ghana Bendu Amsterdam. Winner of many prizes, he (Tough Guy, 1971), Life Everlasting (1972), Big says that he creates the same perform- Breeze (1974), Big Berin (1976) and Drums, ance over and over again, a profoundly Voices and Words (1985). His productions or human reality consisting of emotions and plays are always striving for a ‘total thea- essential states: love, faith, holiness, awe, tre’ in which song, dance, movement and the sense of mortality and death. His dialogue are completely integrated. A radi- work is often called a theatre of Christian cal and outspoken critic of government, existentialism, religious or cosmic thea- he has been imprisoned a number of tre. Among his plays are Ecce Homo times. (1970), Wieczerza (Supper, 1972), Wilcoc (Moisture, 1978), Brzeg (The Shore, 1983), Madescu, Mihai (1936-) Designer, Roma- Wrota (The Gateway, 1989) and Szczelina nia. Madescu graduated from the Fine (The Crevice, 1994).

187 Maes, Jean-Paul Majumdar, Ferdausi

Maes, Jean-Paul (1955–) Dramatist, ac- try) and Shaqaeq’l-Nouman (Red Anemones). tor and director, Luxembourg. After his After a decade of silence, Magout returned graduation from the Hochschule für to the theatre in 1998 with Kharej’l-Serb Musik und Darstellende Kunst in Graz (Astray from the Flock), directed by Jihad (Austria), he worked as an actor in Ger- SA’ED. In this he tried to follow his own many and Austria before returning to Lux- footsteps with a witty dialogue and many embourg in 1988. Initially directing a political allusions. The play centres on a number of classical Luxembourg tragi- theatre troupe trying to revive Romeo and comedies by such authors as Dicks, André Juliet under censorship pressures. Duschcher and Batty Weber (mostly staged at the festival of Steinfort), he soon Maharishi, Mohan (1940–) Director and turned to playwriting. His plays combine dramatist, India. Maharishi graduated parochial peculiarities with themes of life from the National School of Drama, Delhi and death and concern themselves with and later became its director. Currently he the characters’ yearning for escape from serves as head of the theatre department the suffocating reality surrounding them. at Punjab University, Chandigarh. An ar- Manila du mäin hiirzegt Kand (Manila My dent admirer of Brecht and his epic thea- Dearest Child, 1990, Théâtre des Capucins) tre, Mohan Maharishi created an impact was warmly received, and his latest play on the national stage with his productions Péiténg (Pétange, 1995, Théâtre d’Esch, di- of Mutter Courage und ihre Kinder (Mother rected by Eva PAULIN) was particularly Courage and her Children), Shaw’s Pygmalion, lauded for its qualities of language. Be- Anouilh’s Antigone and Kafka’s Der Prozeß sides playing in most of the country’s ma- (The Trial), as well as plays by Badal jor productions, Maes also portrayed to SIRCAR, Girish KARNAD and great acclaim Alexander to Patrick Dharamvir BHARATI, and an experi- HASTERT’S Philip in the world premiere mental film Ek Tha Raja (There was a King). of Alexey Shipenko’s two-hander Moskau- His latest work, Einsteen, is an ‘unconven- Frankfurt (1995, Théâtre des Capucins, ditional, innovative experiment in interdis- rected by Shipenko, designed by Jeanny ciplinary theatre’. KRATOSCHWILL). Majumdar, Ferdausi (1943–) Actor, Magout, Mohamed (1943–) Dramatist Bangladesh. With about thirty plays (900 and poet, Syria. Magout worked in jour- performances) to her credit, Ferdausi nalism and gained a reputation for his in- Majumdar is possibly the most renowned novative poetry. His first play, Al-Us-four and respected stage performer in Bangla- ’l’Ahdab (The Hunchback Bird, 1967), was desh. Important roles in her illustrious ca- written in verse. Its surrealistic style con- reer include Ranu in AL-MAMUN’S trasted with the daring political subject of Subochan Nirbasane (Virtue in Exile, 1974), the his next play, in prose, The Clown (1974): daughter of Matabbar in Syed HUQ’S a great historical figure from the past was Payer Awaj Pawa Jay (At the Sound of March- placed in a paradoxical current age, where ing Feet, co-starring and directed by Al- he suffers a decline of pride at the hands Mamun, 1976), Marjina in Al-Mamun’s of the secret police. Magout’s sharp satire Ekhon Duhshomoy (Its Bad Times Now, co-star- led him to write soap operas for television, ring and directed by Al-Mamun, 1976), and brought him commercial success, es- Sharmila in an adaptation of Tagore’s Dui pecially since his collaboration with Syr- Bon (The Two Sisters, with Ramendu ia’s pan-Arab comedian Duraid LAHAM MAJUMDAR as Shashanka and Al- in Day’at Tishreen (The October Village), Mamun as Mathur, 1978) and a solo per- Ghurba, Kasak Ya Wattan (Cheers, my Coun- formance in Al-Mamun’s Kokilara (The

188 Majumdar, Ramendu Malkovich, John

Kokilas, directed by the author, 1989). She such as old houses, warehouses or cellars. is at her best when handling female char- Makkonen loves all that is old and de- acters from the Bengali middle classes: cayed. She thinks that the working of time these she portrays with delicate detail and is very beautiful. probes the emotion with uncanny perception. A schoolteacher by profession and Malina, Jaroslav (1937–) Designer, winner of numerous national awards, Czech Republic. After studying at the Ferdausi Majumdar is also popular on ra- Academy of Performing Arts in Prague, dio and television and has toured abroad Malina worked at various regional thea- with her performances. tres. During the 1970s, he made his name as a leading representative of ‘action Majumdar, Ramendu (1941–) Producer scenography’. He most often made use of and actor, Bangladesh. Majumdar’s con- textiles with a combination of contrasting tribution to theatre in Bangladesh is valu- materials (drapery, wood, plastic wrap, able primarily because of the organiza- metal), such that the actors would use tional role he plays. He is the founder gen- their characteristic properties as part of the eral secretary of Theatre (a leading thea- action. Although he mixes non-homoge- tre group in Bangladesh), founder chair- neous stylistic elements, his set designs man and currently presidium member of work as a whole, such as Büchner’s Leonce the Bangladesh Group Theatre Federa- und Lena (1976, at the C?inoherní studio tion, as well as holding several posts Ústí n.L., directed by Ivan RAJMONT) within the ITI Bangladesh and worldwide. and Euripides’s Medeia (1981 at Studio He is founder editor of Quarterly Theatre, Forum, Olomouc). He works with many the leading journal on theatre in Bangla- Czech theatres, from small studios to large desh. Also a notable stage actor (Talebali venues, including the Prague National in AL-MAMUN’S Ekhono Kritadas (Still a Theatre. Since the mid-1980s, elements of Slave, 1980), Shashanka in Tagore’s Dui painting have increased in his designs Bon (The Two Sisters, 1978) and Kazi (Janácek’s Príhody lišky By-stroušky (The Cun- Tobarak in Al Mamun’s Meraj Fakirer Ma ning Little Vixen) at the State Theatre in (The Mother of Meraj Fakir), 1996), Ostrava, directed by David Sulkin). He Ramendu Majumdar has extensively trav- teaches at the Academy of Performing elled abroad attending various seminars Arts in Prague, and has been its rector and conferences. since 1995.

Makkonen, Tiina Anitra (1952–) De- Malkovich, John (1953–) Actor, director signer, Finland. Trained at the Academy and sound designer, USA. Malkovich’s of Industrial Arts, Helsinki, Makkonen off-Broadway debut was in 1982 as Lee worked at Hämeenlinna City Theatre, in SHEPHERD’S True West, which won Vaasa City Theatre, Turku City Theatre him a Theatre World Award. Malkovich and Helsinki City Theatre. Major produc- is co-founder and member of the tions include Howard BARKER’S Scenes Steppenwolf Theatre Ensemble in Chi- from an Execution and The Love of a Good cago, for which he has directed many pro- Man, A Midsummer Night’s Dream and Brien ductions including PINTER’S The Care- FRIEL’S Dancing at Lughnasa. Tiina taker (1985). His emotional spectrum is Makkonen is one of the most individual wide: often praised because of his ‘extraor- stage designers in Finland. Of her works, dinary ability to generate a menacing most attention has been aroused by those physical presence on stage’, as Biff in a where instead of an ordinary stage quite flashback scene in Arthur MILLER’S different theatre venues have been used, Death of a Salesman he showed ‘tearful

189 Mamet, David Maniotis, George vulnerability’. Other parts include Captain mara, produced as part of McDonagh’s Bluntschli in Shaw’s Arms and the Man The Leenane Trilogy by Druid Theatre Com- (1985). In 1984, Malkovich began his pany, Galway, in 1997. Manahan is a equally distinguished film career, from strong and highly regarded actor, and it is which he returned to the theatre in 1991 said that John B. KEANE wrote Big for Lanford WILSON’S Burn This (in Maggie for her. Her many film and televi- London, with Juliet STEVENSON), and sion appearances include The Butcher Boy, a portrayal of Lee Harvey Oswald (1994). A Man of No Importance, The Bill and The Irish RM. Mamet, David (1947–) Dramatist and director, USA. Mamet is today considered Manaka, Matsemela (1956–) Dramatist as one of the most original American play- and director, South Africa. Manaka is one wrights. Critical studies have frequently of the young black South African theatre picked up on Mamet’s ‘rhythmic, hyp- artists who learned their trade in and notic language’, which is evident in early around the Market Theatre, founded by one-act plays such as Duck Variations (1972) Barney SIMON and Mannie Manim. and Sexual Perversity in Chicago (1974), as Since 1976, he has been a founder mem- well as full-length plays including Ameri- ber of the Soyikwa Theatre Group based can Buffalo (1977), A Life in the Theatre (1977) in Soweto. His most performed and an- and Glengarry Glenn Ross (1983). More re- thologized play is Children of Asazi, which cently, the controversial Oleanna dealt with explores the themes of homelessness and sexual harassment in the context of politi- incest while exposing the negative influ- cal correctness. In general, Mamet’s char- ence of the apartheid regime in South Af- acters ‘suffer from, or rather exist in, a rica on the black family and its values. His subconscious anxiety which both draws other plays include The Horn, Egoli, the City them towards the trap and makes them of Gold, Pula! (Rain!), Imbuba (Unity), Vuka fearful of it’. and Goree. Apart from indigenous South African traditions of performance such as Manahan, Anna Actor, Ireland. Xhosa storytelling, Manaka is influenced Manahan trained under Ria Mooney at by West African theatre, especially that of the Gaiety School of Acting. She has Wole SOYINKA, and the poor theatre played many roles in the course of her techniques of Jerzy Grotowski. Egoli, long and successful career, appearing with which evolved out of the workshop influ- all the major companies including the re- ence of Simon and Athol Fugard, was so nowned Edwards/MacLiammóir Com- provocative that the South African govern- pany at the Gate Theatre, Dublin, and ment had to ban it in 1979, but not before Phyllis Ryan and Gemini Productions. She it had been performed to rave audiences played Mother in Druid Theatre Compa- in South Africa and West Germany. ny’s production of FRIEL’S The Loves of Cass Maguire (1996) and Mag Folan in their Maniotis, George (1951–) Dramatist, production of McDonagh’s The Beauty Greece. Maniotis has established himself Queen of Leenane (1996). Other work in- as a major playwright in Greece. His plays cludes Live Like Pigs by John Arden at Lon- are metaphysical farces, whose dark hu- don’s Royal Court Theatre, Friel’s Lovers mour reveals the struggle of the individual at the Music Box Theatre New York and to maintain their integrity and identity in Boucicault’s The Shaughraun at the Abbey a world defined by empty social rituals, Theatre, Dublin. Manahan played Mag technology, the lure of profit and the Folan in The Beauty Queen of Leenane and search for prestige. In plays like The Match Mary Johnny Rafferty in A Skull In Conne- (1978), The Hustler or The Art of Dreaming

190 Mann, Dieter Mao, Fredric

(1981) or Vacation in Heaventown (1987), on the book by and about two sisters who Maniotis depicts the isolation of the indi- lived together happily for more than 100 vidual who, regardless of his efforts to re- years. Her directing is Stanislavski-based, sist, is crushed by the social mechanism. and she works from moment to moment Despite their direct language and the exploring how the characters relate to the dreary realism of their settings, the plays main idea. of Maniotis are imbued with poetry. Manzel, Dagmar (1958–) Actor, Ger- Mann, Dieter (1941–) Actor, Germany. many. Manzel trained at the Staatliche Mann trained as an actor at the Staatliche Schauspielschule in East Berlin. She has Schauspielschule in East Berlin, and since an enormous stage presence, and her rep- 1964 he has been employed with the ertory emcompasses all types of roles in Deutsches Theatre, Berlin, where he most genres. From 1980–3 she worked served as artistic director between 1984– with Staatstheater Dresden, playing the ti- 91. On handing over to Thomas tle role in Schiller’s Maria Stuart, Eboli in LANGHOFF, he expressed his concern Schiller’s Don Carlos and Rosalind in As that ‘the Deutsches Theater should keep You Like It. Since 1983 she has been a mem- a strong ensemble not tempted by better ber of the Deutsches Theater in Berlin. salaries at lower quality West German Major roles there include Portia in The theatres’. Recent parts include Wehrhahn Merchant of Venice, the title role in Lessing’s in Hauptmann’s Der Biberpelz (The Beaver Emilia Galotti, Merteuil in Heiner Müller’s Fur, 1992, directed by Thomas Langhoff), Quartett, Lilli Groth in Das Gleichgewicht John in David MAMET’S Oleanna (1994), (Balance) by Botho STRAUSS (1994, di- Kurfürst Friedrich Wilhelm in Kleist’s rected by Thomas LANGHOFF) and Prinz Friedrich von Homburg (1995, directed Kriemhild in Hebbel’s Kriemhild’s Rache by Jürgen GOSCH) and Ithaka by Botho (Kriemhild’s Revenge, 1999, directed by STRAUSS (Deutsches Theater Berlin, Langhoff. In 1997 she appeared in 1997, directed by Thomas Langhoff). Langhoff’s production of Ithaka by Botho Strauß. Mann, Emily (1952–) Director and dramatist, USA. Mann studied at the Uni- Mao, Fredric (1947–) Director and actor, versity of Chicago Lab School and trained China (Hong Kong SAR). Mao made his with Tony Richardson in London and at Broadway debut in 1976 with the Kabuki- the Guthrie Theatre, where she began her style musical Pacific Overtures by Harold career as an assistant director. From 1977– Prince and Stephen Sondheim. For thir- 9 she was artistic director of Guthrie II, teen years (1972–85), he acted and di- then resident director at the Brooklyn rected professionally in the United States Academy of Music (1981–2). In 1990 she with various theatre companies. Mao was became artistic director of McCarter the artistic director of the Napa Valley Theatre, Princeton. Her own plays include Theatre Company in California before Still Life, about the aftermath of the Viet- becoming head of acting at the inception nam war, and Execution of Justice, about a of the Hong Kong Academy for Perform- notorious US trial. Her ‘theatre of testi- ing Arts in 1985. In recent years, Mao mony’, using documentary material, is a won popular as well as critical acclaim for subjective form of docudrama which al- his directing in Cheung Tatming’s The Leg- lows the writer the freedom to create both end of a Storyteller (1993) and Eric Pun’s the strongest moral statement and the musical The Kids, the Wind and the City deepest catharsis. More recently she de- (1994). His adaptation and direction of vised and directed Having our Say, based Shaw’s Saint Joan (1997) was regarded as

191 Maponya, Maishe Maréchal, Marcel one of the best productions of the 1990s female condition. In 1969 she founded the and claimed six awards at the 1998 Hong Teatro di Centocelle, with which she pro- Kong Drama Awards. For the Hong Kong duced Manifesto dal carcere (Manifesto from Repertory Theatre, Mao recently directed Prison), one of the first feminist plays to be Raymond TO’S Forever and Ever (1999, performed in Italy, and in 1973 she City Hall Theatre), an original play which founded one of the most interesting Ital- depicts the relationship between an AIDS- ian feminist theatre companies, the Teatro infected adolescent and his mother. Mao della Maddalena. Among her most nota- also values the Chinese Opera highly and ble plays are La famiglia normale (The Ordi- is an ardent supporter of traditional Chi- nary Family, 1966), Il ricatto a teatro (Black- nese theatre in Hong Kong. His direction mail in the Theatre, 1968), La donna perfetta of Karley NG’S Timeless Love (1998) was a (The Perfect Woman, 1975), Dialogo di una new attempt at combining traditional Chi- prostituta con un suo cliente (Dialogue Between nese opera with Western acting styles. a Prostitute and One of her Clients, 1976), I sogni di Clitennestra (The Dreams of Clitennestra, Maponya, Maishe (1951–) Dramatist, 1979) and Lunga vita di Marianna Ucria (The director and actor, South Africa. Maishe Long Life of Marianna Ucria, 1991). Maponya is one of the angry dramatists of South Africa in the 1970s and 1980s Marchioro, Marcello (1952–) Director who sought to use their art to engage with and dramatist, Brazil. Marchioro trained and confront apartheid politics. His ma- with Carlos Kraide and worked as assist- jor plays are The Hungry Earth (1981), ant director with Antonio ABUJAMRA Umongikazi (The Nurse, 1983), Dirty Work and Emilio di Biasi in Sao Paulo. Later he (1985), Gangsters (1985), The Valley of the underwent a training period with the Ger- Blind (with V.Amani Waphtali, 1987), Jika man-Brasilian Theatre Colloquium, a (1988) and Busang Merop (Bring Back the theatre course in Berlin ran by theatre pro- Drums, 1989). Apart from directing all his fessors and directors including Dieter plays, Maponya has also directed Don DORN, Andreas Sippel, Henri Thorau, Kinch’s Changing the Silence (1985), Athol Celso NUNES, Marcio Aurelio Pires de Fugard’s The Coat (1990), Trevor Rhone’s Almeida and Barbara Heliodora. He con- Two Can Play (1992) and Lorraine siders his productions a continuous re- Hansberry’s A Raisin in the Sun (1992). His search of different kinds of language theatre shuns the accommodating and which link stage work to theatre investi- survivalist ethos of plays such as Fugard’s gation. Committed to the social and the Sizwe Bansi is Dead and Gibson KENTE’S contemporary, his main theatre produc- Sikalo; his plays seek rather to overwhelm tions include Wedekind’s Lulu, Brecht’s the audience with their urgency and de- Die Dreigroschenoper (The Threepenny Opera), mand for action to pull apartheid down. Mahagonny, and Die Sieben Todsünden (The Maponya is also a fine actor and has taken Seven Cardinal Sins), Thomas Bernhard’s many roles in his own plays. Der Theatermacher (The Theatremaker), Quai West by Koltès, Tankred DORST’S Ich, Maraini, Dacia (1936–) Dramatist, Italy. Feuerbach (I, Feuerbach), Arthur MILLER’S Dacia Maraini is one of Italy’s best-known The Crucible, Hamlet and A Midsummer authors. Apart from writing for the thea- Night’s Dream. tre, she also writes fiction and poetry and offers regular contributions to Italian Maréchal, Marcel (1937–) Actor and di- newspapers and magazines. Throughout rector, France. Maréchal began his career her long career, Maraini has been explor- in Lyon, where he founded the Théâtre ing social and political issues related to the du Cothurne and in 1968 the Theatre du

192 Marijnen, Franz Maron, Channa

Huitième. In 1975 he founded Le Théâtre Maro Akaji (1943–) Butoh dancer, Japan. de la Criée in Marseilles. He has directed Maro first became a member of Jôkyô major new work by French dramatists as Gekijô Theatre Company led by KARA well as the classical repertory, especially Jûro, then studied dance under Tatsumi Molière. Hijikata in 1965. He founded the Dai- Rakuda-kan Dance Company with other Marijnen, Franz (1943–) Director, Bel- butoh dancers in 1972. The company’s gium. Marijnen went to Poland to work early productions were Dansu Toko Mashin with Jerzy Grotowski. In 1970 he left for (Dance and Machine, 1972), Yobutsushintan the United States, where he directed at La (1973) and Rancushingi (1975). Their pro- MaMa and founded his own company, ductions use large and spectacular stage Camera Obscura. In 1977, he directed devices and are visual. For example, Oskar Panizza’s controversial Das Kazesakashima (The Wind and Sakashima Is- Liebeskonzil (The Council of Love) in Rotter- land, 1979) was performed at Shiretoko dam, where he became artistic leader of Peninsula in Hokkaido, the north part of the RO Theatre until 1983. After a period Japan. The contrast of the human bodies during which he staged several operas, he with colourful costumes and white make- joined the Schillertheater in Berlin. Since up against the rock and the vast green sea 1993, Marijnen has been manager of the created extraordinary dynamism in this Koninklijke Vlaamse Schouwburg (Royal production. Maro often employs ghosts or Flemish Theatre) in Brussels. Marijnen’s supernatural elements as the central top- early productions were rebellious, visually ics of his work. Kaidan Umijirushi no Uma impressive and built on the actor, the re- (A Ghost Story: A Horse with a Mark of the sult no doubt of his work with Grotowski. Sea) was performed at an open air theatre In later years the text has gained impor- in Avignon in 1982; during the perform- tance in his work, as shown by his Shake- ance strong winds swept across the stage speare productions at the Koninklijke and contributed to the show. The com- Vlaamse Schouwburg. pany was also invited to the American Dance Festival in the same year, and Marinho, Sunmbo Director and de- toured the USA and Australia in 1987. signer, Nigeria. Marinho is one of the few They used a large warehouse for their re- designer-directors of the Nigerian stage cent work Ugetsu (Ugetsu the Ghost Story, (together with Demas NWOKO and 1992). Domba Asomba). Major works include courageously directing Femi Maron, Channa (1925–) Actor, Israel. OSOFISAN’S Yungba-Yungba and the Dance Born in Germany where she was a well- Contest at a time when the government was known child actress, Maron immigrated seriously repressing artists producing to Israel in 1933 and trained at Habima. work that was critical of politics and poli- She was among the founders of the ticians. He was also technical director for Cameri Tel Aviv municipal theatre. the premiere of Osofisan’s Midnight Hotel Among her most memorable roles is in 1982 as well as artistic director for the Mika, a Jewish refugee, in Ho halach basadot National Theatre production of Kalu (He Went Through the Fields, 1948) about the UKA’S A Harvest for Ants (1977) and tech- Jewish struggle for independence in Israel. nical director for Wale OGUNYEMI’S She has played a large number of leading Partners in Business (directed by the play- roles like Liza Doolittle (in Shaw’s wright himself as part of Ogunyemi’s fif- Pygmalion), Rosalind (in As You Like It), tieth birthday celebrations at the Arts Nora in Ibsen’s Et Dukkehjem (A Doll’s Theatre, Ibadan in 1989). House), and the title roles in Ibsen’s Hedda

193 Marrero, José Luis (Chavito) Martial, Jacques

Gabler, Seneca’s Medea and Schiller’s Maria the Compañía the Teatro Clásico, where Stuart. Maron has also played in films and he staged non-familiar classic dramatic in television series. texts by Lope de Vega, Calderón and Tirso de Molina. From 1989–92 he was Marrero, José Luis (Chavito) (1926–) the general manager of INAEM (Instituto Actor, Puerto Rico. Marrero is the hus- Nacional de las Artes Escénicas). In 1993, band of actor Mercedes SICARDO. Af- he went back to the Compañía de Teatro ter some postgraduate work at Yale Uni- Clásico, but in 1996 he was dismissed due versity, he returned to Puerto Rico and to his incompatibility with the Partido worked as an actor and director for the Popular. Marsillach has also written suc- Department of Public Instruction begin- cessful plays. ning in 1953. One of his early roles was Clarín in Calderón’s La vida es sueño (Life Marthaler, Christoph (1951–) Director is a Dream), which he toured to Cadiz, and composer, Germany. Marthaler stud- Spain and throughout the Americas with ied music and trained at the theatre school the Spanish troupe Lope de Vega. Marrero of Jacques Lecoq in Paris. For various is a versatile actor, and is known for play- theatres (Deutsches Schauspielhaus Ham- ing both comic and dramatic roles with burg, Düsseldorfer Schauspielhaus, some of Puerto Rico’s most prominent Staatstheater Stuttgart, Bayerisches theatre companies and actors. These in- Staatsschauspiel Munich, as well as thea- clude Orgon in Moliere’s La Malade tres in Bonn and Zürich) he has composed Imaginaire (The Imaginary Invalid, Teatro La music. From 1988–93 he worked with the Máscara, 1977, directed by Axel theatre in Basel, and since 1993 he has ANDERSON), Luis Torres Nadal’s La been a director with the Deutsches Santa Noche del Sábado (Holy Saturday Night, Schauspielhaus in Hamburg. Recent pro- Teatro Bohio Puertorriqueño, 1986, with ductions there include Horvath’s Kasimir Ernesto CONCEPCIÓN), Ibsen’s En und Karoline (1996). His productions are Folkefiende (An Enemy of the People, El Otro characterized by slow motion, extended Grupo, 1978, with Miguel Ángel time and repetitions, during which he re- SUÁREZ) and Ignacio in Manuel lentlessly and profoundly dissects the Méndez Ballester’s Tiempo Muerto (Dead mental basis of the petit bourgeois. Times, Candilejas, 1974, with Lucy BOSCANA and Idalia Pérez Garay). Martial, Jacques (c. 1950?–) Actor, France and Guadeloupe. Martial trained Marsillach, Adolfo (1928–) Actor, direc- at the Cours Sarah Sanders in Paris and tor and dramatist, Spain. Together with had some early experience with Jules-Ro- Luis Alonso, Marsillach contributed to the sette’s Afro-Caribbean Théâtre noir creation of the role of scenic director in (1978–9). He co-starred with Sonia Spain. Marsillach started performing with Emmanuel in Maryse CONDÉ’S Pension the Catalan university theatre and he went Les Alizés (1987) as the troubled Haitian to Madrid to direct Antonio Buero doctor in exile, also playing in Condé’s Vallejo’s play En la Ardiente Oscuridad version of Trevor Rhone’s Two Can Play (1950) and Alfonso Sastre’s La Cornada (1985), in the French version of Little Shop (1960). In 1968, he put on the revolution- of Horrors (1986), in Nuit blanche (White ary performance Marat-Sade by Peter Night, 1997) and in a range of other pro- Weiss, designed by Francisco NIEVA. In ductions. Screen work includes parts in the 1978, he took on the direction of the Cen- prize-winning Noir et blanc (Black and White, tre Dramático Nacional, but resigned the 1986) directed by Claire Devers, in Won- following year. In 1985, Marsillach created der Boy (1993) and Walk the Walk (1995),

194 Martial, Jean-Michel Martone, Mario and for television a major role as Bain- Martínez Lopez, Berta (1931–) Actor Marie in the long-running popular police and director, Cuba. Martínez attended drama Navarro (1989–). the Academia Municipal de Arte Dramatico in La Habana. She also stud- Martial, Jean-Michel (1952–) Actor and ied acting and lighting design in the director, France and Guadeloupe. Martial United States. In 1957 she directed her trained at the Cours Sarah Sanders and first production, El Difunto Senor Pic (The with Andréas Voutsinas in Paris, and be- Deceased Mr Pic). In 1961 she joined the gan a busy career in the 1980s. He has theatre group Teatro Estudio, and in taken part in a wide range of contempo- 1964 she started experimenting with rary and classical plays, notably as Jean stage direction becoming one of the most in Strindberg’s Fröken Julie (Miss Julie, outstanding theatre directors in Cuba. 1988), in the title role as Ange noir (Black Her work as an actor and director is com- Angel) by Nelson Rodriguez (1996), in plemented by her work in education, as Fugard’s A Lesson of Aloes, in plays by well as the design aspects of the theatre. Genet and Shakespeare at the Odéon, In 1980 and 1983 her production of and several plays by Julius Amédée Garcia Lorca’s play Bodas de sangre (Blood LAOU. In 1994 he took a main role in Wedding) travelled to different interna- Michèle CÉSAIRE’S allegory of Carib- tional festivals, and in 1990 her produc- bean identity, La nef (The Ship). His com- tions of the plays El Boticario (The Apoth- manding height and a resonantly deep ecary), Las Chulapas (The Little Canoes) and voice have also been in demand for Celos Mal Reprimidos (Badly Repressed Jeal- screen work, both in France and with ousy) participated in the festival of Mos- Caribbean directors such as Haitian cow. Currently she works with the Raoul Peck (as the male lead in L’Homme Hubert De Blanck theatre company. sur les quais (Man by the Shore), 1993). In- creasingly, Martial is writing and direct- Martini, Jandira (1945–) Actor and ing for stage and screen, and he tutors dramatist, Brazil. Martini attended the regularly in the professional drama School of Dramatic Art at the University courses at the Artchipel, the Scène of São Paulo and studied literature at the Nationale de la Guadeloupe. Catholic University of Santos. In her own words: ‘my years as an actor took me to Martinez, Mario Ivan Actor, Mexico. writing. The daily contact with the audi- Martinez trained at the Emma Pulido In- ence and the study of their reactions and stitute of Culture, Mexico City, and at the preferences led me to the path of comedy London Academy of Music and Dramatic which is most profoundly rooted in our Art. In addition, he took singing lessons culture: farce. Though the reviewers look with Jennifer Tatum in London, Carlos with disdain at this kind of theatre, the Hinojosa in Mexico and Carol Tingle in audience give us the answer that we need Los Angeles. He has appeared on film, to go on doing what is the most typically and starred in several Mexican prime-time Brazilian kind of theatre.’ soap operas on television. In the theatre, his roles include Oberon and Malvolio, Martone, Mario (1959–) Director, Italy. the psychiatrist in Brian Clark’s Whose Life Martone founded the alternative theatre is it Anyway?, Andrej in Chekhov’s Tri sestry company False Movimento in 1979. In (Three Sisters), and a one-man show on 1987 he co-ordinated the foundation of Shakespeare, Perchance to Dream, which won the theatre conglomerate Teatri Uniti, two National Theatre Critics awards and whose aim is to facilitate the collabora- is performed in English and Spanish. tion of a number of Neapolitan

195 Mas, Ida Bagus Nyoman Mason, Patrick practitioners. Martone’s work with Falso ductions include Ibsen’s Little Eyolf and Movimento and Teatri Uniti has repre- Shaw’s Arms and the Man. In 1965 Mason sented a milestone in Italian alternative directed Lanford WILSON’S Balm in theatre. His challenging and subversive Gilead, and has since directed many of use of a variety of media within striking Wilson’s plays. In 1969 he co-founded visual performances characterized by the Circle Repertory Company and was fragmentation of dialogue, repetitive its artistic director until 1986. More re- movement and the evocative use of figu- cently, he directed Lyle Kessler’s Robben rative elements has influenced a number (1997). His method-based approach re- of alternative theatre companies and rep- vealed itself in productions that were resented a model for those interested in filled with detailed character observa- innovative multimedia practice. Among tions. Martone’s most notable productions are Musica da camera (Chamber Music, 1978), Mason, Patrick (1951–) Director, Ireland. Tango glaciale (Glacial Tango, 1982) and Born in Great Britain, Mason studied Ritorno ad Alphaville (Returning to Alphaville, drama at the Central School London and 1986). More recently, Martone has also taught at Manchester University before started directing films; among these are embarking on a professional career as a the acclaimed Morte di un matematico director. Currently artistic director of the napoletano (Death of a Neapolitan Mathemati- National Theatre Society, which incorpo- cian, 1991) and L’amore molesto (Troublesome rates the Abbey and Peacock stages, Ma- Love, 1995). son has enjoyed a successful involvement with Irish theatre for over twenty years. Mas, Ida Bagus Nyoman (1951–) Per- He directed the first productions of nu- former and director, Indonesia. Mas merous plays by emerging Irish play- trained at STSI (the Academy of Per- wrights, with clarity and a strong sense of forming Arts), Denpasar. A performer in symbolism. However, Mason has also traditional Balinese dance/drama genres, stressed the importance of Irish theatre’s in 1990 he founded a Kecak ensemble in literary history. He found a careful balance his own village of Blahkiuh which, in between word and image in such plays as 1993, was selected as the best Kecak Observe the Sons of Ulster Marching towards the group in Bali. As well as performing Somme (1985) by Frank MCGUINNESS, throughout south Bali, he taught Kecak and The Gigli Concert (1983) by Tom at the University of Hawaii at Manoa MURPHY at the Abbey Theatre. Dur- (UHM) in 1995 and was co-director ing the 1980s Mason collaborated with (with I Wayan DIBIA) of the Kecak Tom MAC INTYRE and Tom HICKEY Hanoman as Messanger produced by UHM on a series of plays, including The Great in that year. In collaboration with Abu Hunger (1983). In 1990 Mason directed BAKAR, he has directed a new Kecak Brian FRIEL’S acclaimed Dancing at production for Puspita Jaya which pre- Lughnasa for the Abbey. Plays directed miered at the 1997 Singapore Arts Festi- while Artistic Director of the Abbey in- val. clude Sebastian BARRY’S The Only True History of Lizzie Finn (1995), the Irish pre- Mason, Marshall W. (1940–) Director miere of Tony Kushner’s Angels in America and actor, USA. Mason trained at the Ac- Part 1 (1995), the first productions of tors Studio in New York with Lee KILROY’S The Secret Fall of Constance Wilde Strasberg and Harold Clurman. Mason’s (1997) and CARR’S By the Bog of Cats style of directing is strongly influenced by (1998). the method acting approach. Early pro-

196 Máté, Gábor Matsumoto Kôshirô IX

Máté, Gábor (1955–) Actor and director, Captain, 1987). She alternated the role of Hungary. After training at the Academy the Singer-Storyteller in the Comédie of Theatre and Film Art, Máté joined the Française 1991 production of Césaire’s Csiky Gergely Theatre of Kaposvár in Tragédie du roi Christophe (The Tragedy of 1980 and the Katona József Theatre in King Christophe), and took the main part in Budapest in 1987. Since 1993 he has been Placoly’s 1992 play Grand Hotel. Matheus a teacher at the Academy of Theatre and has always been active in children’s thea- Film Art, and since 1994 a board mem- tre. The group Moun San Mélé, devoted ber of the Hungarian Theatre Art Asso- to developing musical theatre with and ciation. Máté is also a significant screen for very young audiences, produced her actor and an acknowledged director. Ma- latest musical folktale, Ti-Sonson, which jor roles include Hamlet, Claudius (Ham- has been followed by Pawol ti moun (Child- let), Beliayev (Turgenyev’s Mesjac v derevne hood Words, 1997). A radiant stage pres- (A Month In The Country)), Towncrier ence, Matheus works without affectation (Weiss’s Marat/Sade), Tibor Pálffy to transmit the cultural heritage of the (Szomory’s Hermelin), Mr Martin Caribbean to new and often uprooted (Ionesco’s La cantatrice chauve (The Bald So- generations. prano)), Afranius (Bulgakov’s Master Margarita (The Master and Margarita)), Matsumoto Kôshirô IX (1942–) Kabuki Trofimov (Chekhov’s Visnevyi sad (The actor, Japan. The first son of Matsumoto Cherry Orchard)), Philinte (Molière’s Le mis- Kôshirô VIII, later Matsumoto Hakuô I, anthrope (The Misanthropist)) and Oberon (A he succeeded to this stage name by play- Midsummer Night’s Dream). Major directo- ing Sukeroku in Sukeroku Yukari no rial achievements include Strindberg’s Den EdoZakura (Sukeroku: Flower of Edo) by starkare (The Stronger), Brien FRIEL’S Danc- Jihei Tsuuchi and Hanemon Tsuuchi, ing at Lughnasa, STOPPARD’S Rosencrantz and Benkei in Kanjincho (The Subscription and Guildenstern Are Dead and Measure For List) by Gohei Namiki, at the Kabuki Measure. Máté is considered a sensitive, Theatre, Tokyo in 1981. He played the thorough, intellectual actor, and an in- leading role in a Broadway musical, The spired director. Man of La Mancha (1970). When his father and his family changed their residential Matheus, Mariann (c. 1955–) Actor and theatre companies from the Shôchiku dramatist, France and Guadeloupe. First Company to the Tohô Company be- attracting attention as a prize-winning tween 1961–79, he played many leading young singer, Mariann Matheus ap- parts in straight plays and musicals. He peared from 1974 with the Lonsdale-Puig acted the major roles Sabu by Yamamoto company, and in 1980 joined Toto Shûgorô, The King and I and The Moon and Bissainthe to perform and record Carib- Six Pence. He also played Zeami in Zeami bean, particularly Haitian, traditional by YAMAZAKI Masakazu at the Sun- songs. She helped research life histories shine Theatre in 1987 and in the USA in for Ina CÉSAIRE’S two-hander Mémoires 1988. He played the king in the London d’lsles (Island Memories, 1983) and created production of The King and I in 1990. His the role of Hermance. After playing the latest success is Salieri in Peter lead in a Creole version of Brecht’s Der SHAFFER’S Amadeus in translation. Gute Mensch von Sezuan (The Good Person of Kôshirô is an all-rounder and acts in the Sezuan), her poignant songs and grace of styles of kabuki, modern theatre and mu- movement contributed to the interna- sical. He is renowned for an intellectual tional success of Simone Schwarz-Bart’s approach to drama and for his characteri- short play Ton beau capitaine (Your Handsome zation.

197 Mattes, Eva Mauvois, Georges

Mattes, Eva (1954–) Actor, Germany. Karamazovy (The Karamazov Brothers) in the Mattes already appeared on the stage as a 1950s, Glauco Mauri started working in teenager, and worked in dubbing. She is a the theatre with Renzo Ricci and, shortly strong, lively actor, who is convincing in afterwards, with Giorgio ALBERTAZZI playing women characterized by a strong and Anna Proclemer. In 1960, he co- sense of reality and direct action. From founded the Compagnia dei Quattro 1972–9 she was a member of the with Franco Enriquez, Valeria Schauspielhaus in Hamburg, where her MORICONI and Gabriele LUZZATI. parts include the title role in Schiller’s Die A classical actor with a strong and charis- Jungfrau von Orleans (The Virgin of Orleans) matic stage presence, Mauri has spent his and Desdemona. She worked much with long dramatic career exploring some of the late Rainer Werner Fassbinder, both the greatest leading roles of Western thea- in film and theatre, and with Peter tre. Among his most notable perform- ZADEK (Rosalind in As You Like It, Portia ances are Aeschylus’s Oresteia (1972) di- in The Merchant of Venice, and Tankred rected by Luca RONCONI, Sophocles’s DORST’S version of Der Blaue Engel (The Philoctetes (1976), King Lear (1984), Twelfth Blue Angel)). Heiner Müller’s directed her Night (1986), Luigi Pirandello’s Enrico IV in his Fatzerl/Germania 2 (1993), and in (Henry IV, 1998) and The Tempest (1998), 1996 she appeared in Chekhov’s Visnevyi which he also directed. Mauri has also sad (The Cherry Orchard) at the Burgtheater made a number of film appearances such in Vienna. as, most notably, Marco Bellocchio’s La Cina è vicina (China is Near, 1967) and Matthes, Ulrich (1959–) Actor, Germany. Dario Argento’s Profondo Rosso (Deep Red, Matthes took acting classes with Else 1975). Bongers in Berlin. He is a sensitive, nervous actor, who plays mainly characters Mauvois, Georges (1922–) Author, who are doubting, passive and split. After France and Martinique. Mauvois left seasons in Krefeld/Mönchengladbach, he school and worked for some years in the joined the Düsseldorfer Schauspielhaus in post office, playing an active role in trade 1985 where he played the title role in unionism and left-wing politics. After Heinrich oder Die Schmerzen der Phantasie clashing with his employers, he left, took (Henry or the Pains of Imagination) by Tankred a law degree and was called to the bar in DORST, and Otto Weininger in Joshua Fort-de-France. This first-hand observa- SOBOL’S Weininger’s Nacht (Weininger’s tion of colonial politics and the civil serv- Night). In 1986 Matthes moved to the ice provides the material for his satirical Bayerisches Staatsschauspiel in Munich, plays, notably Agénor Cacoul (1966), which and between 1988–92 he worked for the exposes the corruption at the town hall Münchner Kammerspiele. Since 1992 he during a strike of sugar estate workers, has been a member of the Schaubühne am and Man Chomil (1989), a hilarious exposé Lehniner Platz, Berlin. Over the years, of the petty tyranny of a rural postmis- Matthes has worked with directors such tress. A pioneer in deploying the re- as Wolfgang ENGEL, Thomas sources of both Creole and French for LANGHOFF, Dieter DORN and Andrea dramatic effect, Mauvois was largely BRETH. unperformed until the pressure group GEREC (Groupe d’Etudes et Mauri, Glauco (1930–) Actor, director Recherches en Espace Créolophone) pro- and dramatist, Italy. After gaining popu- moted his work for its linguistic authen- larity by appearing in a television series ticity. Much encouraged by publication of based on Fedor Dostoyevsky’s Brat’ia two volumes of his plays and frequent re-

198 Max, Nicole Meadow, Lynne vivals of the less politically controversial Mbowa, Rose (1943–) Actor and drama- works, such as Misyé Molina (Mr Molina), tist, Uganda. Mbowa’s major play is he is busily writing: recent works include Mother Uganda (1987), which she produced Arrivé de Paris (Newly Come from Paris, 1995) in collaboration with the well-known and a Creole translation of Molière’s Dom Ugandan musician Jimmy Katumba. This Juan (1996). production managed to link music and dances of the many ethnic groups and cul- Max, Nicole (1961–) Actor, Luxembourg. tures in Uganda into a very powerful per- A graduate of theatre studies at the formance piece. Mbowa’s other theatrical Sorbonne-Nouvelle in Paris, Max has activities are mainly concerned with com- worked extensively in France and Luxem- munity-based theatre projects in the style bourg, most notably in Inoué Yashushi’s of the Kamiriithu cultural project in Kenya Le Fusil de Chasse (The Hunting Rifle, Théâtre headed by Ngugi WA THIONG’O and de Lenche, Marseille) as Shoko, in A Mid- Ngugi WA MIRII. She writes the scripts summer Night’s Dream (Théâtre des for these community plays and perform- Capucins, directed by Claudine ances, which are most often issue-based PELLETIER) as Hermia, in Macbeth and provide vehicles for all the arts of the (1996, open air theatre, Berdorf) as Lady theatre, especially the oral/traditional art Macbeth, and in Büchner’s Leonce und Lena of the villages to be employed. She was a (1997, Théâtre de la Commune Pandora, member of the very talented and highly Aubervilliers) as Lena. She gained acclaim influential performing group Theatre Ltd, for her solo performance of Philippe which was founded in Kampala in 1970 Faure’s Moi j’étas femme dans les ta-bleaux de and which included famous artists such as Modigliani (I was a Woman in Modigliani’s Wycliffe KIYINGIKAGWE. Paintings, 1995, Théâtre du Centaure and Théâtre AKTEON, Paris). A versatile ac- Mda, Zanemvula Kizito Gatyeni (1948– tor, she also appeared in many television ) Dramatist and director, South Africa. and cinema films playing leading roles, Zakes Mda’s academic training let to his particularly in Andy Bausch’s award win- current position as Fellow at Yale Univer- ning Troublemaker (1987) and its sequel Back sity. His plays include we Shall Sing for the in Trouble (1997). Motherland (1978), Dead End (1979), The Hill (1979), Dark Voices Ring (1979) and The Mazia, Edna (1949–) Dramatist, Israel. Road (1982). They deal with the effects of After writing filmscripts for Israeli direc- apartheid on a variety of people. Mda tor Amos Gutman, Mazia turned more avoids the usual trap of too much polemic actively to writing for the stage and has at the expense of his art. Of late he has become one of Israel’s most popular concentrated his efforts on theatre-for-de- playwrights. Her play Mischakim Bechatzer velopment activities, and in 1993 wrote a Ha-achorit (Games in the Backyard, 1993) a book on this genre of theatre. His plays docudrama about a collective rape which have been widely performed in southern shook the Israeli public opinion, earned Africa, and some have been performed in her fame as a socially engaged play- the USA, Britain, the former USSR (in a wright. Sipur Mishpachti (A Family Story) Russian translation) and in France (in and Hamordim (The Revolters), both per- French). formed at the Kameri Tel Aviv Munici- pal Theatre, have established her popu- Meadow, Lynne (1946–) Director, USA. larity among the audience. She has also After training in the directing programme published prose and written for televi- at the Yale University Drama School, sion. Meadow became artistic director of the

199 Medvešek, Rene Melles, Sunnyi

Manhattan Theatre Club. She taught at Accademia dei Filodrammatici, Yale University, the Circle in the Square Mariangela Melato started working in Theatre School, New York University and the theatre with Luchino Visconti, Dario SUNY Stony Brook. Meadows prefers to FO and Luca RONCONI, most fa- direct plays by living playwrights. Her pro- mously on Ludovico Ariosto’s Orlando ductions include Ashes by David Furioso (1969) and Aeschylus’s Oresteia RUDKIN, David EDGAR’S The Jail Di- (1972), Karel C?apek’s The Makropulos Af- ary of Albie Sachs, AYCKBOURN’S Woman fair (1993) and Eugene O’Neill’s Mourning in Mind (with Stockard CHANNING) Becomes Electra (1997) all directed by and Absent Friends, Lee BLESSING’S El- Ronconi, as well as Copi’s Tango barbaro eemosynary, Chekhov’s Tri sestry (Three Sis- (Barbaric Tango, 1997) directed by Elio DE ters) with Dianne WIEST, Leslie CAPITANI. Melato, who throughout the Ayvazian’s Nine Armenians (1999, with set last twenty years has been one of Italy’s design by Santo LOQUASTO), and the most popular actors, is a versatile per- musical Captains Courageous (1999). ‘Her re- former who has interpreted a large hearsal method is straightforward: she number of lead roles both in the cinema makes suggestions and asks actors guid- and in the theatre. Known both for her ing questions about their characters. Her comic skills and for the interpretation of directorial hand seems very subtle, al- more challenging politicised roles, Melato though her productions are careful and has a strong and charismatic presence highly orchestrated pieces of work.’ which she displays both on stage and on the screen. Among her most memorable Medvešek, Rene (1963–) Actor, director film appearances are Elio Petri’s La classe and dramatist, Croatia. Medvešek trained operaia va in Paradiso (The Working Class at the Academy of Dramatic Art in Zagreb Goes to Paradise, 1971), Fernando Arrabal’s and then joined the ZKM Theatre (Zagreb L’albero di guernica (The Guernica Tree, Youth Theatre) where parts include Kamilo 1975), Giuseppe Bartolucci’s Oggetti in Krle•a’s Zastave (The Flags, adapted and smarriti (Lost and Found, 1980) and Cristina directed by Paro in 1991). He scored a Comencini’s La fine è nota (The End is major success with his portrayal of Leone Known, 1992). (sometimes referred to as Croatian Ham- let) in Krle•a’s Gospoda Glembajevi (The Melles, Sunnyi (1958–) Actor, Germany. Glembays), a part usually reserved for the Melles attended the Otto Falckenberg most prominent actors. He was praised for Schule in Munich, and has been a mem- his performance in A Midsummer Night’s ber of the company of Münchner Dream and for several roles he played on Kammerspiele since 1980, where her film. In the last few years he has rarely roles include Elisabeth in Schiller’s Don acted, but works mostly as an independ- Carlos, Cressida in Troilus and Cressida, ent author and director of plays for chil- Gretchen in Goethe’s Faust, Maja in dren. His directions are always highly in- Ibsen’s Nå Vi Døde Vågner (When We Dead dividual creations, emerging from his own Awaken) and Delio in Schlußchor (Final Cho- original concepts, such as Zimska bajka (The rus) by Botho STRAUSS. In Arthur Winter’s Fairytale, 1993), Hamper (Bucket, KOPIT’S Nirvana she portrayed pop star 1996) and Nadpostolar Martin (The Shoe of Madonna; critics praised her ability to All Shoes, 1998), for which he received express the face and the life behind the many awards. mask of a mega-star with the enchanted sadness and the wide-eyed freshness of a Melato, Mariangela (1943–) Actor, usurping child. Italy. After a period of training at the

200 Mellor, Aubrey Miller, Arthur

Mellor, Aubrey (1947–) Director, Aus- Kong. He emphasizes improvisation in re- tralia. Graduated from the National Insti- hearsal. His productions are humorous, tute of Dramatic Art, Sydney in 1969. irreverent and exaggerated. Since 1993, Mellor has been artistic director of Playbox, the Melbourne theatre Mesguich, Daniel (1952–) Director and dedicated to producing new Australian actor, France. Mesguich studied at the plays. There Mellor has directed many Conservatoire National Supérieure d’Art important premieres, including Hannie Dramatique in Paris and founded the RAYSON’S Falling from Grace and Hotel Théâtre du Miroir in 1974. From 1986–8 Sorrento and Louis NOWRA’S The Incor- he was artistic director of the Theatre ruptible. Outside of Playbox, Mellor has Gérard Philipe in Saint-Denis and since directed for all the major Australian com- 1991 he has held that position at the panies and has directed both classics and Théâtre National Lille. Major stage acting modern European drama (Chekhov, credits include the title roles in Hamlet and Brecht, Ibsen, HAVEL, FO, CHURCH- Chekhov’s Platonov, which he also di- ILL). Mellor has a particular interest in rected. Further productions directed for Eastern theatrical styles. He has co-writ- the theatre include Marivaux’s La seconde ten translations, mostly of Chekhov, surprise de l’amour (The Second Surprise of aimed specifically at Australian audiences. Love), Racine’s Bérénice and Victor Hugo’s He taught acting at the National Institute Marie Tudor. He has also directed opera of Dramatic Art for ten years and was ar- and films, and acted in films. tistic director at the Queensland Theatre company 1988–93. Micha, Maria (1949–) Actor, Cyprus. A graduate in philosophy from the Univer- Meng Jin Hui (1965–) Director and sity of Athens, Micha trained at the Drama dramatist, China. Meng directed School of Karolos Koun. Major stage cred- PINTER’S The Dumb Waiter, Cai Jun’s its include Abigail in Arthur MILLER’S Shen Ye Dong Wu Yuan (Midnight Zoo), The Crucible, Desdemona in Othello, Ionesco’s La cantatrice chauve (The Bald So- Gertrude in Hamlet, Beatrice in Much Ado prano), Beckett’s Waiting for Godot and About Nothing, Adella in Lorca’s La casa de Stirrings of Earthly Thought and Elopement from Bernarda Alba (The House of Bernarda Alba), the Monastery, a collage piece he composed Yelena in Chekhov’s Djadja Vanja (Uncle by conflating a Ming story and a tale from Vanya), Natasha in Chekhov’s Tri sestry The Decameron. Upon graduation from the (Three Sisters), Alison in Osborne’s Look Central Academy of Drama, he became a Back in Anger, Clea in Peter SHAFFER’S director in the Central Experimental Black Comedy, Helen in Euripides’s Troades Theatre and directed Stirrings of Earthly (The Trojan Women), Hermione in Thought, which he had composed himself, Andromache and Evadne in Aeschylus’s Genet’s Le balcon (The Balcony), Wo Ai XXX Hiketides (Suppliant Women). Her deep voice (I Love XXX), which he co-wrote with Shi supports her strong stage presence. Hang, Wang Xiao Li and Huang Jin Gang, Büchner’s Woyzeck, Twelfth Night, Miller, Arthur (1915–) Dramatist, USA. Hanoch LEWIN’S Jacobi and Leidental Miller is probably the best-known Ameri- (1997), Shi Xing Guo’s Huai Hua Yi Tiao can dramatist. In his own words, he is ‘con- Jie (A Street of Obscenities, 1998, designed stantly awed by what an individual is, by by YAN Long) and Dario FO’S Morte the endless possibilities in him for good accidentale di un anarchico (Accidental Death of and evil, by his unpredictability, by the an Anarchist, 1998). Meng’s works have possibilities he has for any betrayal, any been seen in Germany, Japan and Hong cruelty, as well as any altruism, any sacri-

201 Miller, Jonathan Mitchell, Katie fice’. Miller writes in realistic style about Recent productions include Drang (Urge) human relationships. The main character by Franz Xaver KROETZ (1996) and St of Death of a Salesman, Willy Loman, is per- Pauli Saga (1997), both at Deutsches haps the best known character in US Schauspielhaus Hamburg. On the occa- drama. This lower middle-class salesman sion of his sixtieth birthday, the Frank- believes fervently in the American dream. furter Allgemeine Zeitung wrote: ‘Until This belief destroys him. By creating Willy, then, most stages of post-war Germany Miller taps deep into the American soul. had been empty. With the Hostages in Ulm Problems of identity recur often in Miller, [1961], they were opened: spaces for pro- especially in After the Fall and Broken Glass jection of images.’ (1994), which deals with Jewish identity. He also addressed issues of responsibility Missiroli, Mario (1934–) Director, Italy. in The Crucible, Incident at Vichy and his ad- After graduating from the National Acad- aptation of Ibsen’s En Folkefiende (An Enemy emy of Art, Mario Missiroli worked as of the People). Many regard him as the Giorgio Strehler’s assistant between 1959– world’s most eminent living playwright. 62. He then started directing his own productions at the Piccolo Teatro, such as Miller, Jonathan (1934–) Director, Great Giovanni Testori’s La Maria Brasca (1960) Britain. Miller has achieved remarkable and T.S.Eliot’s Murder in the Cathedral success as a director both in the theatre (1961). Missiroli, who also directed for film and in opera, offering strikingly new in- and television, has worked in a number of terpretations which tend to convince be- theatres and opera houses on both classi- cause of their psychological depth (Mill- cal and contemporary plays. He is best er’s medical training shows here). Major known for his controversial interpretations theatre productions include Chekhov’s of classical texts which constitute an in- Cajka (The Seagull), Hamlet, The Merchant of triguing mixture of claustrophobic vaude- Venice and seasons at the Old Vic with The ville and Freudian and Marxist theory. Tempest and King Lear. His production of Among his most notable productions are The Taming of the Shrew for the Royal Shake- Anthony and Cleopatra (1982–3), Niccolò speare Company (1987, with Brian cox Machiavelli’s La Mandragola (1983), and Fiona SHAW), was particularly suc- Bernard-Marie Koltès’s Combat de Nègre et cessful. de Chiens (Black Battles with Dogs, 1984), Euripides’s Medeia (1996) and August Minks, Wilfried (1931–) Designer and Strindberg’s Pelikanen (The Pelican, 1998). director, Germany. Minks trained in art and stage design at the Hochschule der Mitchell, Katie (1964–) Director, Great Künste in Berlin. He began his career in Britain. Mitchell began her career as an the theatre in Ulm in 1959 and moved to assistant director with Plaines Plough. In Bremen in 1962, where he worked with 1989 she joined the Royal Shakespeare Peter STEIN, Peter ZADEK and Kurt Company as an assistant director, from Hübner. Important set designs include 1990 onwards directing her own produc- Behan’s The Hostage, Hamlet and Schiller’s tions. In addition she has directed for the Die Räuber (The Robbers). Since 1971 Minks Gate Theatre and the Royal National has also directed on a freelance basis at Theatre. Her production of Ibsen’s all major theatres in Germany. He is cur- Gengangere (Ghosts, Royal Shakespeare rently professor of stage design at the Company, 1993) with Jane LAPOTAIRE School of Fine Arts in Hamburg, as well and Simon Russell BEALE was acclaimed as a freelance director and stage designer for not only exploiting the intimacy of in Berlin, Hamburg, Munich and Vienna. thesmall stage, but for also exporting the

202 Mittelpunkt, Hillel Mo Sen characters’ complexity. ‘Mitchell has the Mnouchkine, Ariane (1939–) Director, ability to make pain manifest’, Michael France. Mnouchkine studied at the Billington wrote, ‘You come out both Sorbonne, Paris, 1959–62 and at the Uni- shaken and stirred.’ More recent work in- versity of Oxford. She participated in cludes Beckett Shorts with Juliet amateur theatre at Oxford and subse- STEVENSON, The Mysteries and quently founded the Association Chekhov’s Djadja Vanja (Uncle Vanya, 1998). Théâtrale des Etudiants de Paris, with whom she created her first production, Mittelpunkt, Hillel (1949–) Dramatist Henry Bauchau’s Gengis Khan (1961). She and director, Israel. Mittelpunkt studied toured the Far East (1962–3) and studied theatre at Tel Aviv University, where he improvisation under Jacques Lecoq. The produced his first play. Most of his plays, foundation of the Théâtre du Soleil in like Mei Tehom (The Swamp), Makolet (Gro- 1964, with former fellow students, cery Store), Buba and Parod Zmani (Aban- marked the true beginning of her career doned) and Hagag (The Roof) depict stere- and her name is now synonymous with otypes of marginal characters in the Israeli that of her company. Her research has society with great empathy and social in- been influenced by the principles of Jean volvement. The play, Gorodish, about a leg- Vilar and a belief in a popular theatre. endary Israeli general from the Six Days Her dramatic style and art are also War who lost his reputation in the 1973 marked by traditional Oriental theatre war was a great success, showing the such as kabuki or kathakali. Mnouchkine meaninglessness of military triumph. adapts classical texts, such as Shake- Mittelpunkt has also written two rock op- speare or Molière, as well as contempo- eras, Mami and Samara, satirical pro- rary ones, such as those by Hélène grammes and scripts for films. CIXOUS, but her choice is always inspired by great events of world history. Mlama, Penina (1942–) Dramatist and theatre director, Tanzania. Mlama writes Mo Sen (1963–) Director and dramatist, and devises mostly in Swahili. Her pub- China. After graduation from the Chinese lished plays include Hatia (Guilt, 1972), department of Beijing Normal University, Heshima Yangu (My Honour, 1974), Pambo Mo founded Frog Experimental Theatre (Ornament, 1975), Talaka si Mke Wangu (I in 1987 in Beijing, where he directed Divorce You, 1976), Nguzo Mama (Mother Pil- Ionesco’s Rhinocéros and O’Neill’s The Great lar, 1982), Lina Ubani (There is an Antidote God Brown. In 1993 he founded The for Rot, which was a collaboration with Workshop, where he directed Gao Xing other Tanzanian playwrights), Matanga Jian’s Bi An (The Other Shore), his own Ling (1993) and Dude Dude (1994). Strongly Dang An (File Zero), Gu Xiang Tian Xia believing in the potential of theatre as a Huang Hua (Chrysanthemums of My Home weapon for social learning and mobiliza- Town), Hong Zun Yu (Red Herrings), Yi Ge tion, Mlama is actively involved in the Ye Wan Hui Yi De Bao Gao (Report on One theatre-for-development movement which Night’s Memories), Yi Yuan (The Hospital) and is well-established in Tanzania and other Guan Yu Ya Zhou De Kuang Xiang Qu Song African countries. The key themes of her Ge Huo Lian Xi Qu (Fantasies, Odes, or Etudes plays are issues of the struggle for libera- about Asia). He has introduced new Euro- tion and the establishment of an egalitar- pean concepts of the theatre to China and ian society and personal themes such as presented off-stage reality on stage, thus the problems arising from divorce, espe- challenging the traditional idea of the dra- cially as it affects the children caught in matic and the real. the middle.

203 Modisane, Bloke Monette, Richard

Modisane, Bloke Actor, South Africa. Molina Foix, Vicente (1946–) Dramatist, Modisane was a member of the African Spain. After studies in Madrid and Lon- Music and Drama Association at Dorkay don, he taught at Oxford University and House in Johannesburg, which included the University of the Basque Country. In notable actors such as Zakes MOKAE, 1990 he was appointed literary director of Stephen Moloi and Gladys Sibisi. The the Centre Dramático Nacional at Ma- group collaborated with Athol Fugard in drid’s Teatro María Guerrero. His first the writng/creation and performance of play, Los abrazos del pulpo (The Octopus’s Em- No-Good Friday, the latter’s first township brace) was presented at Madrid’s premier play (performed in 1958) in which new writing venue, El Centro National de Modisane played the part of Shark; Nuevas Tendencias Escénicas in 1985. Mokae was First Thug while Fugard Later, he worked on adaptations of Ham- played Father Higgins, a role later played let (1989) and The Merchant of Venice (1992), by Lewis NKOSI because apartheid seg- both directed by José Carlos PLAZA as regation laws forebade Fugard acting with well as an original work, Don Juan Último black actors. Modisane has also featured (The Last Don Juan) directed by Robert in other Fugard plays, including playing WILSON (1992). He has gone on to Outa in Boesman and Lena at the London work on translations of ALBEE’S Three Theatre Upstairs, with Yvonne Bryceland Tall Women (1995), Shaw’s Mrs Warren’s Pro- as Lena and Mokae as Boesman, directed fession (1996) and Williams’s The Rose Tat- by Fugard himself. Modisane’s acting has too (1997). His third play, Seis armas cortas been described as being influenced by the (Six Short Arms) was directed by Adrián ‘method’ of Lee Strasberg’s Actors Studio, Daumas in 1997, and he has recently com- with Marlon Brando as his ideal model. pleted his fourth play, Lenguas de plata (Sil- ver Tongues). As well as an admired drama- Mokae, Zakes Actor, South Africa. Most tist and translator, Molina Foix is the au- of Mokae’s early acting roles were in plays thor of seven published novels, two influ- by Athol FUGARD, including First Thug ential volumes of poetry and two opera in the Johannesburg premiere of No-Good librettos. He continues to work as a film Friday (1958). This performance also fea- and television critic, and has a weekly col- tured Fugard and later Lewis NKOSI as umn in the newspaper El País. Father Higgins, Bloke MODISANE as Shark, directed by Fugard himself. He also Monette, Richard (1944–) Director and played Blackie in Non-gogo (1959), Zach in actor, Canada. Born in Montreal, Monette The Blood Knot (Johannesburg, 1961; Lon- left Canada for England in 1969 and don, 1963; Broadway revival, 1985). He landed a role in the West End production also played Outa in the 1970 New York of Oh! Calcutta!. He returned to Canada in production of Fugard’s Boesman and Lena 1972 and played several important roles with Ruby Dee as Lena and James Earl at the Stratford Festival, including Ham- Jones as Boesman directed by John Berry. let, Caliban, Romeo and Berowne. At To- In 1982 he played Sam alongside Danny ronto’s Tarragon Theatre, he delivered a Glover’s Willie in Fugard’s Master stunning performance as a transvestite in Harold…and the Boys at the Yale Repertory Michel TREMBLAY’S Hosanna. A pas- Theatre, a stunning performance that won sionate and political man of the theatre, him a Tony Award. He has also been ac- Monette is currently artistic director of the tive in films. His greatest strengths as an Stratford Festival. His direction has been actor are his stage presence and his ability bold and assured, even in his earliest di- to look calm and in control even when his rectorial assignment at Stratford, a lively character is near breaking point. 1988 production of The Taming of the Shrew.

204 Montenegro, Fernanda Morgenroth, Daniel

Montenegro, Fernanda (1929–) Actor, at the Central School of Art, London Brazil. Self-taught, Montenego worked for and worked extensively in the UK radio for ten years, for television for (Royal Shakespeare Company, Bristol twenty years, and she has been on the Old Vic, Royal Court, Monstrous Regi- stage for forty-six years. In her long and ment, Gay Sweatshop and the Women’s distinguished career, she has worked with Project). She moved to Australia in 1981 directors from Italy, France, Poland, Rus- and now combines lecturing at Flinders sia and Brazil. Important stage credits in- University, Adelaide with designing. She clude Vivie in Shaw’s Mrs Warren’s Profes- designs frequently for Adelaide’s Troupe sion, Laudelina in Arthur de Azevedo’s O Theatre and the State Theatre Company Mambembe, and the main female characters of South Australia. She has designed in Goldoni’s Mirandolina, PINTER’S classical productions (King Lear and The Homecoming, Phèdre by Racine, Noel Cow- Winter’s Tale) and for opera (Abduction from ard’s Design for Living and Beckett’s Happy the Seraglio, Joan of Arc at the Stake for the Days. She writes: ‘All of them are impor- Victorian State Opera), for fringe tant to me: plays, characters, directors and (Anthill, Melbourne; Red Shed, Ad- colleagues. I regard those 46 years as a elaide) and for dance. Moore has de- mosaic where each little stone is essential. signed for two of STCSA’s productions With a few exceptions, all of them are of neglected plays by early Australian great writers, gifted directors and talented women playwrights: she designed a tow- actors. I do my work with emotion and ering metallic newspaper office set for workmanship. This is a non-ending job.’ the 1996 production of The Torrents by Oriel Gray, and a claustrophobic 1930s Moore, Claudia (1923–) Actor, Puerto filmic, black, white and grey set for Rico. Born in Green Bay, Wisconsin, Morning Sacrifice by Dymphna Cusack Claudia Moore is widely considered to be (1994). Moore is particularly interested the First Lady of the English-language in unconventional theatre spaces and au- theatre in Puerto Rico. She studied infor- dience performer relationships. mally in New York from 1943–7 at the American Academy of Dramatic Arts, the Morgenroth, Daniel (1964–) Actor, Ger- Fagan School of Dramatic Art and the many. After attending the Hochschule für Henry Davenport Shakespearean Theatre. Schauspielkunst ‘Ernst Busch’, East Ber- In 1954, she joined the Little Theatre in lin, Morgenroth soon joined the San Juan (later known as the Civic Thea- Deutsches Theater, Berlin, where he tre), where she worked with such actors played Leslie (Brendan Behan, The Hos- as Raúl Julia, Sally Jessy Raphael and tage), and Tempelherr (Lessing, Nathan der Henry Darrow. Primarily a comic actor, Weise (Nathan the Sage)). Critical apprecia- Moore has appeared in numerous profes- tion for his Peer Gynt was especially fa- sional productions, including the audience vourable: ‘The change from one extreme participation off-Broadway hit Tony ’n’ to the other is beyond the spectator’s com- Tina’s Wedding (Hotel San Juan, 1994), in prehension.’ Since then, he has established which she portrayed the grandmother of himself as one of the leading young per- the groom. Moore has also performed se- formers with this theatre, appearing as rious leading roles in the musical Cabaret, Graf Wetter vom Strahl (Kleist, Das Frank Marcus’s The Killing of Sister George Käthchen von Heilbronn), in Kleist’s and Ira Levin’s Deathtrap. Amphitryon (directed by Jürgen GOSCH, 1993), as Siegfried in Hebbel’s Kriemhild’s Moore, Mary (1945–) Designer, Aus- Rache (Kriemhild’s Revenge, 1994, directed by tralia and Great Britain. Moore trained Thomas LANGHOFF) and in

205 Morgenstern, Maia Morrison, Conall

Marlowe’sEdward II (1999, directed by has inclined towards roles featuring Wolfgang ENGEL). marginalized men, but recent performances since his recovery from alcoholism Morgenstern, Maia (1962–) Actor, Ro- have benefited from more objective por- mania. Morgenstern is a graduate of the trayals. He helped to establish the concept Bucharest Theatre and Film Academy of theatre marae, which combines ele- (1985). After three years at the Teatrul ments of Maori and Western performance, Tineretului—Youth Theatre in Piatra and established the theatre group Te Neamtz, where she asserted herself as a Rakau Hua o te Wao Tapu, which works very promising young actor, she joined the in schools, maraes, prisons and alcohol State Jewish Theatre in Bucharest where and drug centres. she played major roles in the Yiddish language, including Sally in the musical Caba- Moriconi, Valeria (1931–) Actor, Italy. ret. In 1990 she became an actor of the Valeria Moriconi made her debut in the National Theatre in Bucharest, working cinema in 1953 with Alberto Lattuada’s with Andrei SERBAN on major roles La spiaggia (The Beach) and started work- such as Medea in The Ancient Trilogy, Viola ing in the theatre with Eduardo de Filippo in Twelfth Night, Varia in Chekhov’s in 1957 in De Pretore Vincenzo. In 1960 she Visnevyi sad (The Cherry Orchard) and Liz founded the influential Compagnia dei Morden in Timberlake WERTEN-BAK- Quattro with Franco Enriquez, Glauco ER’S Our Country’s Good, as well as other MAURI and Gabriele LUZZATI. Subse- major roles with other directors such as quently Moriconi appeared in over Strindberg’s Fröken Julie (Miss Julie) and twenty-five films and two hundred thea- Haya in Jehoshua SOBOL’S Ghetto. At the tre productions, touring theatres all over Bulandra Theatre in Bucharest she the world. Among her most notable per- worked with Catalina BUZOIANU. One formances are Taming of the Shrew (1962), of her most notable achievements was Carlo Goldoni’s La Locandiera (The Mistress Lola Blau in Heute Abend Lola Blau (This of the Inn, 1964) and Macbeth (1972), all di- Evening, Lola Blau), a musical by Georg rected by Enriquez, Alberto Savinio’s Kreisler, where she demonstrated her Emma B.vedova Giocasta (1980–94) directed multi-faceted talent in singing, dancing by Egisto Marcucci, Giovan Battista and acting both the tragedy and the com- Andreini’s Due commedie in commedia (1985) edy with a deep insight. Morgenstern, re- directed by Luca RONCONI, the anony- cipient of many awards and prizes, is also mous fifteenth-century comedy La a well-known film actor. Venexiana (1986) directed by Maurizio Scaparro and Euripides’s Medeia (1996) Moriarty, Jim (1953–) Actor and direc- directed by Mario MISSIROLI. tor, New Zealand. Moriarty’s work for the stage has been much influenced by his Morrison, Conall (1966–) Director and experience as a psychiatric nurse and as a dramatist, Ireland. Morrison is an associ- recovering alcoholic, as well as by very ate director of the Abbey Theatre, Dub- varied theatrical work from a young age. lin, and associate artist with Bickerstaffe He played Stanley in A Streetcar Named De- Theatre Company, Kilkenny. His most sire by Tennessee Williams at the Down- successful play, Hard to Believe, was per- stage Theatre, Wellington, in 1986, but his formed by Bickerstaffe in Dublin in 1995. most notable role has been the solo char- Arguably the most talented and versatile acter in John Broughton’s Michael James of the new breed of Irish directors, he has Manaia, which toured widely and was in- had critical and popular successes with his vited to the 1991 Edinburgh Festival. He productions of thegritty urban dramas of

206 Morse, Helen Mosher, Gregory

Belfast playwright Gary Mitchell, In a Lit- Moscato, Enzo (1948–) Director, performer tle World of Our Own (1997) and As the Beast and dramatist, Italy. After graduating in Sleeps (1998), at the Peacock Theatre, Dub- philosophy in 1974, Enzo Moscato worked lin. To date, the production which has pro- as a researcher at the University of Salerno. jected Morrison onto the international He then founded his own theatre company, stage is his own adaptation of Patrick the Compagnia di Enzo Moscato, in 1980 Kavanagh’s novel, Tarry Flynn at the Ab- and has recently started collaborating with bey Theatre (1997) which toured to the the Neapolitan-based conglomerate Teatri Royal National Theatre, London in 1998. Uniti. Focused around the exploration of A highly visual and exuberant satire of life and art in Naples, his pieces are witty rural Irish life, this production was aided and elegant experimental linguistic pas- by the muscular choreography of David tiches with strong political subtexts. Bolger, and entertained a new and young Moscato, who has also appeared in a Dublin audience with a picaresque, scath- number of films, including Mario ing swipe at rural Catholic values. His MARTONE’S Morte di un matematico sense of the theatrical is a challenge to dec- napoletano (Death of a Neapolitan Mathematician, ades of subservience to text in Irish thea- 1991), is one of Italy’s most adventurous tre and earned him the task of directing and eclectic theatre practitioners. Among the revival of the musical Martin Guerre for his most notable performances are Pièce noire Cameron Mackintosh at the West York- (1985), Rasoi (Razors, 1991), Mal-d’Hamlé shire Playhouse (1998). (Hamletache, 1994) and Embargos (1994).

Morse, Helen (1946–) Actor, Australia. Mosher, Gregory (1949–) Director, USA. Graduated from the National Institute of Mosher studied theatre at Oberlin and Dramatic Art, Sydney. After several suc- Ithaca colleges as well as at Juillard School. cessful film and television appearances In 1974 he took over the Stage 2 pro- (Caddie, Picnic at Hanging Rock, A Town Like gramme at the Goodman Theatre in Chi- Alice) Morse has chosen to concentrate on cago. Between 1978–85 he was artistic di- her stage career in Melbourne. Morse has rector of the Goodman, while between brought elegance, dignity and an extraor- 1985–91 he held that position at the Lin- dinary, paradoxical combination of fragil- coln Centre in New York, where he was ity and strength to many roles, including criticized for being too successful, running Katherine Mansfield in Alma DE a non-profit company too commercially. GROEN’S The Rivers of China, Barbara in Mosher directed many productions, nota- Michael GOW’S Europe and Paulina in bly first work of dramatists such as Edward Ariel Dorfman’s Death and the Maiden. ALBEE, Spalding GRAY, John GUARE, Morse was also able to bring earthy real- Wole SOYINKA, David RABE, Emily ism to her performance of Rita in Nick MANN, Tennessee Williams and David ENRIGHT’S Good Works (national tour, MAMET. Mosher’s work has been de- directed by Kim Durban 1995 & 6). Morse scribed as ‘specific, simple, straightforward, likes to go deeply into a character, to seek and dedicated to the sanctity of the play- out an inner life and this seriousness of wright’s words’. Since 1997 he has been purpose shows in her considered and in- artistic director of the Circle in the Square telligent acting. Highlights of her career theatre. He has argued that one should include Blanche Dubois, Viola and focus on a play, not an institution. There Hedda, but Morse often plays small parts is something invigorating about devoting as well as star roles. oneself to one project at a time.

207 Mouchtar-Samorai, David Mühe, Ulrich

Mouchtar-Samorai, David (1942–) Di- into professional theatre came in 1979 rector, Germany. Born in Baghdad, raised when Gibson KENTE offered him a part in Israel and Britain, Mouchtar-Samorai as a singer/dancer in his Mama and the Load. has worked in Germany since 1975, with With Mbongeni NGEMA, he successfully Heidelberg, Frankfurt, Düsseldorf and, collaborated on Woza Albert!. He is one of most recently, Bonn, as major stages of his the exponents of a black political theatre career. Productions include A Midsummer which began to supplant the apolitical Night’s Dream, Troilus and Cressida, Kleist’s township musicals of Kente. Although Amphitryon, Pirandello’s I giganti delta known internationally for just two plays, montagna (Mountain Giants), Lorca’s Dona Mtwa has a substantial performing career Rosita, Williams’s Sweet Bird of Youth (1998, in South Africa, North America and the Zürich), Strindberg’s Till Damaskus (To United Kingdom. His work has been ob- Damascus, 1998), and Schnitzler’s Das Weite served to have close affinities with the Land (Undiscovered Country, 1998). ‘Not a poor theatre theories of Jerzy Grotowski. director of theories or concepts, his thea- For Mtwa, all the actor has is his body as tre is devoid of illusions, but nevertheless a means of communicating with the audi- full of sensuality and magic.’ ence, and in the context of apartheid which banned black political plays, the in- Mrozek, Slawomir (1930–) Dramatist, tense physicality and minimal props of the Poland. Mrozek studied at the Academy poor theatre provided the appropriate mi- of Fine Arts in Cracow, followed by sev- lieu for Mtwa to communicate the anguish eral years as a journalist and then theatre and oppression of the black situation to critic. In 1953 he began his literary career an audience. by publishing short stories. His first play was Policja (Police, 1958). From 1963–6 Mühe, Ulrich (1953–) Actor, Germany. Mrozek lived in Italy, France and Mühe trained at the Theaterhochschule Mexico. Landmarks in his career are Hans Otto in Leipzig. After employment Tango (1965) and Emigranci (Emigrants, in Chemnitz, Heiner Müller cast him in 1974). Mrozek’s first plays concentrated his Macbeth production at the Volksbühne on two subjects: lack of identity of an in- in East Berlin (1982). Since 1983 he has dividual subordinated to social role, and been a member of Deutsches Theater, the feeling of freedom in relation to ter- Berlin, where his roles include Osvald in ror. These plays were like philosophical Ibsen’s Gengangere (Ghosts, 1983, directed parables or allegories. Tango introduces by Thomas LANGHOFF), the title role the problem of principles, norms and val- in Goethe’s Egmont (1986) and the Shake- ues rejected by contemporary Europe. speare/Müller Hamlet/Hamletmaschine The way from Tango to Emigranci was the (1990). In the early 1990s he repeatedly way to reality in a formal and metaphori- played with the Burgtheater in Vienna, in- cal sense. Parable was substituted by con- cluding the title role in Goethe’s Clavigo, crete observation. More recent work, in- (1991, directed by PEYMANN) and the cluding Kontrakt (The Contract, 1986), professor in David MAMET’S Oleanna Portret (Portrait, 1987) and Milosc na Krymie (1993, set design by Wilfried MINKS). (Love in the Crimea, 1994), mirrors this de- He played the title role of Ibsen’s Peer Gynt velopment. (Vienna, 1994, directed by Claus PEYMANN) as a big, dreamy child, and Mtwa, Percy Actor, South Africa. While critics praised his virtuosity and com- working as a stores clerk he began danc- mented on the richness of expressions the ing and playing music in night clubs. He actor can produce. later formed his own group. His break

208 Müller, Elfriede Muller, Myriam

Müller, Elfriede (1956–) Dramatist, Ger- leading roles in them and in most of the many. Raised on a farm (an experience group’s other productions. The produc- which influenced at least her first play, tions incorporate much dance, music, Bergarbeiterinnen (Female Miners)), she took mime and movement in the manner of ballet classes and trained at the other popular Ugandan theatre groups Schauspielschule of the Hochschule für such as Robert Serumaga’s Abafumi Play- Darstellende Künste in Berlin. In ers, the Kampala City Players of Byron Damenbrise (A Fresh Breeze of Ladies), her sec- Kawadwa and the influential Luandan ond play, she wittily deals with the thea- theatre of Wycliffe KIYINGI-KAGWE. tre. Glas (1990) takes its origin in dance Mukulu also wrote his plays in Luandan, and project work, Goldener Oktober (Golden but through the staging technique of October, 1991) deals with the euphoria and mime, movement, dance, music and songs reality of the new relationship between that are both topical and satirical, he and East and West Germany after his group aim to transcend the language reunification. In her plays, ‘she searches barrier and appeal to all Ugandans as well for an openness which allows a poetic as to non-Ugandan audiences. treatment of contemporary issues’. Her most recent play, Die Touristen (The Tour- Mullen, Marie (1953–) Actor, Ireland. In ists), was premiered in Saarbrücken (1996). 1975 Mullen became a founder member of Druid Theatre Company with director Mugo, Micere Githae (1942–) Dramatist, Garry HYNES and actor Mick LALLY. Kenya. Mugo’s theatrical writings include Druid productions were marked by the Daughter of My People, Sing! (1976), The Long company’s strength as part of the commu- Illness of Ex-Chief Kiti (1976) and a radio nity, a commitment to Irish writing and play, Disillusioned (1976). The play for an extensive rural touring schedule. which she is best known internationally is Mullen added a freshness to The Widow her collaborative effort with Ngugi WA Quinn in Hynes’s production of Synge’s THIONG’O, The Trial of Dedan Kimathi The Playboy of the Western World (1975), and (1976). Apart from its radical politics, played Peggy in the first production of Dedan Kimathi was also remarkable for its Tom MURPHY’S Conversations on a Home- integration of songs, dances, mime, flash- coming (April 1985) and Mary in the first backs and storytelling techniques bor- production of Murphy’s Bailegangaire (De- rowed evidently from traditional folklore cember 1985), both directed by Hynes. into a compelling theatre of visual power Mullen has also worked in Britain with the and linguistic sophistication. Unfortnately, Royal Shakespeare Company in Stratford like many other Kenyan artists who have in the late 1980s, appearing in Congreve’s and are still being persecuted by the gov- The Man of Mode and Timberlake ernment for their outspoken criticism, WERTENBAKER’S The Love of The Mugo now lives in exile. Nightingale. Since then Mullen played Baby in The Power of Darkness by John Mukulu, Alex (1954–) Actor, dramatist McGahern, directed by Hynes at the Ab- and director, Uganda. Alex Mukulu bey Theatre, and appeared as Maureen in founded a theatre company which was Martin McDonagh’s The Beauty Queen of prominent in the early 1980s and was Leenane (1996). noted for its very professional and accomplished productions. Notable among these Muller, Myriam (1971–) Actor, Luxem- were Wounds of Africa (1990) and Thirty bourg. Muller attended the Conservatoire Years of Banana (1991), written and directed de Luxembourg and the Cours Périmony by Mukulu himself; he also played the in Paris (1990–2) and trained at the

209 Munitz, Ben-Zion Murfi, Mikel

Studio Pygmalion under Pascal Luneau in Murai Shimako (1929–) Dramatist and 1996. Her professional breakthrough director, Japan. Murai studied drama at came with her portrayal of Catherine Butai Geijutsu Gakuin (the Stage Arts Holly in Williams’s Suddenly Last Summer School). She then went to Czechoslovakia (1989, Théâtre des Capucins, directed by to do her research in theatre studies at Marja-Leena JUNKER) and of Honey in Karel University, and was awarded a ALBEE’S Who’s Afraid of Virginia Woolf? Ph.D. in 1967. Murai is a founder mem- (1992, Théâtre d’Esch, with Maria-Leena ber of Katatsumuri no Kai (the Snail Thea- Junker and Philippe NOESEN, designed tre Company). The plays she has directed by Jeanny KRATOSCHWILL). She re- for the company include Betsuyaku ceived major recognition for her perform- Minoru’s Mae Mae Katatsumuri (Dance Dance ance in Marie-Claire Junker’s monologue Sanils, 1979), Uketsuke (The Information Desk, L’enfant des nuages (1995, Théâtre du 1980), Ashi no Aru Shitai (A Corpse with Feet, Centaure and Théâtre du Tourtour, Paris, 1982), and Rokugatsu no Denwa (A Phone designed by Jean FLAMMANG), con- Call in June, 1995). Murai has written the firming that she is one of the most prom- plays about the victims of atomic bombs, ising young Luxembourg actors. supported by the active group, Women of Hiroshima Staging Committee. Ano Hi Ano Munitz, Ben-Zion (1943–) Designer, Is- Ame (That Day That Rain, 1990) deals with rael. Munitz is one of the first professional the daughter of an A-bomb victim in Hi- lighting designers in Israel, giving this art roshima and the children who are the vic- form a respected professional status in the tims of the Chernobyl. Thus the issue is country. Munitz has designed for a large never described as an unfortunate experi- number of theatre and opera productions, ence in the past. Other plays include Hiro- among the more recent ones Gilead shima no onna Hachigatsu Muika (Women of EVRON’S Yehu and Hanoch LEVIN’S Hiroshima) in the series of Women of Hiro- Hayeled Cholem (Dreaming Child). He teaches shima August (1983), Bira wa Furu (A Shower at Tel Aviv University and many of the of Leaflets, 1984) and Himawari Le Soleil (The lighting designers today in Israel are his Sunflower, 1990). The plays have been former students. translated into English, French, German, Czech and Spanish, and have been staged Munte, Jeta (1947–) Actor, Israel. Munte in Edinburgh (1988) and Avignon (1989). trained at the Romanian National Acad- emy of Dramatic Art and began her pro- Murfi, Mikel (1965–) Actor, director and fessional career on the Romanian stage dramatist, Ireland. Trained at the Ecole before immigrating to Israel in 1970. Jacques Lecoq, Paris, Murfi was co- Munte joined the Haifa municipal theatre founder in 1993 of Barabbas… The Com- where she played leading roles like Juliet, pany, which is dedicated to the explora- Puck and Ariel. Moving to the Cameri Tel tion of clowning, buffoonery and other Aviv municipal theatre she played roles popular performing traditions such as the like Sonia in Chekhov’s Djadja Vanja (Un- commedia dell’arte, and is thus at the fore- cle Vanya), Grusha in Brecht’s Der front of a new wave of ‘physical theatre’ Kaukasische Kreidekreis (The Caucasian Chalk in Ireland. Murfi and his co-founders de- Circle) and Lady Macbeth. She has also vised three critically acclaimed pieces in appeared in many of Hanoch LEVIN’S their first year: Come Down From The Moun- plays like Kolam rotsim lichiot (Everybody wants tain John Clown, John Clown (a savage and to live), as the mother in Hayeled Cholem grim critique of Ireland’s urban reality (Dreaming Child) and Hazona MiOhio (The played in red nose), MacBeth (a physical Whore from Ohio). realization of Shakespeare’s play by a

210 Murphy, Tom Musinga, Victor Eleame five-man buffoon team) and Half Eight Angry Young Penguins (1987) was directed by Mass of a Tuesday (an observation of the Ewa Czajor. Czajor was murdered soon particularly rural Irish tradition of early afterwards and Murray-Smith’s play At- morning mass with the aid of puppets, lanta (1990), dedicated to Czajor, is a fan- miniatures and shadow). Further challeng- tastic, dream-like play meditating on the ing observations on Irish life were seen in impact that the untimely death of a tal- his physically demanding solo perform- ented young woman has on a group of ance of a rural tailor in Stroke-hauling friends. Murray-Smith’s best known play (1996). Murfi has also worked for many Love Child is a hard-hitting, entertaining other companies in the independent sec- exploration of the mother/daughter rela- tor and also at the Abbey Theatre. More tionship with an unexpected twist. Honour recently gave a towering performance of (1995) focuses on the break-up of a multiple characters in Lennox Robinson’s thirtytwo-year marriage, looking particu- The Whiteheaded Boy directed by Gerard larly at the reactions of the women in- STEMBRIDGE (1997) for volved. Murray-Smith has also written Barrabas…The Company. In 1998 Murfi novels, a children’s book and for televi- directed Diamonds in the Soil, devised by sion. Her recent plays are remarkable for artist Patrick O’Reilly for Macnas Thea- their spare, fast-paced dialogue, something tre Galway. which contrasts starkly with the drifting, fantastic, hallucinogenic qualities of At- Murphy, Tom (1935–) Dramatist, Ire- lanta. land. Early work includes On The Outside (1959, written with Noel O’Donohue), A Murrell, John (1945–) Dramatist and di- Whistle in The Dark (1961, produced by rector, Canada. Born in the USA, Murrell Joan Littlewood’s Theatre Royal at Strat- was brought up in Canada. After five ford East), Famine (1968), A Crucial Week in years as a schoolteacher, he has worked the Life of a Grocer’s Assistant (1969 with as a playwright and director since. His two Donal McCann), The Morning After Opti- major successes are Waiting for the Parade mism (1974) and the acclaimed The Gigli (1977), interweaving the stories of five Concert directed by Patrick MASON for women in Calgary during the Second the Abbey (1983). Also in 1983, Murphy World War, and Memoir (1977), which became writer-in-association with Druid shows a day towards the end of the life of Theatre Company, Galway, and in 1985 Sarah Bernhardt. Memoir has been trans- Garry HYNES directed Conversations on a lated into more than twenty languages and Homecoming and Bailegangaire with the com- performed in thirty countries. Later plays pany. Murphy’s County Galway back- include October (1988), depicting a fictional ground gave a local resonance to meeting of Isadora Duncan and Eleonora Bailgangaire, which used the Irish tradition Duse, Democracy (1991) and The Faraway of storytelling to take an eloquent look at Nearby (1995). Murrell’s work is lyrical the lives of three women as they each without being overly melodramatic, and come to terms with life in the anachronis- he has a remarkable gift for adapting play tic modern rural Ireland. Recent work in- structure to pre-existing theatrical forms. cludes The Patriot Game (1991), She Stoops In Waiting for the Parade, for example, the To Folly (after The Vicar of Wakefield, 1996) interweaving stories of five Calgary and The Wake (1998) at the Abbey Thea- women in wartime are told using the con- tre directed by Patrick Mason. ventions of music hall.

Murray-Smith, Joanna (1962–) Drama- Musinga, Victor Eleame (1944–) Drama- tist, Australia. Murray-Smith’s first play tist and actor, Cameroon. Musinga

211 Mustafa, Shubarna Mytnyts’ky, Eduard draws inspiration and material for his writ- of Therukoothu and its vocabulary of ges- ing from the urban experience of his nature and movement (adavus) in his productive Cameroon. His plays deal with the tions. He founded Koothu-p-pattarai, a common people lost in the conflicting mix theatre group in Madras and its training of urban and traditional values which char- centre in the village of Purisai. acterize city life. Musinga’s theatre has very Muthusamy’s productions are often de- much in common with that of other Afri- scribed as abstract: he believes in ‘total can popular artists, but especially the plays theatre’. Muthusamy’s notable produc- of the Zambian Kabwe KASOMA. Apart tions are Molière’s Dom Juan, Ionesco’s from a similarity in theme, their theatrical Beckett, Bharathy’s Panchali Sabadam, style reflects the syncretism of urban life Bhasa’s Dutha Katotkaja, his own The last and experience, an indiscriminate amal- five seconds of Mahatma Gandhi and Camus’s gam of dance, music, dialogue and other Caligula. His own plays, including England, elements drawn from traditional and mod- Thana Terinjikanuum (You Should Know Your- ern sources. Musinga has written and acted self) and Suvarottikal (Posters), are like ex- in The Tragedy of Mr No-Balance, Night Mar- tended poems without scene divisions or riages and Accountant Wawah. The key fea- narratives, mirroring his production ethos ture of Musinga’s dramaturgy is a certain which values the actor’s body over the sensitivity to the theatrical possibilities of written text. the English language through creation of a range of registers for his characters. Mytnyts’ky, Eduard (1931–) Director, Ukraine. Mytnyts’ky trained at the Mustafa, Shubarna (1960–) Actor, Bang- Karpenko-Kary Institute for the Art of the ladesh. Mustafa’s performance in the title Theatre, Kiev, and joined the teaching role of Selim AL-DEEN’S Shakuntala (with staff of the Institute in 1981. He has cre- Raisul ASAD as Vishwamitra, Humayun ated his own school of directing. The FARIDI as Takkhak, directed by young famous directors Dmytro Nasiruddin YOUSUFF, 1978) earned her Bohomazov, Iurii Odynoky, Dmytro popularity and fame. Other important Lazorko and Andrii Krytenko are among stage performances include the portrayal his pupils. From 1963–6 he worked at the of Banasribala in Al-Deen’s Kittan Khola theatres of Riazan’ (Russia), and between (The Fair of Kittan Khola, with Shimul 1965–73 and 1993–4 at the Lesia YOUSUFF as Dalimon, Faridi as Ukrainka Russian Drama Theatre, Kiev. Chhayaranjan and Asad as Bayati, set de- In 1978 he founded the Theatre of Drama sign by Jamil AHMED, directed by and Comedy, Kiev. He has staged over Nasiruddin Yousuff, 1981) and Paree in 120 productions, including Zorin’s Al-Deen’s Jaibati Kanyar Mon (The Soul of Varshavskaia melodiia (The Warsaw Melody, the Virtuous Maiden, with Shimul Yousuff as Kiev, 1968), Hamlet (Kiev, 1984), Kalindi, directed by Nasiruddin Yousuff, Dudarev’s Vecher (Evening, Kiev, 1985), The 1993). A versatile actor capable of delv- Fiddler on the Roof after Shalom-Aleichem ing into the depths of intense emotion, (Odessa, 1987; Riga, Latvia, 1988; Ger- Shubarna Mustafa is also popular in film many, 1992), Gogol’s Revizor (The Govern- and on television. She is an active mem- ment Inspector, Germany, 1992), Piat’ pudov ber of Dhaka Theatre (a leading theatre liubvi (The Five Pounds of Love) after group in Bangladesh). Chekhov’s Cajka (The Seagull, 1993), Ivan Franko’s Ukradene shchastia (A Stolen Hap- Muthusamy, Na (1940–) Director and piness, Vilnus, Lithuania, 1996), and dramatist, India. Muthusamy’s major con- Tolstoi’s Zhivoi trup (Living Corpse, 1997). tribution to Tamil Theatre is his revival

212 N

Naghiu, Iosif (1932–) Dramatist, poet, (Hungarian Three Sisters, 1991) and A csábitó Romania. Naghiu trained at the Fine Arts naplója (Diary of the Seducer, 1992). His ad- Institute, Department of Graphic Arts, aptation of Stendhal’s Le Rouge et le Noire Bucharest, and started to publish poetry (The Red and the Black) was performed in in 1967. In 1968 his first play, Celluloid, was 1995 in Györ. His most recent plays, Mi, published. Absenta (The Absence) was pro- hárman (Us three) and Alma, were produced duced at the Bulandra Theatre under a in the 1995/96 season. different title and then forbidden by the communist censorship. Further plays in- Naharin, Ohad (1952–) Choreographer clude Misterul Agamemnon (The Agamemnon and dancer, Israel. After training with Mystery), Valiza cu fluturi (A Suitcase with But- Martha Graham and at the Juillard School terflies) and Spitalui Special (The Special Hos- in New York, Naharin danced with Gra- pital). In his plays, Naghiu voices his so- ham’s company and then with Maurice cial disappointment behind a mask of cari- Béjart as well as with the Israeli Bat Dor cature, using metaphor, the grotesque and Company. She started to choreograph in the absurd. 1980 and worked in Israel, USA, Italy, The Netherlands and Sweden. After estab- Nagy, András (1956–) Dramatist, Hun- lishing an independent group in Israel, gary. After studying Hungarian and Popu- and in 1980 Naharin was appointed as lar Education at the Budapest Eötvös artistic director of the Israeli Bat Sheva Loránd University, Nagy was an assistant company. Since then he has led this com- at the University’s Department of Twen- pany to international fame, combining tieth-Century Hungarian Literary His- choreography with live music, visual arts, tory. Between 1982–90 he served as an theatre and singing in works like Tabula editor in a publishing house. Winner of Rasa (1987), Kyr (1990), Anaphase (1993), several literary scholarships, his effective, Z/Na (1995) and Jag (1996). theatrical plays are searching secrets of contradictory literary and historical fig- Nakamura Ganjirô III (1931–) Kabuki ures, striving to clarify contemporary ex- actor, Japan. The son of Nakamura istential and moral dilemmas. They in- Ganjirô II, he first played O-hatsu in clude Báthory Erzsébet (Elisabeth Báthory, Sonezaki Shinjû (The Love Suicide at Sonezaki) 1985), Anna Karenina pályudvar (Anna by Monzaemon Chikamatsu (1653–1724) Karenina Station, 1990), Magyar három növér as an onnagata (female impersonator)

213 Nakamura Kankurô Ndao, Cheik Sidi Ahmed opposite his father’s Tokubei, tachiyaku (a debut was in 1968. On Broadway he de- leading male role) in 1953 when his stage signed Equus in 1974, following design for name was still Nakamura Senjaku II. Af- the same play for the National Theatre in ter his father’s death, Tokubei’s part has 1972. From 1974 onwards he worked with been taken over by his son and Ganjirô the Royal Shakespeare Company, culmi- III has performed the same role over nating in complex sets for David 1,000 times. He succeeded to the present EDGAR’S adaptation of Nicholas Nickleby stage name in 1990. He formed the there in 1980. Subsequently he has worked Chikamatsu-za Theatre Company in 1981 with Trevor NUNN, designing successful to stage exclusively Chikamatsu’s plays, musicals such as Starlight Express and Les and the CTC has been keeping its initial Miserables, but has continued designing for commitment. Ganjirô III plays both the theatre, such as a revival of Edward onnagata and tachiyaku in the artistic tradi- ALBEE’S Who’s Afraid of Virginia Woolf? at tion of wagoto (domestic style) of kamigata the Almeida in London (1996, with Diana kabuki. He has performed in Russia, RIGG, directed by Howard DAVIES), and Canada, the USA and Mexico on kabuki most recently Nunn’s production of Ibsen’s overseas tours since 1987. En Folkefiende (An Enemy of the People, with Ian MCKELLEN) at the Royal National Nakamura Kankurô V (1955–) Kabuki Theatre. actor, Japan. The first son of Nakamura Kanzabuô XVII and the grandson of Navarra, Gilda (1921–) Director, mime Onoe Kikugorô VI, he was given this and actor, Puerto Rico. Gilda Navarra be- stage name in 1959 in his first stage ap- gan her career as a dancer before study- pearance, when he played Momotarô in ing with Jacques LeCoq in Paris and earn- the old Japanese folk tale Momotarô. He has ing a Certificat from the Ecole de Mime mounted full productions of some ki- in 1964. She returned to Puerto Rico, zewamono plays dedicated to the depiction where she taught courses in pantomime of the poor, the wretched and the under- and commedia dell’arte at the University world, such as Yotsuya Kaidan (Yotsuya Ghost of Puerto Rico for twenty-eight years. Story) by Namboku Tauruya, and During the 1980s, she founded and oper- Shiranami Gonin Otoko (The Five Robbers, ated a mime troupe, Taller de Histriones 1995) by Mokuami Kawatake. His repre- (Actors’ Workshop), which also presented sentative roles includes Shinza in commedia material. In 1989 she directed Tsuyukosode Mukashi Hachijo (The Hair-dresser the anonymous commedia work Three Shinza, 1989) by Mokuami, Benten Kozo Cuckolds at the University of Puerto Rico. in Shiranami Gonin Otoko and Shunkan in Also an actor, Navarra appeared as Nanny Heike Nyogo no Shima (Shunkan) by alongside Lucy BOSCANA, Sharon Riley Monzaemon Chikamatsu. He plays both and Idalia PÉREZ GARAY in Paul onnagata (a female impersonator) and Zindel’s The Effect of Gamma Rays on Man- tachiyaku (a leading male role). He acts es- in-the-Moon Marigolds (directed by Dean pecially well in tachiyaku in sewamano (do- ZAYAS, Teatro del Sesenta, 1971), and as mestic style) plays of the late Edo kabuki Lucky in Julio BIAGGI’S production of with his crisp pronunciation of the Edo Beckett’s Waiting for Godot, in a version accent and excellent movements. translated by Francisco Prado (Proscenio, 1974). Napier, John (1944–) Designer, Great Britain. Napier studied at Hornsey Col- Ndao, Cheik Sidi Ahmed (1933–) lege of Art, and from 1967–8 he designed Dramatist, Senegal. Ndao has written at the Phoenix in Leicester. His London seven plays, five in French and two in

214 Nelligan, Kate Neuenfels, Hans

English, which deal mostly with the resist- began his distinguished and busy career ance of the African aristocracy to French as a lighting designer in 1958 on a pro- and European colonial conquest in the duction of Hamlet at Stepney Green. From nineteenth century. His plays combine 1963–82 he worked as production man- song, dance and movement to produce ager and technical director for the Seattle spectacular and colourful theatre images, Repertory Theatre. He also lit musicals and this is an attribute which he shares such as Sunday in the Park with George on with other French African dramatists such Broadway, avant-garde theatre (e.g. as Nicole WEREWERE-LIKING Robert WILSON’S The King of Spain, (Cameroon), Zadi ZAOUROU (Ivory 1969), and modern dance (for example, Coast) and Guillaume OYONO-MBIA for Merce Cunningham). Winner of nu- (Cameroon). Another special quality of merous awards, his lighting for Sunday in Ndao’s plays, especially L’Exil d’Albouri the Park truly enhanced the Seurat-styled (Albouri’s Exile, 1967), is their epic concep- setting. tion and the huge canvas on which large crowds move across vast open spaces and Neto, José Possi (1947–) Director, drama- the splendid battle scenes that are often tist and designer, Brazil. A graduate from filled with magnificently clad armies. His the School of Communication and Arts, other plays are Le Fils de L’Almany (The Son University of São Paulo, Neto conducted of the Almamy, 1973), La Case de l’homme (The research on avant-garde dance and thea- Hut of Manhood, 1973), L’ile de Bahila (The tre in New York (1976–88) under the Fullb- Island of Bahila, 1975), Tears for Tears (1977), right Foundation programme. His direct- Love But Educate (1978) and Du Sang pour ing credits include Three Tall Women by un Trone (Blood for a Throne, 1983). Edward ALBEE, Shaw’s Saint Joan, Maria Adelaide Amaral’s De Bracos Abertos, Harold Nelligan, Kate (1951–) Actor, USA. PINTER’S Betrayal and several of his own Nelligan trained at the Central School of plays, which fall under the category of Speech and Drama in London, leading to ‘dance theatre’, using dancers as actors. For her professional debut in 1972 at the Bris- such productions, Neto also designed cos- tol Old Vic. She appeared with the Na- tumes, lighting and sometimes sets. tional Theatre (Ellie Dunn in Shaw’s Heart- break House, 1975) and the Royal Shake- Neuenfels, Hans (1941–) Director, Ger- speare Company (Rosalind in As You Like many. After training at the Max Reinhardt It, 1977). Since 1978 she has appeared Seminar in Vienna, Neuenfels directed in mainly in the USA, making her Broadway Lucerne, Trier, Krefeld and Heidelberg debut in 1983 as Susan Traherne in David (1968–1970, productions including HARE’S Plenty, followed in 1985 by the Büchner’s Danton’s Tod (Danton’s Death) and title role in Edna O’Brien’s Virginia. More Strindberg’s Fröken Julie (Miss Julie)). From recently she played Maria Callas in 1972–6 he joined Peter Palitzsch in Frank- Terrence MCNALLY’S Master Class (1996) furt. Between 1986–90 he was artistic di- and appeared in Wasserstein’s An Ameri- rector of the Volksbühne, Berlin, where can Daughter (1997, opposite Hal productions included Edward BOND’S HOLBROOK). Critics have often noted Saved and Sophocles’s Elektra. His attempt the delicate combination of intelligence and to regenerate this stage with a young com- vulnerability that she brings to her work. pany and a daring repertory failed, due to financial and political reasons. Since Nelson, Richard (1938–) Designer, USA. then he has worked freelance, productions Nelson graduated from High School of including Edward ALBEE’S Who’s Afraid Performing Arts in New York City and of Virginia Woolf? (Vienna, 1991), and A

215 Nevin, Robyn Ng, Karley

Midsummer Night’s Dream at the Schiller- ton toured Canada in Julius Caesar and Theater, Berlin (in 1993, with Bernard Shaw’s Saint Joan (1961–2). Newton was Minetti as Puck). More recent work in- artistic director of several Canadian thea- cludes Genet’s Les bonnes (The Maids, tres and at the Shaw festival, where he 1996), Horvath’s Geschichten aus dem Wiener balanced an inherited $600,000 deficit Wald (Tales from the Vienna Wood, 1996), and within four years and transformed the Fes- Williams’s The Rose Tatoo, all at the tival from a summer repertory theatre to Bayerisches Staatsschauspiel in Munich. a company of international stature. The ‘Neuenfels rejects simple psychological Shaw Festival now attracts some of Cana- explanations, always tracing the deeply da’s best actors, and Newton has also ex- hidden subtext. His best productions be- panded the Festival to include plays by come images in thought, the highest form Shaw’s contemporaries. Some of his most theatre can achieve.’ celebrated productions, including Feydeau’s A Flea in Her Ear and Rostand’s Nevin, Robyn (1942–) Actor and direc- Cyrano de Bergerac, are not of Shaw’s work. tor, Australia. Nevin trained at the Na- But Newton continues to produce Shaw’s tional Institute of Dramatic Art, Sydney. plays and to invest them with a contem- Recently she has been concentrating more porary relevance, an immense theatrical- on directing, and is now artistic director ity and a tremendous sense of humour. of the Queensland State Theatre. Her 1995 Melbourne Theatre Company pro- Neyolova, Marina (1947–) Actor, Russia. duction of the Australian classic, After graduating from the Leningrad State LAWLER’S The Summer of the Seventeenth Institute for Theatre, Music and Film, Doll, for the play’s fortieth anniversary, Neyolova joined the Leningrad Film Stu- toured most of Australia. Nevin cites di- dio in 1968. She then moved to Moscow rector Rex Cramphorn as a seminal fig- and in 1971 joined the Mossovet Theatre ure in her acting career, which includes Company. Since 1974 she has been with Blanche in Streetcar Named Desire by Ten- the Sovremennik Theatre, Moscow, where nessee Williams, and Lavinia in O’Neill’s major work includes Twelfth Night (directed Mourning Becomes Electra (Old Tote, Sydney, by Peter BROOK) Martha in ALBEE’S 1975). David WILLIAMSON wrote ma- Who’s Afraid of Virginia Woolf? (1985) and jor roles for Nevin in The Perfectionist, Em- Masha in Chekhov’s Tri sestry (Three Sis- erald City and Money and Friends. Nevin is ters, 1982). Neyolova brought to the con- still very much associated with tragic or temporary Russian stage a certain feeling strong women in crisis roles, such as of poignancy and despair. In her acting, Barbara in Katherine Thomson’s Diving for grace, beauty and sex appeal are com- Pearls 1, AYCKBOURN’S Woman in Mind bined with real dramatic feeling and psy- and Shasta in the critically acclaimed tel- chological depth. In Ginzburg’s A Steep evision series Water Under the Bridge (1980). Route (1989, about a Stalin labour camp One of her most remembered roles is the prisoner) she proved to be a mature tragic well-meaning but terrifying Miss Docker actor. During American tours of the in Patrick White’s A Cheery Soul. Less con- Sovremennik theatre (1990, 1996) she was ventionally, Nevin played Mark Antony highly acclaimed by the press. Neyolova as a woman character in the MTC’s 1996 now lives in France, the wife of a diplo- modern dress production of Julius Caesar, mat. Each month she travels to Russia to directed by Simon PHILLIPS. perform at Sovremennik.

Newton, Christopher (1936–) Actor and Ng, Karley (1957–) Dramatist and direc- director, Canada. Born in Britain, New- tor, China (Hong Kong SAR). His

216 Ngema, Mbongeni Nieva, Francisco pseudonym is Mok Hei. Ng has been ac- pany and getting a character role in Mama tive in the local theatre scene since 1972 and the Load. and started his professional career in the early 1980s. He founded the Exploration Niermeyer, Amélie (1965–) Director, Theatre in 1982 and has, as its artistic di- Germany. Following two years as assist- rector, presented over sixty productions ant director with Rudolf Noelte, Peter since, directing many himself, and PALITZSCH and Peter Eschberg in mounted a performing tour in Vancouver. Bonn, Niermeyer travelled to Southeast A leading figure in promoting original Asia and worked as an assistant director works, Ng’s reputation as a playwright has at the New Theatre, Sydney. From 1986– included no less than three script awards. 9 she studied German literature in Bonn His major works as both playwright and and Munich, and continued her appren- director include Between You and Me (1985), ticeship with Franz Xaver KROETZ and Curtain Up (1988), The Invincible Ladies David MOUCHTAR-SAMORAI. Since (1992) and Dragon’s Legend (1996). An in- 1990 she has been a resident director with fusion of social issues characterized his the Bayerisches Staatsschauspiel in Mu- Close to My Heart (1996). Ng’s realistically nich, apart from one season as director set and socially provocative plays also in- with the theatre in Dortmund and free- clude Equality Index (1998) and Additive lance work in Weimar, Hamburg and Friends (1999). His recent introduction of Frankfurt. Productions include Bettina interactive theatre in the local theatre Fless’s Memmingen (1991), Wedekind’s scene is also widely acknowledged. Frühlings Erwachen (Spring Awakening, 1992), Aristophanes’s Lysistrata (1993), Ibsen’s Ngema, Mbongeni (1955–) Dramatist, Hedda Gabler (1995), Lessing’s Miss Sarah actor, director and musician, South Africa. Sampson (1996), Goethe’s Stella (1997, and Ngema first came to international atten- in 1999 in Frankfurt am Main), Kleist’s tion with his very powerful performance Der Zerbrochene Krug (The Broken Jug, 1997) in the 1980s in Woza Albert!, a play which and Romeo and Juliet (1998). According to also featured Percy MTWA (with direct- critical opinion, ‘Niermeyer shows a set of ing and improvisation contribution from basic skills that suggests future develop- Barney SIMON). Woza Albert! carries on ments of her style towards the imaginary, the tradition of the workshop play set by symbolic or even visionary’. Sizwe Bansi is Dead by John KANI, Winston NTSHONA and Athol Nieva, Francisco (1927–) Designer, FUGARD, but unlike Sizwe Bansi the char- dramatist and director, Spain. Nieva stud- acters in the latter are many and cover a ied Fine Arts before leaving the conserva- spectrum of South African society. This of tive climate of Francoist Spain for France, course makes enormous demands on the where he associated with key figures of the acting abilities of Ngema and his co-actor avant-garde and absurdist movements. It Mtwa, who have to mutate into different was for the Theatre National Populaire characters. Much of Ngeni’s theatre art that Nieva undertook his first job as de- draws upon traditions of Zulu music and signer, La Place Royal, directed by Georges dance, which he then blends, using his ex- Wilson. Returning to Spain in 1964 he perience as a township actor in the musi- worked regularly in Madrid as a designer cals of Gibson KENTE. His first acting with the most prominent directors of the role was in Lucky Mavundla’s Isigiro and age, Miguel Narros, Adolfo later in Kessie Govender’s Working Class MARSILLACH and José Luis Alonso. Hero, before joining Kente’s theatre com- His designs moved away from the realism prevalent at the time, playfully

217 Nijholt, Willem Ninagawa Yukio interrogating the accepted myths, conven- sicals again, in You’re The Top (about Cole tions and icons of Hispanic life and cul- Porter, 1995) and as The Engineer in Miss ture. Although he had been writing plays Saigon (1996). since the early 1950s, these grotesque, surreal and wildly funny works were not pro- Nilu, Kamaluddin (1955–) Director and fessionally produced until after Franco’s actor, Bangladesh. Nilu trained at the Na- death. Widespread recognition came with tional School of Drama (1978–81). His di- the productions in 1976 of El combate de rectorial credits include translations of Opalos y Tasia (The Battle of Opalos and Tasia) Oidipus tyrannos (King Oedipus) by Sophocles and La carrota de plomo candente (The Car- (set design by Jamil ARMED, 1981), The riage of White-Hot Lead), erotic intertextual Sultan’s Dilemma by Taufique Al-Hakim (set pieces touched with an anarchic sense of design by Qamruzzaman Runu humour. During the 1980s and 1990s he CHOWDHURY, 1991), Ibsen’s has increasingly directed and designed his Gengangere (Ghosts, 1996) and an adapta- own plays and enjoyed high-profile pro- tion of Molière’s L’avare (The Miser, with ductions of key works in France. Tariq KHAN in the title role and set design by Jamil Ahmed, 1983). These pro- Nijholt, Willem (1934–) Actor, The ductions earned him considerable reputa- Netherlands. Willem Nijholt was born in tion as a director who seeks subtle balance the former Dutch East Indies. After his between the text and the visual. He is the family’s return he went to the Drama general secretary of the Centre for Asian School in Amsterdam (1957–60). He Theatre and associate professor of thea- started his rich and chequered career with tre at the University of Chittagong. Nilu the Rotterdams Toneel, playing many rep- has travelled abroad extensively, attend- ertory parts up to 1967. An excellent ing seminars and conferences. singer and showman, he performed many parts in cabaret, musical and entertain- Ninagawa Yukio (1935–) Director, Ja- ment from 1967 to 1980, including shows pan. Ninagawa began his career in thea- with top entertainer Wim Sonneveld and tre with Gekidan Seihai (the Seihai Thea- musicals by Annie M.G.Schmidt like Wa t tre Company). In 1969 he co-founded een planeet (What a Planet) and Foxtrot. He Gendaijin Gekijô (the Contemporary became a celebrity in these years, in part People’s Theatre). He staged SHIMIZU also because of his work for television. Kunio’s Shinjô Afururu Keihakusa (The Nijholt is a highly skilled, conventional Hearty Frivolity, 1969), which reflected the actor with a lot of charm, although he is feelings of the youth at that time. This always critical of colleagues with little in- became the start of his long-standing col- terest in the handicraft of acting. In 1980 laboration with Shimizu on, for example, he returned to playing repertory parts, Karasuyo Oretachi wa Tama o Komeru with the Haagse Comedie. He starred in (Ravens! We Load Guns, 1972), and Tango Molière’s Tartuffe, Pommerance’s The El- Fuyu no Owarini (Tango at the End of Winter, ephant Man, Medoff’s Children of a Lesser 1984). He began directing for the com- God and many other plays. In 1985 he mercial theatre company, Tôhô with a made a solo show and developed a taste production of Romeo and Juliet in 1974. for directing (for example, SHAFFER’S His work with Tôhô includes Chikamatsu Amadeus, in which he also acted twice, Shinjû Monogatari (Chikamatsu Love Suicide 1991). In recent years Nijholt directed Story) by AKIMOTO Matsuyo (1979), three plays by Noël Coward, including. Ninagawa Macbeth (1980), Euripides’s The Marquise (with Anne-Wil Medeia (1983) and The Tempest (1987). BLANKERS, 1992) and appeared in mu- Many of his productions have toured

218 Nityanandam, Nirupama Noble, Adrian abroad. An English adaptation of Tango at Hanoch LEVIN. Nitzan has held most of the End of Winter was staged at the Royal the central managerial positions in Israeli National Theatre in London in 1991, and theatre, through which he has been able to Shintoku-Maru (The Boy Shintoku) by Shuji introduce new playwrights and directors. Terayama and Hamlet were performed at He has been the artistic director of the Haifa the Barbican Centre in 1997 and 1998. municipal theatre, the Habima national He formed Gekisha Ninagawa Studio theatre, the Israel Festival and, since 1995, (the present Ninagawa Company) in the Cameri Tel Aviv municipal theatre. As 1984 and the company continues experi- a director as well as in his managerial posi- ments in its studio. tions, Nitzan has had an enormous influence on Israeli mainstream theatre, which Nityanandam, Nirupama (1963–) Ac- he sees as an expression of secular culture tor, France (born in India). Nityanandam in a country where the religious influences trained with the Indian company of have steadily been growing. Bharatanatyam, Dhananjayan, between 1969–72, advancing to professor and cho- Nkosi, Lewis Dramatist and actor, South reographer at the school of Dhananjayan Africa. Nkosi was a member of the Afri- in 1984. In 1987 she came to France and can Theatre Workshop, a group of black joined Ariane MNOUCHKINE’S South African theatre artists who were Théâtre du Soleil, where she became one closely associated with Athol Fugard and of the major actors. She played the lead- his wife Sheila in the 1950s and who evening role, Dina Jinnah (daughter of Jinnah) tually provided the bulk of actors who in CIXOUS’S The Indiad or the India of performed Fugard’s No-Good Friday in Jo- Their Dreams (1987), Iphigenia in hannesburg in 1958. Included in this group Euripides’s Ipbigenia at Aulis (1990), were such notable South African acting Cassandra in Aeschylus’s Agamemnon talents as Bloke MODISANE and Zakes (1990), Electra in Aeschylus’s The Libation MOKAE. Nkosi took over the role of the Bearers (1991), one of the Erinyes in white Father Higgins from Fugard when Cixous’s La ville parjure ou le réveil des Erinyes No-Good Friday went to the Brooke Thea- (1994) and Elmire in Molière’s Tartuffe tre, an all-white venue in Johannesburg (1995). Since the creation of the Théâtre where a mixed race cast was forbidden. du Soleil, Ariane Mnouchkine has striven Nkosi is known more for his critical work, to unite Western and Oriental theatre tra- but his one published play, The Rhythm of ditions and dramaturgies, seeking out this Violence (1964), a play that explores apart- combination in actors. On stage, heid South Africa, is well known and has Nityanandam’s body movements and fa- been widely performed in many countries cial expression are inspired by traditional in Africa. He has spent years teaching, Indian theatre and dance. writing and presenting African theatre in exile in Europe and America. Nitzan, Omri (1950–) Director, Israel. Nitzan studied directing at the Drama Cen- Noble, Adrian (1950–) Director, Great tre in London. He has directed a large Britain. Noble trained at Drama Centre number of Shakespeare plays like Twelfth and worked as an associate director at the Night, A Midsummer Night’s Dream and The Bristol Old Vic (1976–9). He joined the Merchant of Venice, stressing the contempo- Royal Shakespeare Company in 1980, was rary and the local perspectives. He has also an associate director between 1982–90, directed many plays by Israeli playwrights and took over as artistic director from like Hillel MITTELPUNKT and Trevor NUNN and Terry HANDS in Yehoshua SOBOL, Edna MAZIA and 1991. He has directed mainstream

219 Noda Hideki Noor, Asaduzzaman

Shakespeare, such as Hamlet with Kenneth the Théâtre du Centaure and was its ar- BRANAGH and Jane LAPOTAIRE tistic director for the next eighteen years. (1992), Chekhov (such as Tri sestry (Three He directed some forty plays, commis- Sisters), 1990, and Visnevyi sad (The Cherry sioned new writing by Luxembourg au- Orchard), 1994), contemporary plays (such thors, and played the title roles of as a revival of STOPPARD’S Travesties Molière’s Dom Juan, The Miser and with Anthony SHER, 1993), and pre- Tartuffe. In 1992, Noesen became artistic sented cycles of plays such as The director of the Théâtre d’Esch, until then Plantagenets, based on Shakespeare’s his- a repertory theatre, and established regu- tory plays, and The Thebans, based on lar in-house productions as part of their Sophocles. His signature style has been programme. Meanwhile, he played described as ‘bold, imaginative concep- George in ALBEE’S Who’s Afraid of Vir- tion, narrative clarity, inventive visual tex- ginia Woolf? (Théâtre du Centaure, 1992, ture and richly theatrical effects’. with Marja-Leena JUNKER and Myriam MULLER, designed by Jeanny Noda Hideki (1955–) Dramatist, director KRATOSCHWILL) and won great ac- and actor, Japan. Noda began his career claim for his solo performance in Kafka’s in Yume no Yûmin-sha (Dream Theatre Bericht für eine Akademie (Report to an Acad- Company), which had developed from his emy, 1994, Théâtre d’Esch, presented at university drama society. His first play the Avignon Theatre Festival). performed outside the university, Hashire Merusu (Run Merusu, 1976) was written for Nomura Mansaku II (1931–) Nôgaku the competition of young theatre groups kyôgen actor, Japan. The second son of sponsored by VAN 99 Hall Theatre, To- Nomura Manzô VI, and trained under his kyo. His plays include Shônen Gari (Hunt- father, he is a member of Izumi School of ing Boys, 1979), Zenda-jô no Toriko (The Cap- kyôgen. His first stage appearance was in ture in Zenda Castle, 1981) and Hanshin (The the role of the monkey in Utsubozaru (Utusbo Half-God, 1990). His theatre represents the Monkey) in 1934. He succeeded to the major trend of the 1980s contemporary present stage name when he performed Japanese theatre, which is ‘larger than hu- Sanbasô (Sanbaso: the Abundant Harvest) in man size’. It involves an athletic and dy- 1950. His representative performances in- namic style of acting, spacious and spec- clude in Tsuri Gitsune (Fox Hunting, 1956), tacular design and complicated plots and Hanago (1960) and Makura Monogurui (A subplots from both Eastern and Western Pillow Talk, 1991). He endorses the new novels and classics. Yume no Yûmin-sha repertoire of kyôgen and also works in has been invited to Edinburgh Interna- modern theatre. Gaki Kuyô (Memorial Serv- tional Festival in 1987 and to the New ice for a Hungry Ghost, 1976) and Shigosen no York International Art Festival in 1988. Matsuri (Requiem on the Meridian, 1979) by The company was dissolved in 1992. KINOSHITA are the examples of his ad- Since then Noda has extended his theatri- venturous work. As kyôgen is the form of cal ideas by working freelance for various comedy of the mediaeval times, kyôgen theatre productions. actors basically play roles which are silly and funny to a certain degree. Mansaku Noesen, Philippe (1944–) Actor and di- wins the audience’s laughter from the rector, Luxembourg. After his training at moment he enters the stage. the Conservatoire National Supérieur de Paris, Noesen joined the Comédie Noor, Asaduzzaman (1946–) Actor, Française as a resident actor. On his re- Bangladesh. An ardent political-cultural turn to Luxembourg in 1974, he founded activist in his student life, Noor attained

220 Nordby, Terje Ntshona, Winston Zola fame as a stage actor in early 1980s. His released from jail. ‘Two actors simultane- most memorable performances include ously portray her former, criminal, and the title role in a translation of her current, reformed selves.’ The Pulitzer Zuckmayer’s Der Hauptmann von Köpenick Prize winning ’night Mother (1983) is an (The Captain of Köpenick, designed by equally powerful play, about a young Mansuruddin AHMED and directed by woman’s decision to commit suicide. Later Aly ZAKER, 1981), Abbas in Syed plays include Winter Shaker (1987), the HUQ’S Nooraldeener Sarajeeban (Nooraldeen: book and lyrics for a musical adaptation A Life, with Aly Zaker in the title role, of The Secret Garden (1991), and Loving Dan- Sarah ZAKER as Lizbeth, Ataur iel Boone (1993). ’night Mother also helped RAHMAN as Goodlad, set design by solidify the career of Kathy BATES, who Mansuruddin Ahmed, directed by Aly won numerous awards for her powerful Zaker, 1981), Estragon in a translation of performance. Beckett’s Waiting For Godot (with Abdul HAYAT as Pozzo, directed by Ataur Nowra, Louis (1950–) Dramatist, Aus- Rahman, 1984) and the Doctor in an ad- tralia. Nowra has written plays, film scripts aptation of Dorfman’s Death and the Maiden (Map of the Human Heart), radio plays, nov- (with Hayat as the Lawyer and directed els and opera libretti. He has also trans- by Sarah Zaker, 1993). The captivating lated plays and adapted Xavier Herbert’s power of Noor’s performance lies in his Capricornia (1988) for the stage. His early dexterous portrayal of the essence in de- plays, the best-known of which is The tail, subtle interplay of emotion and mas- Golden Age (1985), show a self-conscious tery over speech. interest in language, culture, insiders and outsiders and the downright bizarre. Sev- Nordby, Terje (1949–) Dramatist, Nor- eral of these plays use an historical mo- way. Nordby considers his ten years with ment as their creative departure point. Ini- Tramteatret, which he co-founded in 1976 tially Nowra often set his plays outside and where he combined work as director, Australia, but more recently his plays have actor and administrator, as his fundamen- focused on dissecting Australian society. tal theatre training. For Tramteatret, he Nowra’s most recent plays have been less wrote seven musical revues with a politi- anti-illusionistic and more conventional in cally radical flare, including Hven er Redd their subject matter, particularly targeting for Froken Lunde (Who is Afraid of Miss Lunde) corruption and politics (The Temple, 1993, and Det Enkleste er Pistol (The Simplest Thing The Incorruptible, 1995) and have been very is a Gun). In his later plays for theatre, successful with subscriber audiences. Sev- Nordby takes up storytelling traditions eral plays offer roles for Aboriginal actors, and suffused them with a modern con- especially Radiance (1993) and Crow (1994). sciousness. He has developed a growing Autobiographical plays are Summer of the interest for existential problems, seeking Aliens (1992, when Nowra himself played roots in the ancient past (mythology, folk- the role of the narrator, Lewis, for the lore), but nevertheless relating to the con- Melbourne Theatre Company production) crete and social reality we live in. and Cosi (1992, later filmed).

Norman, Marsha (1947–) Dramatist, Ntshona, Winston Zola (1941–) Actor, USA. From 1969–71 Norman worked South Africa. Not much is known inter- with disturbed children at Kentucky Cen- nationally about Winston Ntshona except tral State Hospital, an experience which that he was co-actor and co-devisor with influenced her plays. Getting Out (1978) John KANI and Athol Fugard on the in- deals with the problems of a woman just ternationally acclaimed Sizwe Bansi is Dead

221 Nunes, Celso Nwoko, Demas

(first performed at The Space, Cape 1978–91. Among his many productions of Town, October 8, 1972) and The Shakespeare, Macbeth (1975 with Ian Island.Ntshona’s acting abilities were in his MCKELLEN and Judi DENCH) is note- very powerful portrayal of the central worthy. ‘His vision of Shakespeare at the character Sizwe Bansi/Robert Zwelinzima Royal Shakespeare Company involved and one of the Robben Island prisoners focusing on the private person rather than in The Island. It was felt that it was public issues.’ In the early 1980s Nunn di- Ntshona’s acting which brought home to rected commercially successful musicals, the world the trauma and psychic disloca- Cats and Starlight Express (1981 and 1984), tions which black people were experienc- has directed opera and, more recently, a ing under the infamous apartheid pass and successful revival of Shaw’s Heartbreak employment laws. He gave this role a House (1992) and STOPPARD’S Arcadia strong dose of emotional intensity and sin- (1993, with Felicity KENDAL). In 1997 cerity which moved all who saw it on the he succeeded Richard EYRE as director many stages and theatres of the world of the Royal National Theatre, choosing where it was performed. Christopher HAMPTON’S version of Ibsen’s En Folkefiende (An Enemy of the Peo- Nunes, Celso (1941–) Director, Brazil. ple) as first his production (starring Ian Nunes took a performing art course at the McKellen, set design by John NAPIER), School of Dramatic Arts in São Paulo, and followed by a revival of PINTER’S Be- a theatre director’s course at the Sorbonne trayal, Mutabilitie by Frank in Paris. His obtained his doctorate at the MCGUINNESS and the musical Okla- School for Communication and Arts at homa!. São Paulo University. Practical training continued with Stanislavski method stud- Nwabueze, Emeka Patrick (1948–) ies under Eugenio Kusnet, a period as as- Dramatist, Nigeria. Nwabueze played the sistant director with Antunes FILHO, and role of Dr Ezenagu (as a member of Eb- training periods with Grotowski, Eugenio ony Players) in the American premiere of BARBA, Jean Villar and Bernard Dort. his Spokesman for the Oracle in 1983. His Major productions include Die Ermittlung other significant play is Guardian of the Cos- (The Investigation) by Peter Weiss, Coriolanus mos (1990), almost a dramatized version and King Lear, Peter SHAFFER’S Equus, of Chinua Achebe’s famous novel, Arrow Groß und Klein (Large and Small) by Botho of God, already adapted for the stage suc- STRAUSS, and Brecht’s Leben des Galilei cessfully as A Harvest for Ants by Kalu (Life of Galileo). Founder of the Theatre UKA in 1977. Most of Nwabueze’s plays Centre of the Universidade Estadual de are concerned with the psychological ex- Campinas and representative in Brazil for ploration of characters, and they are fairly the International Theatre Institute, Nunes realistic portrayals of both character and is working on the Rolfing therapy area for scenery: there is not much experimenta- future establishment of a link between action with dramatic form and staging tech- tors and Rolfing movement practices. nique. In Guardian of the Cosmos, traditional theatre media of dance and songs are used Nunn, Trevor (1940–) Director, Great to add local colour. Britain. Following two years at Belgrade Theatre, Coventry, where he also trained, Nwoko, Demas (1939–) Designer and Nunn became associate director at the director, Nigeria. Nwoko studied fine arts Royal Shakespeare Company in 1964, ar- at Zaria (1956–61) and scenic design at the tistic director between 1968–78 and joint Centre Français du Théâtre in Paris (1962– artistic director with Terry HANDS from 3). His designs for the stage include Wole

222 Nwoko, Demas Nwoko, Demas

SOYINKA’S A Dance of the Forests (also cos- pertise and skill of scenic and costume de- tume design), and Brecht’s Der Kaukasische sign. He later set up New Culture Studios, Kreidekreis (The Caucasian Chalk Circle). Di- his own fully professional studio that de- recting credits include anMbari Theatre signed theatres and furnitures, and pub- production of J.P.CLARKBEKE- lished for a while a journal of cultural stud- DEREMO’S The Masquerade, which fea- ies as well as offering in-house training and tured among others the talented and ver- consultancy in the plastic and performing satile Wale OGUNYEMI. The produc- arts. His views on theatre and design arts tion of Jarry’s Ubu Roi (King Ubu), which have contributed immensely in the devel- also featured Ogunyemi, was influenced opment of performing arts in Nigeria and by Nwoko’s wide knowledge of Oriental Africa as a whole, theatre styles and techniques and his ex-

223 O

Obafemi, Olu (1951–) Dramatist, actor Yorkshire Playhouse on October 25, 1995. and director, Nigeria. Obafemi is the Significant roles in the theatre include his founder-director of Ajon Players, a Uni- triple roles of Vandor/MC/Mother of the versity of Ilorin-based theatre group which Day in Area Boy, and doubling up as Di- tours the villages as a means of taking lit- rector of Security and Wing Commander erary theatre to the people. Obafemi be- in From Zia with Love (another Soyinka longs to the second generation of radical play) which premiered in Sienna, Italy in Nigerian playwrights who are concerned 1992. Other stage roles include the memo- with developing a ‘revolutionary theatre rable performance with Ogunyemi and aesthetic’ capable of engaging with con- Femi Johnson in the opera The Love Potion temporary social realities of their Nigerian (1967), as Boyfriend in Childe Internationale socio-political context (others in the group (written and directed by Soyinka, opposite are Femi OSOFISAN, Bode SOWANDE, Ogunyemi’s Politician and Bettie Kole OMOTOSO and Tunde OKOTIE’S Wife, 1965). A versatile per- FATUNDE). Like most of the other play- former who can move comfortably be- wrights of his generation, he taps into the tween the tragic and the comic modes, he myths, folklore, dances, music and mime has appeared in many other roles and is traditions of his Yoruba culture; however, well-respected as one of the leading actors these are radically subverted so that old of the Nigerian stage. values and assumptions are completely turned upside down and new insights Oduneye, Bayo Director, Nigeria. Bayo gained. Oduneye worked as a theatre technician at the School Drama at Ibadan University Obileye, Yomi Actor, Nigeria. Yomi before going on to study theatre arts in Obileye has been a very long standing the USA. He has been actively involved member of Wole SOYINKA’S Orisun in directing for the stage and for film, serv- Theatre along with other notable Nigerian ing as director of the Nigerian Film Cor- actors such as Wale OGUNYEMI, poration. One of his memorable produc- Yewande Johnson, Tunji OYELANA and tions was his Hassan for the Ibadan Thea- Segun SOFOWOTE. He has featured tre on Wheels in 1972, which featured consistently in Soyinka’s productions, in- Wale OGUNYEMI in the title role of cluding his most recent, The Beatification of Hassan. Oduneye’s style of directing is Area Boy, which premiered at the West influenced by his belief that acting is a

224 Özakman, Turgut Oh Hyun-Kyung physically demanding craft, and he there- chief drummer and theatre manager—has fore drills his actors the way a physical successfully adapted novels and several set training instructor would in order to help literature texts for secondary schools for them to achieve and maintain suppleness, the stage. The most successful is the ad- flexibility and a strength of body needed aptation for television of Aja lo l’eru, a to carry their roles through a punishing Yoruba novel by Oladejo Okediji. His schedule of performances. blend of popular and literary traditions and techniques has ensured that his pro- Özakman, Turgut (1930–) Dramatist, ductions are well attended: 14,000 specta- Turkey. Özakman attended the Institute tors watched his Efunsetan Aniwura at the of Theatre Studies at the University of Liberty Stadium in Ibadan. Köln, Germany. On his return to Turkey he worked in many positions related to the Ogunyemi, Wale (1939–2002) Actor, di- theatre, including as dramaturge at the rector, dramatist and designer, Nigeria. Ankara State Theatre and as the head of Trained as a typist, Ogunyemi received the Ankara Radio Performance Broadcast- informal training in traditional arts and ing Department. At Turkish Radio—Tel- culture, and attended a few theatre train- evision Organisation (TRT), he institu- ing workshops. He was a pioneer mem- tionalized radio broadcasting to train the ber of the University of Ibadan School of first broadcasting generation (1962–9). Be- Drama Acting Company, and through his tween 1983–7 he became the general di- membership of Wole SOYINKA’S Orisun rector of the Turkish State Theatres. Cur- Theatre he became fully integrated into rently, he is an instructor at the Theatre theatrical professionalism, research and Department of the Faculty of Letters, Uni- writing. Apart from his playwriting, versity of Ankara. He wrote his first play, Ogunyemi has worked as director, stage Masum Katiller (The Innocent Murderers) in manager, technical director, set and cos- 1947. Since then he has written numerous tume designer, choreographer, musician plays, including Pembe Evin Kaderi (The fate and theatre manager. However, his main of the Pink House, 1951), Güneste On Kisi (Te n forte is in the area of acting/performance People on the Sun, 1955), Tu f a n (Deluge, for stage, radio, television and film, in 1957), Duvarlarin Ötesi (Beyond the Walls, both English and his native Yoruba. Ma- 1958), Komsularimiz (Our Neighbours, 1967) jor roles include the title role in Hassan and Deliler (The Lunatics, 1987). He ex- (1972, directed by Bayo ODUNEYE), plores Turkish issues, showing that world Man in Sizwe Bansi is Dead (1976, by Athol issues are not any different from those at Fugard, John KANI and Winston home. NTSHONA, with Jimi SOLANKE as Buntu/ Styles), Goyi in Soyinka’s Madmen Ogunsola, Isola Actor-manager, Nigeria. and Specialists and Bottom in A Midsummer Isola Ogunsola is one of those breed of Night’s Dream. His published plays include actor-managers that make up the popular The Vow, Obaluaye, Langbodo (directed by Yoruba Travelling theatre and operatic tra- Dapo ADELUGBA for FESTAC 77), dition: others are the late Hubert Ogunde, Partners in Business, Kiriji and Ijaye War. Moses Olaiya ADEJUMO (Baba Sala), Oyin ADEJOBI and Ade AFOLAYAN. Oh Hyun-Kyung (1936–) Actor and di- Ogunsola represents a good example of a rector, Korea. Oh graduated from Yonsei successful marriage between the Nigerian University and trained at the Drama Cen- literary tradition and the Yoruba operatic tre (later the Seoul Institute of Arts). He tradition. His theatre company, which he created a new concept in Korean theatre controls totally—he is producer, director, by mixing two contrasting elements,

225 Oh Oun-Hee Oida Yoshi intellectual and comic. His rather slapstick and Yoodayeo Dalgi Woolgijeone (Before a acting style made him the most popular Rooster Crows, Judas, 1969). Since the 1970s, supporting actor in the Korean theatre. he has written experimental performances His major performances were as the Of- such as Choboon (Grass Tomb, 1973), Ta e (The ficer in Je Sipchil Poro Sooyongso (The 17th Navel Cord, 1974) and Choonpoongeui Cheo Concentration Camp, 1959), Juno in (Choon-Poong’s Wife, 1976). These are exam- O’Casey’s Juno and the Paycock (1960), ples of the theatricality of the primitive Willy Loman in Arthur MILLER’S Death human being. Influenced by seeing East of a Salesman (1962), the title role in Heo- European theatre in New York in 1979, Oh Saengjeon (The Story of Heo-Saeng, 1966), the discovered the theatrical power of tradi- title role in Oh Young-Jin’s Maengjinsadak tional Korean performances. He organized Gyeongsa (Maeng’s Family’s Happy Day), Joo- Oh’s Division, later the Mokhwa Theatre Mong in LEE Gung-Sam’s Ilyoileui Company, in order to realize his Boolcheonggaek (The Unwelcome Visitor on Sun- intercultural acting methods. He wrote day, 1974), Father in LEE Gang-Baek’s and directed several masterpieces such as Bomnal (One Spring Day, 1984) and Dae-Boo Sachoogi (Adult at Puberty, 1979 with JANG in Lee Gun-Sam’s Makchatan Donggi Min-Ho in the cast), Jajeongeo (Bicycle, Dongchang (The Enemies Meet on the Last 1983, revived in 1986), Boojayoochin (The Train, 1991). Since the late 1960s, Oh has Struggle between the King and the Crown Prince gained major acclaim for his television as Father and Son, 1987), Simcheonginun Wae productions and films. In 1996, Oh made Indangsooe Doobeon Momul Deonjeotnunga? his debut as a director with YOUN Dai- (Why did Shimcheong Throw Herself into the Sung’s Neodo Meokgo Moolreonara (Drink It Indangsoo Sea twice?, 1990), Doraji (Ballon and Go Away). Flower, 1992), Baekmagang Dalbame (Moon- light of the River Baekma, 1993) and Oh Oun-Hee (1965–) Dramatist, Korea. Cheonnyeoneui Sooin (A Prisoner for Thousands Oh studied Chinese Literature at Pusan of Years, 1998). In 1994, at a specially or- University, Pusan, Korea and trained at ganized Theatre Festival in Seoul dedi- the Korea Playwrighting Workshop. She cated to Oh, his plays were presented over is mainly known for her musical scripts, a two-month period. Dongsoongdong Yeonga (Love Song on Dongsoong-Dong, 1993), Beondegi (Chrysalis, Oida Yoshi (1933–) Actor and director, 1994), Gyeolhon Ilgi (Married Life, 1994), Japan. Oida first became a member of the Byeolgeotdo Aningeosi (Nothing Special!, 1996) Bungaku-za Theatre Company and and Jisangeseo Boorunun Majimak Norae (The moved to the Shiki Theatre Company. Last Song from the Earth, 1997), all for the Whilst he had training in modern Japa- Maekto Theatre Company. Oh also wrote nese theatre, he studied nô, kyôgen, Sarangun Birul Tago (Rainbow (1995) and gidayû and kabuki dance. He then was Show Comedy (1996) for the Seoul Musical invited to join Peter BROOK’S Interna- Company. She developed her themes from tional Centre for Theatre Research in contemporary Korean life, which she feels 1968. He has acted in most of Brook’s pro- is the most effective way to appeal to a ductions, including The Tempest (1968), The Korean audience. Ik (1975), The Conference of Birds (1979), The Mahabharata (1985) and The Man Who Oh Tae-Seok (1940–) Dramatist and di- (1994). His recent directing credits are rector, Korea. In his early days, Oh was Brian FRIEL’S Molly Sweeny in Holland known as a dramatist of the Korea style and Mishima’s Hanjo in Berlin in 1997. In of absurd drama, writing and directing the latter he experimented with theatrical Hwanjeolgi (Turning Point of the Season, 1968) variation in three styles of nô, kyôgen and

226 Oka, Ida Bagus Omar, Nasser shingeki or modern theatre. Oida’s expe- OBILEYE (Boyfriend) in 1965; she riences in both Japanese and international played Segi in the 1965 production of theatre contribute to the establishment of Kongi’s Harvest with Dapo ADELUGBA as the depth and the distinctiveness in his Daodu; and she played the chatterbox performances. Amope in a 1966 production of The Trials of Brother Jero with Ogunyemi as Chume. Oka, Ida Bagus (1957–) Designer, Indo- She has since directed or choreographed nesia. From a famous family of dancers other productions including Samuel (his grandfather was Ida Bagus Gagelug, Beckett’s Act Without Words (1967) in which a legendary performer in the early part of Ogunyemi and other Orisun players took this century), Oka took a different path part. and began carving in his early teens. He worked for about four years under the Olinger, Marc (1946–) Actor and direc- tutelage of his uncle, the highly respected tor, Luxembourg. Olinger graduated from sculptor Tilem, before he struck out on the Sorbonne in Paris with a Ph.D. in phi- his own. Always an innovator, he was the losophy and French literature and received first of the Balinese woodcarvers to make his grounding in theatre at the Cours René African-style masks and has explored a Simon (Paris), at the Conservatoire de number of other genres. However, Oka Luxembourg and as the assistant to a has never been satisfied to simply copy the number of productions in Paris. Together work of others, but uses existing styles as with Claudine PELLETIER, he founded inspiration for his own creations. He has the Théâtre Ouvert Luxembourg for created original designs for a number of which he acted in and directed some fifty theatre and dance companies throughout productions from 1973–85. That year he the world and the scope of his work is con- assumed artistic directorship of the siderable. For example, for the Javanese Théâtre des Capucins, the only produc- choreographer Sardono, he created masks ing house to be entirely funded by the based on traditional Indonesian and Na- Luxembourg city council, where he regu- tive American models, but he has also cre- larly stages plays, both in the classical and ated original designs for TOM theatre of the contemporary repertory. He also ap- Japan’s production of The Magic Flute. He peared in many movies and directed a has designed and made masks for compa- number of films for television. nies in Europe and North and South America and still occasionally makes tra- Omar, Nasser (1961–) Actor and drama- ditional Topeng masks for performers in tist, Jordan. Omar was a member of the Bali. University Theatre Troupe, of Al- Fawanees Theatre Troupe, and founder of Okotie, Betty Actor and director, Nigeria. the Experimental Mawal Theatre Troupe. Betty Okotie (now Mrs Edewor) was one In addition to acting on stage and for tel- of the original members of the Orisun evision, he has written his own plays and Theatre Company founded by Wole performed in them, such as Forbidden to SOYINKA and Bola Ige. She has featured Laugh, Insane Thoughts from Hamlet’s Diary significantly and very memorably in many and And the Man Died. He has been de- of Soyinka plays. Her major roles include scribed as an actor who perpetually analy- the fine performance as Sidi in Soyinka’s ses and interprets difficult parts from a 1964 production of The Lion and the Jewels unique artistic vision always shocking, she was Wife in Childe Internationale oppo- fresh and controversial, for example as site other Orisun players such Wale Vladimir in Beckett’s Waiting for Godot. OGUNYEMI (Politician), and Yomi Other appearances include HUSSEINI’S

227 Omotoso, Kole Orsini, Umberto

Lights of Jericho. He gets involved emotion- form of social criticism and strongly influ- ally in the roles he plays to the extent that enced the angura (underground) theatre they become the only truth for him, mak- movement in the 1960s. Ôno amazed the ing theatre rather a dangerous game. dance world by his solo performance of La Argentina Sho (Celebrating la Argentina, Omotoso, Kole (1943–) Dramatist and 1977) when he was seventy-one. The actor, Nigeria. Omotoso is one of the gen- dance created an extraordinary situation eration of Nigerian dramatists with a com- in which Argentina, the dead, and Ôno, mitted socialist ideology and desire to the living, communicated with each other evolve a revolutionary aesthetic for the through love. Further representative theatre, capable of articulating and cham- dances are Watashi no Okasan (My Mother, pioning the views of the working classes 1981) and Suiren (Waterlilies, 1987). and peasants. His plays include the satiric and absurdist The Curse (1976), in which Onwueme, Tess (1955–) Dramatist, Ni- he explores the use and abuse of power, geria. With Ama Ata AIDOO, Micere and Shadows in the Horizon (1977). His thea- MUGO, Rose MBOWA and Nicole tre is about his Nigerian society suffering WERE-WERE-LIKING, Onwueme is under the weight of a decadent and self- among the few African women dramatists. ish political elite. His sense of shock and Her plays are usually characterized by disappointment at the failure of African bold experiments with dramatic form, lan- political systems to deliver good govern- guage and theatre technique. Notable ment and a more egalitarian society is al- among her published works are A Hen Too ways evident in his work. Omotoso was Soon (1983), The Broken Calabash (1984), also a member of the production team for her prize-winning Desert Encroaches (1985), the Ife premiere of Wole SOYINKA’S Req- The Reign of Wazobia (1988), Legacies (1988) uiem for a Futurologist with a cast that in- and Cattle Egret Versus Nama (1989). Her cluded Jimi SOLANKE in role of Rev. themes and style range from the realistic Godspeak in 1983. domestic style of the earlier plays to the linguistically audacious and ambitious al- Ôno Kazuo (1906–) Butoh dancer, Japan. legorical style of Ban Empty Barn and the After graduation from Nihon Taiiku ferocious satirical mode of Cattle Egret Ver- (Physical Education) University, he stud- sus Nama. Onwueme is a playwright with ied modern dance with Baku Ishii and a highly politicized consciousness and sen- Takaya Eguchi, who had studied dance in sibility who uses her theatre to engage Germany with Mary Wigman. His first with the socio-political and economic re- performances were Kinjiki (Forbidden Col- alities of her Nigerian society. ours), Tango and Rilke-Bodaiju (Rilke and a Linden Tree) in 1949. His collaboration with Orsini, Umberto (1934–) Actor, Italy. Tatsumi Hjikata (1928–86) began in 1961 Umberto Orsini started working in the when he participated in the Hijikata theatre with Giorgio De Lullo, Rossella Tatsumi Dance Experience. Bara Iro Dance FALK, Anna Maria GUARNIERI and (Rose Colour Dance, 1965), and Anma (The Romolo Valli at the Compagnia dei Masseur, 1963) are the works with Hijikata. Giovani in the late 1950s. A charismatic Their new dance movement was soon and versatile actor, Orsini has time and named ankoku butoh (dance of the dark- again enchanted Italian audiences in per- ness), a postmodernist Japanese dance formances such as Harold PINTER’S Old form free from the constraints of both Times (1973), directed by Luchino Visconti, Western-style modern dance and tradi- Schiller’s Die Räuber (The Robbers, 1981), tional Japanese dance. It is a provocative Ben Jonson’s Volpone (1987) and Luigi

228 Ortiz, Rafael Ôta Shôgo

Pirandello’s Il gioco delle parti (The Game of director of Orion theatre, Stockholm Roles, 1996) directed by Gabriele LAVIA. (1993–). A member of the Swedish Thea- Orsini, who is also a television and film tre Academy since 1994 and an honorary actor, rose to international fame in the late member of the Chinese Peking Opera As- 1960s by appearing in films such as sociation, Oskarson has directed opera at Luchino Visconti’s La caduta degli dei (The Drottningholm Theatre as well as Stock- Damned, 1969), Sergio Sollima’s Città holm, Malmoe, Stuttgart and Bonn. He violenta (Violent City, 1970) and La famiglia has taught at the theatre high schools in (The Family, 1970). Whether on stage or on Stockholm, Gothenburg and Malmoe. the screen, Orsini has been a reliable and Some of his productions for the theatre yet at the same time innovative and eclec- include A Midsummer Night’s Dream, Ham- tic interpreter of strong lead roles. let, King Lear, Brecht’s Leben des Galilei (Life of Galileo) and Der Gute Mensch von Sezuan Ortiz, Rafael (1938–) Puppeteer, educa- (The Good Person of Sezuan), Strindberg’s Ett tor, dramatist and director, Puerto Rico. Drömspel (A Dream Play) and Tri sestry (Three Rafael Ortiz is a key figure in the educa- Sisters) by Chekhov. tional experiences of many of Puerto Rico’s theatre professionals. After earning Osofisan, Babafemi Adeyemi (1946–) a BSc in pedagogy (University of Puerto Dramatist, actor and director, Nigeria. Rico, 1960), he attended the University of With Bode SOWANDE, Olu OBAFEMI, Miami before returning to Puerto Rico to Tunde FATUNDE and Kole finish his MA in drama and education in OMOTOSO, he belongs to the second 1972. He supervised the Theatre Program generation of Nigerian writers and critics of the Department of Public Instruction who advocate a more radical role for the from 1968–82 and served as that agency’s theatre in direct opposition to the per- executive director from 1982–6, after ceived traditionalist aesthetics of Wole which he offered courses in puppetry at SOYINKA, John Pepper CLARK- the University of Puerto Rico. Ortiz wrote BEKEDEREMO and the early Ola several political satires in the late 1970s ROTIMI. Their works strive to be easily before founding the award-winning pup- accessible to their audiences and directly petry company El mundo de los Muñecos relevant to the social and political condi- (Puppet World) in 1978, around which tions of Africa. Osofisan’s plays are often most of his present activities revolve. His open-ended, calling upon the audience to adaptations of children’s classics as well as involve itself in the action, take sides and his original folkloric material are rein some cases offer resolutions to the di- nowned for their strong sense of cultural lemmas posed in them. His theatre bor- identity. He currently produces both ra- rows directly from his Yoruba folk tradi- dio and television programmes, and has tions, but subjects them to creative participated with the Puppetry in Practice radicalization and interrogation. He has Program at Brooklyn College. written close to twenty plays, including A Restless Run of Locusts (1975), Red is the Free- Oskarson, Peter (1951–) Director, actor, dom Road (1982), The Oriki of a Grasshopper Sweden. He trained as an actor at the State (1986) and Another Raft (1990). Drama School in Stockholm, and has been artistic director of the Folkteatern Ôta Shôgo (1939–) Dramatist and direc- Gaevleborg (1982–90 and again from tor, Japan. Ôta first joined Hakken no Kai 1997), artistic director for the (the Discovery Theatre Company), and Helsingegerden foundation for artistic then became a founder member of Tenkei study and research (1990–), and artistic Gekijô (the Tenkei Theatre Company) in

229 Outinen, Kati Anna Katriina Oyelana, Tunji

1968, where he continued his major theat- several theatres, including Festival rical work until the company was dissolved Lennoxville (1978–80) and the Manitoba in 1988. His Komachi Fûden (A Man), was Theatre Centre (1980–84), where he de- based on a no play and used the no stage. veloped a reputation for extravagant pro- His trilogy of plays without dialogues— ductions. In 1999, the Stratford Festival Mizu no Eki (The Water Station) in 1981, Chi presented a musical version of Dracula, for no Eki (The Earth Station) in 1985 and Kaze which Ouzounian wrote the book and no Eki (The Wind Station) in 1986—have been lyrics. performed in Japan, Europe and the USA. The Water Station was performed as part of Owusu, Martin (1943–) Dramatist and the New York International Festival of Arts actor, Ghana. Owusu’s debt to his rich in 1988. Sarachi (Vacant Lot, 1992) has been Ghanaian tradition includes the performed both in Japan and overseas. anansesegoro storytelling techniques of his Ôta’s main interest lies in exploring the The Story Ananse Told. He likes experiment- power of language and that of silence in ing with African traditional forms of song, relation to the presence of actors’ bodies. dance, folklore and myth in order to make His theatrical concept is close to the idea these forms relevant to contemporary re- of the anti-theatre. alities. His major plays include The Sud- den Return, The Mightier Sword, The Pot of Outinen, Kati Anna Katriina (1961–) Okro Soup, Anane and A Bird Called ‘Go- Actor, Finland. Kati Outinen was only a Back-for-the-Answer’. Among Owusu’s act- teenager when her talent was recognized ing credits is the major role of Fenyinka in school drama clubs. Soon she got her in a production of Joe de Graft’s Through first film role, and after that trained at the a Film Darkly. Theatre Acdemy of Finland. Since 1994 she has worked in theatre KOM, appear- Oyelana, Tunji Actor, Nigeria. Oyelana ing mainly in new Finnish drama, but also learned his acting skills through his mem- as Irina in Chekhov’s Tri sestry (Three Sis- bership of Wole SOYINKA’S 1960 Masks ters), Girl in Roberto Zucco by Koltès, and and later Orisun Theatre. He has re- Kyllikki in KYLÄTASKU’S Runar ja mained a key figure in many of Soyinka’s Kyllikki (Runar and Kyllikki) at the Helsinki productions, including acting and techni- City Theatre in 1996. In addition, cal work in the premiere of The Beatifica- Outinen has starred in many films by Aki tion of Area Boy at the West Yorkshire Play- Kaurismäki. She excels in portraying frag- house in 1995. Other roles include Uncle ile characters, deprived yet struggling in Dima Licasi alongside Wale hard circumstances. The freezingly cruel OGUNYEMI’S Friend Pe in Pirandello’s Ina Terre in Oliver Bukowski’s Bis Denver The Jar, directed by Soyinka in 1970, and in Ryhmäteatteri (1999) is one example of the triple role of Minister/Sebe/Second her strong stylized acting. In addition, she Trusty in From Zia With Love (Sienna, Italy has appeard in musicals (West Side Story) in 1992, written and directed by Soyinka, and music comedies. with notable Orisun old hands such as Yomi OBILEYE, Ogunyemi, Segun Ouzounian, Richard (1950–) Director SOFOWOTE and Yewande Johnson). and dramatist, Canada. Ouzounian was Oyelana has contributed immensely to the brought up in New York and was theatre Nigerian stage over the past three and a resident at Simon Fraser University. Here half decades. Like Ogunyemi, he can he directed many shows, straight theatre, move quite easily between the comic and musicals and his own plays. From 1978 the tragic and still keep control of his au- onwards he has been (artistic) director of dience. He also was a member of the team

230 Oyono-Mbia, Guillaume Oyono-Mbia, Guillaume for the Ibadan premiere of Femi band (1964). His fourth play, His Excellen- OSOFISAN’S Midnight Hotel in 1982, cy’s Special Train appeared in 1978. The cen- which included Sunmbo MARINHO. tral concern of most of Mbia’s works is the disruptive influence of modernity on Oyono-Mbia, Guillaume (1939–) traditional values, and this he explores in Dramatist, Cameroon. Oyono-Mbia is a a dramatic mode that is essentially comic. bilingual playwright working in French His strength as a dramatist is his ability to and English, whose plays have been manipulate language, whether French or widely produced in Cameroon. Until Fur- English, to achieve comic effect. He also ther Notice and Our Daughter will not Get exploits the inherent comic possibilities of Married won drama competitions in Eng- stock characterization, slapstick, the occa- land and France, respectively. He is, how- sional farce and mime for hilarious dra- ever, still best known for his very popular matic entertainment. ‘village comedy’ Three Suitors…One Hus-

231 P

Padrissa, Carlos (1959–) Director, Spain. Paimo, Lere Actor-manager, Nigeria. Padrissa is founder member of La Fura Paimo began his theatre apprenticeship as dels Baus, the influential Catalan theatre a member of the well-known and success- company whose interdisciplinary ap- ful Duro Ladipo Theatre Company. proach to performance has effectively jug- There he popularized the role of Iku in gled a recuperation of past cultural tradi- Eda, a piece inspired by Ulli Beier’s adap- tions and an innovative reforging of new tation of a fifteenth-century version of artistic discourses. Padrissa played a semi- Everyman. Paimo brought a comic dimen- nal role in creating the provocative disso- sion to the often serious theatre of Ladipo: nant spectacles which characterize La his wit endears Paimo to his audiences, Fura’s performance aesthetic. With Accions and it was he who introduced comedy into (Actions, 1983), Suzi/o/Suz (1985) and Tier the Yoruba Travelling Theatre tradition. mon (1988), all widely toured throughout He formed his own theatre company in Western Europe, the company’s visceral 1971. One of his notable productions is energy, acrobatic skills, reinvention of per- Gbangba d’Ekun. former-audience boundaries and appropriation of urban spaces for their site-spe- Pannikar, Kavalam Narayana (1928–) cific performances have been in clear evi- Director and dramatist, India. Pannikar is dence. During the 1990s Padrissa and fel- one of the few directors who promotes low furero Alex Ollé have diversified the Sanskrit theatre without losing sight of company’s interests, moving into musical developments in contemporary world theatre and opera where their productions theatre. Especially in productions of the of Manuel de Falla’s Atlándida (1996) and plays of Bhasa, he fuses modern interpre- Debussy’s Martyrdom of Saint Sebastian tation with the traditional theatre form of (1997) have been much admired for their Kutiyattam and the martial art of Kalari. audacity and imaginative energy. Their Founder of the Thiruvarangu theatre version of Faust, F@ust, Version 3.0 (1998) group, Pannikar organized the Bhasa reenvisaged Goethe’s morality play for the Mahotasavam festival in 1987, 1988 and technological age with an array of images 1993, where the Sanskrit plays of Bhasa taken from media, advertising and the were performed by different groups; he internet, and marked the company’s adop- now runs Sopanam Theatre Institute in tion of text-based work for their strongly Trivandrum (Thiruvananthapuram). He visual projects. has written nineteen plays in Malayalam,

232 Park Dong-Woo Parks, Suzan-Lori some of which have become popular all Baekyang Islanders), played the mother of over the world. They include Ottayan(The the bridegroom in Lorca’s Bodas de sangre Lone Tusker), Karimkutty, Koyoma and Arani, (Blood Wedding), the title role in Marsha a Malayalam version of Aeschylus’ NORMAN’S ’night Mother, 1989), in Nae Prometheus Bound. Among the productions Sarang Hiroshima (My Love Hiroshima) and he has directed are Dootavakyam, the title roles in Moonyeodo (A Portrait of a Urubhangam and Sopanavasavadattam. For Shaman, 1994) and Gu Yeoja Eokcheok him, the processes of transformation from Eomeom (That Woman Mother Courage, 1997, actor to character and from character to written and directed by Kim Jeong-Ok). actor are rituals. Park is known as a most powerful and charismatic actor, who can control the Park Dong-Woo (1962–) Designer, Ko- whole stage with her immense voice and rea. Park trained at The School of Design, energy. Hong-Ik University. Since 1987, Park has achieved fame as ‘the designer of a new Parker, Lynne (1961–) Director, Ireland. generation’ for his stage design for As co-founder (in 1984) and artistic direc- Goomhanul (The Heaven in a Dream, 1987, tor of arguably Ireland’s most successful directed by KIM Suk-Man for the Korean independent touring company, the Rough National Theatre), Jeong Bok-Gun’s Magic Theatre Company, she has pro- Silbimyeong (Lost Epitaph, 1989), Bongsoonga duced a repertoire of classical European Gotmool (Touch Me Not Manicure, 1991), A as well as premières of new Irish plays Day in the Life of a Chinaman Living in New with the company. The Rough Magic York (1991), KIM Kwang-Lim’s Jip (House, Theatre Company is considered to be the 1994), and Saeduldo Sesangul Tunungoona precursor of a ‘new wave’ in Irish theatre (Even the Birds are Leaving, 1997, directed with an emphasis on ‘mise-en-scène’ and by Kim Suk-Man), in which he attempted high production values. Parker’s strong, to harmonize contemporary Western and bold, visual style has earned her a large Eastern culture. Since 1995, Park has and young following. She has also directed worked for the Muchon Theatre Com- outside the company, at the Almeida and pany of ARA Kim. Park designed stages Bush theatres in London and the Abbey using metallic materials, which he saw as and Gate theatres in Dublin. Notable pro- the equivalent of the mental imbalance of ductions include Brendan Kennelly’s ver- the contemporary human being, in Jang sion of Euripedes’s Troades (The Trojan Jeong-Il’s Oedipuswaeui Yeohaeng (The Jour- Woman, 1993) and Synge’s The Playboy of ney with Oedipus, 1995), Peter SHAFFER’S the Western World (1994). In 1995 she di- Equus (1997) and LEE Kang-Baek’s Naema rected a sensitively naturalistic production (1998). of Pentecost by her late uncle Stewart Parker.

Park Jung-Ja (1942–) Actor, Korea. Park Parks, Suzan-Lori (1963–) Dramatist, studied at Ewha Women’s University, USA. Parks trained at the Drama Studio trained with the Jayoo Theatre Group and in London and has held various teaching since the 1960s has worked as a voice ac- positions at American universities, as well tor in several radio dramas. In the thea- as grants from the National Endowment tre, she played Ondal’s mother in CHOI for the Arts and the Rockefeller Founda- In-Hoon’s Eodiseo Mooeosi Doieo Dasi tion. Language provides the subject and Mannarya (When, Where to Meet Again as theme of her plays, which do not have What, 1970), and performed in Ionesco’s stage directions. They include Impercepti- La cantatrice chauve (The Bald Soprano), in ble Mutabilities in the Third Kingdom (1989), Baekyangseomeui Yokmang (Desire of the The Sinner’s Place (1984) and Devotees in the

233 Parthasarathy, Renganathan Patroni Griffi, Giuseppe

Garden of Love. She seized upon the assas- to Barcelona where, with Puigserver as sination of Abraham Lincoln for The designer, his stylish, actor-centred Catalan American Play (1993), using a traditional language productions of European classics music structure of theme and variation as gained him wide admiration and in 1983 her pattern of plot development. the artistic directorship of Madrid’s Cen- tre Dramático Nacional, where he re- Parthasarathy, Renganathan (1930–) mained until 1989. Here and subsequently Dramatist, India. A major dramatist in at the Odéon Théâtre de l’Europe, where Tamil, Parthasarathy questioned some of he succeeded Strehler in 1990, Pasqual the values of Tamil Pandits through his realized much lauded productions of plays and novels. His Nandan Kathai (The rarely staged Spanish plays. He succeeded Story of Nandan), a trendsetter for plays actor Lluís HOMAR as artistic director of dealing with the problems of ‘scheduled the Teatre Lliure in 1998, remaining in the caste’ (Dalit) communities, was considered position until 2000. Pasqual also works a play that questioned not only the exist- regularly in opera. ing forms of Tamil theatre, but also the socio-political situation in Tamilnadu. Pathak, Dina (1923–) Actor, India. Similarly, his Kongai Thee, an adaptation Pathak trained under Gurus Shanti from Elango’s Silappathikaram (The Ankle Bardhan and Rasiklal Parik. She was a Bracelet), is a bold attempt at portrayal of founder member of IPTA (Indian People’s the two female protagonists of the Tamil Theatre Association), Bombay and per- epic, Kannagai and Madhavi, from a psy- formed in all the major productions of chological point of view. His Eruthi Attam IPTA. Major roles include Nora in Ibsen’s is an adaptation of Shakespeare’s King Lear Et Dukkehjem (A Doll’s House, in Gujarati), after the fashion of Beckett’s Endgame. His and Padmini in Girish KARNAD’S plays have been produced by major direc- Hayavadana (in Hindi); she is especially tors like RAMANUJAM and known for her outstanding performance RAMASWAMY. He is a winner of the in Mena Gujari, an operatic play directed Sahitya Academy Award, the highest lit- by Parik. She has been promoting the tra- erary award in the country. ditional Bhavai, a folk form of Gujarat, appeared in Abhiman, a popular play in the Pasqual, Lluís (1951–) Director and ac- Bhavai form, and played the role of Puck tor, Spain. Pasqual worked first as an ac- in a production of A Midsummer Night’s tor and then as a director with La Tartana. Dream in the Bhavai style. A veteran actor During the 1970s he taught at the Institut who has seen the dawn of independence del Teatre and the Escola de Teatre de and fervent nationalism, she is still active Sants where he directed his first major pro- today, both on stage and in film. duction, La setmana tragica (The Tragic Week), devised in collaboration with the Patroni Griffi, Giuseppe (1921–) Direc- dramaturg Guillem Jordi Graells and the tor and dramatist, Italy. Known interna- designer Fabià Puigserver. With tionally for the artistic collaboration with Puigserver and Pere Planella, he founded film directors Francesco Rosi, Alberto the Teatre Lliure in 1976. Their inaugural Lattuada and Valerio Zurlini, Giuseppe production, Cami de nit 1854 (Path of Night Patroni Griffi made his directorial debut 1854, 1976) redefined political theatre in in the theatre in 1962 with his Il mare (The the aftermath of the Franco regime. After Sea) in which he explored dramatic form working at the National Theatre of War- in a cinematic way. In his work, Patroni saw and Milan’s Piccolo Theatre with Griffi echoes themes of contemporary Ital- Strehler in the late 1970s, Pasqual returned ian society in a mixture of romanticism

234 Paulin, Eva Pedro Leal, Odile and crude realism which is particularly tist and director, Spain. Pedrero studied manifest in his representation of the mid- theatre arts in Madrid and became dle classes. His major pieces are D’amore si strongly associated with the independent muore (One Can Die for Love, 1958), Anima theatre movement of the 1980s, which nera (Black Soul, 1960), In memoria di una si- challenged the dominant traditions of the gnora amica (In Memory of a Lady Friend, mainstream stage through a presentation 1963), Metti una sera a cena (Someone is Com- of intimate, limited cast, small-scale pro- ing to Dinner, 1967) and Prima del silenzio (Be- ductions with subject matters of direct rel- fore Silence, 1982). Patroni Griffi has also evance to a new generation of Spaniards. directed a number of memorable films Major credits include En el corazón del teatro such as Tis a Pity She’s a Whore (1973) with (In the Heart of the Theatre, 1983) and Charlotte Rampling, The Driver’s Seat Lorca’s La casa de Bernarda Alba (The House (1975) with Elizabeth Taylor and Andy of Bernarda Alba, 1982). She gained wide- Warhol, and Divine Nymph (1979) with spread acclaim for her first published play, Marcello Mastroianni. La llamada de Lauren (Lauren’s Call, 1985), in which she also performed. Her most Paulin, Eva (1955–) Designer and direc- popular works include El color de agosto tor, Luxembourg. A graduate in Latin and (The Colour of August, 1988) and Invierno de Oriental studies from the University of luna alegre (Winter of Happy Moon, 1989), Graz, the Austrian-born Paulin studied witty, idiomatic, metatheatrical plays stage design at the Hochschule für Musik which skilfully deconstruct the pains, fears und Darstellende Kunst. Since 1990, she and intricacies of contemporary relation- has worked as a designer and director in ships. Over the past five years Pedrero has Luxembourg at the festival of Steinfort, at increasingly directed her own work. Her the Kasemattentheater and at the Théâtre recent plays include Una estrella (First Star), des Capucins. Her revival of André which opened in 1998 at Murcia’s Teatro Duschcher’s vaudeville comedy D’Vilia Romea and is reminiscent of much of her Fina (Villa Fina, 1995, Festival of Steinfort) writing in its focus on gender politics, the was admired for the speed and precision fractured nature of identity and the psy- of delivery. She also collaborates closely chological legacy of family ghosts. A with Jean-Paul MAES, and directed and number of her poems have been published designed his play Péiténg (Pétange, 1995, in the daily newspaper ABC. Théâtre d’Esch), successfully combining the modern tone of the play with elements Pedro Leal, Odile (1964–) Actor, direc- of Greek tragedy. Other unusual plays tor and dramatist, France and Guyane. A produced under her directorship are childhood active in the performing arts led Marlene Steeruwitz’s Waikiki Beach and Pedro Leal to professional training at the Tankred DORST’S lch Feuerbach (I Conservatoire National and a degree in Feuerbach, both 1993, Kasemattentheater), applied languages from the University of Oliver Czeslik’s Rattenmenschen (Rat People, Bordeaux, with her professional debut in 1996, Festival of Steinfort), and the trilin- the part of Vertu in Genet’s Les nègres (The gual epic Hexensabbat (Witches’ Sabbath) by Blacks, 1989). After several parts for radio, Maes, Pierre Pelot and Peter Höner (1995 television and film, she played her first Luxembourg European Cultural City). stage lead as Camille in Debauche’s These have established Paulin as one of Flandrin-Acteur (1993), gaining professional the country’s most consistent and original confidence under MESGUICH’S direc- theatre artists. tion. Citing several small parts in U’Tamsi’s Le Destin Glorieux du Maréchal Pedrero, Paloma (1957–) Actor, drama- Nnikon Nniku (The Glorious Fate of Field

235 Pelletier Claudine Pennington, Michael

Marshal Nnikon Nniku 1989, Paris) and the was a key member of Nuria ESPERT’S role of Elisa Valéry in Depestre’s Mât de company for Víctor García’s ground- Cocagne (Greasy Pole, 1995) as deepening her breaking production of García Lorca’s sense of black identity, her La Chanson de Yerma (1971), remaining with it until 1974 Philibert ou les Gens Simples (Philibert’s Song following extensive tours in Europe and or The Simple Folk, 1996), is set in Guyane the Americas. During the 1980s and 1990s and turns on an interracial love affair. In Pellicena has remained a seminal per- 1997, she completed her doctorate in thea- former within the established theatre net- tre studies from the Sorbonne. Her pro- work, enjoying major roles in Lluís duction of STEPHENSON’S controver- PASQUAL’S staging of Marlowe/Brecht’s sial D’chmbo, la dernière surprise de l’amour Edward II in 1983, Adolfo (D’chimbo, Love’s Last Surprise) was included MARSILLACH’S lively production of in the TOMA programme at Avignon in Lope de Vega’s Los locos de Valencia (The 1998 before touring in the Caribbean. Fools of Valencia, 1986) and José Carlos PLAZA’S epic production of Valle-Inclán’s Pelletier Claudine (1942–) Actor and di- Comedias bárbaras (Savage Plays) in 1992. rector, Luxembourg. The French-born ac- More recently he has appeared in Argen- tor Pelletier completed her studies of dra- tinian writer Julio Cortázar’s No se preocupe matic arts, among others, at the Cours de mi vida (Do not Worry About My Life, René Simon in Paris with the Prix 1996). His imposing presence, resonant François Perier. She toured extensively voice, chiseled features and dynamic with Gabrielle Robinne of the Comédie physicality have rendered him an attrac- Française and appeared at the festivals of tive performer who has made an easy Guérande and Loches. In 1970, she set- transition from romantic leads to more tled in Luxembourg where, as well as versatile authoritarian roles. Pellicena has working in television, she founded the also worked extensively in film and televi- Théâtre Ouvert Luxembourg with Marc sion. OLINGER. With the company she appeared in many productions, in classical Pennington, Michael (1943–) Actor, and contemporary repertory, mostly play- Great Britain. Pennington was a member ing leading roles. From 1972–6, Pelletier of the Royal Shakespeare Company be- held formation classes for aspiring actors tween 1964–6, 1974–81, and has returned at the TOL. Her directorial work, at the for individual seasons since. Roles include TOL and Théâtre des Capucins, was the Duke in Measure for Measure (1978), the equally well received, particularly title role in Hamlet, directed by John Molière’s Dom Juan, Haim’s La peau d’un BARTON (1980), POLIAKOFF’S Playing fruit (The Skin of a Fruit) and Feyder’s with Trains (1989) and SHAFFER’S The Emballage perdu (Non-returnable Packaging). Gift of the Gorgon (1992, directed by Peter Since 1989, she has taught dramatic arts HALL). He also played for a season with at the Conservatoire d’Esch. the National Theatre, starring in Ottway’s Venice Preserved (1984), and in the West End Pellicena, José Lluis (1933–) Actor, Spain. (in Harwood’s Taking Sides, 1995). Be- Pellicena abandoned his medical studies to tween 1986–94 he acted and directed for join the repertory Lope de Vega theatre the English Shakespeare Company, which company, specializing in classical Spanish he had co-founded with Michael plays. In 1966 he moved to the Compañia BOGDANOV. In 1997 he joined Peter de Teatro Español where he remained un- Hall’s company at the Old Vic in London, til 1971, playing central roles in classics like appearing in Waste by Granville-Barker José Zorilla’s Don Juan Tenorio (1969). He and as Trigorin in Chekhov’s Cajka (The

236 Pennont, Elie Pérez de la Fuente, Juan Carlos

Seagull), both directed by Hall. Pennington Beauty and the Beast (1981), Sheridan’s convinces through his depth of portrayal, School for Wives (1983) and Molière’s L’avare in which he is greatly assisted by his rich (The Miser, 1985). Pennoyer has worked voice. for many years at the Stratford Festival (Canada), where his costumes and sets Pennont, Elie (1961–) Actor, storyteller, have garnered a reputation for simple el- director and author, France and egance. In 1996–7, he was production de- Martinique. Pennont’s early training was signer for The Taming of the Shrew at Ed- with the SERMAC theatre workshop in monton’s Citadel Theatre. Fort-de-France, where he was selected for a drama scholarship in France, later play- Perceval, Luk (1957–) Director and acing leading roles such as Caliban in Aimé tor, Belgium. Perceval graduated as an ac- Césaire’s Une tempête (A Tempest, 1982) and tor from the Royal Conservatory in Ant- gaining experience in local versions of werp. After a few years at the Koninklijke major dramatic texts, Sophocles, Shake- Nederlandse Schouwburg (in Antwerp, speare, Kleist and SOYINKA’S Trials of one of Flanders’s biggest theatres) Perceval Brother Jero, initially directed by the author. founded his own group in 1984, Blauwe He appeared in Paris as Lumumba in Maandag Compagnie, which he is still Aimé Césaire’s Une Saison au Congo (A Sea- leading. Perceval works not only as a di- son in the Congo, 1988). A powerful per- rector and actor but also as a lighting de- former with expressive features seldom signer, writer and teacher. He became es- long in repose, Pennont has also special- pecially well-known as a director. Charac- ised in storytelling, developing in partner- teristics of his productions are their vari- ship with Alfred Fantone a new kind of ety of forms and their unpredictability. In tale, drawing on Creole styles, wit and tra- 1986 he staged Othello as a very personal ditions but expressed mainly in French, statement, not at all following traditional hence accessible to international audi- readings of the play. The performance ences. Between 1990–7 Pennont headed meant a breakthrough for his company. It the Centre Dramatique Régional in was followed by a remarkable series of Martinique, putting on seasons which productions, including Chekhov’s Cajka ranged from his version of Sophocles, Pè (The Seagull) and Strindberg’s Fadren (The Filoktèt (Papa Philoctetes, 1990), to Creole Father). Perceval staged several plays by farces. In 1998 he worked with Serge Arne SIERENS, whom he invited to Quaknine on a virtuoso Creole Othello, work as a writer-in-residence at Blauwe taking all roles except Desdemona. His Maandag Compagnie. Among the results interest in a wide range of local and inter- were Boste, De Drumleraar (Drummers) and national drama has promoted greater pro- Juffrouw Tania (Miss Tania). Since 1996 fessionalism and many opportunities for Perceval has been working with author Caribbean talent. Tom LANOYE on Ten Oorlog (To War!), an adaptation of Shakespeare’s history plays. Pennoyer, John (1949–) Designer, The eight plays were be performed to- Canada. Pennoyer began work for the gether as part of a grand project during Stratford Festival as a property apprentice. the 1997–8 season. After some time in Britain and the USA, he returned as design assistant before tak- Pérez de la Fuente, Juan Carlos (1959–) ing responsibility for his own productions. Director, Spain. In 1980 Pérez de la Fuente He designed costumes, among others, for founded a fringe theatre company with Hamlet (1976), Julius Caesar (1982) and whom he staged a variety of works by con- Love’s Labour’s Lost (1984), and sets for temporary Spanish and English-language

237 Pérez Garay, Idalia Peterson, Eric dramatists. After leaving Madrid’s Real García Marquez’s Erendira (1994) and Luis Escuela Superior de Arte Dramático in Rafael Sanchez’s Quíntuples (Quintuplets, 1985, he continued to work with his own Teatro de la Comedia, 1984). Pérez Garay company before becoming artistic direc- has also directed adaptations of works by tor of the School of Theatre of the Cul- Neruda, Pavlovsky and Bocaccio, as well tural Centre of Las Rozas. During the as Luis Rafael Sánchez’s La pasión según 1990s, he consolidated his reputation as a Antí-gona Pérez (The Passion According to director working largely within the reper- Antigone Perez, Centro de Bellas Artes, toire of the twentieth century, where his 1991). She is currently a member and de- meticulous collaboration with actors and partmental chair of the drama faculty at the clarity of his production style have the University of Puerto Rico. brought new audiences to largely unknown plays such as Alejandro Casona’s La dama Perlini, Memè (1940–) Director and per- del alma (The Lady of the Dawn, 1991). Fol- former, Italy. After working as a cartoon- lowing his acclaimed production of ist and an actor in the Teatro La Fede, Eduardo GALÁN’S Mujeres frente al espejo Memè Perlini founded the theatre com- (Women in Front of a Mirror) at Madrid’s pany La Maschera in 1973 where he Teatro Alcázar, Pérez de la Fuente was worked with the painter and set designer named artistic director of Spain’s National Antonello Aglioti and the composer Theatre, El Centro Dramático Nacional. Alvin Curran. He became established on Here his adventurous programming has the experimental scene with the produc- allocated a primary role to contemporary tion of Pirandello: chi? (Pirandello: Who?, works, and his own visceral productions 1973), which was the first of a series of of Francisco NIEVA’S Pelo de tormenta (Hair highly influential conceptual events in of Torment, 1997) and Antonio Buero which Perlini explored the use of actors Vallejo’s La Fundación (The Foundation, 1999) as signs, part of a fragmented narrative have succeeded in luring a new generation incorporating evocative visual compo- of audiences to the dramaturgy of two of nents and new technologies. Perlini un- Spain’s most eminent playwrights. conventionally uses ‘environmental’ site- specific performance in which the pro- Pérez Garay, Idalia (1945–) Actor and tagonists’ everyday-ness is constantly in- director, Puerto Rico. Idalia Pérez Garay vaded by quotations from the worlds of is a leading lady renowned for characters painting and film. In productions such as who display grace and charm under emo- Yellow Whiteness (with Sounds of the Sea) tional duress. She has won the Critics Cir- (1975), Landscape 5 (1975) and La partenza cle Award for Best Actor on numerous dell’astronauta (The Sailing of the Astronaut, occasions, including Shen Te in Brecht’s 1976), he provocatively used simultane- Der Gute Mensch von Sezuan (The Good Per- ous action. son of Sezuan, Teatro de Sesenta, 1973), María Felix in Carlos Fuentes’s Orquídeas Peterson, Eric (1946–) Actor, Canada. a la luz de la luna (Orchids in the Moonlight, Peterson studied acting at the University 1996) and Juana in Manuel Méndez of Saskatchewan and worked in Britain as Ballester’s Tiempo Muerto (Dead Times, a stage manager. Returning to Vancouver Candilejas, 1974), in which she appeared in 1970, he studied for a year at the Uni- with Lucy BOSCANA and José Luis versity of British Columbia and then co- MARRERO. She has performed the prin- founded Tamahnous Theatre. The collec- cipal roles in Peter Weiss’s MaratSade tive work of this company paved his way (Teatro del Sesenta, 1974), Ibsen’s Hedda to join Théâtre Passe Muraille, Toronto Gabler (Corral de la Cruz, 1983), Gabriel (1974). In 1981, Peterson starred in the

238 Petrushevskaya, Liudmila Phillips, Simon musical Billy Bishop goes to War, followed by after that until 1979 in Stuttgart (among another tour de force in the one-man show his productions there were Schiller’s Die Der Kontrabaß (The Double Bass) by Patrick Räuber (The Robbers), Kleist’s Das Käthchen Süskind (1985). Peterson co-starred in the von Heilbronn, Goethe’s Faust I, II and popular CBC series drama Street Legal in Chekhov’s Tri sestry (Three Sisters). From the early 1990s. Peterson is a fine charac- 1979–84 he was artistic director of the ter actor with superb comic timing, who theatre in Bochum, and since 1986 he has must also be credited for creating lead maintained his position of artistic director roles in premieres of major Candian plays of the Burgtheater in Vienna in the mid- like Billy Bishop and Rick Salutin’s Les dle of intrigues and political attacks. Re- Canadiens. cently he has tended to concentrate, although not exclusively, on the direction of Petrushevskaya, Liudmila (1938–) world premieres by authors such as Dramatist, Russia. Petrushevskaya gradu- TURRINI and JELINEK. In 1999 he left ated from the journalism faculty of the his position at the Burgtheater in Vienna, Moscow State University and is now a moving on to run the Berliner Ensemble. principal figure in contemporary Russian drama. Her sphere is the privacy of hu- Phillips, Simon (1958–) Director, Aus- man life, conflicts and relations, which tralia. Phillips graduated from Auckland were not welcome on the Soviet stage. She University and moved to Australia in the found unhappy divorced women, outra- mid-1980s. The boldness of his directorial geous men, alcoholics and moral wrecks vision has resulted in several productions behind the facade of the happy Soviet of- which have proved enduringly popular: ficialdom. Her attempt to to bring street his 1991 Julius Caesar for the State Thea- slang to the stage was strongly criticized tre Company of South Australia (designed by the purists. Her sombre and even strik- by Shaun GURTON) featured comput- ing plays—Uroki muzyki (Lessons of Music), ers, videos, riot shields, paper shredders, Moskovskii khor (The Moscow Choir) and Tr i tanks; Mark Antony, Casca and several devushki v golubom (Three Girls in Blue)—were other characters became power dressed full of compassion for those unhappy or women; the crowd became the pack of broken lives. Because of the political cli- press and flashlight-wielding photogra- mate in the USSR, her first plays were phers; Mark Antony’s forum speech was premiered in Poland. Only later did pro- addressed to a bank of microphones and ductions in Moscow follow: Mark relayed across rows of television monitors. ZAKHAROV at the Lenkom theatre suc- This production was then revived by the cessfully directed The Three Girls in Blue Melbourne Theatre Company (1996) and (1982), and the Moscow Art Theatre has the Queensland Theatre Company (1997) shown The Moscow Choir (1989), a family with Robyn NEVIN as Mark Antony. history from Stalin’s time up to now; the Similarly, Phillips’s Magritte-inspired Com- Moscow Yermolova Theatre has shown edy of Errors (STCSA 1990) has been re- Cinzano, and the Mayakovsky theatre has vived by the Sydney Theatre Company shown Lessons of Music. and the MTC in 1997. Phillips has also directed new Australian plays (he directed Peymann, Claus (1936–) Director, Ger- the MTC premiere of Jill SHEARER’S many. Peymann began as a director with Shimada) and musicals; he has choreo- several productions of new plays by Peter graphed (Slave of Rhythm for the Austral- Handke at Theater am Turm in Frankfurt. ian Dance Company) and acted, standing From 1970–4 he worked with Peter in in an emergency for Geoffrey RUSH STEIN at the Schaubühne in Berlin, and in Phillips’s Aubrey Beardsley-inspired

239 Piccolo, Ottavia Pitínský, Jan Antenna

The Importance of Being Earnest for the MTC dio, television and film. In 1976, he in 1989. adapted his novel John and the Missus for the stage and starred in the Neptune Thea- Piccolo, Ottavia (1949–) Actor, Italy. tre production. In 1986, his play A Gift to Ottavia Piccolo made her debut in the Last was produced at Gryphon Theatre in theatre in 1960 when, at the age of eleven, Barrie, Ontario. His work is characterized she acted in William Gibson’s The Miracle by a pervasive romanticism and an inter- Worker directed by Luigi SQUARZINA. In est in Canada’s rich and varied history. In 1964–5 she worked with Giorgio Strehler 1989, his play Brass Rubbings was produced in Goldoni’s Le baruffe Chiozzotte (The at the Factory Theatre in Toronto, directed Chioggian Squabbles, 1964), Luchino by Jackie Maxwell. In 1990, he won the Visconti in Chekhov’s Visnevyi sad (The John Drainie Award for his lifetime con- Cherry Orchard, 1966) and Goethe’s Egmont tribution to Canadian broadcasting. (1968), Luca RONCONI in Orlando Pinsent continues to be a popular televi- Furioso (1969) and, again with Strehler, as sion performer, with recent appearances the fool in King Lear (1972). Piccolo’s act- in The Red Green Show and Due South. ing is characterized by versatility and charisma, and an ongoing exploration of dra- Pinter, Harold (1930–) Dramatist, direc- matic form and performance practice. tor and actor, Great Britain. Pinter trained Known internationally for her films, such at the Royal Academy of Dramatic Art as Visconti’s Il Gattopardo (The Leopard, and Central, and toured in Ireland in the 1963), Mauro Bolognini’s Metello (1970) 1950s. In his dramatic work, he thus has and Ettore Scola’s La famiglia (The Family, the actor’s sensibility of what works. His 1987), Piccolo is one of Italy’s most popu- breakthrough as a dramatist came with lar actors. The Caretaker (1960), and since then he has been one of the most eminent contempo- Pillai, Kochugovinda Narayana (1917– rary British playwrights. His surreal, ) Actor, India. Pillai learnt Kathakali, a nightmarish, disturbing plays have been form of theatre in Kerala, at an early age called ‘comedy of menace’. The crafty, from the great gurus Chathanur Velu verbal surface appears formalist, but strips Pillai, Kochu Pillai Panikker and Kurichi down psychological motivation and Kunjan Panikker. Today, he is recognized rationalizations, revealing drives and in- as one of the great exponents of Kathakali; stincts. In the course of his career, his his repertory comprises the traditional agenda has become increasingly political. roles of Kathakali, including Hamsam, Pinter also wrote screenplays, and has di- Pushkaran, Rugmangadan, Karna and rected for the stage many of his own plays, Krishna. He has been teaching this art for those of Simon GRAY (most recently Life sixty years; most of his students are now Support, starring Alan BATES) and established performers. Pillai founded the Harwood’s Taking Sides (1995, with theatre group Rangaprabhat to promote Michael PENNINGTON and Daniel children’s theatre. The group has staged Massey). more than thirty productions, with themes taken from Malayalam literature. In addi- Pitínský, Jan Antenna (1955–) Drama- tion, workshops and festivals are organ- tist and director, Czech Republic. In 1985, ized every year. Pitínský founded the Amateur Circle group in Brno. It became famous for the Pinsent, Gordon (1930–) Actor and productions of his plays Ananas (The Pine- dramatist, Canada. Pinsent has had an il- apple, 1987) and Matka (Mother, 1988), di- lustrious career as an actor on stage, ra- rected by himself: they represent the first

240 Planchon, Roger Plaza, José Carlos expression of post-modernism in Czech zhaka, zapisannaia v prisutstvii Mastera (Lunin drama. The Pineapple is an associative mon- or the Death of Jack, Recorded in the Presence tage of heterogeneous motifs, while the of the Master, 1987), Ottavia in compositionally more compact Mother, an MROZEK’S Portret (Portrait, 1992), ironic paraphrase of social naturalistic and Shypenko’s Dama s kameliiami ili kogda my pseudo-naturalistic drama, is written in a voidem v gorod (Dames with Camellias or When deformed language combining slang, dia- We Enter the City, 1992), Molly Bloom in lect and political newspeak. Their central Ulysses by Joyce (directed by Oleg themes—the struggle for supremacy in the LIPTSYN, Theatre Club, 1995) and family, the manipulation of man—develop Popova in Chekhov’s Medved’ (The Bear, in subsequent work: Park (The Park, 1992, 1996). An actor of a delicate inner organi- The Goose on a String (Husa na zation and bright individuality, Plashenko provázku) Theatre in Brno), Pokojícek The was twice a recipient of the Kievs’ka Pec- Little Room, 1993, directed by Petr LÉBL toral’ award (1993 and 1995). She has per- at the Theatre on the Balustrade (Na formed in many international festivals, zábradlí)) and Buldocina (Bulldog Blues, including Edinburgh and Torun’. 1995). PITÍNSKÝ also works as a director, often presenting his own dramas and Platel, Alain (1956–) Director and cho- text montages, such as Sestra Úzkost (Sister reographer, Belgium. Platel started work- Anguish) from the prose of Jan Cep and ing as a dancer with Canadian Barbara Jakub Deml (1995, Prague pocket theatre Pearce in 1980. In 1984, he founded the Dejvické divadlo). ironically titled Les Ballets Contemporains de la Belgique, later abbreviated to Les Planchon, Roger (1931–) Director, Ballets C. de la B., with whom he created France. Planchon made his debut as a di- productions such as Bonjour Mad- rector in Lyon in 1949, and became asso- ame…(1993) and La Tristeza Complice. With ciated with theatre in that town and area Arne SIERENS, he directed the interna- for a long time. He founded the Théâtre tionally acclaimed Victoria productions de la Comédie Lyon in 1953, and the Moeder & Kind (Mother and Child, 1995) and Théâtre Municipal Villeurbanne in 1957. Bernadetje (1996). All of Platel’s work is the In 1973 this became the Théâtre National result of an open process in which the ac- Populaire. Planchon is especially known tors or dancers tell their own stories. Of- for his Brechtian approach to the classics. ten, Platel shows a preference for a mixed He also directed work by new French cast of professional and inexperienced ac- dramatists, however, such as VINAVER’S tors (sometimes children). The result is a Les Coréen (The Koreans). In recent years he kind of movement theatre, which, due to has concentrated more on his film career. the democratic input of every performer, reflects his social awareness. Plashenko, Tamara (1955–) Actor, Ukraine. Plashenko trained at the Plaza, José Carlos (1943–) Actor and di- Karpenko-Kary Institute for the Art of the rector, Spain. Plaza began his career in Theatre, Kiev. Between 1977–9 she theatre as director of the independent worked at the Maria Zan’kovets’ka theatre group TEI. He established con- Ukrainian Drama Theatre, L’viv, and tact with William Layton and soon be- since 1979 has been an actor at the Thea- came one of the most fervent advocates tre on the Podil with a series of major of Stanislavski’s writings in post-Franco parts, including Hippolita-Titania in A Spain. During the 1980s he established Midsummer Night Dream (1980), Maria his reputation as a careful director who Volkonska in Radzinskii’s Lunin ili smert’ paid close attention to the text,

241 Plummer, Christopher Pohl, Klaus enjoying productive working relationships has been working at the Theatre Marin with a range of actors. Acclaimed produc- Dr•ic; in Dubrovnik. She created notable tions of a series of twentieth-century roles in plays of the most important Spanish works served to categorize him Dubrovnik playwrights, such as Laura in as a director keen to promote Spanish M.Dr•ic’s Dundo Maroje (Uncle Maroje, dramaturgy. These included Jardiel 1964) and Jele in Ekvinocijo (The Equinox, Poncela’s Eloisa esta debajo de un almendro 1970), and of other Croatian dramatists in- (Eloisa is Under an Almond Tree, 1984), cluding Klara in Krle•a’s Leda (1962), García Lorca’s La casa de Bernarda Alba Giga Baric in Begovic’s Bez treceg (Without (The House of Bernarda Alba, 1986) and the Third, 1963) and the title role in Antonio Gala’s Carmen, Carmen (1987) V.Stulic’s Kate Kapuralica (1973). Major written especially for the popular actor examples of her international repertory Concha Velasco. From 1989–94 he include Mrs. Smith in Ionesco’s La served as artistic director of the Centre cantatrice chauve (The Bald Soprano, 1964), Dramático Nacional, where his high-pro- the Nurse in Romeo and Juliet and Gertrude file productions included Hamlet (1989), in Hamlet. The drama of the character she Aeschylus’s Oresteia (1990) set in a con- plays does not come out through the verted space in near Madrid’s Atocha sta- words but reveals itself in her eyes. Some- tion, and the epic version of Valle- times her glances go against the words, Inclan’s trilogy Comedias bárbaras (Savage sometimes they are in accordance with Plays) in 1991. He has also worked regu- them. Her every gesture and movement larly in opera. are carefully controlled and balanced, making her the most Brechtian of all Plummer, Christopher (1929–) Actor, Croatian actors. She does not like masks, Canada. Plummer studied under Iris War- wigs and costumes; she would rather act ren and C.Herbertcasari and began his in her everyday clothes, believing that the career with the Canadian Repertory Thea- actor’s face is enough if one knows how tre in Ottawa. He has become one of the to use it. leading Canadian actors, on stage, film and television. Major parts in the theatre Pohl, Klaus (1952–) Dramatist, actor and include Benedick in Much Ado About Noth- director, Germany. Pohl trained as an acing, both in Stratford, Ontario, and with tor at the Max Reinhardt Seminar in Ber- the Royal Shakespeare Company, title lin, and initially worked as an actor only, roles in Cyrano de Bergerac (1962), Macbeth in Berlin, Hamburg and Zürich. In Rot- (1962), Brecht’s Der Aufhaltsame Austieg des terdam he added directing to his career Arturo Ui (The Resistable Rise of Arturo Ui, (1980–3), and returned to acting in Köln 1963), Pizzarro in SHAFFER’S The Royal (1983–5). His breakthrough as a drama- Hunt of the Sun (1965), Henry V, Iago in tist came in 1984 with Das Alte Land (The Othello and Danton in Büchner’s Danton’s Old Country), first produced at the Tod (Danton’s Death). Plummer’s latest suc- Burgtheater in Vienna. Karate Billy kehrt cess is in the one-man show Barrymore, Zurück (Karate Billy Returns, 1991, Ham- which opened on Broadway in 1997. His burg) was called the most energetic and performances are characterized by a splen- precise analysis of the new situation in did voice and by a tremendous concentra- post-reunion Germany. On the other tion and stage presence. hand, it was criticized as not doing justice to GDR reality, one reason why it is still Podrug-Kokotovic, Milka (1930–) Actor, not performed in former GDR theatres. Croatia. Podrug-Kokotovic trained at the Die Schöne Fremde (The Beautiful Stranger) Acting School in Sarajevo. Since 1954 she opened at Münchner Kammerspiele in

242 Polack, Yossi Popescu, Dumitru Radu

1992, directed by Helmut GRIEM, and a královna (The Fool and the Queen, 1983, 1995 saw the premiere of Wartesaal filmed by Vìra Chytilová in 1988). With Deutschland 1995 Stimmenreich (Waiting Room his tragicomic depiction of the contempo- Germany 1995 Multiple Voices) at the rary world, he makes use of his extraordi- Deutsches Theater, Berlin. nary mime talents, his sense of the gag and his inspiration by film grotesque and cir- Polack, Yossi (1944–) Actor and director cus clowns. Israel. Polack trained at Beit Zvi theatre school in Israel and began his acing ca- Pollock, Sharon (1936–) Dramatist, direc- reer at the Habima national theatre in tor and actor, Canada. Sharon Pollock Doda Liza (Aunt Liza) by Nissim Aloni. He studied at the University of New Bruns- has played Othello twice, a play he has wick. Although she has a distinguished also directed at the Haifa Municipal thea- and varied career as (artistic) director of tre. His other roles include Marlowe’s several theatres, her main reputation is as Doctor Faustus and the Captain in a dramatist. Initially, her plays concerned Strindberg’s Fadren (The Father). Polack has large issues such as racism and class in- also appeared in several films and is justice (Walsh, 1973; The Komagata Maru In- known for his distinct, sometimes even cident, 1976; One Tiger to a Hill, 1980). She provocative individuality. has developed towards an emphasis on individuals and their conflicts. The begin- Poliakoff, Stephen (1952–) Dramatist ning of this development is Blood Relations, and director, Great Britain. Poliakoff and it continues with Doc (1984) and Fair started writing while he was still a teen- Liberty’s Call (1993). Pollock is currently ager. His major breakthrough came in artistic director of her own theatre, the 1975 with Hitting Town and City Sugar. Later Garry, in Calgary. plays include Strawberry Fields (1977), Shout Across the River (1978), Breaking the Silence Popescu, Dumitru Radu (1935–) (1984, with Juliet STEVENSON), Coming Dramatist, Romania. Popescu started to in to Land (1987) and Playing with Trains publish short stories and novels and made (1989, with Michael PENNINGTON). In his debut as a playwright in 1966 with Va r a the 1990s he turned mainly to writing film imposibilei iubiri (Summer of the Impossible Love). scripts, returning to the stage with Talk of To date he has written more than twenty the City (Royal Shakespeare Company, plays, which were produced in almost all 1998), which also marks his debut as di- the theatres in Romania. Many of his plays rector. His plays tend to have a surface were also translated, published and pro- political concern informed by subtle emo- duced in Tokyo, Moskow, Kiev, Beijing, tion of the characters involved. Istanbul, Sofia, Novi Sad, Budapest, Babi, Milano, Warsaw, Paris and Los Angeles. Polívka, Boleslav (1949–) Actor and Among them are These Sad Angels, Cezar, mime, Czech Republic. Having studied Mascariciul Piratilor (Caesar, the Pirates’ Jester), acting at the Brno Academy of Perform- Pisica în noaptea anutui nou (The Cat on New ing Arts, Polívka worked from 1972–89 in Year’s Eve) and Paznicul de la depozitul de nisip the experimental theatre ensemble Goose (The Guardian of the Sand Storehouse). on a String (Husa na provázku) in Brno, Popescu received many awards, has pub- where he also performed evening-length lished thirty volumes of prose, many of pantomime clown-shows with his own them translated and published also outside scripts: Am a Ea (Am and Ea, 1973), Pépe Romania, and has written film scipts (1974), Pezza versus C?orba (1975), Trosecník which were produced in Romania. Many (Castaway, 1977), Seance (1987), and Šašek of the productions of his plays were toured

243 Popescu, Tudor Prasanna, R.P. abroad. Popescu writes in a highly per- Pourveur, Paul (1952–) Dramatist, Bel- sonal style, non-traditional, in a free con- gium. Pourveur studied film editing in struction, blending together the real and Brussels and worked first as a scriptwriter unreal, mythic inspiration and folklore, the for film and television, but halfway ironical and the tragical view on the world, through the 1980s he also started writing moral parables and grotesque fantasies for the theatre. He has shown himself to with a poetical touch. be a startlingly productive and highly versatile dramatist, writing in both Dutch and Popescu, Tudor (1930–) Dramatist, Ro- French. From his position as a bilingual mania. Popescu began his career as a writer, Pourveur views language in a very journalist and a prose writer, edited jour- specific way; he does not use it only as a nals of humour, then a department of the medium, but it also becomes the most im- Film Studio Bucharest. He was director portant theme in his work. By turning of the State Theatre in Sibiu and runs a resolutely away from classical dramaturgy, publishing house. Since 1976 he has writ- Pourveur, together with a number of his ten over fifty plays, most of them com- contemporaries such as Arne SIERENS edies, and numerous sketches for televi- and Willy THOMAS, set in motion the sion. Among the comedies most success- ‘new Flemish dramaturgy’, which was ful are Concurs de frumusete (Beauty Contest), born in Flanders in the early 1980s in the Jolly Joker, Paradis de Ocazie (Second Hand wake of a generation of theatre artists who Paradise), and Sarpele Monetar (The Mon- broke away from the politically commit- etary Snake). More serious plays include ted theatre of the 1970s and the traditional Scaunul (The Chair) and Infernul Blând (Mild repertoire of the established theatres. Hell). Because of the satirical approach of Some of his main plays are Le Diable au his plays, he had frequent problems with Corps (The Devil in the Body, 1986), Congo communist censorship. His plays were (1989), La minute anacoustique (1994) and staged by notable directors, both in Ro- White-out (1995). mania and abroad, including Silviu PURCARETE. Prasanna, R.P. (1951–) Director and dramatist, India. Trained at the National Porat, Orna (1924–) Actress and theatre School of Drama, Prasanna belongs to the director, Israel. Born in Germany and class of contemporary directors who gen- trained in Cologne, where she started her erate a debate every time they stage a play. acting career prior to emigrating to Israel He refused to compromise with the pow- in 1948, Porat joined the Cameri Tel Aviv ers that be, the decision makers in the arts municipal theatre where she has played a scene like the Sangeet Natak Akademi. large number of leading roles, like Shen His production of Girish KARNAD’S Te in Brecht’s Der Gute Mensch von Sezuan Tughlag was considered a radical produc- (The Good Person of Sezuan), Juliet in Romeo tion in the contemporary political context, and Juliet, the title role and Elizabeth in and he was branded an ‘angry young Schiller’s Maria Stuart, and the title roles man’. He has also directed Brecht’s Gali- in Aristophanes’s Lysistrate and Euripides’s leo, Chekhov’s Tri sestry (Three Sisters) and Elektra. By founding the Theatre for Youth Macbeth. His production of Uttara Rama and Children, under the auspices of the Charitram is an honest attempt to under- Ministry of Education, and leading this stand the epic hero Rama at a time when theatre for its first twenty years, Porat has religious fundamentalists are misusing also made and important contribution to Rama’s nae. Similarly, his own newplay the education of a new generation of Gandhi also aims at revisiting Mahatma theatregoers. Gandhi as a human being: ‘It is a

244 Proskurnia, Serhii Purcarete, Silviu celebration of Gandhi, after all’. In all his Teatre. He was one of the most dynamic productions, form is never predetermined. young actors of his generation, securing a Prasanna developed and ran the important range of impressive roles with the leading street-theatre group Samudaya in directors of the time including Jorge Karnataka from 1975 to the mid-1980s. LAVELLI in the 1984 production of The Tempest, Pere Planella in Offenbach’s La Proskurnia, Serhii (1957–) Director, Belle Helene (The Beautiful Helena, 1979), Ukraine. Proskurnia trained at the Fabià Puigserver in Titus Andronicus (1979) Karpenko-Kary Institute for the Art of and Mario GAS in Dürrenmatt’s Frank V the Theatre and the Ivan Franko Ukrain- (1989). Despite an appearance in Natalie ian Drama Theatre, Kiev. He directed Sarraute’s Per un si, per un no (For One Yes seventeen theatre productions, a number Or For One No) at the Poliorama Theatre of productions for radio, video produc- in 1989, the last ten years have seen tions and television programmes. He was Puigcorbé work increasingly in film the organizer and director of five youth where he has established himself as one festivals in the Ukraine and Poland, and of the best known comedy performers in producer of seven international theatre Spain. Although perhaps most admired projects. He published a number of arti- for his work in films like La Cuadrilla’s cles on art in the Ukrainian and Russian Justino: un asesino de la tercera edad (Justino: press. His art exhibitions (collages, scen- A Senior Citizen Serial Killer, 1994) and ery, polygraph, photographic portraits) Manuel Gómez Pereira’s El amor perjudica were held in Kiev (1993) and Augsburg seriamente la salud (Love can Seriously Damage (1995). Proskurnia took part in interna- your Health, 1996), his impressive range tional theatre festivals in Germany, Great both in theatre and film encompasses Britain, Italy, Poland and Switzerland. comedy, farce, classical tragedy and con- Main productions are Pisnia pro brativ temporary drama. A well-built physique, Neazovs’kykh (Song about Neazovs’ky Brothers) roguish good looks and impeccable tim- after Lina Kostenko (Theatr-Studio ing have ensured that he remains much Bud’mo!, 1990), the musical collage in demand. Kraisler Imperial, (L’viv Opera Theatre, 1992) and Oderzhyma (One Possessed) after Purcarete, Silviu (1950-) Director, Roma- Lesia Ukrainka (international project nia. A graduate of the Bucharest Academy Ukraine-Germany, 1994–5). Proskurnia of Theatre and Film (1974), Purcarete closely collaborated with the designer worked with the Teatrul Tineretului— Volodymyr KARASHEVS’KY on the Youth Theatre—in Piatra Neamtz (Romeo production of Druzhe Li Bo, brate Du Fu and Juliet), and then with the Drama Thea- (Friend Li Bo, brother Du Fu), which was tre in Constantza, where he directed staged in two versions; it was shown Atrides Legend after Aeschylus, Sophocles fiftyseven times from 1992–5, took part and Euripides and Hecuba by Euripides (an in four international festivals, and toured open air production). In 1978 he joined the in the Ukraine, Poland, Slovakia, the Teatrul Mic—Little Theatre in Bucharest, Czech Republic, Germany and Switzer- where he directed Giraudoux’s La folle de land. Proskutnia is artistic director of the Chaillot (The Madwoman of Chaillot), Richard International Theatre Festival Labora- III and Caragiale’s Lost Letter. In 1989 he tory Arts Berezillia in Kiev. joined the National Theatre in Craiova where he achieved his most important pro- Puigcorbé, Juanjo (1955–) Actor and di- ductions, including Dumitru Radu rector, Spain. A former physics student, POPESCU’S Piticul din gradina de vara (The he trained at Barcelona’s Institut del Dwarf in theSummer Garden), Titus Andronicus,

245 Purcarete, Silviu Purcarete, Silviu

The Tempest (at the National Theatre in toured to many countries of the world and Porto Portugal and at the Nottingham met with critical acclaim. Purcarete prac- Playhouse) and the Oresteia after Aeschylus tices an intensely visual, imagistic theatre, at the Centre Dramatique in Limoges with large, dynamic, metaphorical displays crowds. (1996). All these productions were of crowds.

246 Q

Quartucci, Carlo (1938–) Director and Quatli, Walid (1939–) Director, Syria. dramatist, Italy. One of the signatories of Quatli received Stanislavski-based training a collective manifesto (1965) urging a in Bulgaria, but later tended to favour the theoretical reflection upon the new avant- ideas of Meyerhold. In Syria, he initially gardes in Italian theatre, Carlo Quartucci directed amateur groups, later taking up has always been at the centre of Italian a teaching position at the Academy of Dra- experimental theatre, both in his theory matic Arts. Productions include Edward and practice. After working with Teatro ALBEE’S Zoo Story (1978), Peter Handke’s Gruppo, Quartucci founded the company Kaspar Hauser (1991), Gogol’s Zapiski La Zattera di Babele (1981) which has pro- Sumasshedshego (The Diary of a Madman, duced performances and installations in 1995), and a play without words in the tra- venues such as the Biennale in Venice, the dition of physical theatre, Bila Kalam (With- Castello di Rivoli in Turin, Dokumenta in out Words, 1996). Occasionally, he was un- Kassel and the Mickery Theatre in Am- able to make the desired impact upon his sterdam. Known for his subversive use of audience because of excessive experimen- space, Quartucci produces striking visual tation. Although he aimed at physical thea- theatre events, drawing from both classi- tre throughout, his training had not cal texts and conceptual art. Among his equipped him sufficiently to realise his most notable productions are Beckett’s ambitions; his theoretical background, Waiting for Godot (1959), Marina however, proved sufficient to gain respect Abramovic and Uwe Laysiepen’s Modus from many actors working with him. Vivendi (1983), Henning Christiansen and Per Kirkeby’s Simone del deserto (1983) and Qudssia, Zeinati (1945–) Actor and di- Immagini di Passione (Images of Passion, 1986), rector, Syria. Born in Jordan, but based a project by Quartucci and Rudy Fuchs since his early youth in Damascus, with installations by Jan Dibbets, Luciano Qudssia began as an amateur university Fabro, Jörg Immendorff, Per Kirkeby, student actor, and then turned professional Mario Merz, Hermann Nitsch, Giulio and joined the Damascus National Thea- Paolini, David Salle and others. More re- tre. He has performed with most Syrian cently, Quartucci also directed a fascinat- directors, including Asaad FUDDA, ing re-interpretation of Aurelio Res’ adap- Mohamed Al-Tayeb, Walid QUATLI and tation of Medea (1997) with his long-term Mahmoud KHADOUR. He also ap- collaborator Carla Tatò in the lead role. peared in Edward ALBEE’S The Zoo Story.

247 Quintanar, Isabel Quintanar, Isabel

Qudssia became a director and launched musicals and comedy to serious drama. three one-man shows in the 1980s, all writ- As well as theatre, she has developed her ten by Mamdoub ADWAN: Ahwalu’l- work in radio and television and has of- Dunya (How Life Is), Al-Qeyama (The Resur- fered numerous theatre workshops for rection) and Al-Zabbal (The Rubbish Collector). children and adults. Along with her act- He has directed plays by Tunisian drama- ing career, Isabel Quintanar has had an tists and other young Arab playwrights, active role in promoting new theatre tal- and also starred in television serials, ents nationally and internationally. She is mostly written by himself. the International Secretary of the Inter- national Theatre Institute, UNESCO, Quintanar, Isabel Actor, Mexico. and is involved in various international Quintanar graduated from the Dramatic theatre projects. She is director of the Art School of The National Institute of Mexican Theatre Centre and edits the Fine Arts. Since then she has appeared in Theatre Review magazine of the ITI- eight films and 300 plays, ranging from UNESCO.

248 R

Rabe, David (1940–) Dramatist, USA. Kate in The Taming of the Shrew, a punk Rabe’s breakthrough came in 1971 when Rosalind in As You Like It, Beatrice in Much five early plays were staged together at the Ado About Nothing, Amanda in Noel Cow- New York Shakespeare Festival. Rabe is ard’s Private Lives, Josie in O’Neill’s A Moon best-known for a trilogy on the Vietnam for the Misbegotten and the Wicked Witch war: Sticks and Bones (1969), The Basic Train- of the West in The Wizard of Oz. Rabe is a ing of Pavlo Hummel (1971) and Streamers very striking woman who can readily ema- (1976). In Hurlyburly (1984), which deals nate strength and confidence, and so the with three male outsiders, he takes his in- casting of her as the girl/anima in Neil spiration for the title from Macbeth. ‘Gro- ARMFIELD’S 1989 production of tesque comedy, fantasy and bitter satire’ Patrick White The Ham Funeral was a sur- are combined in his work. More recently, prise but extremely successful. he wrote A Question of Mercy, dealing with AIDS from the doctor’s perspective. Radziwilowicz, Jerzy (1950–) Actor, Po- land. Radziwilowicz graduated from the Rabe, Pamela (1959–) Actor, Australia. State Theatre Academy of Warsaw in 1972. Rabe emigrated from Vancouver, Canada Recipient of many prestigious awards and in 1983. She has played leading roles in a a well-known actor on television and in wide variety of plays, particularly for the films by WAJDA, Godard and Kieslowski, Melbourne Theatre Company, and has his major stage credits include Raskolnikov won Green Room awards for her perform- in Dostoyevsky’s Prestuplenie I nakazanie ances in A Room of One’s Own (adapted from (Crime and Punishment, 1984), Henryk in Virginia Woolf’s novel), Louis NOWRA’S Gombrowicz’s Slub (The Wedding, 1991), the Cosi, Neil SIMON’S Lost in Yonkers and title roles in Koltès’s Roberto Zucco (1991) Win Wills’s Gertrude Stein and a Companion. and Molière’s Dom Juan (1994 and 1996), As Alice B.Toklas in Gertrude Stein she was Johnson in Hopkins’s This Story of Yours compelling, summoning up intensity, (1992) and Konrad in Dziady (Forefathers’ nervous energy, vulnerability and humour Eve) by Adam Mickiewicz (1995). He rep- at the same time as towering over Miriam resents a highly intellectual acting, with a Margolyes’s Gertrude Stein (Rabe is 188 sharpened sense of form and an inclina- cm tall). Other notable appearances have tion towards innovative and daring experi- included Vittoria in Webster’s The White ments. A master of speech, the multiple Devil, Angelica in Aphra Behn’s The Rover, patterns of his characteristic,tense

249 Rahman, Ataur Raju, Rajappa behaviour usually convey a broad spec- where he directed Kundera’s adaptation trum of shades and meanings. of Jacob the Fatalist (1975), Troilus and Cressida (1979, set design Jaroslav MALINA), Rahman, Ataur (1941–) Director and Chekhov’s Tri sestry (Three Sisters, 1982), actor, Bangladesh. Rahman began his Büchner’s Danton’s Tod (Danton’s Death, much acclaimed career as a director in 1983) and also the grotesque tragifarce by 1972. Some of his notable productions in- Karel STEIGERWALD, Dobové tance (Pe- clude translations of Beckett’s Waiting For riod Dance, 1980). His productions are Godot (with Abdul HAYAT as Pozzo and marked by dynamic and striking comic Asaduzzaman NOOR as Estragon in approaches, hyperbolic detail and sharp 1984), Brecht’s Leben des Galilei (Life of Gali- transitions from the comic to tragic, all leo, with Aly ZAKER in the title role, adding to the profile of this non-conform- Noor as Barberini and set design by ist ensemble. Among his other work at Mansuruddin AHMED, 1988) and Irsha various venues, his markedly tragicomic by Syed HUQ (with Sarah ZAKER as interpretations of Steigerwald’s original Jubati, set design by Mansuruddin plays stand out—Neapolská choroba (The Nea- Ahmed). Ataur Rahman’s directorial politan Disease, 1988, •i•kov Theatre, strength lies in drawing the best from his Prague), and Tatarská pout’ (Tartar Pilgrim- performers and arranging these faithfully age, 1988, Theatre on the Balustrade (Na to meet the demand of the text. He is a zábradlí), Prague)—reflecting the disintegra- stage, radio and television actor of consid- tion of the socialist utopia. In 1990, he erable reputation and also teaches theatre. became artistic director of the National He has jointly translated and adapted Theatre drama department in Prague, Sartre’s Huis clos (No Exit), Gogol’s Zenit’ba where his direction has updated pieces (The Marriage) and Molnar’s Liliom with from the classic repertoire, As You Like It Zia HYDER and Noor, and has publica- (1991), Euripides’s Medeia (1992), Cymbeline tions on theatre to his credit. (1995) and Othello (1998).

Raina, M.K. (1948–) Actor and director, Raju, Rajappa (1952–) Actor, India. Raju India. Raina trained at the National School trained at the National School of Drama, of Drama, New Delhi and studied with New Delhi, began his career in children’s Ebrahim ALKAZI. Though his initial theatre, and even now is popular with theatre training was in Western theatre, he many children’s theatre groups in Tamil later came to grips with Indian and folk Nadu. He has acted in more than fifty theatre forms, leading workshops through- plays. Some of his significant achievements out the country. He has acted in more than are in effecting a kind of Brechtian aliena- a hundred productions and later added dition in Hamlet, PARTHASARATHY’S recting to his credits; he also formed the Nandan Kathai, Kongai Thee and Aurangazeeb, Delhi company Prayog. Major produc- and in Molière’s L’avare (The Miser). Influ- tions include BHARATI’S Andha Yug enced by Ebrahim ALKAZI, Raju attempts which was performed at the Festival of to achieve a kind of theatre language in India in the USSR and in Berlin in the his acting style which is close to a ritual. 1960s, and Brecht’s The Mother. He believes in acting as a kind of resonance and his utmost concern today is to develop Rajmont Ivan (1945–) Director, Czech gestures which are not merely theatrical, Republic. Rajmont studied directing at the but authentic. He tries to use trance as a Prague Academy of Performing Arts. From source of energy in his acting. Currently, 1975–86 he was a director and head of the Raju is teaching theatre at the School of C?inoherní Studio in Ústí nad Labem, Performing Arts, Pondicherry University.

250 Ramamoorthi, Parasuram Ramos-Escobar, José Luis

Ramamoorthi, Parasuram (1949–) Di- the Nija Nataka Iyakkam (Real Theatre rector and dramatist, India. Ramamoorthi Movement). He is known for his skilful has directed many Indian and Western use of folk theatre forms and plays, and all his productions are marked Therukoothu in modern Tamil plays. His by a sense of ritual, the use of paintings, performance in his play Thurkira Avalam, music and collage, and striking influences an adaptation of Sophocles’s Antigone, was of postmodernism. His production of praised for its attempt to relate Koothu Macbeth demonstrates his intercultural and Greek theatre. His recent interpreta- stance, Mahesh Elkunchwar’s Prathibimba tion of Aswathama in BHARATI’S Andha (Reflection) is an example of his anti-absurd Yu g has been praised as a landmark in theatre, and an adaptation of The Adven- Tamil theatre; the production used actors, tures of Tom Sawyer exemplifies his vision puppets and slides to present images of of play as poetry. Ramamoorthi’s produc- nuclear war. He has also performed the tion of Eugene O’Neill’s Before Breakfast traditional roles of Kichaka and can be seen as only one instance of his Duchasana in Therukoothu, and con- feminist theatre: he has also written and ducted theatre workshops in Tamilnadu. directed En Kappalukku Nane Captain (I’m the Captain of My Ship), a feminist play and Rame, Franca (1929–) Performer and the first play in Tamil where a woman dramatist, Italy. Franca Rame began her plays the role of Sutradhari (actor/stage- acting career by working in her father’s manager). In 1997 he directed Girish travelling theatre company. In the early KARNAD’S Hayavadana in London for 1950s she started a lifelong partnership the Bharatiya Vidya Bhavan. His play It’s and artistic collaboration with Dario FO, All a Game of Dice was shortlisted for the with whom with she set up the theatre co- British Council International operatives Nuova Scena (1968) and La Playwrighting Award. Comune (1970). Rame created the roles of most of Fo’s female parts for television, Ramanujam, Seshan (1930–) Director, film, radio and the theatre. She also co- India. Ramanujam trained at the National wrote with Fo Tutta casa, letto e chiesa (All School of Drama, New Delhi, and Home Bed and Church, 1977), Coppia Aperta Ebrahim ALKAZI and G.Sankara Pillai (Open Couple, 1983) and Parti femminili (Fe- are the two major influences in his career. male Parts, 1986). Throughout her career His first major success was his production Rame successfully combined the roles of of Sankara Pillai’s Crime No. 27, followed artist and political activist. Aiming to en- by the same author’s Karutha Theivam courage self-awareness amongst her audi- (Black Goddess) and Saketham, Indira ence, Rame created a witty and intriguing Parthasarathy’s Kala Endiram (Time Ma- series of female parts which represent a chine), and MUTHUSWAMY’S challenging political commentary on the Narkalikararkal. Rhythms of the village are female condition. Her talent and generos- at the centre of his productions, which ity, both as a performer and a feminist ac- tend to create sepulchral images. He is also tivist, have inspired many practitioners of noted for his contribution to the Tamil subsequent generations. stage in popularizing Brecht, Molière, Synge and O’Neill. Ramos-Escobar, José Luis (1950–) Dramatist and director, Puerto Rico. Ramaswamy, Mu (1951–) Actor, direc- Along with Roberto RAMOS-PEREA, tor and dramatist, India. Trained in José Luis Ramos-Escobar is one of the Therukoothu under Purisai Kannappa New Puerto Rican Playwrights, a term THAMBIRAN, Ramaswamy founded applied to the socially and politically

251 Ramos-Perea, Roberto Rashid, Mamunur active dramatists of his generation. As a As a critic and journalist, Ramos-Perea director, Ramos-Escobar’s preference is has written articles and reviews for the for the European avant-garde and Latin newspapers El Reportero, El Mundo and El American contemporary theatre, and in- Vocero as well as a book of critical essays cludes productions of Genet’s Le balcon on the ‘New Puerto Rican Dramaturgy’ (The Balcony, 1992), several of Ionesco’s (Perspectiva de la Nueva Dramaturgía ‘Jacques’ plays (The Future is in Eggs and Puertorriqueña, Ateneo Puertorriqueño, The Submission), and La pasión según Antígona 1989). He is currently the executive di- Pérez (The Passion According to Antigone Perez, rector of the Ateneo Puertorriqueño, a 1975). From 1971–8, Ramos-Escobar national arts research institution. worked with Anamú and Moriví, two guerrilla theatre groups devoted to collec- Ranzi, Galatea (1967–) Actor, Italy. tive creation. From 1991 to the present, While studying at the Accademia d’Arte he has served as director for the group Drammatica in Rome, Galatea Ranzi Artemisa in Ponce, Puerto Rico. Ramos- founded with Mira and Marco Andriolo Escobar’s plays include Mascarada (Mas- the theatre company Machine de Theatre querade, 1985), Indocumentados: El otro in 1986, for which her most notable per- merengue (Undocumented: The Other Merengue, formances have been in Christoph Gluck’s 1989), and El Olor de Popcorn (The Smell of Orpheus and Eurydice (1987) and Cesare Popcorn, 1996), a play which in less than Pavese’s Dialoghi con Leuco (Dialogues with two years has received performances at Leuco, 1988), both directed by Marco thirteen international theatre festivals Andriolo. Ranzi subsequently worked worldwide. with Massimo CASTRI in Euripides’s Electra (1993) and Luca RONCONI in Ramos-Perea, Roberto (1959–) Drama- Vittorio Alfieri’s Mirra (1988), Eugene tist, director, actor and critic, Puerto O’Neal’s Strange Interlude (1990) and Karl Rico. Roberto Ramos-Perea is known in- Kraus’s Die Letzten Tage der Menschheit (The side Puerto Rico as a total ‘man of the Last Days of Humanity, 1990), and has ap- theatre’, although outside he is known peared in a number of films, most fa- primarily as a dramatist. Ramos-Perea mously Paolo and Vittorio Taviani’s Fiorile studied theatre at Mexico’s Instituto (1993). Her acting is characterized by com- Nacional de Bellas Artes (National Insti- mitment to the reinterpretation of classi- tute of Fine Arts) before returning to the cal female roles and a capacity, both on University of Puerto Rico for further stage and on the screen, to offer passion- study in Drama and Hispanic Studies. In ate and evocative solo and ensemble per- 1992, Ramos-Perea received Spain’s es- formances. teemed Tirso de Molina Prize for his play Miénteme Más (Lie to Me Again). He has Rashid, Mamunur (1948–) Dramatist, also received the René Marqués Prize for actor and director, Bangladesh. Rashid Módulo 104 (Module 104, 1982) and Cueva has a number of highly successful plays de Ladrones (Thieves’ Cave, 1983). Other to his credit. These include Ora Kadam Aly works include Malasangre (Bad Blood, (The Oppressed, 1977, also translated into 1987) and Morir de Noche (To Die by Night, German and performed in Berlin, 1989), 1992). As a principal playwright of the Iblish (The Devil, 1981), Ekhane Nongor ‘nueva dramaturgía puertorriqueña’ (The Anchor is Here, 1982) and Manush (New Puertorican Dramaturgy) genera- (Humankind, 1991). He also directed and tion, Ramos-Perea’s plays are character- acted in all the above productions. ized by social, economic and political cri- ‘Mamunur Rashid’s plays are generally tique set in intensely personal situations. concerned with class conflicts and the

252 Ratto, Gianni Rea, Stephen socio-economic exploitation of the poor, she is renowned for a combination of especially the rural poor, by richland- witty dialogue and effective realism. Hotel lords, scheming middlemen, corrupt gov- Sorrento deals with three sisters trying to ernment officials and unprincipled politi- reconcile themselves to a troubled past cians.’ This concern motivated him to or- when one sister writes a Booker Prize-win- ganize the Mukta Natak movement, ning novel based on their shared experi- which sought to promote improvised per- ences. Falling from Grace focuses on three formances of real-life tales of the oppres- successful career women. Competitive Ten- sion of rural people who do not own any derness is a farce about local government, land. He is the founder general secretary featuring the outrageous machinations of of Aranyak (a leading theatre group in Dawn Snow, a woman determined to get Bangladesh), former chairman of Bangla- to the top. In 1995 Rayson co-wrote Scenes desh Group Theatre Federation and from a Separation with Andrew Bovell; this founder of Bangla Theatre (a profes- play presents the breakup of a marriage sional theatre company). from the differing perspectives of the man and woman involved. Rayson’s plays are Ratto, Gianni (1916–) Designer and di- distinguished by wit, observation and rector, Brazil. Born in Italy, he studied ar- friendly feminism. chitecture at Milan Polytechnic. Apart from that he is basically self-taught; he Rea, Stephen (1949–) Actor and director, owes his education to the influence of peo- Ireland. Rea trained at the Abbey Thea- ple like Giorgio Strehler, a meeting with tre School. In 1980 Rea established Field Gordon Craig, and daily contact with nu- Day Theatre Company in Derry with merous artisans, stage hands, artists, ar- playwright Brian FRIEL. A versatile and chitects and painters. Productions in Italy compelling actor, Rea contributed to the include Richard III, The Tempest and Ham- high performance standards which be- let. At La Scala in Milan, his designs for came a hallmark of all Field Day produc- opera include Berg’s Wozzeck and Mozart’s tions. His roles with Field Day included Entführung aus dem Serail (The Abduction from Owen in Translations by Friel (1980), the Seralgio). Moving to Brazil, Ratto added Bracken and Joyce in KILROY’S Double directing theatre and opera and teaching Cross (1986), Lenny in Stewart Parker’s to his credits. His permanent aim is a tech- Pentecost (1987) and Vanya in Frank nically and formally high-ranked theatre MCGUINNESS’S adaptation of based on the authors and on the potential Chekhov’s Djadja Vanja (Uncle Vanya) di- of a national dramaturgy. rected by Peter GILL (1995). Other roles include Edward in McGuinness’s Someone Rayson, Hannie (1959–) Dramatist, Aus- Who’ll Watch Over Me, directed by Robin tralia. Rayson studied at the Victorian Lefevre for the Hampstead Theatre, Lon- College of the Arts as a performer. She is don (1992), and Devlin in PINTER’S a founder member of Theatreworks, a Ashes to Ashes at the Royal Court Theatre, company known for its adventurous ap- London (1996) and the Pinter Festival at proach to theatre. Theatreworks per- the Gate Theatre, Dublin (1997). In 1998 formed several of Rayson’s early plays, Rea made an exciting return to Field Day most notably Mary (1982), which looks at Theatre Company to direct Northern Star Greek experience in Australia, and Room by Stewart Parker for the 1998 Belfast to Move (1985), a farce with a wry femi- Theatre Festival, a co-production with nist outlook. Rayson now often writes Tinderbox Theatre Company. Films plays focusing on women who are juggling include The Crying Game and Michael Collins careers and facing up to moral dilemmas; directed by Neil Jordan, and Trojan Eddie

253 Reaney, James Régina, Jocelyn directed by Gillies Mackinnon. Earnest), Gibson (Jerry in Two for a Seesaw), Televisionwork includes Hedda Gabler Farquhar (The Recruiting Officer), Ibsen (the directed by Deborah Warner for BBC 2. title role in Rosmersholm, Bernick in Samfundets Støtter (The Pillars of Society)), Reaney, James (1926–) Dramatist, Chekhov (Astrov in Djadja Vanja (Uncle Canada. Reaney obtained the degrees of Vanya)) and in Romanian plays. Rebengiuc BA, MA and Ph.D. from University Col- also appeared successfully in many films lege, Toronto and served as professor of and on television. English at the University of Western On- tario until 1992. His early plays were to a Redgrave, Vanessa (1937–) Actor, Great large extent directed at a young audience, Britain. Vanessa Redgrave is one of a large and even his plays for adults have been family of actors. She trained at Central described as ‘permeated by a sense of School of Speech and Drama, and has en- childhood innocence, usually in conflict joyed a notable career since her debut in with the forces of corrupted experience’. 1957, both on the stage and on film. In Later in his career, Reaney placed more the 1980s and 1990s, some striking per- emphasis on local history (The Donnelly formances include Arkadina in Chekhov’s Trilogy, 1973–5), and myth. His adaptation Cajka (The Seagull), Nora Melody in Alice Through the Looking Glass (1994) was O’Neill’s A Touch of the Poet, directed by produced at the Stratford (Canada) Festi- David THACKER, and Shaw’s Heartbreak val, directed by Marti Maraden. House (1992), directed by Trevor NUNN. In 1996, she played Ella in Richard Rebengiuc, Victor (1933–) Actor, Roma- EYRE’S Royal National Theatre produc- nia. Rebengiuc trained at the Theatre and tion of Ibsen’s John Gabriel Borkman with Film Institute in Bucharest (1956) and, af- Paul SCOFIELD in the title role. ter a year at the National Theatre in Craiova, joined the Bulandra Theatre in Régina, Jocelyn (1963–) Author, director Bucharest where he has worked perma- and actor, France and Martinique. Régina nently as a main actor, collaborating oc- has a great love of words; initially he was casionally also with Teatrul Mic. Between influenced by the poetic work of Aimé 1990–6 he was director of the Theatre and Césaire, and wrote poetry and serious Film Academy in Bucharest. Rebengiuc is drama in French. However, comic repar- an actor of a powerful personality and of tee and verbal invention in Creole is en- a special capacity to incarnate with truth- joyed by a much larger public, and in 1987 fulness very different characters in serious Régina founded the group Balan, per- drama and in comedy alike. He has forming sketches live and on television. worked with major directors, such as He developed a number of comedies in Liviu CIULEI, Catalina BUZOIANU, Creole which have enjoyed wide success, Andrei SERBAN and others. Rebengiuc since 1990 usually in co-production with played major parts in plays by Shake- the Centre Dramatique Régional. Subjects speare (Orlando in As You Like It, the title have included scandals in the divorce role in Richard II, Brutus in Julius Caesar, court in Bakannal o tribunal (Trouble in the Caliban in The Tempest, Bottom in A Mid- Divorce Court, 1991), loosely based on Cer- summer Night’s Dream), O’Neill (A Long vantes, and unbuttoned folk humour in Day’s Journey into Night, James in A Moon plays such as Le dorlis de ces dames (An Incu- for the Misbegotten), Tennessee Williams bus Visits the Ladies, 1990) and Dis maman (Stanley in A Streetcar Named Desire), Arthur où est papa? (Ma, Where’s Pa?, 1991). Sev- MILLER (Biff in Death of a Salesman), Os- eral shorter works are based on a double car Wilde (Jack in The Importance of Being act, Philibert and Kumba, exploiting

254 Reid, Christina Rendra, W.S. contrasts in age or class. An inventive and ity for comedy, but Reid has also proven genial comedian, Régina’s relaxed enjoy- herself more than capable of playing tragic ment of popular theatre and prolific pro- heroines. She has said of her work, ‘If easy duction continue. success was all I wanted, I could have stayed in television.’ And, ‘I could have Reid, Christina (1942–) Dramatist, Ire- been a 50 per center had I not been chal- land. Protestant working-class Belfast cul- lenged by people who made me feel what ture is represented in her plays which I did was never enough’. prominently feature the plight of women against a backdrop of patriarchal sectari- Reid, Graham (1945–) Dramatist, Ire- anism. Tea in A China Cup (1983) was pro- land. Reid is best known for his television duced at the Lyric Theatre, Belfast, where trilogy Billy (1982), starring Bríd she was writer-in-residence (1983–4). Her BRENNAN and a young Kenneth most successful play, Joyriders (1986), di- BRANAGH, which focused on a work- rected by Pip Broughton of Paines Plough, ing-class Protestant family struggling The Writers’ Company, featured a liberal against a backdrop of sectarian violence. middle-class Protestant woman working in An equally compelling sequel, Lorna, fea- a youth work experience scheme in turing Brennan, followed in 1987. The Catholic working-class West Belfast. It is same grim terrain was featured in his ear- a compassionate bridge of class and sec- lier stage plays, The Death of Humpty-Dumpty tarian divides in a society whose endemic (1979), The Closed Door (1980) and Dorothy violence precludes easy solutions and (1980). His stage play The Hidden Curricu- happy endings. Ten years later, Reid re- lum (1982) further explored entrenched visited her Joyriders in Clowns (1996) on the sectarianism, and Remembrance (1984), first eve of the IRA ceasefire. In The Belle of the staged at the Lyric Theatre, Belfast, fea- Belfast City (1989), three generations of tured two middle-aged lovers, Bert and women of the one Belfast Protestant fam- Theresa, from opposite sides of the sec- ily take on the intransigent patriarchy of tarian divide meeting in a cemetery. their loyalist heritage. Other plays for the theatre include Did You Hear the One About Reinshagen, Gerlind (1925–) Dramatist, the Irishman…? (1985) and My Name, Shall Germany. Reinshagen attend the I Tell You My Name? (1987). She has also Hochschule der Künste in Berlin. Since written extensively for radio and televi- 1956 she has worked freelance as a jour- sion. nalist and author, initially writing for children and radio. Many of her stage plays, Reid, Fiona (1951–) Actor, Canada. Born including Doppelkopf, 1968) and Eisenherz in Britain, Reid became popular in the tel- (1982, directed by Andrea BRETH) deal evision comedy series The King of Kensing- critically but poetically with white-collar ton between 1975–8 and subsequently de- workers, their monotonous work and voted more time to her stage career. She their careers. Die Clownin (1986) takes up has performed at the Stratford Festival the same topic in the arts world. Her most and, between 1983–5 and 1989–92, was a recent play, Die Grüne Tür, oder Medea Bleibt member of the Shaw Festival. Her parts (The Green Door, or, Medea Stays), opened include the title role in Ibsen’s Hedda in Dresden in 1999. Gabler and Amanda in Coward’s Private Lives. She is a recipient of two Dora Rendra, W.S. (1935–) Dramatist and di- Awards and of the Actra Radio Award for rector, Indonesia. Rendra trained at the best performance by an actor (1986). She American Academy of Dramatic Art, New is a beautiful actor with a wonderful facil- York. One of the most important figures

255 Renée Riantiarno, Nano in modem Indonesian theatre, he was Brecht’s Der Gute Mensch von Sezuan (The founder and artistic director of Bengkel Good Person of Sezuan) and Leben des Galilei Theatre of Yogyakarta, where he directed (Life of Galileo). In Bulgaria and in Mexico his own plays and adaptations of Schiller, he directed Carlos Felipe’s El Travieso Shakespeare and Sophocles. Published Jimmy (Fidgety Jimmy) and Virgilio Piñera’s plays include Selamatkan Anak Cucu El No (The No). Today Revuelta is consid- Suleiman, Mastodon Dan Burung Kondor, Kisah ered one of the most prestigious directors Perjuangan Suku Naga, Sekda and Panembahan in Latin America. He has participated in Reso. A significant figure on the interna- seminars and workshops at the Escuela tional literary scene, he has been an out- Internacional de Teatro (EITALC), and spoken critic of economic exploitation and has been part of the jury in several thea- government corruption and has suffered tre competitions. He has attended confer- censorship and arrest. During recent po- ences in more than fifteen countries in litical upheavals in Indonesia, Rendra has America and Europe. Tours have led him been at the forefront of the Reformation to Uruguay, Spain, Argentina, Brazil and Movement. His work is bold and uncom- Mexico. promising and is a significant influence on all theatre and literature in contemporary Rézaire, Eugénie (1950–) Actor and di- Indonesia. rector, France and Guyane. After a degree in languages at Tours and Paris Univer- Renée (1929–) Dramatist, New Zealand. sity, Rézaire completed a masters degree She began writing for the stage at the age at Mount Holyoke and returned home to of fifty after completing a BA at Auckland teach English. The lack of professional University, though she had earlier experi- theatre in Guyane lends importance to her ence of teaching, journalism and commu- efforts in high schools and through the nity theatre. She is interested in writing Association of Friends of Léon Damas good roles for women of everyday life, (founded 1978) to create dramatic works, which has often meant the wives and often based on poetic texts by local au- daughters of working men. Amongst her thors and the black diaspora, and includ- successful plays are Setting the Table (1982) ing a strong multicultural performance el- and the trilogy Wednesday to Come (1984), ement (Coeur de manioc (Heart of Cassava), Pass It On (1986) and Jeannie Once (1990), 1981; Fleuves (Rivers), 1995–6). Increas- which shows how workers’ strikes and ingly interested in film writing and deeply other problems impinge on women of the committed to developing opportunities in same family over four generations, as well Guyane, Rézaire is a commanding per- as highlighting the women’s own political former and cultural activist. In 1997 she contribution. was elected to the Regional Council.

Revuelta, Vicente (1929–) Director, Riantiarno, Nano (1949–) Dramatist, Cuba. Revuelta started his artistic career performer and director, Indonesia. He is as an actor in 1946. He has founded dif- the husband of Ratna Riantiarno. He ferent centres and academies of actor train- trained at the Indonesian National Thea- ing. In 1958 he founded the theatre group tre Academy (ATNI), Jakarta and studied Teatro Estudio (together with Raquel at the Dreyar Kara Advanced School of Revuelta, Sergio Corrieri and other art- Philosophy, Jakarta. As actor and assist- ists) where he still works as an actor and ant director in Teguh Rarya’s drama com- artistic director. Notable productions in- pany Teater Populer, he established his clude O’Neill’s A Long Day’s Journey into own Teater Koma in 1977. Interest in both Night, Lope de Vega’s Fuente Ovejuna, and traditional and Western theatre forms has

256 Ricalde, Mario Espinoza Rigg, Diana influenced his style, and he has created a (1988–91). Richmond has also been a number of adaptations including Opera guest teacher at several university drama Ikan Asin, 1983, a version of Brecht’s Die departments and at the National Theatre Dreigroschenoper (The Threepenny Opera). In School in Montréal. His best work, which the 1980s he wrote a quartet of plays fol- includes the direction of smash hit pre- lowing the same group of characters: Bom mieres like Cruel Tears and Fire, is solidly Waktu (Time Bomb), Opera Kecoa, Opera based in strong stage movement and Julini and Banci Gugat (Transvestites Ac- physicalization. cuse). In May 1989 his adaptation of a Chinese opera, Sam Pek Eng Tay, was Rickman, Alan (1946–) Actor, Great banned, as was his satire Suksesi Britain. After attending the Royal College (Sucession) in 1990. When the revival of of Art and working as a graphic designer, Opera Kecoa was also banned, protests from Rickman received a scholarship to train the artistic community followed and at the Royal Academy of Dramatic Art Riantiarno temporarily withdrew from the (1972–4). His stage career has been asso- theatre. However, he and the company ciated mainly with the Royal Shakespeare have since produced Rumah Sakit Jiwa (In- Company, where he has performed regu- sane Asylum) and Ular Putih (another ad- larly since 1978. His semi-detached, aptation based on the Chinese opera Lady casual, laidback, take-it-or-leave it ap- White Snake) in 1994, and in 1995 Semar proach was ideal for his parts as Jacques Gugat about the god/clown of the Java- in As You Like It (1985), the Gustaf nese, Wayang Kulit. Gründgens-based Henrik Höfgen in Ariane MNOUCHKINE’S adaptation of Ricalde, Mario Espinoza (1958–) Direc- Klaus Mann’s novel Mephisto (1985), and tor, Mexico. Ricalde studied theatre at the an insolently seductive Valmont in Les Li- University Theatre Centre at the National aisons Dangereuses (1985, directed by Autonomous University of Mexico. With Howard DAVIES). He also played Ham- a scholarship of the International Theatre let in a production directed by Robert Institute, he went to the theatres in Köln Sturua (1992), portraying Hamlet as a and Esslingen, Germany, and a British dangerous, unlikable man. In 1988 he Council scholarship enabled him to study launched an internationally successful film theatre administration in London, Leices- career, returning to the stage in 1998 as ter and Glasgow. Following some years as Antony in Antony and Cleopatra at the Royal an assistant director, he directed his first National Theatre. play in 1986, Joe Orton’s Loot. Other productions include Kaiser’s Von Morgens bis Rigg, Diana (1938–) Actor, Great Britain. Mitternachts (From Morn to Midnight) and Rigg trained at the Royal Academy of Max Frisch’s Don Giovanni oder Die Liebe Dramatic Art, and scored a major early zur Geometrie (Don Giovanni or Love for Ge- success as Cordelia in Peter BROOK’S ometry), as well as several operas. production of King Lear (with Paul SCOFIELD) for the Royal Shakespeare Richmond, Brian (1947–) Director, Company. She became well-known for her Canada. Richmond was the founding ar- portrayal of Emma Peel in the television tistic director of Persephone Theatre in series The Avengers, but continued her stage 1975. In 1981–2, he worked as dramaturg career, with roles including STOPPARD’S for the Montréal Playwright’s Workshop. Jumpers (1972) and Night and Day (1978), He has since served as artistic director of Shaw’s Heartbreak House (1983), Berlin Bertie several theatres, including Magnus Thea- by Howard BRENTON (1992), an tre (1983–7) and Theatre Passe Muraille award-winning performance in the title

257 Rijnders, Gerardjan Rodríguez, Gladys roles of Euripides’s Medeia (1992 onwards, Splits (1975), The Automatic Pilot (1980) and also Broadway), Brecht’s Mutter Courage Murder at McQueens (1986). ‘Ritter’s plays und ihre Kinder (Mother Courage and her Chil- are all written in the style and tradition of dren, Royal National Theatre) and the Comedy of Manners, where her Racine’s Phèdre (Almeida, 1998). She shrewd eye for modern “yuppie” attitudes starred in Edward ALBEE’S Who’s Afraid and ear for ways of talking are captured of Virginia Woolf? at the Almeida (1996), in often brilliant verbal wit’. The hugely directed by Howard DAVIES. popular Automatic Pilot deals with a young urban woman negotiating her way Rijnders, Gerardjan (1949–) Director through a series of relationships and com- and dramatist, The Netherlands. Rijnders menting on those relationships in a stand- read law and Norwegian, and later trained up routine at a local comedy club. She has as a director at the Amsterdam Theatre said of her work, ‘If there is a common School. His debut as a director was La theme among [my] characters, it’s the de- Dame aux Camélias by Dumas fils in 1975, sire to have a kind of integrity. They make and as an author with the acclaimed choices that run against the grain. If all Schreber (1976). In 1977 he became the the encouragement is towards selling out, leader of the Globe company in towards making things easy, towards go- Eindhoven, where he raised a stir with his ing for the bucks, there’s something in daring interpretations of the classics and these characters that wants to go the other his own camp comedies (such as Troilus and way.’ Cressida and Chekhov’s Tri sestry (Three Sis- ters)). Influenced by Elizabeth Ritter, Ilse (1944–) Actor, Germany. LECOMPTE, Rijnders made many so- Ritter trained at the Hochschule für Musik called ‘montage-pieces’, continuing after und Theater in Hannover, and was em- leaving Globe in 1985. In 1987 he took ployed in Darmstadt, Wuppertal, Ham- up his second big position as director of burg and Düsseldorf before joining Peter Toneelgroep Amsterdam. Work there in- STEIN’S Schaubühne (1973–7). She cludes successful productions of Hamlet played Gertrude in Peter ZADEK’S pro- and Richard III (with Pierre BOKMA in duction of Hamlet (1977), Lady Macbeth the lead), plays by Thomas Bernhard, and with Luc BONDY, Celia in As You Like It montages. Rijnders’s work is clever, pro- (1986, directed by Zadek), and Queen vocative and tends towards minimalism. Elizabeth in Schiller’s Maria Stuart (1990, His black comedies of misunderstanding directed by Michael BOGDANOV). Re- that make up the Silicone trilogy (see Cas cent roles include Chekhov’s Visnevyi sad ENKLAAR and Marlies HEUER) have (The Cherry Orchard) and Susanne been translated into English, as has Ama- Amatosero’s Asylanten (Hamburg, 1998, in teur. The prolific Rijnders also acts and a production directed by Kazuko writes for television. He is considered a WATANABE). Ritter has been described brilliant innovator of Dutch theatre. He as ‘a virtuoso performer without putting has also directed at the Deutsches Theater on an act, an expert of transformation but in Berlin. always recognizable, no classical heroine of tragedy but a fighter lost in dreams or Ritter, Erika (1948–) Dramatist, Canada. a tough and thoughtful loser’. Ritter received an MA in arts and drama from the University of Toronto. The Rodríguez, Gladys (1943–) Actor, Puerto themes of male-female relationships and Rico. Gladys Rodríguez earned a BA in the creating of art are recurrent in her theatre from the University of Puerto plays, A Visitor from Charleston (1975), The Rico, and since then has worked regularly

258 Rogovtseva, Ada Ronen, Ilan as an actor, often under the direction of tor, Italy. After receiving a diploma from Dean ZAYAS. Rodríguez’s principal roles the National Academy of Dramatic Art, include the female leads in Bernard Slade’s Ronconi worked as an actor with direc- Same Time Next Year (1980), Bill Manhoff’s tors such as Luigi SQUARZINA. He The Owl and the Pussycat (1981) and started directing in 1963 and rose to in- D.H.Lawrence’s The Fox (1983), as well as ternational fame in 1969 with a dramati- the only character in Letter from an Unknown sation of Ludovico Ariosto’s Renaissance Wife, adapted from the novel by Stephan epic poem Orlando Furioso, which he Zweig. Rodrígue won particular praise for adapted with the poet Edoardo Sanguineti her sensuous and spirited portrayal of for theatre, television and film. In this Blanche in Williams’ A Streetcar Named De- piece, Ronconi subverted dramatic con- sire (El Otro Grupo, 1977, opposite Miguel ventions related to the use of time and Ángel SUÁREZ’S Stanley on a set de- space by using mobile stages which en- signed by Julio BIAGGI). Her films in- couraged spectators to follow the dramatic clude Desvío al paraíso (Shortcut to Paradise, action from a number of locations. In 1977, 1994, as Lona) and Lo que le pasó a San- Ronconi founded an experimental re- tiago (Santiago, The Story of His New Life, search group in Prato. Over the last thirty nominated for an Oscar for Best Foreign years he has become one of the most Language Film in 1989). Rodríguez has a stimulating and influential practitioners in reputation as a ‘director’s dream’ for her Italian theatre. His ongoing challenge to discipline and versatility. dramatic conventions and his exploration of the boundaries of dramatic form have Rogovtseva, Ada (1937–) Actor, Ukraine. offered material for debate to practition- Rogovtseva graduated from the ers, academics, critics and theatregoers. Karpenko-Kary Institute for the Art of the Among his most notable productions are Theatre, Kiev, in 1950. She is an actor of Goldoni’s La buona moglie (The Good Wife, bright individuality and great charm. Her 1963), Measure for Measure (1967), repertoire is wide and varied. As a lead- Giordano Bruno’s Il Candelaio (The ing actor of the Lesia Ukrainka Russian Candlemaker, 1968), Kraus’s Die Letzten Tage Drama Theatre, Kiev (1959–94), she der Menschheit (The Last Days of Humanity, starred as Helen in Zorin’s Varshavskaia 1990) and O’Neill’s Mourning Becomes melodiia (The Warsaw Melody, 1968), Lika Elektra (1997). Mizinova in Maliuhina’s Nasmeshlivoe moe schast’e (My Mocking Love), Ranevskaya in Ronen, Ilan (1947–) Director, Israel. Chekhov’s Visnevyi sad (The Cherry Orchard, Ronen trained at the Beit Zvi theatre 1980, set designer Daniil LIDER) and school in Tel Aviv and began his profes- Arkadina in Cajka (The Seagull, 1993), and sional work as an assistant to Mike Alfreds Paola in Rattigan’s The Lady without at the Khan Jerusalem municipal theatre, Camelias. She is well known to audiences where he later became the artistic direc- for the role of Martha (with Bohdan tor. Ronen directed his own adaptations STUPKA as her partner) in Ne boius’ siroho of Joseph Heller’s Catch 22 and vovka (I am not Afraid of the Gray Wolf) after Dostoyevsky’s Idiot (The Idiot) as well as Who’s Afraid of Virginia Woolf? by Edward plays like Ben Jonson’s Volpone. Ronen has ALBEE (1995) written by the young directed a bilingual, Hebrew-Arabic pro- Kievan experimenters Andrii Zholdak duction of Beckett’s Waiting for Godot, and and Myroslav Hrynyshyn. She has also while serving as the artistic director at the starred in numerous films. Cameri Tel Aviv municipal theatre he directed plays like Motti LERNER’S Kastner, Ronconi, Luca (1933–) Director and ac- Brecht’s Mutter Courage und ihre Kinder

259 Roofthooft, Dirk Ross, Andrew

(Mother Courage and her Children) and his Rošic, Neva (1935–) Actor, Croatia. Rošic own adaptation of von Kleist’s Michael trained at the Academy of Dramatic Art Kohlhaas. His productions mix theatrical in Zagreb. From 1956–68 she worked spectacle with a strong ideological commit- with the Zagreb Theatre Gavella where ment. she stayed for twelve years, moving on to the HNK (Croatian National Theatre) in Roofthooft, Dirk (1958–) Actor, Belgium. Zagreb. Since 1979 she has been working Following his training at the Studio as a professor of acting at the Academy of Herman Teirlinck in Antwerp, Roofthooft Dramatic Art (the first woman professor). became a member of the Nederlands She was a very successful Rosaura in Toneel Ghent (one of Flanders’s biggest Goldoni’s La vedova scaltra (The Cunning theatres) in 1983. Two years later, he left Widow). At the HNK she played three the company and decided to become a most complex and demanding characters freelance actor. Since then, he has been of Croatian drama: Laura in Krle•a’s U playing in productions of most of the lead- agoniji (In Agony, 1969), Klara in Leda ing companies in Flanders and The Neth- (1972) and Baroness Castelli in Gospoda erlands. He worked amongst others with Glembajevi (The Glembays, 1974). Further Lucas VANDERVOST (De Tijd) in credits include Portia in Julius Caesar Schiller’s Don Carlos (1988), Jan (1970), Gertrude in Hamlet (1975) and LAUWERS (Needcompany) in Julius Cae- Arkadina in Chekhov’s Cajka (The Seagull, sar (1990), Guy CASSIERS in Het Liegen 1976). In 1975 she played the title role in in Ontbinding (Lying in Decay, Kaaitheater, Matkovic’s monodrama Klitemnestra 1993) and Theu BOERMANS (De Trust) (Clytemnestra), and gave a brilliant portrait in Chekhov’s Tri sestry (Three Sisters). He of Sarah Bernhardt in Murell/Willson’s also works for film and television. Sarah and the Scream of the Lobster. The mo- Roofthooft is praised as a versatile, ironic, ment she steps on the stage she makes a exuberant and astonishing actor, who suc- direct contact with the audience. It is said ceeds in making difficult texts accessible that she represents the eternal feminine to his audience. principle on the stage. Her acting is inter- twined with intellect and sensuality, try- Rose, Jürgen (1937–) Designer, Germany. ing to reconcile these opposites. Rose became an assistant to set designer Franz Mertz at the theatre in Darmstadt. Ross, Andrew (1947–) Director, Aus- He studied at the Akademie der Bildenden tralia. Ross worked extensively in fringe Künste in Berlin, as well as at the acting and university theatre in Melbourne, but school of Marlise Ludwig. Since 1961 he he is best known for his Perth-based work has worked with the Münchner involving Aboriginal writers and theatre Kammerspiele, as well as with other ma- workers. He directed the premiere produc- jor theatres in Germany and Austria. Set tions of Jack DAVIS’S plays Kullark (1979), designer Rosalie, one of his students, The Dreamers (1982), No Sugar (1985) and wrote: ‘On the one hand, he unlike any- Barungin (1988), and he directed the latter one else loves beautiful images, colours, three plays presented together as The First landscapes, arrangements—on the other Born trilogy in 1988, thus offering a coun- hand he always tries to find, in all his ter-statement to the celebrations of the works, a connection with real situations Bicentennial year. Other Aboriginal works and everyday life: “That is a beautiful im- Ross has directed include Jimmy Chi’s age!—But where is the connection to to- musical Bran Nu Dae (1990) and Sally day?”’ Morgan’s Sistergirl (1992). Ross was founding artistic director of the Swan River

260 Rotimi, Ola Ruganda, John

Stage Company, Perth in 1982; he was contribution to Theatre of the Absurd in also founding artistic director of the Black India by playing roles such as Pozzo in Swan Theatre Company, Perth, in 1991. Beckett’s Waiting for Godot, and Jerry in ALBEE’S Zoo Story. Additional roles in- Rotimi, Ola (1938–2001) Dramatist and clude Julius Caesar, Macbeth and Thomas director, Nigeria. Rotimi’s plays include Beckett (in the play by Anouilh) in some The Gods Are Not To Blame (an adaptation remarkable Bengali productions. He has of Sophocles’s Oidipus tyrannos (King Oedi- worked with Hansgünther HEYME, pus), Our Husband Has Gone Mad Again, Günter Grass and Georg TABORI. Kurunmi, Holding Talks, If…and Hopes of the Brecht wrote a play based on Roy’s an- Living Dead. Rotimi’s plays are character- cestor, Calcutta 4th May, which Roy directed ized by his bold experiments with dra- in Calcutta in 1987. matic form, staging techniques and manipulation of language. As a director, Rudkin, (James) David (1936–) Drama- Rotimi is especially known for his abilitiy tist, Great Britain. The Royal Shakespeare to move many characters in and through Company staged his first play Afore Night space. His directing credits include all his Come in 1962, as part of an ‘experimental own plays and King Christophe by Aimé season’. Without violating its social realist Césaire, The Curse by Kole OMOTOSO, form, the play suggests destructive and Sizwe Bansi is Dead by Athol Fugard, creative cosmologies and rites lurking be- Winston NTSHONA and John KANI, neath the superficial civilization of the The Emperor Jones by Eugene O’Neill and English Black Country. Cries from Casement Behold My Redeemer by Rasheed as his Bones are Brought to Dublin (1971), Gbadamosi. broadcast by BBC radio and staged by the RSC, develops a dramatic grappling with Roxburgh, Richard (1961–) Actor, Aus- Anglo-Irish relations and sexual identity tralia. Trained at the National Institute of (Rudkin is himself half-Irish), pursued in Dramatic Art, Sydney, Roxburgh has a more microscopic form in Ashes (1973). successful career in film (for example, Chil- His major plays, The Sons of Light (1975), dren of the Revolution) and television, as well The Triumph of Death (1981) and The Saxon as theatre, but it was in theatre that he has Shore (1986), are troubling, complexly ro- had one of his most highly acclaimed suc- mantic, mythic explorations of identity in cesses as Hamlet, directed by Neil social crisis, with characteristic reference ARMFIELD (1994 and 1995). What ap- to imperialism, religion, the animal sav- pealed most about this Hamlet was his agery of instinct and the darkest recesses energy, his anger, his damaged innocence of sexuality. The experiences of his and his complex relation with Horatio Promethean protagonists testify to (Geoffrey RUSH). Roxburgh created the Rudkin’s sense that hope lies in the im- absolute antithesis of the melancholic, in- aginative abilities of each individual to rec- active prince. Roxburgh was also an in- reate myth in their own individual terms. triguing Trigorin in Armfield’s 1997 While he has maintained a consistent level Seagull, generating a powerful sense of a of activity with radio drama and television man unable to take control of anything in and cinema screenplays, including work as his life, touchingly excited and hopeful of translator and adaptor, a reappraisal of his what could come of his relationship with continuingly daring original work for the Nina. stage is overdue.

Roy, Amitava (1947–) Actor, India. Roy Ruganda, John (1941–) Dramatist, actor has become known for his outstanding and director, Uganda. Ruganda was

261 Ruscitadewi, Anak Agung Mas Ruszt, József amember of the Makerere Free Travel- stories and dramas and is a journalist for ling Theatre, a founder-member of the the Bali Post. Makonde Theatre Group in Uganda and founder-member of the Nairobi Travel- Rush, Geoffrey (1951–) Actor and direc- ling Theatre in Kenya. His greatest tor, Australia. Rush worked in Queens- strength as a playwright is his highly land Theatre company productions be- evocative and almost poetic prose which fore training at the Lecoq school in Paris lends a certain elegiac dignity and beauty and as a director in London. After a pe- to some of his major characters. The riod with the Adelaide Lighthouse en- Floods is a passionate extended elegy on semble, Rush has frequently been associ- Idi Amin’s dictatorial regime in Uganda. ated with the work of director Neil Other plays include The Burdens, Music ARMFIELD, for whom Rush has played Without Tears (another play about the Idi roles as diverse as Subtle in Ben Jonson’s Amin period, 1982), Black Mamba (1973), The Alchemist, where Rush’s ability to The Covenant of Death (1973) and Echoes of transform himself from character to char- Silence (1986). Ruganda is also an accom- acter was brilliantly displayed; a Horatio plished actor and director He now lives through whose eyes the action of Hamlet and works in exile in Kenya, but his was seen; and Proposhkin in Gogol’s themes are still the ills plaguing his native Zapiski sumasshedshego (Diary of a Madman) Uganda. in a production which received great acclaim. Rush’s direction of the farcical Ruscitadewi, Anak Agung Mas (1965–) pub-style entertainment The Popular Director, dramatist and performer, Indo- Mechanicals and its sequel Pop Mechs 2, nesia. Ruscitadewi studied Archaeology at based on characters from A Midsummer Udayana University, Bali. She began writ- Night’s Dream, was a popular hit. Rush has ing theatre pieces and short stories in high appeared in several films but is best school and, in 1985 her script Laki-Laki known for his Oscar-winning perform- Serumah, was selected as the best new play ance in Shine. Rush’s greatest strength is in Bali. In 1990 she was assistant director his versatility and his ability to transform of Sumpah Palapa Gaja Mada for the Bali himself radically. Arts Festival, and in 1991 she wrote and directed Mahkota Raja, performed at the Ruszt, József (1937–) Director, Hungary. Arts Centre in Denpasar. The following Ruszt first worked as a director of ama- year she directed a group of American teur actors at the Budapest University university students in A Midsummer Night’s Theatre. By 1963 he had completed his Dream at STSI (Academy of Performing training at the Academy of Theatre and Arts), and in 1993 wrote and directed Sang Film Art. Between 1963–74 he was a Puteri, again for Denpasar Arts Centre. In member of the Csokonai Theatre in 1994, her theatre company performed Debrecen. Since then he held various Sang Pemburu in Taiwan. She also wrote posts as artistic director (1974–8, Katona and directed Lawa-Lawa, which has toured József Theatre of Kecskemét; 1978–82, schools and universities throughout Bali Budapest Népszínház; 1982–7, artistic di- and was televised by TVRI Denpasar. rector, Hevesi Sándor Theatre of Her theatre work is moving away from Zalaegerszeg; 1988–90, National Theatre word-based productions to a performance of Szeged). With actors who had left the style with more use of movement and Szeged company, he founded the Inde- voice; she says she seeks a theatre out of pendent Theatre which operated in Buda- the ordinary, like holy sacrificial cer- pest between 1991–4. Since 1994, Ruszt emony. She has published poetry, short has been a leading member of the

262 Rylance, Mark

Budapest Chamber Theatre. Major ter training at the Royal Academy of Dra- productionsinclude Madách’s Az ember matic Art, Rylance appeared in Edward tragédiá (The Tragedy of Man), Romeo and BOND’S Lear at the Royal Shakespeare Juliet (several productions), Troilus and Company in 1982, where he later re- Cressida, Othello, Lessing’s Nathan der Weise turned to play Hamlet (1989) as a vulner- (Nathan the Sage), Goethe’s Egmont, able, pitiful invalid, and Romeo (1989). Chekhov’s Tri sestry (Three Sisters), For the National Theatre, he appeared in Marlowe’s Edward II, Arthur MILLER’S Michelene Wandor and Mike Alfreds’s The Price and Strindberg’s Dödsdansen The Wandering Jew (1987) and Goldoni’s (Dance of Death). Ruszt is one of the most Villeggiatura (Countrymania, adapted by interesting directors of contemporary Mike Alfreds, 1987). He played Benedick Hungarian theatre, a constant experi- in Matthew WARCHUS’S West End pro- menter and re-inventor. He specializes in duction of Much Ado About Nothing, and has modern adaptations of Hungarian classics directed and acted in Shakespeare at the and inspired new versions of the canon. new Globe on the South Bank of London, of which he was made artistic director in Rylance, Mark Actor, Great Britain. Af- 1995.

263 S

Sabban, Rafik (1933–) Director and on the television mini-series, The Artist and scriptwriter, Syria. Sabban’s work as a di- Love, written and directed by Riad rector was heavily influenced by Jean ISMAT. His debut as stage director was Villar (under whom he trained), and Jean- with an acclaimed production of Albert Louis Barrault. In Damascus, Sabban in- Camus’s Caligula (1986, revived in 1996). troduced Shakespeare and Molière to a He adapted, acted and directed Jason and Syrian audience accustomed to low com- Medea from the famous Greek tragedy. His edies. From 1960 onwards he was the play Awacs (1995) was a forward step in dominant force in the newly founded Na- experimental theatre, both as a dramatist, tional Theatre, and later with Syrian State director and actor. The play was made of Television. With an average of twelve new fragmented scenes about the need for free- productions a year, major credits include dom in a world of suppression and perse- Sophocles Antigone and Electra, El-Hakim’s cution by local and international forces. Al-Sultan’l-Ha’er (The Sultan’s Dilemma), The He was appointed artistic director for Da- Merchant of Venice, Twelfth Night, Macbeth, mascus National Theatre in the 1990s. His Much Ado About Nothing, Molière’s Tartuffe latest production is Mohamed El- and Calderón’s La vida es sueño (Life is a Magout’s Kharej’l-Serb (Astray from the Flock, Dream). In the 1970s he emigrated to 1998). Egypt, taking up a professorship in drama and cinema while pursuing an active ca- Saez, Gloria (1949–) Designer, Puerto reer as scriptwriter for film and television. Rico. Gloria Saez was born in Asturia, He is still considered by many as the true Spain and studied at the Escuela de Bellas founder of the National Theatre in Da- Artes in Salamanca (1968–9) before con- mascus, and certainly the first director to tinuing her studies in Art and Design in establish the public’s appreciation of the Belgium. After arriving in Puerto Rico, classics, bringing innovative spirit of mod- she began her career as a professional cos- ern theatre with him from France. tume designer for the television station WPR. A passionate theatre artist, Saez is Sa’ed, Jihad (1953–) Actor, director, particularly noted for her detailed period Syria. Sa’ed was trained in Egypt. On his costumes in works by Shakespeare, García return, he started as a theatre actor in Lorca and the dramatists of Golden Age Georges Schehade’s The Emmigrant of Bris- Spain, as well as more recent designs for bane. His breakthrough as actor was first works by Puerto Rican and Latin Ameri-

264 Sagiroglu, Duygu Sakate Yôji can authors such as Rene Marqués, Pre- Avengers, Not Again and Passionate Woman. mier Maldonado and Luis Rechani Agrait. He is the director of the theatre company She also designed costumes forthe world Living Echoes Drama. Sagoe’s theatre is premiere production of García Lorca’s El highly sociopolitical as it attempts to en- Público under the direction of Victoria gage with contemporary issues of Ghana- ESPINOSA (1978). Recent work includes ian society. costume designs for Lope de Vega’s Fuente Ovejuna (University of Puerto Rico, 1998), Saint-Eloy, Luc (1955–) Actor, director Moliere’s Tartuffe (Teatro Tapia, 1998) and and author, France and Guadeloupe. Verdi’s opera Il Trovatori (The Troubadours, Saint-Eloy came to Paris and studied Centro de Bellas Artes, 1998). drama at the Studio Charpentier, and film at the University of Paris VIII. In 1982 Sagiroglu, Duygu (1932–) Designer and his first play Le Prix de la Terre (The Price of director, Turkey. Educated at the Faculty the Earth) achieved favourable notice, and of Architecture, University of Istanbul, he has continued to compose fiction and Sagiroglu joined the State Theatre in 1956 drama. His early acting experience was as a designer. From 1959–76, he worked with Jules-Rosette’s Théâtre Noir, and his in the film industry as a director, artistic own work with his group Théâtre de l’Air director and scriptwriter. In 1979, he Nouveau, founded 1983, shows a similar started to work as an instructor at the In- orientation towards imaginative texts. In stitute of Cinema and Television, Acad- addition to adaptations and poetic ‘mon- emy of Fine Arts in Istanbul. Theatre de- tages’, often with a strong musical compo- sign work includes Ben Elton’s Take a Deep nent, such as Bwa brilé (Burnt Wood, 1996), Breath (1991–2), Gogol’s Zapiski a tribute to Eugène Mona. He had a par- Sumasshedshego (The Diary of a Madman, ticular success with his prizewinning 1992–3), Insanlarim (My People, a collage of drama of urban alienation, Trottoir Chagrin the poetry of Nazim Hikmet, 1994–5) and (Pavement of Sorrows, 1991), starring Mylène Ronald Duncan’s Abelard and Heloise Wagram. Chemin d’école (School Days, 1997) (1996–7). As a designer, he does not work is based on Patrick Chamoiseau’s bitter- independently from the playtext, aiming sweet memoir. Since 1994, Saint-Eloy has at a creation that translates the playtext been active in Yasmina HO-YOU-FAT’S rather than overwhelming the production. ‘Pitt a Pawol’, which organizes regular en- At present, he is working an an instructor counters with French Caribbean writers at the Faculty of Fine Arts, Cinema-Tel- through dramatic readings and discussion evision Department of Mimar Sinan Uni- of new work, and has worked in film and versity, Istanbul. television.

Sagoe, Abeiku (1957–) Actor, dramatist Sakate Yôji (1962–) Dramatist and direc- and director, Ghana. Among the roles tor, Japan. Sakate first joined the theatre Sagoe has played are Mlanga in Chaka, the Group Teni 21 and then formed Zulu, Dubois in The Trial of Kwame Rinkôgun Theatre Company with mem- Nkrumah, Mambo in Mambo and White bers of the theatre research group of Keiô Oppressor in Struggling Black Race. He has University in 1982. All the productions of also written and directed some very suc- the Rinkôgun TC were written and di- cessful plays/productions including Samori, rected by Sakate. His plays include Tokyo The President’s Wife, Tale of Aids, Hand of God Saiban (Tokyo Trial, 1988), Come Out (1989), and Devil’s Influence. Sagoe has been in- Breathless (1990), Kujira no Bohyô (The Epi- volved in numerous films as an actor and taph for the Whales) and Kamigami no Kuni no as director, including Son of the Thundergod, Shuto (The Capital of the Gods’ Country, 1993).

265 Salibur, Lucette Sánchez-Gijón, Aitana

The latter toured in Europe in 1994 and Turku City Theatre (1971–7). Apart from 1996. An English adaptation of The Epi- work for film and television, major stage taph for the Whaleswas staged at the Gate roles include Lopakhin in Chekhov’s Theatre, London in 1998. Sakate writes Visnevyi sad (The Cherry Orchard), Danton in political and social plays in the mixed style Büchner’s Danton’s Tod (Danton’s Death), of fantasy and absurdist theatre. He fo- Trigorin in Chekhov’s Cajka (The Seagull), cuses on such controversial issues as whale the title roles in Ibsen’s Peer Gynt, Othello hunting, cult religions, the Emperor sys- and Macbeth, and Eddie Carbone in tem and the problem of waste. Arthur MILLER’S A View from the Bridge. ‘The dominant feature of Esko Salminen’s Salibur, Lucette (1955–) Actor, dramatist work is that he questions traditional inter- and director, France and Martinique. Born pretations, giving them complexity and of Guadeloupean parents in France, where inner conflict which increases their believ- she studied psychology, Salibur ‘discov- ability and somehow brings them closer ered’ theatre in Martinique through the to the audience. But at the same time he SERMAC theatre workshop, acting in has preserved the curious, captivating several of their inaugural productions as twinkle in the corner of his eye of the well as working with Existence, Théâtre young man who is seeking his own way de La Soif Nouvelle and the founders of and assessing the state of the world.’ Poutyi pa teyat. Subsequent roles include Emilia in Othello (1983, Limoges Festival Samel, Udo (1953–) Actor, Germany. de la Francophonie), Léna in Fugard’s Samel trained in Frankfurt am Main. Af- Boesman and Lena (1984), parts in ter seasons in Darmstadt and Düsseldorf, SOYINKA’S The Trials of Brother Jéro he was a member of the Schaubühne in (1984) and several television productions. Berlin from 1978–92. Samel is a master of The credibility of her portrayal of Mad- transformation, who is at home equally ame Léonce in the film Black Shack Alley with cunning or foolish characters in com- (1983) betrays the determination behind edy and as a split, brooding hero in trag- her 1984 directing debut and her 1989 edy. Important roles include Kalldewey in founding of Nowtéat, a group including Kalldewey Farce by Botho STRAUSS (1982, many unemployed from the SERMAC directed by Luc BONDY), Trofimov in theatre workshops. Initially producing Chekhov’s Visnevyi sad (The Cherry Orchard educational and children’s theatre, and 1989, directed by Peter STEIN) and adaptations of literary and poetic texts, Sosias in Kleist’s Amphitryon (1991, directed Nowtéat aims at financially independent by Klaus Michael GRÜBER). professionalism. The success of Boum et Aïda rencontra Mutant (Boom and Aida meets Sánchez-Gijón, Aitana (1969–) Actor, Mutant, 1991), her allegorical satire on in- Spain. Sánchez-Gijón studied acting at the ternational politics, Masters of the Dew RESAD, the Drama School of Madrid. (1992), and her interest in collaboration, Although she is perhaps most recognized reflect her commitment to breaking new for her work in film, she remains an ac- ground in Martinican theatre. complished theatre actor who has exer- cised wise restraint in her choice of roles. Salminen, Esko Kullervo (1940–) Actor, Her work in theatre includes Jacinto Finland. Salminen trained at the Theatre Benavente’s La malquerida (The Non-Wanted School of Finland, and has worked as an Woman) in an acclaimed production by actor with the Finnish National Theatre Miguel Narros in the mid-1980s and more (1961–9 and since 1992), Helsinki City recently a controversial high-profile stag- Theatre (1969–71 and 1977–92) and ing of Tennessee Williams’s Cat on a Hot

266 Sanchís Sinisterra, José Santiago Lavandero, Leopoldo

Tin Roof directed by Mario GAS (1995). sons in Düsseldorf, Heidelberg and with Her delicate, dark beauty, exquisite poise the Freie Volksbühne in Berlin, he was a and steely presence have seen her work member of the Schaubühne in Berlin from increasingly abroad. Like the generation 1970–81, returning in later years for guest that precedes her, including Antonio performances. At home in both tragedy Banderas, Veronica Forqué, Cristina and comedy, he excels equally with pas- Marcos and Ana Belén, Aitana Sánchez- sive, depressive and cynical characters and Gijón is as comfortable working within completely intolerable philistines. Major theatre as in film and indeed has forged parts include the Dovre Master in Peter parallel careers in both. In 1998 she re- STEIN’S production of Ibsen’s Peer Gynt placed film director José Luis Borau as (1971), Suslov in Gorki’s Dacniki President of the Spanish Academy of Film. (Sommergäste, 1974, directed by Stein), Vershinin in Chekhov’s Tri sestry (Three Sis- Sanchís Sinisterra, José (1940–) Drama- ters, 1984, dircted by Stein) and the title tist, Spain. Sanchís Sinisterra founded the role in Kleist’s Amphitryon (1991, directed important Aula de Teatre at the Univer- by Klaus Michael GRÜBER. Sander has sity of Valencia in 1964. In 1977 he cre- also directed and pursued a career in film. ated the theatre company El Teatro Fronterizo in Barcelona, and began a prac- Santagata, Alfonso (1947–) Director, tical exploration of the relationship be- dramatist and performer, Italy. After train- tween narrative and theatre, through a se- ing at the Civica Scuola D’Arte ries of projects using prose writers such Drammatica in Milan, Alfonso Santagata as Kafka, Melville and Cortázar. His plays worked with Dario FO, Luca RONCONI include La leyenda de Gilgamesh (The Legend and Carlo CECCHI. In 1979, together of Gilgamesh) produced in 1978, followed with Claudio Morganti, he founded the by Ñaque o de piojos y actors (Ñaque or Louses theatre company Katzenmacher. Influ- and Actors) in 1980, La primera de la clase enced by Antonin Artaud, Santagata de- (The Best in Class) in 1984, and one of the veloped a challenging politicized practice most commercially successful plays of the focused around the notion of alienation. new democratic Spain, ¡Ay, Carmela! Often working with found objects, (1987). His work is marked by a prolific Santagata has reinterpreted a number of versatility which encompasses popular classical texts in the light of what could comedy, vaudeville, historical drama and be described as romantic neorealism. mythology. In 1989, Sanchís Sinisterra Among his most interesting productions founded the Sala Beckett in Barcelona, with Morganti are Katzenmacher (1979), which has evolved into a space facilitat- Büchner Mon Amour (1981), Hauser/ Hauser ing ongoing research into performance (1986), Dopo (After, 1987), Beckett’s End- and dramaturgy. Here he has nurtured a game (1990), Manlio Sgalambro’s whole new generation of dramatists in- Schopenhauer Song (1995) and King Lear cluding Sergi BELBEL. His most recent (1996). plays include Pervertimento (Perversion, 1988), Pérdida en los Apalaches (Lost in the Apalaches, Santiago Lavandero, Leopoldo (1912–) 1990) and El cerco de Leningrado (The Lenin- Director, Puerto Rico. Leopoldo Santiago grad Siege, 1994). He lectures at the Institut Lavandero is considered by most theatre del Teatre of Barcelona. professionals in Puerto Rico to have been the primary force behind the proliferation Sander, Otto (1941–) Actor and director, of modern theatrical activity there. He Germany. Sander trained at the Otto pursued postgraduate study in theatre Falckenberg Schule in Munich. After sea- at Yale University in the late 1930s,

267 Santos, Carles Sarkola, Lauri Asko eventually earning an MA in 1948. Don Figasantos-Fagotrop (1996) and the gor- Leopoldo (as he is known among his stu- geously baroque L’esplèndida vergonya del fet dents and collaborators) founded the mal fet (The Splendid Shame of the Deed Badly group Areyto with Emilio Belaval in 1940, Done), both hinging on the process of and the Department of Drama at the Uni- physicalizing the aural, has secured his versity of Puerto Rico in 1941, both of company a pivotal position within which were aimed toward the creation of Catalunya’s artistic scene. a theatre with uniquely ‘Puerto Rican’ character. Together with Rafael Cruz Sarabhai, Mallika (1953–) Dancer, actor Eméric, he instituted the Teatro Rodante and theatre activist, India. Having de Puerto Rico (Puerto Rican Travelling achieved renown as a classical dancer and Theatre) in 1946, a group composed of film actor, (including the role of Draupadi professional actors as well as scholarship in Peter BROOK’S The Mahabharata), students, which brought classics of world Mallika Sarabhai’s more recent co-written, theatre to the people of Puerto Rico, us- co-directed and performed work includes ing a truck which was converted on loca- multimedia and dance-theatre collaboration into a stage (a practice which Joseph tions on sociopolitical issues. Shakti: The Papp adapted for some of his productions Power of Woman (1989), Sita’s Daughters in New York some years later). He retired (1990) and V for…(1996) deal with images from the theatre in 1972 and is currently and roles of women in India and with the living in Florida. nature and causes of violence. These rank her among leading women practitioners in Santos, Carles (1940–) Director, com- the contemporary performance scene, poser, performer and musician, Spain. both in India and abroad, where her work Trained as a pianist at Barcelona’s has been consistently well-received. Co- Conservatoire, Santos made his reputation director of Darpana Academy of Perform- as a concert pianist before moving on to ing Arts, Ahmedabad, she has also devel- specialize in contemporary music in the oped extensive programmes using per- early 1970s. Since 1978 he has been asso- formance as social outreach in schools and ciated almost exclusively with his own rural communities. Her work is character- compositions. La Pantera Imperial (The Im- ized by cross-border experimentation both perial Panther, 1998), forged from the mu- formally and thematically. sic of Bach, is a marked exception, and it has been a search for a visual performance Sarkola, Lauri Asko (1945–) Actor, Fin- language for music which moves beyond land. Sarkola trained in the Swedish lan- the parameters of concert recitals or oper- guage at the Theatre School of Finland atic rendition which has fuelled Santos’s and worked as an actor at Lille Teatern own evolution from pianist to choreogra- (Little Swedish Theatre). For several years pher of opulent, elegant spectacles infused he also served as the theatre’s artistic di- with a raucous sensuality. His trajectory rector. Since 1997 he has been artistic di- has been marked by a resistance to rector of the Helsinki City Theatre. Ma- reductive or conclusive categorizations jor parts include Harpagon in Molière’s and the need, in his own words, to ‘make L’avare (The Miser), Hamlet and numerous music visible’. Working closely with cho- plays that demonstrated his talent as a reographer Montserrat Colomé, he has comic actor. His work in light comedies created a company which has questioned and farces has attracted big audiences. the very parameters of music theatre. The Asko Sarkola acts both in Swedish and exuberant theatricality of his non-plot Finnish. At the Little Swedish Theatre, a driven productions, like the imaginative play is often first rehearsed and played in

268 Satô Makoto Sawamura Tôjûrô II

Swedish and then, with almost the same MILLER’S The Crucible and for Q Thea- cast, rehearsed and put on agan in tre played the male white part of Samuel Finnish. Simile in the nineteenth-century musical play The Currency Lass. Given the central Satô Makoto (1943–) Director, Japan. joke of this play—Simile expects a Cur- Satô attended Haiyû-za (Actors’ Theatre) rency (i.e., Australian native free-born) lass Drama School, then founded Jiyû Gekijô to be black—this action was appropriately (the Freedom Theatre Company) with his subversive. course mates from the ATDS in 1966. He began staging a series of five plays, Nezumi- Savary, Jérôme (1942–) Actor, director kozô Jirokichi (Nezumi-kozô the Robber) with and dramatist, France. Born in Argentina, the Engeki Centre 68 Theatre Group, Savary grew up in France and New York, which toured in a big black tent. He ques- where he was influenced by jazz music. In tioned the Shôwa era by his trilogy Kigeki— 1965 he founded his own theatre com- Abesada no Inu (Abesada’s Dog), Kinema to pany, which in 1968 became the Grand Kaijin (Cinema and a Monster) and Buranki Magic Circus. His extravagant produc- Goroshi (Murder of Buranki)—from 1973–5. tions for the company soon became noto- Sato also directs for the marionette thea- rious; he later applied his spectacle ap- tre company, Yûki-za in collaboration with proach to the classics: Büchner’s Leonce und Magosaburô Yuki; The Virgin’s Mask by Lena at the Schauspielhaus in Hamburg, KARA (1975) was their first production. ’Tis Pity She’s a Whore, and most recently More recently, his Heiwa no tame no Salome Brecht’s Mutter Courage und ihre Kinder Dance (Salome Dance for the Peace) was pro- (Mother Courage and her Children) with duced in Hong Kong (1992). His plays Katharina THALBACH in the title role. hold the political concerns or messages against the Establishment behind the dia- Sawamura Tôjûrô II (1943–) Kabuki logues. actor, Japan. The second son of Sawamura Sôjûrô VIII and the younger brother of Saunders, Justine (1953–) Actor, Aus- Sawamura Sôjûrô IX, he succeeded to the tralia. Trained at the National Institute of present stage name in 1976. In recent Dramatic Art, Sydney in 1980, Saunders years, Tôjûrô has been working for a re- is one of the best-known and most success- vival of the Konpira Ô-kabuki at the ful Aboriginal actors and one of the first Kanamaru-za Theatre, one of the original to make a career in film, television and kabuki theatres of the 1830s. He has also mainstream Australian theatre. Saunders been working for a revival of the O-kuni has played leads in several Aboriginal Kabuki of the Izumo Shrine where kabuki authored plays, including The Cake Man by originated in the late sixteenth century. Robert Merritt and Jack DAVIS’S No Tôjûrô is a talented onnagata actor (a fe- Sugar and Honeyspot. She played the lead male impersonator) and plays a wide va- role in an episode of Women of the Sun riety of female characters from a beauti- (1981), a series of four television dramas ful lady to a comical battered middle-class focusing on Aboriginal women. In 1988 wife. He is good in sewamono (domestic she toured a one-woman recital of Abo- style) kabuki. His representative roles are riginal writing in the USA. In white Chidori in Heuke Nyogo no Shima (Shunkan) authored plays, Saunders has played in by Monzaemon Chikamatsu, Otomi in Thomas Keneally’s Bullie’s House and Yowanasake Ukina no Yokogushi (O-Tomi) by Louis NOWRA’S Capricornia. In 1991–2 Mokuami Kawatake, Chobei’s wife in Saunders played Tituba in a Sydney Thea- Ninjo Banashi Bunshichi Mottoi (Bunshichi), tre Company production of Arthur originally written by Sanyutei Encho

269 Schade, Doris Schleef, Einar

I.Sawamura has performed in Canada, the Bluebeard’s Castle. Her art is characterized USA (1986) and Egypt (1988) on kabuki by elegant formal culture, tasteful use of overseas tours. different styles and motifs, affinity to characterization, inventiveness and humour. Schade, Doris (1924–) Actor, Germany. After growing up in the Soviet Union and Scherhaufer, Peter (1942–) Director, Japan, Schade trained at the Altes Theater Czech Republic. Scherhaufer graduated in Leipzig. After working in Osnabrück, from the Brno Academy of Performing Bremen, Nürnberg and Frankfurt, she Arts. A co-founder and resident director joined the Münchner Kammerspiele in of the Brno experimental theatre group 1961, and from 1972–7 she was with the Goose on a String (Husa na provázku) Deutsches Schauspielhaus Hamburg, re- (1968), the group became significant as a turning to the Münchner Kammerspiele centre of protest against the regime in the in 1977. Her parts range from bigotted, ty- 1970s and 1980s. Influenced by the aes- rannical mothers to worldly-wise, active thetics of epic theatre (Brecht) and by folk- servants: Desdemona, Julia in ALBEE’S loric principles, he mostly directs his own A Delicate Balance, Isabella in Measure for plays and adaptations (Commedia del’arte, Measure, Merteuil in Heiner Müller’s 1974, Dostoyevsky’s Brat’ia Karamazovy Quartett, Gunhild in Ibsen’s John Gabriel (The Karamazov Brothers), 1981, Labyrint svìta Borkman, Mother in Thomas Bernhard’s a ráj srdce (The Labyrinth of the World and the Am Ziel (At the Goal, 1993) and, most re- Paradise of the Heart), 1983, the three-part cently, in Martin McDonagh’s Beuaty Queen Shakespearomania, 1988–92). His produc- of Leenane (1998). tions synthesize different genres and are held in untraditional spaces, using a dif- Schäffer, Judit (1931–) Designer, Hun- ferent acting surface and seating arrange- gary. Schäffer studied at the Budapest ment each time. He has also contributed Applied Arts College and joined the József to joint alternative theatre projects (Cesty Attila Theatre in 1957. Between 1966–87 (Paths), 1984, and Mir Caravane, 1989). she was the chief designer of the Budapest National Theatre, from 1987–91 at the Schleef, Einar (1944–2001) Director, de- Hungarian State Opera, and since 1991 signer and author, Germany. Schleef stud- she has been a member of the Budapest ied at the Kunsthochschule Berlin- Chamber Theatre. She taught for four Weißensee and drew attention to his work years at the Applied Arts College and took as set designer and co-director of several an important part in forming the Hungar- productions at the Berliner Ensemble, in- ian school of costume design in the 1960s cluding Wedekind’s Frühlings Erwachen and 1970s. She has designed costumes for (Spring Awakening, 1973–4) and several Hungarian theatres, open air Strindberg’s Fröken Julie (Miss Julie). In stages and foreign opera houses, and has 1976 he moved to West Berlin and worked taken part in several exhibitions at home mainly as a novelist until, in 1986, he was and abroad. Major productions include invited to Frankfurt to direct his own Chekhov’s Ivanov, A Comedy of Errors, The project, Mütter (Mothers). The production Tempest, The Merchant of Venice, Twelfth Night, was highly controversial, as were many of The Taming of The Shrew, Othello, Molière’s the following, characterized by strong im- Les femmes savantes (Bluestockings), ALBEE’S ages, loud staccato speeches, speaking or Three Tall Women, Marlowe’s Edward II and screaming chorus and multiple characters. Wilde’s The Importance of Being Earnest. In Most reent work includes Brecht’s Herr opera, productions include Verdi’s La Puntila und sein Knecht Matti (Mr Puntila and Traviata and Nabucco and Bartók’s his Servant Matti) at the Berliner Ensemble

270 Schmid, Jan Schwab, Martin

(1996), Wilde’s Salome in Düsseldorf arts centre) and The Europeans (1995, (1997), and Elfriede JELINEK’S Ein Théâtre d’Esch, commissioned by the Sportstück (A Piece of Sports) in Vienna theatre and Luxembourg European Cul- (1998). tural City). He is a founder member of the Lurking Truth and played in the world Schmid, Jan (1936–) Director and drama- premiere of David Ian Rabey’s The Back tist, Czech Republic. Schmid studied at the of Beyond (1996). In 1998, he dramatised College of Fine Arts in Prague and in 1963 and directed Bulgakov’s Heart of a Dog at founded the Studio Ypsilon in Liberec the Théâtre d’Esch. He is also a writer of (which moved to Prague in 1979), where poetry and short stories. he works to this day. He directs unconventional plays (Picasso’s Desire Grabbed by Schroeter, Werner (1946–) Director, Ger- the Tail, 1969; Allen’s God, 1990) and many. Schroeter studied psychology be- dramatizations (Ilf-Petrov’s Twelve Chairs, fore embarking on his career, initially 1973; Kafka’s America, 1989). In addition mainly in film. Since 1972 he has also di- to the many dramatizations, he has writ- rected in the theatre, where his work has ten several original plays for his ensem- proved as controversial as his films. He ble, using cut montages, all aimed at ex- pushes his performers to extremes. Pro- ploring the Czech national character, in- ductions for the stage include Wilde’s cluding Trináct vùní (Thirteen Fragrances, Salome (1973), Schiller’s Don Carlos (1982), 1975) and Voni sou hodnej chlapec (You’re a Euripides’s Medeia (Düsseldorf, 1989), Good Lad, 1984, based on the life of Czech King Lear (Düsseldorf, 1990, with writer Jaroslav Hašek) and the role of the Hermann LAUSE in the title role), artist in society (Michelangelo Buonarotti, Aeschylus’s Persai (The Persians, Köln, 1974, and Mozart in Prague, 1991). His 1995), Marlowe’s Edward II at the Berliner original style links factual theatre, cabaret, Ensemble (1996), and Croatian dramatist musical theatre and the fine arts with col- Slobodan SNAJDER’S Windsbraut (Bride of lective improvisation as a method of pre- the Wind, Bochum, 1998). paring the performance. Schwab, Martin (1937–) Actor, Germany. Schneider, Eric (1961–) Actor and direc- Schwab trained for the stage at the Max tor, Luxembourg. Schneider attended the Reinhardt Schule in Berlin and Max University of Wales, Aberystwyth and the Reinhardt Seminar in Vienna. After Whitechapel Academy of Dramatic Arts. Neuwied, Oldenburg (1963–8), and Ulm He collaborated as an actor, co-director (1968–72), he joined Claus PEYMANN’S and actor’s trainer with tag poetry’s pro- company in Stuttgart (1972–9), Bochum duction of Movements of the Mouth, dou- (1979–82), and Burgtheater Vienna (since ble-billing Ernst Jandl’s Die Humanisten (The 1987), where roles include Orest in Humanists) and Aus der Fremde (From the Dis- Goethe’s Iphigenie in Tauris (1977), the title tance, 1991, The Octagon, London, di- role in Büchner’s Woyzeck (1989), and the rected by Thomas Gruber). The same Father in Pirandello’s Sei personaggi in cerca year he played Starhemberg in the world d’autore (Six Characters in Search of an Author). premiere of Howard BARKER’S The Eu- More recently he appeared in Ionesco’s La ropeans (Theatr Y Castell, Aberystwyth, di- cantatrice chauve (The Bald Soprano) and La rected by John O’Brien and David Ian leçon (The Lesson, Burgtheater Vienna, Rabey). He has translated into 1997), and Marlowe’s Edward II. Perhaps Luxembourgeois and directed two of not a star, ‘he has been called one of the Barker’s plays, The Castle (1990, Sprangfal most exciting German-speaking actors, es- Theatre Company, Escher Schluechthaus pecially because of his ability to very

271 Schwarz, Elisabeth Scott-Mitchell, Michael convincingly portray an extremely wide tre School. Since his debut in 1940 he has range of different characters’. become one of the most renowned actors in Britain, frequently mentioned with Schwarz, Elisabeth (1938–) Actor, Ger- Gielgud and Olivier. He was a notable many. Schwarz trained at the Otto Hamlet for Peter BROOK, and created Falckenberg Schule in Munich. From the part of Sir Thomas More in Robert 1964–72 she worked with the Bolt’s A Man for All Seasons, a role he later Staatstheater Stuttgart, after that mainly repeated on film. For Brook he played the with the theatre in Frankfurt, as well as title role in King Lear (1962). In 1979 he the Münchner Kammerspiele, the scored another major success as Salieri in Deutsches Schauspielhaus in Hamburg Peter SHAFFER’S Amadeus (National and the Freie Volksbühne Berlin, in pro- Theatre, directed by Peter HALL, with ductions by Peter Palitzsch, Luc BONDY, Simon CALLOW as Mozart and Felicity Frank-Patrick STECKEL, Dieter DORN, KENDAL as Constanze). For the Na- Hans NEUENFELS and Jürgen tional Theatre he also played Othello GOSCH. In 1985 she joined Jürgen (1980, also directed by Hall, with Kendal Flimm at the Thalia Theatre in Hamburg, as Desdemona), Don Quixote and where roles include Herzeloide in Oberon (1982). In 1992 he was Captain DORST/WILSON’S Parzival (1987), Shotover in Heartbreak House (directed by Anna Petrowna in Chekhov’s Platonov Trevor NUNN, with Vanessa (1989, directed by Flimm) and Laura in REDGRAVE and Felicity Kendal). His Strindberg’s Fadren (The Father). She uses portrayal of the title role in Ibsen’s John her highly differentiated means as an ac- Gabriel Borkman (Royal National Theatre, tor to engage with her characters in a starring Vanessa Redgrave and directed by thoughtful, reflexive exchange. Richard EYRE, 1996) was called one of the great performances of this century and Schwarz, Libgart (1941–) Actor, Austria. won the Evening Standard Award for best Schwarz trained at the Mozarteum in Salz- actor. burg and the Max Reinhardt Seminar in Vienna. After seasons in Graz, she joined Scott-Mitchell, Michael (1960–) De- the Düsseldorfer Schauspielhaus; later she signer, Australia. Scott-Mitchell graduated appeared with the Freie Volksbühne in from the National Institute of Dramatic Berlin, the Theater am Turm in Frankfurt Art, Sydney in 1983. His design projects am Main and the Staatstheater Stuttgart. have ranged over theatre, operas, films, Major parts early on in her career include musical, architecture and interior design Gretchen in Goethe’s Urfaust, Desdemona, (D4 Design). He has designed several Ophelia and Anya in Chekhov’s Visnevyi times for John BELL’S Bell Shakespeare sad (The Cherry Orchard). Since the mid- Company, including the controversial Mer- 1970s, Libgart Schwarz has been associ- chant of Venice directed by Carol Woodrow, ated with the Schaubühne in Berlin, ap- which set the opening scene of the play in pearing in productions directed by Peter a men’s sauna. Scott-Mitchell’s set for Ri- STEIN, Luc BONDY, Andrea BRETH chard WHERRETT’S production of and Klaus Michael GRÜBER, develop- Brecht’s Leben des Galilei (Life of Galileo, Syd- ing a uniquely remarkable style in both ney Theatre Company, 1996) combined classical and modern parts. revolves, flickering computer screens, as- tronomical instruments and a grand Scofield, Paul (1922–) Actor, Great Brit- screen projecting images (including some ain. Scofield attended Croydon Repertory of the space probe Galileo) for the Theatre School and London Mask Thea- finale. This design was provocative,

272 Seciu, Valeria Sella, Maini Marjatta interventionist, grand in scale, busy and a and only degree-granting programme in visual feast. Scott-Mitchell’s skills in inte- theatre studies, at the National University rior design as well as theatre design came of Singapore, and is instrumental in to the fore in his conversion of the inte- grooming new generations of thespians. rior of Paddington (Sydney) Town Hall for As an Arts Advisor to the National Arts Pageant, the drag beauty pageant show. Council of Singapore, he sits on the Drama Advisory Committee (for which Seciu, Valeria (1939–) Actor, Romania. A he assesses and evaluates local playscripts) graduate of the Theatre and Film Institute as well as chairs the Grants Committee for in Bucharest, Seciu gave her debut with Theatre, which administers and disburses the part of Veronica Micle in Eminescu by various grants to Singapore’s theatre Mircea Stefanescu at the National Thea- groups and arts agencies. Recipient of a tre in Bucharest. Among the numerous Fulbright Fellowship and two British leading roles performed at the National Council fellowships, Seet holds a Ph.D. Theatre were Camille in Musset’s On ne from the University of Exeter as well as badine pas avec l’amour (Don’t Joke about degrees from the Universities of Toronto, Love), Honey in Edward ALBEE’S Who’s Singapore and London. Afraid of Virginia Woolf? and other leading roles in plays by Josif NAGHIU and Segda, Dorota (1966–) Actor, Poland. D.R.POPESCU. In 1978 she joined Segda graduated from the State Theatre Teatrul Mic (The Little Theatre) where Academy of Cracow. With her beautiful she appeared in many successful roles, appearance of an angelic, innocent blonde, most of all under the direction of Catalina she created a series of roles in which the BUZOIANU, proving an extreme and girl’s inner tranquility is dramatically chal- charming sensitivity guided by a highly lenged, with characters on the verge of a professional technique. In 1991 she nervous and mental breakdown urged to founded the private theatre Levant, where explore manifold and dark layers of their she produced plays by VISNIEC and own femininity. Stage credits, all at Stary Ariel Dorfman. Valeria Seciu has received Teatr of Cracow, include Ophelia (1989), many awards for her work on both stage Sonya in Dostoyevsky’s Prestuplenie I and film. nakazanie (Crime and Punishment, 1989), Sasha in Chekhov’s Platonov (1989), the Seet, Khiam Keong (1957–) Director and title role in Gozzi’s Turandot (1991), critic, Singapore. Seet is the person behind Albertynka in Gombrowicz’s Operetta, several landmark productions in Singa- Manka in Gombrowicz’s Slub (The Wed- pore theatre’s annals: he directed The Eye ding, 1991), and Hermia in A Midsummer of History (1992) which featured Singa- Night’s Dream (1992). On television, she pore’s former prime minister and current played the title roles in Schiller’s Maria senior minister as a principal character, Stuart (1994) and Strindberg’s Kristina and he also directed Details Cannot Body (1995), as well as Lady Macbeth (1996) Wants (1992), the first Singapore play given and Gretchen in Goethe’s Faust (1997). an R(A) rating (entry restricted to those above the age of eighteen). As producer, Sella, Maini Marjatta (1936–) Actor, Fin- he was responsible for the Asian premiere land. Sella trained at the Theatre School of a Beijing opera sung in English, Guan of Finland and worked at the Hanqing’s Yuan zaju (Freed by a Flirt, 1995) Hämeenlinna City Theatre (1959–61), and the first full-length Kabuki presented Turku City Theatre (1961–5), in the English language, Sukeroku: Flower Intimiteatteri (1965–71), Radio Theatre of Edo (1998). He currently heads the first (1971–7) and the Finnish National

273 Sellars, Peter Sensoy, Ferhan

Theatre since 1990. Major roles include ploy sophisticated computerized lighting Hermia (A Midsummer Night’s Dream), Eva technology. Sen has designed lighting for in Brecht’s Herr Puntila und sein Knecht Matti over 400 productions and worked with (Mr Puntila and his Servant Matti), Hilkka in celebrities like Sombu MITRA, KYLÄTASKU’S Runar ja Kyllikki (Runar Shyamanand Jalan, Mrinalini Sarabhai and and Kyllikki) and the title role in Arnold international directors like Fritz Bennewitz. WESKER’S Annie Wobbler. She is techni- His lighting for ALKAZI’S production of cally well equipped, especially in terms of Osborne’s Look Back in Anger and of van her beautifully expressive voice. She has Itallies’ America Hurrah are remarkable for won audience acclaim both in tragic roles lighting as characterizsation. Sen is India’s and as a sparkling comedienne. She is al- leading lighting designer. ways looking for new challenges, working not only at the National Theatre but also Sengezer, Osman (1941–) Designer, Tur- with new experimental groups like the fe- key. In 1960, Sengezer joined the Ankara male theatre Raivoisat Ruusut (Raging State Theatre as a designer. In 1974 he Roses). joined the Istanbul State Theatre as a costume and stage designer, and has designed Sellars, Peter (1957–) Director, USA. costumes and theatre settings for numer- While a student at Harvard, Sellars di- ous theatre companies in Ankara, Istan- rected more than forty experimental pro- bul and other provinces of Turkey. His ductions of plays and opera, and his trade- elaborate but not exaggerated designs, in mark soon became using contemporary which he is much concerned with the co- settings for classical material. He worked ordination of colours, are internationally as artistic director for several companies. known in countries such as Germany, Brit- ‘Sellar’s work has been labelled ain, France, Russia, Poland, Denmark, “postmodern” because of his disinterest in Holland and Cyprus. In 1967, he visited historical reproduction, his mixed time the Royal Ballet Company on a British frames, his use of a visual text different Council grant arranged by Dame Ninette from the literal one, and his layering of de Valois. In 1981, he visited USA by in- imagery in any given moment of the work. vitation of the International Communica- His work, however, is rooted in the theo- tion Agency, and in 1983 he went on a ries of such modern theorists as Wagner, research tour to Hungary by invitation of Meyerhold and Brecht. What he has ac- the Hungarian International Theatre In- complished so far in his directing career is stitute. Apart from his signatures on more to extend the theories of the moderns with than 350 productions, he has two books a multi-cultural approach. Thus, he has published in 1989 and 1993, respectively. helped to break down the ethnocentricity At present, he is working as a designer for of the Western classic canon and has cre- the Istanbul State Opera and Ballet in Is- ated a postmodern vision of theatre.’ tanbul. He is most famous for his collabo- Among his most famous productions are rative manner of creating his designs with- The Mikado (1983) for the Lyric Opera of out losing his individualistic spirit. Chicago, and Aeschylus’s Persai (The Per- sians, 1993) for the Salzburg Festival. Sensoy, Ferhan (1951–) Actor, director, dramatist and film scriptwriter, Turkey. Sen, Tapas (1924–) Designer, India. A pio- After attending Ecole Superieure d’Art neer of modern lighting on the Indian Dramatique in Strasbourg in 1972, Sensoy stage, Sen started from scratch, using tin became an actor-assistant to Jérôme cans with apertures cut in them substitut- SAVARY in Strasbourg in 1973. In 1974, ing for spots. He has since come to em- he became an actor-assistant to André

274 Serban, Andrei Sha Ye Xin

Perinetti at Théâtre National de Stras- sad and Timberlake WERTENBAKER’S bourg. In the same year he performed in Our Country’s Good. Serban is always in his own musical Harem Qui Rit (The Laugh- search of communication with audiences ing Harem) at the Théâtre de Quatre-Sous through the full exploration of the theatri- in Montreal. His play Ce Fou de Gogol (That cal resources of sound, movement and Crazy Gogol) was staged by Théâtre visual imagery, discovering new unconven- Patriote in Montreal. In 1976, he directed tional theatrical spaces on rocks and moun- and acted for Ali Poyrazoglu Theatre, tains, in caves and castles. Türk Yazarlari Theatre, and Nisa Serezli- Tolga Askiner Theatre in Istanbul. Since Sewell, Stephen (1953–) Dramatist, Aus- 1978, he has established several of his own tralia. Sewell worked in fringe theatre and companies. Plays include Idi Amin (1978), began writing plays. His work is always Bizim Si ¸ni ¸f (Our Class, 1978), Sahlari da serious and overtly political, with a left- Vururlar (They Kill Shahs Too, 1980), Anna’ni wing commitment which makes his analy- ¸n Yedi Ana Günahi (Anna’s Seven Main Sins, ses of Australian life scathing. His plays 1984, based on Brecht), Içinden Tramvay are often grand in scale, needing large Geçen Sarki ¸ (The Tram Passing Through a casts, and nervous commercial manage- Song, 1986, based on the life and the short ments tend to be wary of them, even plays of Karl Valentin), and Yorgun Mata- though Sewell has won much critical ac- dor (The Tired Matador, 1990). Other pro- claim. His most produced play is Traitors ductions include Dürrenmatt’s Romulus der (1979), which views the Stalinist takeover Große (Romulus the Great, 1982, and of the Russian revolution primarily Aristophanes’s Sphekes (Wasps). In 1994, he through the consciousness of a powerfully transformed a ship into a theatre and di- characterized woman, Anna. Dreams in an rected and acted in plays on this sailing Empty City (1986) provides an analysis of stage at the Bosphorus in Istanbul. the corruption of innocence under capitalism. Hate (1988) focuses on a self-destruct- Serban, Andrei (1943–) Director, Roma- ing family, and the two-hander Sisters nia. Serban graduated from the Bucharest (1991) dissects the relationship between Theatre and Film Institute. In his early two sisters. Between 1991–4, Sewell career, he distinguished himself with no- worked on an ambitious project, The Gar- table productions of Romanian plays and den of Earthly Delights Trilogy, involving a world repertory, including Brecht’s Der collaboration between the State Theatre Gute Mensch von Sezuan (The Good Person of Company of South Australia and students Sezuan). Since 1970, Serban has regularly from the Centre for Performing Arts, Ad- worked in the USA. For La MaMa, he di- elaide. rected a trilogy of Greek plays: Sophocles’s Electra and Euripides’s Troades (The Trojan Sha Ye Xin (1939–) Dramatist, China. Women) and Medeia. The productions were Sha graduated in 1961 from the English presented in ancient Greek language, thus Department, East China Normal Univer- putting into practice Serban’s theory of the sity and attended Shanghai Academy’s magic power of sound. He also worked at Advanced Programme on Chinese Tradi- the Lincoln Centre (Chekhov’s Visnevyi sad tional Dramaturgy from 1961–3. He has (The Cherry Orchard) with Meryl Streep, and written some of the most sensational plays Aeschylus’s Agamemnon), and has directed in the 1980s, including Jia Ru Wo Shi Zhen many opera productions. Back in Roma- De (What if I Were What I Claim to Be, 1980), nia in 1990, he became director general of Chen Yi Shi Zhang (Mayor Chen Yi, 1981), the National Theatre in Bucharest and di- Xun Zhao Nan Zi Han (In Search of Real Man, rected The Ancient Trilogy, Chekhov’s Visnevyi 1986), Jidu, Kongzi, Pitoushi Lienong (Jesus,

275 Shaffer, Peter Sharman, Jim

Confucius and John Lennon, 1988) and Dong thirty plays in the thirteen years of his Jing De Yue Liang (Moon overTokyo, 1993). writing career. A founder of a Singapore His works, mostly comedies, are charac- Theatre company, The Necessary Stage, terized by a formal innovativeness. Sharma has collaborated extensively with fellow director Alvin TAN to bring a new Shaffer, Peter (1926–) Dramatist, Great voice to Singapore theatre. Sharma’s writ- Britain. Shaffer’s breakthrough as a ings have sought to give voice to the dramatist came in 1958 with Five Finger disempowered in Singapore and more of- Exercise. He is mainly known for his maten to bring about opportunities for dis- jor trilogy of plays, The Royal Hunt of the cussion of social issues in Singapore, His Sun (1964), Equus (1973, with Alec plays are varied in themes and approaches, MCCOWEN) and Amadeus (1979, di- from a Brechtian approach to a play on rected by Peter HALL, with Paul mental health (Off Centre, 1993) to ensem- SCOFIELD, Felicity KENDAL and ble playing (Lanterns Never Go Out, 1989; Simon CALLOW), all first produced at This Chord and Others, 1992) and more re- the National Theatre; these share the mo- cently, the postmodern bricolage (Pillars, tif of the search for and destruction of 1997; Sea, 1997; Galileo: I Feel the Earth God, although in different shapes. This Move, 1997). The resident playwright of clash of Apollonian and Dionysian forces the Necessary Stage, Sharma was the re- is also evident in the less successful cipient of the Young Artist Award in 1997 Yonadab (National Theatre, 1985, directed and has also been conferred a Master of by Hall, with Alan BATES in the title Arts (Playwriting) from the University of role), the comedy Lettice and Lovage (with Birmingham. Maggie SMITH, directed by Michael BLAKEMORE, 1987) and The Gift of the Sharman, Jim (1945–) Director, Aus- Gorgon (1992, directed by Hall, with Judi tralia. Sharman graduated from the Na- DENCH and Michael PENNINGTON). tional Institute of Dramatic Art, Sydney, but his first training in showmanship was Shah, Naseeruddin (1950–) Actor and at home; Sharman’s family ran a boxing director, India. Shah trained at the National sideshow which toured Australia from School of Drama and the Film and Televi- 1911–71. Sharman is still best known for sion Institute at Pune. One of the cel- co-creating the cult musical The Rocky Hor- ebrated actors of the Bombay stage, he ror Show, which he first directed in Lon- worked for Satyadev DUBEY’S Theatre don in 1973 before taking the show on to Unit and Om Puri’s Majma, two leading Sydney, New York, Los Angeles and fi- Bombay theatre groups. He started his own nally film. Previous to this he had directed theatre group, Motley, in 1979. Since then, Hair in Australia, Japan and Boston, and his acting and directing credits include Jesus Christ Superstar in Sydney and Lon- Beckett’s Waiting for Godot, Neil SIMON’S don. Sharman’s directorial style is big, The Odd Couple and The Caine Mutiny Court bold and very visual. Apart from his daz- Martial; he has recently performed in Gan- zling international box office success in dhi for Tara Arts (1996). His style is essen- musicals, Sharman was also responsible tially Western, and he does not believe in for first encouraging Patrick White back exaggeration. He is also a popular film into the theatre after White’s disenchant- actor and has won many awards. ment in the early 1960s. While he ran the Lighthouse Company in Adelaide, Sharma, Haresh (1965–) Dramatist, Sin- Sharman also encouraged the work of di- gapore. One of the most prolific drama- rector Neil ARMFIELD and playwrights tists in Singapore, Sharma has written over Louis NOWRA and Stephen SEWELL.

276 Shaw, Fiona Shepard, Sam

Sharman wrote and directed The Burning Melbourne Theatre production was fol- Piano (1993) a television tribute to Patrick lowed by a Broadway production in 1992. White. In 1994 Shearer reflected on Queensland’s traumatic investigations into police cor- Shaw, Fiona (1958–) Actor, Ireland. Shaw ruption in The Family, a compelling exami- trained at the Royal Academy of Dramatic nation of a policewoman confronting the Art, London, and joined the National possibility that her policeman father is Theatre, London, playing Julia in implicated in widespread police corrup- Sheridan’s The Rivals. She spent the next tion. Shearer’s focus is often Queensland four years with the Royal Shakespeare and that state’s particular moral dilemmas. Company playing many leading roles in Another focus is women; for example, Stratford and London, including Tatyana Catherine (1977) has a contemporary thea- in Gorky’s Mescane (Philistines), Celia in As tre group rehearsing a play about the con- You Like It and Kate in The Taming of the vict woman who was the mother of one Shrew, directed by Jonathan MILLER of the founding fathers of Australia, (1987–8). She played Rosalind in As You William Charles Wentworth. Like It at the Old Vic, and the title roles in Brecht’s Der Gute Mensch von Sezuan (The Sheintsis, Oleg (1949–) Designer and di- Good Person of Sezuan, Royal National Thea- rector, Russia. He trained at Odessa tre) and Sophocles’s Electra (Royal Shake- (Ukraine) Theatre College and at the speare Company, 1988), the latter two di- Moscow Art Theatre Studio (Faculty of rected by Deborah WARNER. She has Stage Design). He is the chief designer at only appeared in two productions in Ire- Mark ZAKHAROV’S Theatre Lenkom. land, first as Hedda Gabler (also directed Among his principal designs for this com- by Warner) at the Abbey Theatre (1991), pany were Arbuzov’s Zhestokiye igry (The playing depression as action rather than Cruel Games, 1979), inaction, and in her one-woman dramati- PETRUSHEVSKAYA’S Tri devushki v zation of Eliot’s The Waste Land (1995). golubom (The Three Girls in Blue, 1982), Sometimes using method acting and at Ostrovsky’s Moudretz (The Wiseman, 1989), others her own brand of emotional and all productions directed by Zakharov, as poetic experimentation, Shaw breaks down well as Hamlet and Beaumarchais’s Le man- texts and spaces to help theatre move for- age de Figaro (The Marriage of Figaro) in the ward. Examples of this include her role in early 1990s. Sheintsis turned Russian Stephen DALDRY’S production of Sophie scenography from the illustration of the Treadwell’s Machinal (1993) and her cross- director’s ideas to a new role. His set al- dressed Richard II (1995) both at the Royal ways focuses the interpretation, serving as National Theatre, London. a lens or a prism. He does not want the spectators to identify themselves with the Shearer, Jill (1936–) Dramatist, Australia. actors on stage. In certain scenes he de- Queensland-based Shearer has been writ- velops an alienation effect and makes the ing plays for many years but has only reaction on the stage look like myth or fairy cently gained national attention with her tale achieving the effect of a ‘distant life’. first fully professional production Shimada In 1994, he co-directed Chekhov’s Cajka (1986), a play focusing on Australian-Japa- (The Seagull) with Mark Zakharov. nese relations and the tensions that ensue when a Japanese company offers to buy Shepard, Sam (1943–) Dramatist and up a Queensland bicycle company which actor, USA. Shepard has written more was founded by two survivors of a Japa- than forty plays so far, in which he con- nese POW camp. The play’s successful centrates on the American West or the

277 Sher, Anthony Shin, Sun-Hi

American Dream. His characters search Shiafkalis, Nikos (1934–) Director, Cy- for their roots, and often his plays tackle prus. Shiafkalis trained at the Guildhall stereotypes. Most important plays include School of Music and Drama in London. The Curse of the Starving Class (1978), Buried Vladimiros Kafkarides and Shiafkalis Child (1978), True West (1980), Fool for Love were the first two resident directors at the (1979) and, more recently, The States of official state theatre in Cyprus, THOK Shock (1991) and Simpatico (1994). His deep (founded in 1971). There, his many pro- interest in music, particularly jazz, has had duction include Sei personaggi in cerca a substantial impact on his works. Critics d’autore (Six Characters in Search of an Author) have often remarked that his long, lyrical by Pirandello, Gengangere (Ghosts) by speeches have the quality of musical im- Ibsen, Arnold Wesker’s Roots, Arthur provisation. MILLER’S The Crucible, Shaw’s The Dev- il’s Disciple, Hellman’s Watch on the Sher, Anthony (1949–) Actor, Great Brit- Rhine and Aristophanes’s Lysistrata. ain. Born in South Africa, Sher trained at He has a realistic approach to directing, Webber Douglas, played in repertoire in and insists on the interpretation of char- Liverpool, Manchester and Nottingham, acters according to the dramatists’ inten- and had his major breakthrough in 1981 tions, avoiding effects and rhetorical in True West by Sam SHEPARD at the acting. National Theatre. In 1982 he was the Fool in King Lear for the Royal Shakespeare Shimizu Kunio (1936–) Dramatist and Company, followed, in the 1980s and director, Japan. Shimizu was commis- 1990s, by the title roles in Molière’s Tartuffe sioned to write Anohitachi (In Those Days) (1983 RSC, directed by Bill ALEXAN- by Gekidan Seihai (the Seihai Theatre DER, with Mark RYLANCE in the cast), Company) in 1966. There he met Richard III (RSC, 1985), Brecht’s Der NINAGAWA and decided to write plays Aufhaltsame Aufstieg des Arturo Ui (The resist- for Gendaijin Gekijô (the Contemporary ible Rise of Arturo Ui, National Theatre, People’s Theatre). His plays directed by 1991), Titus Andronicus (National Theatre, Ninagawa include Shinjô Afururu Keihakusa 1995), British painter Stanley Spencer in (The Hearty Frivolity, 1969), Karasuyo Oretachi Pam GEMS’S Stanley (National Theatre, wa Tama o Komeru (Ravens! We Load Guns, 1996), and he appeared in Terry 1972), Ame no Natsu Sanjûnin no Juliet ga JOHNSON’S production of Johnson’s Yattekita (Thirty Juliets Returned in the Rainy Cleo, Camping Emanuelle and Dick (National Summer, 1982) and Tango Fuyu no Owarini Theatre, 1998). Sher brings to all his parts (Tango at the End of Winter, 1984). Shimizu an unequalled intensity and attention to is one of the leading playwrights of the detail. He has written novels and created anti-shingeki movement in the 1960s. His drawings, which accounts for the strik- plays best represent the feelings of the ingly visual realization of his portrayal of youth at that time. He keeps this tendency Richard III. In preparing for the part, he and writes plays on the relevant issues of studied the movements of disabled people, his generation. and developed the idea of becoming the most mobile character on stage through Shin, Sun-Hi (1945–) Scenographer, Ko- his crutches. They were used as legs, rea. Shin trained at the University of Ha- which, together with the special shape of waii (MA, Drama and Theatre) and stud- the cloak, could make him appear like a ied drawing and painting at the Rocky spider, or they could be used as a weapon. Mountain School of Arts in Denver, The rehearsal process is documented in Colorado. She spent a further two years Sher’s book The Year of the King. with the Art Students’ League, New

278 Shiraishi Kayoko Sicardo, Mercedes

York, before working freelance in ishes and inspires her audience with a TheatreArts in New York. Since return- new scope of intelligence. ing to Korea in 1983, Shin has been involved in many landmark productions Sibenke, Ben (1945–) Actor and drama- such as OH Tae-Seok’s Jajeongeo (Bicycle, tist, Zimbabwe. Ben Sibenke was one of 1983), CHOI In-Hoon’s Yennal Yetjeoge the key figures to emerge from the vari- Hwei Hwei (Shoo Shoo Once Upon a Time, ous church organizations that helped dur- 1985), YOUN Dai-Seong’s Koomgoonun ing the colonial era to organize theatrical Byeoldul (Dreaming Stars, 1986), LEE activities and drama festivals in Zimba- Kang-Baek’s Biong Saong (1986, directed bwe (then Rhodesia). He was a founder- by LEE Sung-Gyu), Shaw’s Androcles and member of the People’s Company, one of the Lion, 1988), Kim Eui-Kyung’s Gil the few indigenous theatre groups in Deonanun Gajok (A Family on the Road, Zimbabwe. He writes in both Shona and 1992, directed by LEE Yoon-Taek) and English. Among his published works are Iboda Deo Naboolsoon Eopda (It Can’t be Chidembo Chanhuwa (The Polecat Stank) and Worse Than This, 1998). Shin introduced My Uncle Grey Bhonzo (a comedy about the the concept of the positive function of necessity to accept one’s culture and stage design to the Korean theatre, which roots, and of the need for the stabilising sets the tone of the performance through influence of traditional values in a rapidly a flexible visual impression. urbanizing environment). Apart from his published plays, Sibenke in 1985 collabo- Shiraishi Kayoko (1941–) Actor, Japan. rated with Dominic Kanaventi and Shiraishi became a member of Waseda Walter Muparutsa in the Zimbabwe Arts Shô Gekijô (Wasesa Small Theatre) in Production’s impressive stagings of Sizwe 1967, founded by SUZUKI Tadashi, Bansi is Dead and The Island by Athol BETSUYAKU Minoru and some other Fugard, John KANI and Winston graduates of Waseda University in 1966. NTSHONA, and Andrew Whaley’s Plat- She played the role of Kasugano in Shôjo form Five (a play about tramps on the Kamen (Virgin’s Mask) by KARA Jûrô in streets of Harare). 1969. She acted in Gekitekinaru Mono I, II and III (Dramatic Passions I, II and III) in Sicardo, Mercedes (1927–) Actor, Puerto 1969, 1970 and 1975, directed by Suzuki. Rico. Mercedes Sicardo’s family fled to Shiraishi was his leading actor of that Puerto Rico from Spain during the Civil time, and acted in his adaptations of War. Initially self-educated as an actor, she Greek tragedies, Euripides’s Troades (The studied at the Ateneo Puertorriqueño Trojan Women, 1974) and Bakchai (The early in her career, and later earned some Bacchae, 1978). Shiraishi also played recognition as a classical actor in plays by Titania in NINAGAWA’S production of Shakespeare, Lope de Vega and Calderón. A Midsummer Night’s Dream, which toured Like her husband, actor José Luis in Europe in 1996, and appeared in MARRERO, Sicardo is known for her Shintoku Maru (The Boy Shitoku) by versatility, appearing with him in numer- Terayama Shuji at the Barbican, London, ous zarzuelas (light musical comedies). In in 1997. She began a storytelling one- the 1940s and 1950s she wrote scripts for woman performance, Shiraishi Kayoko radio soap operas, and also portrayed the Hyaku Monogatari (Shiraishi Kayoko’s One female protagonists in many of them. Be- Hundred Stories), based on short stories sides the classics, her notable roles include from the traditional to the contemporary, Bernarda in Lorca’s La casa de Bernarda in 1993. Her ability to understand the Alba (The House of Bernarda Alba) and Ethel norms or the meanings of dialogue aston- in Ernest Thompson’s On Golden Pond.

279 Sierens, Arne Simons, Johan

Sierens, Arne (1959–) Dramatist and di- collectively devised work with actors in- rector, Belgium. Following studies in Brus- clude People, Storytime, Call Me Woman, sels, Sierens founded De Sluipende Cincinatti, Woza Albert! (he assisted Peter Armoede (Creeping Poverty), a small BROOK on his French production of the company which focused on his activities play) and Born in the R.S.A. He founded as a director and writer. From 1992–4, he and managed several theatre companies was writer-in-residence of the Blauwe in South Africa, most notably the The Maandag Compagnie in Ghent, for whom Market Theatre. The fact that The Mar- he wrote the award-winning Boste (1992) ket Theatre was for a long time and De Drumleraar (Drummers, 1994). His during the apartheid era South Africa’s other pieces include De Soldaat-Facteur en only racially integrated theatre clearly Rachel (The Postman-Soldier and Rachel, 1986) shows Simon to be a politically commit- and Mouchette (1990). With Alain ted theatre artist who utilizes the medium PLATEL, he wrote and directed the in- of theatre to examine the human condi- ternationally acclaimed Victoria production and dilemma in a racially repressive tions Moeder & Kind (Mother and Child, society. 1995) and Bernadetje (1996). The world of Sierens is that of ordinary people, who Simon, Neil (1927–) Dramatist, USA. draw vital strength from their harsh con- After initially writing for radio and televi- ditions of living. The dialect which is spo- sion, Simon’s breakthrough in the theatre ken in Ghent is his inspiration for a highly came in the 1960s with Barefoot in the Park, physical language, which is both folksy The Odd Couple, The Star-Sprangled Girl and and artificial. the musical Sweet Charity. Further plays include California Suite (1976), Chapter Two Silver, Philip (1943–) Designer, Canada. (1977) and several autobiographical plays Silver studied theatre design at the Na- in the 1980s and 1990s, including Brighton tional Theatre School, Montreal. After a Beach Memoirs (1983) and Lost In Yonkers year in the USA, he returned to Edmon- (1991), which brought literary acclaim ton and worked for Citadel Theatre, (the Pulitzer Prize) in addition to commer- where his designs include Much Ado About cial success. Arguably the most successful Nothing (1973) and Williams’s Night of the American playwright of the last forty Iguana (1978). For many years, Silver years, he continues to produce new plays. worked in Stratford, Ontario. The designs Laughter on the 23rd Floor (1997) explored for Edna O’Brien’s Virginia (with Maggie his days as a comic writer for television, SMITH) exemplifies his personal style: mixing broad humor with shrewd obser- ‘to achieve a design shaped to embody the vations about 1950s censorship and black- spirit and intention of the text, a design listing. that was sculptured—as opposed to pictorial—in feel and inspiration’. Simons, Johan (1946–) Director, the Netherlands. Johan Simons originally Simon, Barney (1933–) Director, South trained as a dancer at the Rotterdam Africa. After working backstage for Joan Dance Academy, a career which led him Littlewood’s Theatre (1957), Simon to star in the Dutch production of Hair, joined Athol Fugard at the African Music but no further. He then trained as an ac- and Drama Association where they pro- tor/director at the Maastricht Drama duced Fugard’s The Blood Knot. He has di- Academy from 1972–6. In 1982 he co- rected plays in America and Britain, but founded the Regio-theatre, a company set apart from directing existing texts, he en- up to bring drama to the less urbanized joys creating plays through workshops: areas of North-Holland. This was the

280 Sircar, Badal Slabolepszy, Paul predecessor to Simons’ own company Sofia and has played many parts covering Hollandia, based on the same principle. a wide range of styles, including Mercutio There, together with co-director Paul in Romeo and Juliet, Macduff in Macbeth, the Koek, he has created a distinctive body of King in Love’s Labour’s Lost, Wurm in work, including Greek tragedies in a for- Schiller’s Kabale und Liebe (Intrigue and Love), mal style such as Aeschylus’s Prometheus the title role in Chekhov’s Ivanov, Hjalmar desmotes (Prometheus Bound, 1988) and Persai in Ibsen’s Vildanden (The Wild Duck), (The Persians, 1994), and modern German Vladimir in Beckett’s Waiting for Godot and plays (by Herbert ACHTERNBUSCH, Tom in The Glass Menagerie by Tennessee Franz Xaver KROETZ and others), full Williams. of pent-up emotions. Simons nearly always stages his plays outside theatres, in Sitarenos, Mary (1959–) Actor, Australia. empty factories, churches and ware- Sitarenos studied at the Victorian College houses. There ‘ordinary’ people come to of the Arts, Melbourne. She has played in watch the fate of ‘ordinary’ people in the both mainstream and fringe theatre, par- plays, reflecting Simons’s interest in the ticularly for Theatreworks and for Jean- natural over the ‘arty’. Several excellent Pierre Mignon’s Anthill, Melbourne. At actors work within Hollandia, such as Anthill, Sitarenos was especially memora- Betty Schuurman, Frieda PITTOORS, ble in Mignon’s series of Chekhovs in Elsie de Brauw and male lead Jeroen 1987, producing an insufferable Natasha WILLEMS. in Chekhov’s Tri sestry (Three Sisters). Sitarenos is associated particularly with Sircar, Badal (1925–) Director and the bilingual (Greek/English) plays of Tes dramatist, India. Since 1956 Sircar has Lyssiotis, which chart the experiences of written over thirty plays in Bengali, includ- women negotiating Greek and Australian ing Evam Indrajit (I’m Indrajit), Michil (Pro- identities; she created the role of Eleftheria cession), Bhoma and Bhaki Ithihas (The Other in Tes Lyssiotis’s The Forty Lounge Cafe Side of History). All these plays are based (1990) and has also appeared in Lyssiotis’s on political and social issues of modern A White Sportscoat and Blood Moon. Sitarenos India. Sircar developed the concept of has also worked with Jenny KEMP (The Third Theatre from his earlier concept of White Hotel and The Black Sequin Dress). She Free Theatre. Third Theatre is an alter- has often worked in collaboration with her native to folk theatre and the urban-based partner, the director Robert Draffin, and middle-class theatre. Sircar does not de- their most recent success has been The Last pend on sets, costume and music, and fo- Supper (1994–6) a celebration of rituals of cuses on the performer’s body and its re- eating and cooking. Sitarenos is a versa- lationship with the spectators. He aban- tile performer but is particularly remark- doned the proscenium and worked in the able for her ability to confront big emo- streets, creating authentic street theatre. tions at full throttle. His group Satabdi takes plays to villages in and around Calcutta. Sircar has been Slabolepszy, Paul (1948–) Dramatist, an important influence through work- South Africa. Slabolepszy holds a perform- shops on other leading Indian directors er’s diploma from the University of Cape and companies, for example in Manipur Town. He is regarded as one of South Af- (ARAMBAM, THIYAM). rica’s most prolific playwrights, with about sixteen plays performed and/ or published Sirchadjiev, Joseph (1945–) Actor, Bul- between 1980–93. These include The De- garia. Sirchadjiev trained at the National floration of Miles Koekemoer (1980), Karoo Academy for Theatre and Film Arts in Grand (1983), Under the Oaks (1984), Over

281 Slobodzianek, Tadeusz Šnajder, Slobodan the Hill (1985), Making Like America (1986), About Nothing. At Stratford, Ontario, she Travelling Shots (1988), Smallholding (1989), played Masha in Chekhov’s Tri sestry (Three One for the High Jump (1990), Braait Laaities Sisters), Rosalind in As You Like It and cre- (1991), Mooi Street Moves (1992), Pale Na- ated the role of Virginia Woolf in Edna tives (1993) and Victoria Almost Falls (1993). O’Brien’s Virginia. She is equally at home Some of his plays have been translated in comedy, for example in Peter into Swedish, Hebrew and German. SHAFFER’S Lettice and Lovage (1987) and Slabolepszy’s vision and style are a comic as Lady Bracknell in Wilde’s The Impor- one which avoids direct reference to the tance of Being Earnest. More recently she ap- politics which suffuses his plays but still peared in ALBEE’S Three Tall Women manages to deal with the tragedy and psy- (1993) and as Claire in Albee’s A Delicate chic destruction caused by apartheid poli- Balance (1997). tics. His plays are also marked by his fine handling of language, especially the Smocek, Ladislav (1932–) Director and unique idiosyncratic language of poor dramatist, Czech Republic. After studying white characters. He is equally popular direction at the Prague Academy of Per- because of his comic treatment of ‘apart- forming Arts, Smocek worked in provin- heid’s children’. cial theatres and in the Prague Magic Lan- tern. In 1965, he took part in founding a Slobodzianek, Tadeusz (1955–) Drama- small venue in Prague, the C?inoherní tist and director, Poland. He graduated in Club, where he still works as a resident theatre studies from the Jagiellonski Uni- director and where he has directed most versity of Cracow, co-founded the Thea- of his original plays, such as Piknik (The tre Association Wierszalin, and wrote this Picnic, 1965) Bludištì (The Maze, 1966 and theatre’s two most important plays, 1990), Podivné odpoledne dotora Zvonka Turlajgroszek (Roll-a-pea) and Merlin. His Burkeho (The Strange Afternoon of Dr Zvonek productions and plays are often defined Burke, 1966 and 1990), Kosmické jaro (Cos- as an epitaph to the twentieth century: he mic Spring, 1970 and 1996) and Smycka (The sets traditional Christian values against Noose, 1980). Other productions include contemporary socio-political experi- O’Neill’s A Long Day’s Journey into Night ments, posing universal questions about (1978), HAMPTON’S Les Liaisons the human existence in an epoch domi- Dangereuses (1988, at the National Thea- nated by various experiments of making tre with Jana HLAVÁCOVÁ as Madame everybody happy. Although most of his de Merteuil), and Schnitzler’s Das Weite plays take place somewhere in the back- Land (Undiscovered Country, 1992, at the woods, this only intensifies their univer- Vinohrady Theatre). As a dramatist, he sal appeal, reinforcing the grotesque is interested in the behaviour of people in qualities and absurdity of the protago- extreme and often grotesquely exagger- nists and the language in which they try ated situations. His directorial style is char- to communicate. acterized by precise co-operating with his actors: he stresses the physical side of the Smith, Maggie (1934–) Actor, Great Brit- actor’s expression, which leads to gro- ain. Smith trained at the Oxford Play- tesque exaggeration. He has often worked house School. Early on in her career she in the Tyl Theatre in Plzeò, where he pre- joined the National Theatre company at sented his latest play, Nejlepší den (The Best the Old Vic, appearing as Desdemona Day, 1995). opposite Olivier’s Othello, as Hilde Wangel in Ibsen’s Bygmester Solness (The Šnajder, Slobodan (1948–) Dramatist, Master Builder), and as Beatrice in Much Ado Croatia. A graduate in philosophy and

282 Snir, Hanan Sofowote, Segun

English language and literature from the in Weimar, Germany, staged as a play- Faculty of Philosophy in Zagreb, he is one within-a-play performed at a Nazi concen- of the founders of the theatre review Prolog tration camp. Snir teaches acting at the (Prologue), where he published his first Kibbutz seminar and at Tel Aviv Univer- plays. They immediately drew the public’s sity and works as a psychodramatist. attention, revealing his tendency towards politically committed theatre and an influ- Sobol, Yehoshua (1939–) Dramatist and ence of Brecht and Krle•a. His next group director, Israel. After obtaining a Ph.D. in of plays includes the so-called biographi- philosophy from the Sorbonne in Paris, cal plays like Kamov. Smrtopis (Kamov. Sobol worked as a journalist and started Thanatography, 1977), Dr•icev san (The Dream to write for the theatre for Nola of Marin Dr•ic, 1979), Hrvatski Faust (The CHILTON’S documentary perform- Croatian Faust, 1981) and Gamllet (1987). In ances at the Haifa municipal theatre. His the 1990s plays (staged mostly in the Ger- first major success as a playwright, Night man speaking area of Frankfurt an der of the Twentieth (1976), was also based on Oder, Tübingen, Frankfurt am Main, Vi- documentary materials, depicting a enna and Mülheim) he focuses on the group of youngsters establishing a kib- problem of war, mass rape, concentration butz in the 1920s. Since then Sobol has camps and genocide. He advocates a left- written more than thirty plays and has ist political and cultural programme un- become internationally the most well- derlined by strong negation of any oppo- known Israeli playwright, mainly for his site view. Up to the 1990s he was consid- play Ghetto, which has been produced in ered as one of the most important contem- more than fifty theatres all over the porary playwrights in Croatia, but in the world. The War of the Jews (1981, later de- last few years he has been more promi- veloped into The Jerusalem Syndrome, nent as public figure and columnist. There 1988), depicting the Jewish revolt against have been no productions of his plays in the Romans, The Soul of a Jew (1982) Croatian professional theatres since the about Otto Weininger, ‘The Ghetto Trip- late 1980s. tych’ (Ghetto, Adam and Underground, 1983–8), depicting different aspects of life Snir, Hanan (1943–) Director, Israel. Snir in the Vilna ghetto during the Nazi occu- trained at the Royal Academy of Dramatic pation, Solo (1991) about Baruch Spinoza, Art in London, where he also directed his and Alma Apassionata (1996) about the life first productions. Holding a degree in of Alma Mahler, are all based on histori- councelling psychology from Boston Uni- cal materials. In Village, produced by the versity, Snir is also a specialist of Gesher-theatre (1996), the historical psychodrama. He began his career as a background in the village where Sobol director at the Beer Sheva municipal thea- grew up in Mandatory Palestine is pre- tre with productions of Twelfth Night and sented in a poetic light. Shooting Magda Chekhov’s Cajka (The Seagull). At the (The Palestinian Woman, 1985) deals with Habima national theatre he has directed the complex relations between Israelis plays like Chekhov’s Djadja Vanja (Uncle and Palestinians. Sobol was the co-direc- Vanya), Strindberg’s Fadren (The Father), tor of the Haifa municipal theatre be- Lorca’s Bodas de sangre (Blood Wedding), tween 1984–8. Ibsen’s Gengangere (Ghosts) and Gilead EVRON’S plays Yehu and Har lo zaz (A Sofowote, Segun Actor and director, Ni- Mountain Doesn’t Move, 1996). He was the geria. Sofowote was one of the initial artistic director of Habimah for one year. members of Orisun Theatre who learned In 1995 he directed The Merchant of Venice and perfected their acting

283 Sohn Jin-Chaek Solanke, Jimi techniques through participation in the 1983), Simcheonjeon (The Story of Sim- many and pioneering productions of Cheong, 1988), Sinpan Yi Choon-Poongjeon Wole SOYINKA (the other Orisun (New Version of Lee Choon-Poong Story, 1992), ‘boys’ were Wale OGUNYEMI, Yomi Choon-Hyangjeon (The Story of Choon-Hyang, OBILEYE and Tunji OYELANA). A 1995) and Cheonmyeong (Heaven’s Decree, versatile actor and director, Sofowote has 1998). remained a regular feature of Soyinka’s theatre activities beginning with the 1960 Sohn Sook (1944–) Actor, Korea. Having production of A Dance of the Forests in performed for many on the amateur stage, which he played the role of Murete, the sohn’ professional debut was in the title brilliant Orisun performances of the re- role of O’Neill’s Mourning Becomes Electra vue Before the Blackout in 1965, The Lion (1968). After joining the Korean National and the Jewel (directed by Dapo Theatre in 1971, she played Gretchen in ADELUGBA and choreographed by Goethe’s Faust (1979, 1984), and appeared Betty OKOTIE) to the 1992 production in Cha Beom-Seok’s San Bool (Mountain of From Zia with Love in Italy, in which he Fire), Ibsen’s Vildanden (The Wild Duck) and played Third Trusty and Student Novice. Ro Gyeong-Sik’s Chimmookeui Bada (The Other memorable roles are as the Bear in Sea of Silence, 1987). After leaving the Ko- The Bear by Chekhov directed by Segun rean National Theatre in 1993, she per- Olusola for Theatre Express in 1966, fea- formed in many feminist theatre produc- turing Ogunyemi. tions including John Pielmeier’s Agnes of God (1993), Dambae Piwoonun Yeoja (Smok- Sohn Jin-Chaek (1947–) Director, Ko- ing Woman, 1997) and Marsha NOR- rea. Sohn trained at the Seorabeol Col- MAN’S ‘night Mother (1998). Sohn is an lege of Art and with the Sanha Theatre actor who gives a self-controlled and meas- Company. Sohn has shown a special in- ured performance. terest in the Korean working classes which he believed to be the central fig- Solanke, Jimi Actor, Nigeria. Originally ures in history. He directed Og Young- a member of the ‘1960 Masks’, he is cur- Jin’s Hanneeui Sungcheon (Ascension of Hanne rently a member of the Obafemi (1975, 1976, 1979, 1983), Jeong Bok- Awolowo University Theatre in Ile-Ife. Gun’s Jikimi (The Keeper, 1987), YOUN Jimi Solanke has been described by Femi Dai-Sung’s Namsadangeui Hanul (The Sky of OSOFISAN as perhaps the best actor Namsadang the Wandering Troupe, 1993) and that the Nigerian theatre in English has CHOI In-Hoon’s Doong Doong Nakrang produced. Most of Wole SOYINKA’S Dong (Dom Dom the Drumrall of Nangrang, Ogunian/Protean individuals were writ- 1996). Sohn has also sought to revitalize ten with Solanke in mind. He has acted in the spirit and methods of traditional Ko- excerpts from A Dance of the Forests (with rean theatre in a modern context. He es- Osofisan and Alton Kumalo and directed tablished Madang-Guk, a new type of by Soyinka at a festival of Théâtre des performance which combines a static and Nations in France). Other acting credits flexible plot and the acting methods of include the revue Before the Blackout and traditional Korean performances with the the Rev. Dr Godspeak in Soyinka’s Req- dynamic spectacle of European theatre. uiem for a Futurologist (1983–4). In 1978 he As a Madang-Guk director, he has played a very memorable Styles/Buntu adapted and reconstructed classic Korean opposite OGUNYEMI’S Sizwe Bansi in novels every year since 1981, including Athol FUGARD, John KANI and Heo-Saengjeon (The Story of Heo-Saeng, Winston NTSHONA’S Sizwe Bansi is 1981), Nolboojeon (The Story of Nolboo, Dead.

284 Solorzano, Carlos Sowande, Bode

Solorzano, Carlos (1922–) Dramatist, Police Officer in Dario FO’S Morte Mexico. Soloranzo, who obtained doctor- accidentale di un anarchico (Accidental Death of ates from the National University of an Anarchist, 1990), and played the main Mexico and the Sorbonne in Paris, is an role in YOON Dae-Seong’s Saeui Chanmi expressionist. His plays have been trans- (Praise of Death, 1990) and OH Oun-Hee’s lated into several languages and per- Show Comedy (1996). Since 1990 he has formed not only in Mexico but also in the extended his range by performing all four USA, France and Spain. His best-known roles in Beckett’s Waiting For Godot (1990, plays are Las manos de Dios, Los fantoches and 1995, in Seoul, Dublin and Warsaw), and El crucificado, all of which deal with popu- acted in OH Tae-Seok’s monodrama A lar themes of Mexican reality in symbolic Tumbling Doll on Rollerskates, 1993. terms, conserving indigenous images of Mexico but making them accessible to a Sorrah, Renata (1948–) Actor, Brazil. A wide range of audiences. graduate in psychology (Pontificia Universidade Católica, São Paulo), Sorrah Somr, Josef (1934–) Actor, Czech Repub- took a drama course in California as well lic. After studying at the Brno Academy as workshops with MNOUCHKINE of Performing Arts, Somr worked in sev- and BOAL. Apart from a career in televi- eral ensembles outside Prague before join- sion, major stage roles include Nina in ing the newly-founded C?inoherní Club Chekhov’s Cajka (The Seagull), the title in Prague in 1965. There he quickly made character in Fassbinder’s Die bitteren Tränen his name through his interpretations of der Petra von Kant (The Bitter Tears of Petra sundry forms of aggression, ranging from von Kant), Lotte in Groß und Klein (Large and Porphyry in Dostoyevsky’s Prestuplenie I Small) by Botho STRAUSS, Shirley in nakazanie (Crime and Punishment, 1966) to Willy Russell’s Shirley Valentine, the title role Goldberg in PINTER’S The Birthday Party in Schiller’s Maria Stuart and Aline in (1972). His restrained but flexible expres- MROZEK’S Tango. sion, his sense for the paradoxical and the critical reflection on his characters, as if Sowande, Bode (1948–) Dramatist, actor, from the outside, have made him into one director and novelist Nigeria. Sowande of the leading representatives of modern belongs to the second generation of Czech acting. A member of the National dramatists who espouse a materialistic and Theatre since 1978, he has performed his revolutionary aesthetic for the Nigerian mature work in Czech and world drama: theatre (this group also includes Femi Claudius in Hamlet (1982), the lead in OSOFISAN, Tunde FATUNDE, Olu Brecht’s Leben des Galilei (Life of Galileo, OBAFEMI and Kole OMOTOSO). A 1984), Edgar in Strindberg’s Dödsdansen resident playwright for the Orisun Thea- (Dance of Death, 1993), and Kája in Máša’s tre, Lagos from 1968–71, in 1972 he Podivní ptáci (The Strange Birds, 1996). founded the Odu Themes which later became Odu Themes Meridian, the profes- Song Young-Chang (1958–) Actor, Ko- sional company which Sowande now rea. Song trained at Joong-Ang University, manages since his retirement in 1990 as a obtaining a BA and an MFA in theatre lecturer in theatre arts at the University arts. Having performed in two Beckett of Ibadan. His drama places the individual plays, Catastrophe (1986) and A Piece of at the centre of the historical process and Monologue (1987), Song played important sees society as progressing to better and supporting roles as Producer in Cinders better states. His plays include The Night (1987, directed by KIM Ara), Jeong Bok- Before, Flamingo, Afamako and TornadoesFull Gun’s Silbimyeong (Lost Epitaph, 1989), the of Dreams (1990). His acting roles include

285 Soyinka Akinwande Oluwole Squarzina, Luigi

Baba Fakunle in Ola ROTIMI’S The Gods Szolnok Szigligeti Theatre. His first plays Are Not to Blame (1968), Bello in Afamako, are historical-philosophical parables, such The Workhorse (1978), and Moniran in both as A nyulak Margitja (Margaret of the Rabbits) Farewell to Babylon (1978) and Flamingo and Hannibal. His breakthrough came with (1982). Gábor ZSÁMBÉKI’S production of Csirkefej (Chicken Head) at the Katona József Soyinka Akinwande Oluwole (Wole) Theatre. Other plays include Ahogy tesszük (1934–) Dramatist, director, actor and (As We Do It), A békecsászár (The Impostor), poet, Nigeria. After a season as a Dobardan and Vircsaft Muddle. They are playreader at the Royal Court Theatre, characterized by sensitivity to everyday London, Soyinka returned to Nigeria and problems and a satirical, typically Eastern founded the ‘1960 Masks’ (to become the European grotesque style. fully professional Orisun Theatre Com- pany in 1962) which produced the first Sprung, Guy (1947–) Director, Canada. generation of famous Nigerian actors, di- Sprung worked as Assistant Director at rectors and scriptwriters (notably, Wale the Schillertheater, West Berlin, and in OGUNYEMI, Tunji OYELANA, 1971 he co-founded the Half Moon Thea- Yewande Johnson (nee Akinbo), Yomi tre, a fringe venue in London. In Canada, OBILEYE, Ralph Opara, Olga Adeniyi- he worked freelance between 1976–81, Jones, Elizabeth Osisioma, Betty directing the popular Paper Wheat at 25th OKOTIE, Yemi Li-jadu, Dapo Street Theatre in Saskatoon. Subse- ADELUGBA and Bode SOWANDE). To quently, he has been (joint) artistic direc- date, Soyinka has written close to forty tor at several theatres in Canada (includ- plays and revues, most of which he has ing co-founder and artistic director of the directed himself. He has also directed Canadian Stage Co). Sprung’s produc- plays by Shakespeare, Brecht, Synge, tions cover a wide range of plays, both Chekhov, Ogunyemi and J.P. CLARK- classical and modern, not restricted to BEKEDEREMO. The key themes which Canadian dramatists; he is equally at run through Soyinka’s plays are death, the home with comedy and tragedy, and his contradiction of creativity and destruction, style ranges from naturalistic detail to and human stupidity and violence. He has non-naturalistic experiment. He has di- aimed to create a theatre that is uniquely rected celebrated premieres of Rick African by going back to his Yoruba roots Salutin’s Les Canadiens, David and enriching his writing and practice with FENNARIO’S Balconville and Sharon its beliefs and rituals, its dances and songs. POLLOCK’S Doc. He now lives in exile because of his opposition to the military dictatorship in Ni- Squarzina, Luigi (1922–) Director, geria. In 1986 he received the Nobel Prize dramatist, actor and producer, Italy. After for Literature. graduating in law and training at the Na- tional Academy of Dramatic Art in Rome, Spiró, György (1946–) Dramatist, Hun- Luigi Squarzina started his dramatic career gary. Spiró studied Hungarian, Russian with a production of Arthur MILLER’S and Serbo-Croatian at the Budapest All My Sons (1947). In 1952, together with Eötvös Loránd University. He worked as Vittorio GASSMAN, he founded the a journalist for Hungarian Radio and as a Teatro dell’Arte, which moved away from publishing house editor, and served as declamatory styles of acting and focused dramaturg at the Cisky Gergely Theatre on the characters’ psychology. In the pe- of Kaposvár between 1986–92. From riod between the late 1940s and the early 1992–5 he was general director of the 1970s, Squarzina’s theatre represented a

286 Stafford-Clark, Max Stanford, Alan brave attempt to denounce the horrifying Camavaiului (Carnival Scenes) and Zoe in O irrationalism that characterized the fascist Scrisoare Pierduta (The Lost Letter)) to Molière period and offer a critical representation (Dorina in Tartuffe and Toinette in Le of contemporary Italian society. From malade imaginaire (The Imaginary Invalid)), 1962–76 he was artistic director of the reaching a true record with the role of Teatro Stabile in Genoa, and from 1976– Lydia Ivanovna in Arbuzov’s Old Fashioned 83 of the Teatro Stabile in Rome. Since Comedy (1,100 performances). Also success- the late 1940s Squarzina has been direct- ful in musicals, on television and in film, ing both classical and contemporary plays Carmen Stanescu has an extraordinary and operas. Apart from saving Gabriele theatrical presence. D’Annunzio’s work from post-war neglect, he also became known for revivals of Stanford, Alan (1949–) Actor and direc- plays by Shakespeare, Pirandello and tor, Ireland. Born in Great Britain, Goldoni. Among his most no-table pro- Stanford trained at the Guildhall School ductions are Esposizione Universale (Univer- of Music and Drama, London. After a sal Exposition, 1947), Tre quarti di luna (Three brief period in repertory theatre and tel- Quarters of the Moon, 1953), Romagnola evision drama in England, he moved to (Romagnese, 1959) and Rosa Luxemburg Ireland in 1969 where he has had a very (1976) and, more recently, Goldoni’s La extensive and successful career. Early Guerra (The War, 1998). work in Ireland included the ITC (national touring theatre of Ireland) playing Stafford-Clark, Max (1941–) Director, such roles as Aston in Thomas Great Britain. Stafford-Clark was associ- KILROY’S adaptation of Chekhov’s Cajka ate director at the Traverse Theatre Com- (The Seagull), Broadbent in Shaw’s John pany in Edinburgh and associate director, Bull’s Other Island, and Malvolio in Twelfth later artistic director, at the Royal Court Night. He was director of theatre at the in London (1971–93). Since then he has Project Arts Centre in Dublin (1972–5), run his own company, Out of Joint, and but is probably best known for his work is also a director in residence at the Royal at the Gate Theatre, Dublin, where over Shakespeare Company. the past nineteen years he has appeared regularly in the leading roles of the major Stanescu, Carmen (1925–) Actor, Roma- classics of the Western stage, particularly nia. Stanescu trained at the Royal Acad- in the plays of Shaw, Wilde and Ibsen, emy of Music and Drama in Bucharest, winning a Harveys’ Theatre Award in as a pupil of the great actor Mahoara 1983. He gained international recognition Voiculescu. Noted already as a student, for his portrayal of Herod in Wilde’s she became a member of the National Salomé at the Gate (1988–9) and two roles Theatre Company in Bucharest for about in the Gate’s Beckett Festival (1992): fifty years, performing major parts in Ro- Pozzo in Waiting for Godot and Hamm in manian and world drama and infectious Endgame. His career as a director has been the audience’s sympathy by her infectious centred principally at the Gate Theatre, charm. She was a noble Maria the Lady where most recently he directed Rostand’s in the Romanian historic play Apus de soare Cyrano de Bergerac (1998) and also with the (Sunset), Amanda in The Glass Menagerie by Dublin-based Second Age company with Tennessee Williams, and a passionate whom he has directed many plays by Jocasta in La Machine Infernale (The Infernal Shakespeare, productions which, for many Machine) by Jean Cocteau. Her most im- Irish schoolchildren, will have been their portant success, however, was in comedy, first live experience of a Shakespeare play. from Caragiale (Mitza Baston in D’ale Stanford was also responsible for

287 Steckel, Frank-Patrick Stein, Peter founding the Dublin Theatre School and Stein, Gisela (1935–) Actor, Germany. is noted as having taught many of Ire- Stein trained for the stage at Wiesbadener land’s younger leading actors. Schauspielschule. After working in Koblenz, Krefeld-Mönchengladbach and Steckel, Frank-Patrick (1943–) Director, Essen, she joined the company of the Germany. Steckel worked as director with Staatliche Schauspielbühnen Berlin in the Schaubühne in Berlin, and at theatres 1960. She played, among others, the title in Frankfurt, Munich and Bremen. From role in Hebbel’s Maria Magdalena (1966, 1986–95 he was artistic director of the directed by Fritz Kortner), Ranevskaja in theatre in Bochum. Among his important Chekhov’s Visnevyi sad (The Cherry Orchard, productions are Kleist’s Penthesilea (1978), 1979) and Emma in PINTER’S Betrayal Pirandello’s I giganti della montagna (Moun- (1979). Since 1979 she has been a mem- tain Giants, 1986), Timon of Athens (1990), ber of the Münchner Kammerspiele, Brecht’s Der Gute Mensch von Sezuan (The where her most recent roles include Good Person of Sezuan, 1993) and Hamlet Atossa in Aeschylus’s Persai (The Persians, (1995). After leaving Bochum he has 1993) and Ariel in The Tempest. She is con- worked freelance, including Heiner sidered one of the best actors today, espe- Müller’s Germania 3 (1996) and Brecht’s cially in tragedy. ‘She approaches her Die Heilige Johanna der Schlachthöfe (St Joan, parts not intuitively, but creates the char- 1997) at the Burgtheater in Vienna (1996), acters newly by analysing them and piec- as well as Love’s Labour’s Lost (1998) in ing them together again. This method al- Köln. His productions are oriented to- lows her to show the ambiguities of her wards the philosophical-political discourse characters.’ of the text. Stein, Peter (1937–) Director, Germany. Steigerwald, Karel (1945–) Dramatist, Stein began his theatre career as assistant Czech Republic. After studying screen- dramaturg and assistant director with Fritz play-writing at the Prague Film Academy, Kortner at Münchner Kammerspiele, Steigerwald started working in the where he directed his first production, Barrandov Film Studio. In the 1980s, he Edward BOND’S Saved in 1967. Impor- worked with director Ivan RAJMONT tant stages in his career were Bremen and and the C?inoherní Studio in stí n.L., for Zürich. In 1970 he became artistic co-di- whom he wrote Dobové tance (Period Dance, rector of the Schaubühne am Halleschen 1980), and Fox-trot (1982). Two other plays Ufer (which moved to a new building at were initially banned: Tatarská pout’ (Tar- Lehniner Platz in 1981). One of the ma- tar Pilgrimage, written 1979, premiered jor results of an increasing institutional 1988 in the Theatre on the Balustrade (Na and artistic political awareness, this thea- zábradlí), directed by Rajmont) and tre was run as a an ensemble theatre, im- Neapolská choroba (Neapolitan Disease, 1988 plying the cast and crew’s thorough prepa- at the •i•kov theatre, directed by ration for each production, continuous dis- Rajmont). This loose tetralogy maps the cussion of administrative and artistic mat- shape of the political and civic conformism ters, and keeping minutes of all processes and behaviour of the ‘little’ Czech in ‘big’ and decisions. Stein left the Schaubühne history. Bitter grotesques also run through in 1984–5, but continued directing there his recent play Nobel (1994 at the National until 1992. From 1992–7 he was artistic Theatre Prague, directed by Ivan director of the Salzburg Festival. His pro- Rajmont), satirically reflecting Czech so- ductions are characterized by elements he ciety in the first years of the post-commu- took over from Kortner and developed nist era. further: insistence on exact acting rich in

288 Stembridge, Gerard Stonins, Ivars nuances, suggestive techniques of repre- published 1988) inspired by Roumain’s sentation and a tendency to forced gesture Gouverneurs de la Rosée (Masters of the Dew), and diction. and works re-evaluating local history such as La nouvelle légende de D’Chimho (The New Stembridge, Gerard (1958–) Dramatist Legend of D’Chimbo, 1984). A versatile per- and director, Ireland. A brilliant satirist, former who also sang with a small group, Stembridge has written for theatre, film, Stephenson’s intense nationalism sustains radio, television and opera. He worked his production, despite administrative re- with youth theatre from 1986–92 and be- sponsibilities as director of the Association lieves strongly in collaborating and Régionale de Développement Culturel workshopping with actors. His plays (ARDEC) since 1994. staged at the Project Arts Centre, Dublin, include Lovechild (1993) and The Gay De- Stevenson, Juliet (1956–) Actor, Great tective (1996), which toured nationally Britain. Stevenson trained at the Royal and to the Tricycle, London. His work Academy of Dramatic Art and soon after- with the innovative Barabbas… The wards joined the Royal Shakespeare Com- Company includes a version of Macbeth pany with a series of major parts, includ- (1994) and the highly successful producing Isabella in Measure for Measure and tion of The Whiteheaded Boy by Lennox Rosalind in As You Like It. In the first pro- Robinson in 1997 and 1998. In August duction of Christopher HAMPTON’S Les 1998 Stembridge’s commitment to youth Liaisons Dangereuses she played Mme de theatre was reaffirmed by the production Tourvelle. For the National Theatre, she of his new play Sudden Death by the re- played the title roles in Lorca’s Yerma (1987) cently established Limerick Youth Thea- and Hedda Gabler by Ibsen (directed by tre. Stembridge worked for five years as a Howard DAVIES, 1990). With John producer/director with RTE (Radio MALKOVICH she starred in the London Telefis Eireann) where he wrote and di- production of Lanford WILSON’S Burn rected The Truth about Claire, a two-hour This, and created the part of Paulina in drama about the vagaries of Ireland’s Ariel Dorfmann’s Death and the Maiden controversial abortion law and its impli- (1991). In 1996 she played Grusha in cations. He also co-wrote and directed a Brecht’s Der Kaukasische Kreidekreis (The Cau- popular satirical comedy for RTE radio, casian Chalk Circle) at the Royal National Scrap Saturday, and the feature film Theatre, London, returned for a season Guiltrip. to the RSC to appear in Katie MITCHELL’S production of Beckett Shorts Stephenson, Elie (1944–) Author, direc- (1997), and starred as Amanda in Noel tor and actor, France and Guyane. Coward’s Private Lives at the Royal National Stephenson studied economics at Paris- Theatre (1999). Stevenson is an actor of Nanterre, while also taking part in drama immense stage presence and emotional (Med Hondo’s production of intensity with a striking, earthy, deep voice. BOUKMAN’S West-Indies) and continuing Assisted by her method acting technique, to write. Back in Cayenne as a teacher he she creates passionate, open, strong but composed some dozen plays, most of vulnerable, immensely feminine charac- which he directed for productions by the ters. Since the late 1980s Stevenson has Troupe Angela Davis or Les Jeunes de also gained major praise for her films. Mirza, notably Un Rien de pays (A No Place, 1976), Les Voyageurs (The Travellers, 1976), Stonins, Ivars (1971–) Actor, Latvia. Af- critical of the state of underdevelopment ter graduating from the Theatre Depart- of Guyane, O Mayouri (Working Together, ment of the Latvian Music Academy in

289 Stoppard, Tom Stratton, Alan

1993, Stonins has worked with the Latvian Days (1980, National Theatre). The Na- National Theatre, appearing as Mozart tional Theatre also staged The March on inSHAFFER’S Amadeus, in the title role of Russia (1989) and Stages (1992). Rather Büchner’s Woyzek and as Gregers Werle in than displaying intellectual ingenuity, like Ibsen’s Wild Duck. Critics agree that he lives the characters in plays by STOPPARD, up to the various roles, so far mainly in Storey’s characters and his plays have to modern drama. Personally, he is working be intuitively apprehended, a fact which on the challenge of changing between re- might, in Storey’s own opinion, contrib- hearsals for one role during the day and ute to the fact that they are comparatively playing a different role in the evening. underrated in the theatre.

Stoppard, Tom (1937–) Dramatist, Great Stratiev, Stanislav (1941–) Dramatist, Britain. Initially, Stoppard worked as a Bulgaria. In plays such as The Roman journalist. In The Real Inspector Hound, Bath, The Bus, Buckskin Jacket and The Stoppard turned the traditional who- Max-imalist, Stratiev examines ugly and dunnit inside out, beginning his practice socially dangerous individuals who pre- of cross-fertilization of apparently unre- fer to make life dogmatic and senseless. lated areas or levels of reality. In After Mar- His plays are full of paradoxes as he at- guerite, surrealist events are later intellec- tempts to understand social and psycho- tually explained. His breakthrough as a logical deformation, especially as they ap- dramatist came in 1966 with Rosencrantz ply to bureaucrats, demagogues and con- and Guildenstern are Dead, focusing on the sumers. For Stratiev, the counterpoint to dilemmas of the two characters in Hamlet. such depravity is found in the moral sta- Jumpers (1972), combining philosophy and bility of creative life, uncompromising gymnastics, and Travesties (1974) were and implacable. equally successful. Many critics felt that the works of the years that followed were Stratton, Alan (1951–) Dramatist, somewhat shallow, with some adaptations Canada. Stratton’s first play, The Rusting of plays by Schnitzler and Nestroy. The Heart, was produced at James REANEY’S original plays, such as The Real Thing Alpha Centre in 1968. In his enormously (1982) and Hapgood (1988), at best divided successful Nurse Jane Goes To Hawaii (1980, critical opinion. Yet Arcadia (1993), Indian Phoenix Theatre), Stratton juxtaposes the Ink (1994) and The Invention of Love (Royal conventions of the modern sex farce and National Theatre, 1997) refuted this view the cliches of pulp romantic fiction. Rexy and (re-)established Stoppard as a drama- (1981, Phoenix Theatre) explores the life tist who is able to successfully merge of Canadian Prime Minister MacKenzie highly sophisticated subject matter and en- King with warmth and charm; it won the tertainment. Chalmers Award, the Dora Mavor Moore Award, and the Canadian Authors’ Asso- Storey, David (1933–) Dramatist and nov- ciation Award. He has also written Joggers elist, Great Britain. Storey studied at the (1982), Papers (1985), The 101 Miracles of Slade School of Art in London. He began Hope Chance (1988) and A Flush of Tories as a novelist, scoring a major success with (1991). He has said of his writing, ‘You This Sporting Life (1963). In 1967, his first write plays the way you view life. I don’t play was performed, The Restoration of Arnold set out to write “a comedy”. I just see life Middleton (about an eccentric schoolteacher that way. If the humour in Nurse Jane is cracking up). Home (1970) starred Ralph light and fluffy, then the humour in Rexy! Richardson and John GIELGUD, and is detached and ironic, and in Joggers it’s Ralph Richardson played the lead in Early dark and disturbing’.

290 Strauß, Botho Stuhr, Jerzy

Strauß, Botho (1944–) Dramatist, Ger- dunit?’ type plot, but the investigation is many. Between 1967–70 Strauß was a usually more into what moves human be- theatre critic and editor in the German ings in general, and always winds up in a theatre monthly Theater Heute. In 1970 he frantic disillusion. became dramaturg with Peter STEIN’S Schaubühne in Berlin, working on Kleist’s Stryhun, Fedir (1939–) Actor and direc- Prinz Friedrich Hamburg (1971), Ibsen’s Peer tor, Ukraine. Stryhun trained at the Gynt (1971) and Gorki’s Dacniki KarpenkoKary Institute for the Art of the (Sommergäste). Subsequently he has written Theatre, Kiev, and joined the Maria his own plays, mostly premiered at the Zan’kovets’ka Ukrainian Drama Theatre, Schaubühne, such as Trilogie des Lviv, in 1965, serving as its chief director. Wiedersehens (Trilogy of Meeting Again, 1977), The spontaneous Ukrainian emotionality, Der Park (The Park), a contemporary ver- carriage and daring have been embodied sion of A Midsummer Night’s Dream, and Die in Sryhun’s work. He usually appears in Fremdenführerin (The Tourist Guide, 1988), plays of predominantly heroic-dramatic Das Gleichgewicht (Balance, 1993, directed by and national character, and has become Luc BONDY) and Jeffers Akt I und II well known for the roles of Mykola (1998, directed by Edith CLEVER). His Sadovskyi in Riabokliacha’s Maria recurring theme is to show how an inabil- Zan’kovets’ka (1977), the title role in Othello ity to communicate and fear of personal (1986) and Kozak Iarema in Taras closeness destroy human longing for rela- Shevchenko’s Haidamaky (1988). Taisia tionships. Lytvynenko and Bohdan KOZAK were his partners in the plays he directed, Strijards, Frans (1952–) Director and Marusia Churai after Lina Kostenko (1989), dramatist, the Netherlands. Strijards Narodnyi Malakhii by Mykola Kulish (1990) started his theatrical career as an ‘angry and the trilogy Mazepa by Bohdan Lepkyi young man’ in Eindhoven, at first in the (1991–2). student scene, which was to be the subject of his first play, Ondergang voor begin- Stückl, Christian (1961–) Director, Ger- ners (A Beginner’s Guide to Destruction, 1976). many. Stückl began directing with ama- Strijards has always combined writing and teurs in 1979. From 1981–4 he trained as directing, at first with his own company a wood sculptor and became an assistant Projekttheater (1974–82) and then from director to Dieter DORN at the Münchner 1985 until the present with his company, Kammerspiele, which he joined as a direc- Art and Pro. As a director he has shown tor in residence in 1991. Productions in- affinity with plays by Ibsen (for example, clude Much Ado About Nothing (1992), Rosmersholm (1984), Hedda Gabler (1990) Marlowe’s Edward II (1993), Quai West by and a wonderfully moving Wild Duck in Koltès (1994), Reza’s Art in Bonn (1997) 1996), Chekhov (Visnevyi sad (The Cherry and JELINEK’S Raststätte oder Sie machens Orchard), Djadja Vanja (Uncle Vanya)) and alle (Inn, or They All Do It), Bonn, 1999. Peter HANDKE. He uses a hectic, expressionist kind of acting to bring out unex- Stuhr, Jerzy (1947–) Actor and director, pected meaning in the plays. The most Poland. Stuhr obtained a degree in Polish successful of Strijards’s own plays were philology from the Jagiellonski University Hitchcocks Driesprong (Hitchcock’s Junction, of Cracow and studied acting at the State 1987), The Stendhal Syndrome (1989) and Theatre Academy of Cracow, which he Gesprekken over G. (Conversations about G., joined as a member of staff in 1972, be- 1991). They are available in German. coming its president in 1990. His main Strijards’s plays are often based on a ‘who- theatre credits, with Stary Teatr of

291 Stumbre, Lelde Suárez, Miguel Ángel

Cra-cow, include Belzebub in Dziady (Fore- One of the most famous Ukrainian actors, fathers’ Eve) by Mickiewicz, Wysocki in Stupka has a complete command of dif- Wyspianski’s Noc Listopadowa (November ferent dramatic genres. Major parts in Night), Horondniczy in Gogol’s Revizor Serhii DANCHENKO’S productions in- (The Government Inspector), the contrabass- clude the title role in Richard III (1974), ist in Süßkind’s Der Kontrabaß (The Double Mykola Zadorozhny in Ivan Franko’s Bass) and the title roles in Hamlet and Ukradene shchastia (The Stolen Happiness, Dürrenmatt’s Romulus der Große (Romulus 1977, 1979), Don Juan in Lesia Ukrainka’s the Great). He excelled in the characteris- Kam’ianyi hospodar (The Stone Host, 1971, tic type of a shameless career-maker, mer- 1988), Ui in Brecht’s Der Aufhaltsame ciless and cynical, but still shaken by un- Aufstieg des Arturo Ui (The Resistible Rise of certainty and constantly fighting for his Arturo Ui 1985), Master in Master and life. Stuhr also possesses outstanding Margarita after Bulhakov (1987), Tevie in comic skills, carrying away large audiences Tevie-Tevel’ (Tevie the Milkman) after Shalom- in his numerous roles of witty, mischie- Aleichem (1989), Rosmer in Ibsen’s vous and yet sympathetic fellows. His (Rosmersholm, 1994) and the title role in main directing credits include Süßkind’s King Lear (1998). Der Kontrabaß as well as The Taming of the Shrew and Macbeth. Su Le Ce (1945–) Director, China. In 1967 Su graduated from the directing de- Stumbre, Lelde (1952–) Dramatist, partment of the Shanghai Academy of Latvia. Even before he had graduated Drama, where he is now a professor. His from the Dramaturgy Department of the main productions include Zong Fu Xian’s Moscow Institute of Literature in 1983, Yu Wu Sheng Chu (Out of Silence, 1978), Wu Stumbre’s double bill Andersons and Millers Wai You Re Liu (A Warm Flow Outside the was produced at the Daile Theatre, Riga House) by Ma Zhong Jun and Jia Hong (1981). Other plays include Zimejumi Smiltis Yuan (1979), Zong Fu Xian’s Xue Zong Shi (Drawings in the Sand), Kugitis Migla (A Ship Re De (Blood is Warm, 1981), Lu (The Road) in the Fog) and Svesinieki Seit (Strangers Here, by Ma Zhong Jun and Jia Hong Yuan 1995). In content, she attempts to reflect (1982), Wang Jian Ping’s Da Xi Yang Dian the complex world of personal relation- Hua (Atlantic Phone Calls, 1989), Henry IV ships. In form she is still experimenting, (1994) and Sun Zu Ping’s Xu Hu Shi Fu struggling between a traditional and non- (Master Xu Hu, 1996). He is noted chiefly traditional approach. Calling herself a for his impact on the post-Mao Shanghai ‘woman of letters’, she places much em- theatrical scene. phasis on language and style, and would rather see her plays published than pre- Suárez, Miguel Ángel (1939–) Actor, sented on stage. Puerto Rico. One of Puerto Rico’s finest actors, and one of the few actors in Puerto Stupka, Bohdan (1941–) Actor, Ukraine. Rico to have mastered the four major per- Stupka trained at the Drama Studio of the formance media (radio, television, theatre Maria Zan’kovets’ka Ukrainian Drama and film), Miguel Ángel Suárez began his Theatre, L’viv and at the Karpenko-Kary professional career as a child actor on lo- Institute for the Art of the Theatre, Kiev. cal radio programmes. Married to Nana Since 1978 Stupka has been a leading ac- Hudo (teacher, dancer and choreogra- tor of the Ivan Franko Ukrainian Drama pher), he has worked in the Puerto Rican Theatre, Kiev. Nervousness and witticism theatre since his teens. Suárez is an appeal- are Stupkaís gifts as an actor, as well as a ing and likable actor whose power never- plastic expressiveness of his performance. theless often verges onthe violent. He has

292 Subbanna, K.V. Sueki Toshifumi been noted for his powerful and multi-lay- Room. Her next notable performances ered portrayals as Stockman in Ibsen’s En were Alice in Strindberg’s Dödsdansen Folkefiende, (An Enemy of the People (1978) and (Dance of Death, 1965) and the award-win- Stanley in Williams’s A Streetcar Named ning portrayal of prostitute Rahela in Desire (1977), both directed by Dean Arden’s Live like Pigs. In 1978 she played ZAYAS. Together with his portrayal of Winnie in Beckett’s Happy Days. She was The Angel in Ugo Betti’s Crime on Goat Is- awarded for the portrayal of supporting land (Teatro del Sesenta, 1972), these pro- characters such as Eve’s Mother in ductions afforded him the opportunity to Krle•a’s Vucjak (1977) and the Duchess of collaborate with José Luis MARRERO, York in Richard II (1981). She does not con- Ernesto CONCEPCIÓN and Gladys centrate solely on her parts but likes to RODRÍGUEZ. He also appeared as participate actively in the creation of the César in Walter Rodríguez’s La performance as a whole: for the produc- descomposición de César Sánchez (The Decom- tion of Murell and Willson’s play Sarah and position of César Sánchez, 1973). the Scream of the Lobster, she suggested the cast list. Neva ROŠIC starred as Sarah Subbanna, K.V. (1932–) Director, India. Bernhardt and Subotic gave a splendid A founder member of Ninasam, a theatre performance in the male role of the secre- school with an attached repertory com- tary Georges Pitou. In 1984 she celebrated pany based in a village in Karnataka, thirty years of acting in monodrama Tajna Subbanna has directed many plays includ- Barunice Castelli…(The Secret of Baroness ing Shudraka’s Mrcchakatika (The Little Clay Castelli…), based on Krle•a’s text. She Cart), Bhasa’s Urubhanga, Vijay played several roles on film and radio and TENDULKAR’S Ghashiram Kotwal and she is an appreciated reciter. Hamlet. Subbanna received the Ramon Megasaysay Award as ‘a social worker ac- Sueki Toshifumi (1939–) Director and tive in culture, someone who is trying to translator, Japan. Sueki founded Te no Kai change the community in the cultural con- (the Hand Theatre Company) with text through theatre’. A confirmed BETSUYAKU Minoru and YAMAZAKI Gandhian who believes that genuine thea- Masakazu in 1972. He also directs plays tre begins with intimate communication, for the Kiyama Office, a theatre agency he advocates going back to one’s roots: his run by theatre producer, Kiyama Kiyoshi. theatre at Ninasam is built of mud, while Directing credits include a number of the acoustics are provided by gunny bags. plays by Betsuyaku, such as Machi to Tirugata, his repertory company, travels Hikôsen (A Town and a Zeppelin, 1970), Isu to to villages in Karnataka with its produc- Densetsu (The Chair and the Legend, 1974) tions, and the recent production of Yagna and Kono Michi wa Itsuka Kita Michi (I Have Phala was embellished with features of the Walked Down This Way Once, 1995), and traditional Karnataka folk form Yamazaki’s Zeami when it was chosen for Yakshagana. the production by Shingeki-dan Kyôkai (the Association of Shingeki theatre com- Subotic, Nada (1931–) Actor, Croatia. panies) in 1987, in which MATSUMOTO While training at the Academy of Dra- Kôshirô played the part of Zeami; the pro- matic Art in Zagreb, Subotic joined duction toured in the USA in 1988. Sueki Zagreb Theatre Gavella where she acted also translated and staged plays by Duras for the next thirty years. At the age of and Adamov. His apporach is twenty-eight she scored a major success straughtforward and intellectual, aiming to when she played the part of eighty-year- do justice to a dramatist’s intention and old Terese Brown in Greene’s The Living

293 Sundquist, Björn Szajna, Józef trying to materialise what a play expresses has taught his training method both in Ja- in its original context. pan and overseas.

Sundquist, Björn (1948–) Actor, Nor- Svoboda, Josef (1920–2002) Designer way. Sundquist trained at the Norwegian and architect, Czech Republic. Svoboda State Theatre High School, and has be- has worked on many world stages, such come one of the leading actors of his gen- as Chekhov’s Tri sestry (Three Sisters, eration. He is mainly known for his parts 1967), at the Old Vic, London, directed in the classical tragic repertoire and mod- by Laurence Olivier, and Goethe’s Faust ern realistic plays, including Hamlet, II (1991), at the Piccolo Teatro di Milano, Mercutio in Romeo and Juliet, Iago in directed by Giorgio Strehler. By means of Othello, the title role in Ibsen’s Brand, kinetic and light designs, he activates the Hjalmar Ekdal in Vildanden (The Wild stage space, which he understands as a Duck), Dr. Stockmann in En Folkefiende (An dramatic component contributing to the Enemy of the People) and Merlin in Tankred action. He also makes use of stage vehi- DORST’S Das Wüste Land (The Waste cles (Kundera’s Majitelé klícu (The Owner of Land). In January 1997 he began work on the Keys), National Theatre Prague, 1962), a one-man-show called The Comical Trag- and suspended architectural elements edy, hoping to develop his talents in com- (Romeo and Juliet, National Theatre edy. Prague, 1963). With light he creates dematerialised objects (Wagner’s Tristan Suzuki Tadashi (1939–) Director, Japan. and Isolde, Grand Opéra Geneve, 1978) With BETSUYAKU Minoru and others, and imaginary spaces. He uses mirrors to Suzuki founded Gekidan Jiyû Butai (the reflect and outline the stage action as well Freedom Stage Theatre Company) in as the public many times over 1962, renamed Waseda Shô Gekijô (the (Pirandello’s I giganti della montagna (The Wasesa Small Theatre) in 1966. He di- Mountain Giants), Theatre Beyond the rected Betsuyaku’s Mattchi Uri no Shôjo Gate II (Za Branou II), Prague, 1994), (The Match Girl, 1967) and KARA Jûrô’s and various projection techniques on Shojo Kamen (Virgin’s Mask, 1969). In multiple and moving spaces, television his productions of Gekitekinaru Mono I, II cameras allowing instant reproduction of and III (Dramatic Passions I, II and III) in shots on the stage itself (Nono’s 1969, 1970 and 1975, he examined and Intoleranza, The Opera Group, Boston, established his theatrical style, ‘Foot- 1965), or holography and laser beams work’. In 1976 he founded the Suzuki (Mozart’s Die Zauberflöte (The Magic Flute), Company of Toga (SCOT). He also Munich, 1970). He is a true wizard of the founded the Japan Performing Arts Cen- stage, casting his spell by means of mod- tre, which organizes the Toga Interna- ern science and technology. tional Arts Festival and the International Actor Training Programme. Major pro- Szajna, Józef (1922–) Designer, director ductions include Euripides’s Troades (The and dramatist, Poland. A graduate of the Trojan Women, 1974) and Bakchae (The Academy of Fine Arts in Cracow, Szajna Bacchae, 1978), Chekhov’s Tri sestry was imprisoned in the concentration (Three Sisters) and Visnevyi sad (The Cherry camps of Auschwitz and Buchenwald dur- Orchard, 1987), and King Lear (1988). All ing the Second World War. This experi- have toured abroad. He held the ence has influenced his imagination since. Saratoga International Theatre Festival From 1955–63 he was a designer, then with Anne BOGART in Saratoga stage director and managing director of Springs in New York since 1992. Suzuki the avant-garde Teatr Ludowy in Cracow.

294 Szakács, Györgyi Székely, László

Later he worked with, among others, Präsidentinnen (The Presidents). A renewer of Stary Teatr Cracow, Teatr Slaski in Hungarian costume design, her work can Katowice, Teatr Wspólczesny in Wroclaw be connected to modern theatrical work- and Teatr Polski in Warsaw, as well as shops and directors. Depending on the abroad. From 1971–82 he held a profes- concept of the performance, her costumes sorship in scenography at the Academy of are sometimes ‘unnoticeable’, at other Fine Arts in Warsaw. His main credits as times indicators of the age, atmosphere or designer include Gozzi’s Turandot, A Mid- character; but they are always very summer Night’s Dream and Sophocles’s original. Antigone. Directing credits include Gogol’s Revizor (The Government Inspector), Goethe’s Szakonyi, Károly (1931–) Dramatist, Faust and O’Casey’s Purple Dust. He also Hungary. After studying Hungarian and wrote his own plays. Szajna treats stage popular education at the Eötvös Loránd design as an environment installation, University, Szakonyi worked as theatre as an art of action. His chief me- dramaturg at the Budapest National dium is the moving image. As an artist, Theatre (1963–6), the Miskolec National he draws from surrealism, emballage, as- Theatre (1974–9), the Pécs National semblage and happening; as a director, he Theatre (1988–93) and as artistic con- draws from the futurists, the Bauhaus and sultant at the Debrecen Coskonai Thea- Witkacy theories. He often uses ready tre. Plays include Zsóka, Életem (My Life), made objects, such as rugs, tyres, dirt, Hongkongi paróka (Hong Kong Wig), Apák és boots, wooden soles and deformed bod- fiúk (Fathers and Sons), Égi kávéház (Heav- ies in his productions. His theatre ex- enly Café) and most recently A pénz presses the destruction of the inhuman komédiája (The Comedy of Money, 1995). world with people struggling for hope. These ‘family dramas’ are tragi-com- Szajna shows both the tragedy and the dig- edies presenting the perils hidden in the nity of human beings. macro-cosmos through conflicts within micro-society. Szakács, Györgyi (1951–) Designer, Hun- gary. Szakács studied architecture at the Székely, László (1932–) Designer, Hun- Budapest Technical University, but turned gary. Székely studied at the Budapest Ap- to costume design in 1975. Stages in her plied Arts College and began his career at career are Kecskemet, Katona József Thea- the Eger Gárdonyi Géza Theatre. After tre (1976–9), Miskolc, National Theatre seasons at the Szeged National Theatre (1979–88), and Budapest National Thea- (1965–71), the Szolnok Szigligeti Theatre tre (1989–91). Since 1994 she has been (1971–9), the Budapest National Theatre designer of the Budapest Új Theatre. She (1979–83) and the Budapest Katona József also regularly works as a guest at several Theatre (1983–90), he is now working theatres of the country. Major productions freelance for several theatres of the capi- include Verdi’s Un ballo in maschera, tal, the country and also foreign countries. Chekhov’s Visnevyi sad (The Cherry Orchard), Since 1978 he has also taught in the Set Gogol’s Revizor (The Government Inspector), and Costume Design Department at the Molière’s L’avare (The Miser) and Dom Juan, Applied Arts College in Budapest, where Hamlet, Julius Caesar, Coriolanus, BARK- he is currently head of department. Ma- ER’S Scenes from an Execution, jor productions include Molière’s Le malade STOPPARD’S Rosencrantz and Guildenstern imaginaire (The Imaginary Invalid), Georges Are Dead, Ibsen’s Rosmersholm, Dandin, Chekhov’s Tri sestry (Three Sisters), Dürrenmatt’s Der Besuch der Alten Dame Timon of Athens, Troilus and Cressida, (The Visit) and Werner Schwab’s Die Coriolanus, Büchner’s Dantons Tod (Danton’s

295 Székely, László Székely, László

Death), Wilde’s The Importance of Being Ear- knowledge of style and drama history, nest, Ibsen’s En Folkefiende (An Enemy of the original use of modem scenic technology, People), Strindberg’s Fadren (The Father) and and a rich combination of elements and Arthur MILLER’S The Price. His set de- good taste. signs are characterized by thorough

296 T

Tabakov, Oleg (1935–) Actor and direc- and dramatist. Tabori was born in Buda- tor, Russia. Tabakov graduated from the pest, emigrated to Britain in 1936 and is a Moscow Art Theatre Studio in 1957 and British citizen. During the Second World started his theatre and film career as a per- War he was member of the Intelligence former in Russian classics: Nikolai Rostov Office of the British Army, and from in the film of Vojna I Mir (War and Peace, 1943–5 he worked for the BBC. While in 1964), Aduyev in Goncharov’s the USA he met Bertolt Brecht in Holly- Obyknovennaya istoriya (Ordinary Story, at the wood, and his interest in theatre was kin- Sovremennik theatre, 1966) and contem- dled. After some film work in Italy and porary non-conformist drama such as France, he lived in New York until 1971, plays by Viktor Rozov. In 1970 he became writing and directing his own plays and the director of the Sovremennik Theatre, screenplays. Since 1971 he has been living which he left in 1983 left for the Moscow and working in Germany, closely work- Art Theatre with Oleg YEFREMOV as ing with the Münchner Kammerspiele and artistic director. In the course of his career freelancing. Since 1990 he has been work- he turned to various character parts, such ing with the Burgtheater in Vienna. His as Balalaikin in Shedrin’s Balalaikin I own plays, with Mein Kampf (1987) argu- Kompaniya (Balalaikin and Co, 1973). In the ably the most successful one, deal mainly 1990s at the Moscow Art Theatre he with the history of Germans and Jews. played Famussov in Griboyedov’s Gore ot Tabori claims that every expression is uma (Wit Works Woe) and Salieri in Peter therapeutic. On the stage one can enact SHAFFERS’ Amadeus. In the 1980s he the destructive (ausagieren), and only when added actor training to his credits, and is it has been released is something construc- now rector of the Moscow Art Theatre tive created. Studio. At the same time he ran a theatre studio of his own (Tabakov Studio) which Takemoto Sumitayû VII (1924–) soon became one of the highest rating in Gidayû reciter and singer, Japan. The son Moscow. He also organized the American of Tsuruzawa Tomokichi, he trained in Studio of the Moscow Art Theatre, train- gidayû (narrative music of Bunraku pup- ing future actors from the USA in Mos- pet theatre) under Toyotake Kôtsubodayû cow. II, Takemoto Tsunatayû VIII and others, succeeding to this stage name in 1985. Tabori, George (1914–) Actor, director The role of a gidayû reciter is to read stage

297 Tan, Alvin Cheong Kheng Tanvir, Habib directions, to speak for the puppets, to ex- sequently passed. His next play, Undercover plain the situation the characters are in (1993), was a controversial discussion on and to express their feelings clearly to the the powers of the Internal Security Act in audience. Sumitayû’s recitation is espe- Singapore. The play oscillated between cially good in expressing puppet charac- paranoia and conspiracy and questioned ters’ emotions in sewamono (domestic the very relevance of arts censorship. His plays). His representative pieces are Sakaya other more controversial play, Six of the Best (Liquor Shop), Ueda-mura (Ueda Village) and (1996), was a dramatization of the Michael Nozaki-mura (Nozaki Village). He is a mem- Fay incident but set in an office of local ber of the Sanwa-kai group of the Bunraku and expatriate workers. The play teased association. out racial, ethnic and sexual tensions in a modern working environment. Tan re- Tan, Alvin Cheong Kheng (1963–) Di- ceived a Fulbright fellowship in 1993 at rector, Singapore. Founder and Artistic Boston University. Director of The Necessary Stage, Alvin Tan is considered one of the leading Tandefelt, Liisi Kaarina (1936–) Actor young voices in Singapore theatre. He and designer, Finland. Tandefelt trained at founded the Necessary Stage while he was the Finnish Theatre School as well as at an undergraduate at the National Univer- the Academy of Performing Arts in sity of Singapore and, together with resi- Bratislava. In the course of her career she dent playwright Haresh SHARMA, has worked in television, at TTT Thea- sought to forge an authentic Singapore tre in Tampere, Helsinki City Theatre and identity and idiom in Singapore theatre Turku City Theatre. Since 1976 she has with his directorial efforts, which included run her own theatre, Avoiment Ovet, Lanterns Never Go Out (1989), Still Building which tours Europe and performs in Finn- (1992), Off Centre (1993) and Pillars (1997). ish and German. Major costume designs Tan advocates what he terms ‘intra-cul- include The Tempest, My Fair Lady and tural’ performances where he primarily Brecht’s Leben des Galilei (Life of Galileo). deals with the interaction of the cultures Major acting credits are Hedwig in Ibsen’s within Singapore and contextualized by Vildanden (The Wild Duck), and a remark- Singapore. The works of Brecht, Boal and able series of monologues on famous more recently postmodernist aesthetics women such as Käthe Kollwitz and Char- heavily influence his direction. Winner of lotte von Stein, Jacke wie Hose by Manfred the Singapore Young Artist Award in KARGE and plays by Finnish poets Märta 1998, Alvin Tan has been awarded a Tikkanen, Eeva Kilpi and Solveig von M.Phil. (Arts) degree from the University Schoultz. ‘The cities and audiences alike of Birmingham in the UK. were impressed by the intelligence and self-irony through which Tandefelt inter- Tan, Tarn How (1960–) Dramatist, Sin- prets the texts. As a stage and costume de- gapore. Currently the head scriptwriter at signer she uses the austerity for which Television Corporation of Singapore’s Finnish design is known.’ English Drama unit, Tan is attributed to be the writer of the first political satire in Tanvir, Habib (1929–) Dramatist and di- Singapore, The Lady of Soul and her Ultimate rector, India. One of the pioneers in revi- ‘S’ Machine (1992). The play dealt with the talising the folk forms of Indian theatre, sensitive issue of Singapore’s relentless Tanvir began his career with IPTA in search for ‘Soul’, and was not allowed to Bombay in the early 1940s. He moved to be performed as it depicted civil servants Delhi in 1954, where his first major play in an unflattering light. The play was sub- Agra Bazaar marks the beginning of

298 Tassopoulou, Leda Tayeb, Mohamed popular culture in India, and received the fessional bull-fighter, but is now recognized prestigious Sangeet Natak Akademi as one of the most significant figures in award. He used folk tunes and songs to Andalusian theatre culture. His career in dovetail episodes and poems from the life theatre began with Oratorio (Oratory, 1969) of Urdu poet Nazir Akbarabadi. In hisnext directed by Juan Bernabé for the Teatro play, Mitti Ka Gadi, an adaptation of Estudio Lebriano, a new play for which Sudraka’s The Little Clay Cart, he drew on he composed the music and performed as training received at the Bristol Old Vic cantaor (singer). In 1971 he co-founded the under Duncan Ross, particularly the im- company La Cuadra de Sevilla and has portance of ‘flow’. Tanvir also attended the remained its director. Moving away from Royal Academy of Dramatic Art, London, text-based theatre in indoor spaces, Távora for a year which served paradoxically to has looked to flamenco song for the mate- renew his focus on his own indigenous tra- rial of his stage work. Machinery, song, dition. His major achievement, Charandas dance, bulls and darkness became the com- Chor, is a blend of Chattisgarhi folk form pany’s discernable trademarks. A series of and contemporary sensibility, using a folk productions beginning with Quejío (Lament, tale to interrogate status, political power 1972) were seen at Jack Lang’s Nancy Fes- and honesty through the figure of a thief; tival and secured the company further in- it received a Fringe First at Edinburgh in ternational dates. The 1980s saw Távora 1982. Tanvir’s group, Naya Theatre Com- turn to Lorca and Picasso with Nana de pany, is one of the few professional com- espinas (Thorny Lullaby, 1982) and Picasso o panies where actors receive a regular sal- la muerte del Minotauro (Picasso or The Death ary. Tanvir uses the verbal and physical of the Minotaur, 1991). Since the late 1980s, language of the people but combines this the company has looked increasingly to with the intellect of a contemporary the classics for dramatic material, rework- thinker. At present he is director of the ing Euripides’s Bakchai (The Bacchae, 1987) Bharat Bhavan in Bhopal, a centre for In- and Carmen in 1996. dian arts and culture. Tavori, Doron (1952–) Actor, Israel. Tassopoulou, Leda (1955–) Actor, Greece. Tavori is among the group of young ac- Trained in music (flute and violin), move- tors who co-founded the Beer Sheva mu- ment (classical dance, Martha Graham nicipal theatre. His major roles are Otto method and jazz), and for the stage at the Weininger in SOBOL’S The Soul of a Jew, Drama School of the National Theatre of the Nazi officer Kittel in Sobol’s Ghetto and Greece, Tassopoulou co-founded the Lucky (Beckett’s Waiting for Godot) at the Amphi-Theatre and has played many lead- Haifa municipal theatre. His one-man ing roles there, in plays by Aeschylus, show of the Oresteia as well as his interpre- Sophocles, Euripides, Aristophanes, tation of Shakespeare’s Hamlet in a pro- Menander, Shakespeare, Molière, Büchner, duction directed by Stephen BERKOFF Strindberg, Brecht and others. In 1982 she have demonstrated his virtuosity as an followed an invitation of the American actor. In the Sternheim project at the centre of the International Theatre Insti- Habima theatre, for which he was the pro- tute to teach monologues from ancient ducer as well as an actor, he showed his Greek drama at ten universities and thea- interest in expressionistic dramaturgy and tre schools throughout the USA. acting style.

Távora, Salvador (1940–) Director, Spain. Tayeb, Mohamed (1952–) Director and Távora likes to introduce himself as a actor, Syria. Tayeb trained in Egypt. On former carpenter, flamenco singer and pro- returning to Syria, he joined the National

299 Tekindor, Çetin Tendulkar, Vijay Dhondopant

Theatre in Damascus where he directed Strindberg’s Fröken Julie (Miss Julie) and many classics, including Shaw’s The Dev- Brecht’s Mahagonny. Strong-minded, lank, il’s Disciple (1964), Arthur MILLER’S a beautiful mover and ladylike with a twin- Death of a Salesman, Beaumarchais’s The kle in her brown eyes, Ten Bruggencate Marriage of Figaro, Ali Salem’s Ughniya Ala’l- has built up an impressive career playing Mamar (A Song on the Passage), Riad both strong women (Hermione in ISMAT’S Sinbad, Nouman Ashour’s Al- Racine’s Andromaque) and slightly addled Qeyama (The Tower of Al-Madabegh) and Al- characters (Harper in Tony Kushner’s An- fred Farag’s Zawaj Ala Warket Talaq (A Mar- gels in America). She was with Gerardjan riage on a Divorce’s Paper). He played a RIJNDERS’S company from 1987–93 number of supporting roles on television and is now freelancing again, apprearing and taught voice and speech at the Acad- in Guy CASSIERS’S stage adaptation of emy of Dramatic Arts for some years. He Marguerite Duras’s Hiroshima Mon Amour. refrained from working as director, maybe sensing that his dated traditional approach Ten Cate, Ritsaert (1938–) Producer and has been transcended and such lavish pro- manager, The Netherlands. After a year ductions as his had become outdated. at Bristol University and working in film production, Ritsaert Ten Cate started the Tekindor, Çetin (1945–) Actor, Turkey. Mickery Theatre in 1965, which made him Tekindor graduated from the theatre de- renowned throughout the international partment of the Ankara State Conserva- theatre community. Mickery, first based in tory in 1970, and in the same year started a farmhouse outside Amsterdam, and from his acting career at the Ankara State Thea- 1972 in a disused cinema in the city itself, tre. He also taught theatre students at the became a point of focus for new theatre. Ankara State Conservatory and Faculty of Ten Cate brought many groups, including Music and Fine Arts at Bilkent University. La MaMa, Traverse, The Wooster Group He acted in famous plays such as (led by Elizabeth LECOMPTE) and the ALBEE’S Who’s Afraid of Virginia Woolf?, Pip Simmons Group to Holland. Thus he Orhan Asena’s Hürrem Sultan, Willy Rus- not only introduced the Dutch audience sell’s Educating Rita and Mehmet to innovative theatre, but also supported BAYDUR’S Cumhuriyet Kizi (The Daughter and stimulated the work of many experi- of the Republic). He received the best actor mental theatre companies throughout the award of the Arts Institution and the Min- world. Ten Cate became a well-known fig- istry of Cultural Affairs. Tekindor’s out- ure in the IETM (Informal European standing characteristic is his powerful Theatre Meeting). He also directed and voice: the delivery of his lines becomes the wrote his own plays. After Ten Cate closed major means of expressing the interpreta- Mickery in 1991, he was asked to set up tion of the part. DasArts, a post graduate department for drama and choreography. He is currently Ten Bruggencate, Catherine (1955–) serving as its director. Actor, The Netherlands. After training at the Drama School in Arnhem, where she Tendulkar, Vijay Dhondopant (1928–) graduated in 1977, Catherine Ten Dramatist, India. Tendulkar came to be Bruggencate joined De Appel, a company known as a dramatist of importance in The Hague. She played many parts through his major play Shantata! Court there, until she started an independent ca- Chalu Ahe (Silence! The Court is in Session) in reer from 1981–7, starring in plays as di- 1968; Satyadev DUBEY directed the verse as Thomas Bernhard’s Der Präsident Hindi version, with Shulaba (The President, with Cas ENKLAAR), DESHPANDE in the lead role. The BBC

300 Terlecki, Wladyslaw Thalbach, Katharina broadcast the play in English. The Vultures been chairman of the International Com- (1971) and Sakharam Binder followed the mittee of Theatre Olympics, in charge for first success. Ghashiram Kotwal turned out the Theatre Olympics of 1995 (Greece) to be most controversial of his works: it and 1998 (Japan). was opposed by Shiva Sena, a group of Hindu fundamentalists who considered it Thacker, David (1950–) Director, Great anti-Brahminical, but received much ac- Britain. Thacker joined the Theatre Royal claim at the Berlin Folk Theatre Festival in York initially as assistant stage manager, in 1981. Justifiably, Tendulkar’s later plays and from 1975 was assistant director. In Baby, Kamala and Kanyadan have been less 1978 he founded Rolling Stock Company, well received. Like Antonin Artaud, he and became artistic director of the Duke’s believes in theatrical violence as a means Playhouse in Lancaster in 1980. He was of affecting the audience (physical—a artistic director of the Young Vic between forced abortion—in Vulture, psychological 1984–93, where he directed numerous aggression in Shantata). productions, Shakespeare and modern classics, some of which transferred to the Terlecki, Wladyslaw (1933–) Dramatist, West End (among them O’Neill’s A Touch Poland. Most of Terlecki’s plays for the of the Poet, with Vanessa REDGRAVE, stage, for television and radio are histori- 1987). He has directed some London pre- cal. The main protagonists are authentic mieres of Arthur MILLER’S recent plays, people whose role and importance in such as The Last Yankee (1993) and Broken Polish history is documented. For Terlecki, Glass (1994). Since leaving the Young Vic, the history of Poland, especially the nine- Thacker has directed freelance and with teenth century, is a very good lesson for the Royal Shakespeare Company. our own times. It shows the perseverance of a nation ruled by the three partitioning Thalbach, Katharina (1954–) Actor and powers. The language in plays such as director Germany. The daughter of actor Dwie Glowy Ptaka (Two Heads of A Bird, Sabine Thalbach and director Benno 1982), Krotka Noc (Short Night, 1987), Zabij Besson, Thalbach played children on stage Cara (Kill the Tzar, 1994) and Mateczka as well as for film and television. Later she (Mother, 1995) is contemporaray. trained with the Berliner Ensemble, where she also made her debut. From 1972–6 she Terzopoulos, Theodores (1945–) Direc- worked with the Volksbühne, East Berlin, tor, Greece. Terzopoulos trained at the playing Desdemona in KARGE/ Drama School of K.Michailidis and with LANGHOFF’S production of Othello. In the Berliner Ensemble in Germany. In 1976 she left the GDR for West Germany 1981 he became director of the Drama together with her partner, dramatist Tho- School of the State Theatre of Northern mas Brasch. Important parts include the Greece. In 1986 he founded Attis Thea- title roles in Kleist’s Das Käthchen von tre Group, for which he directed Bakchai Heilbronn (Köln, 1979, directed by Jürgen (Bacchae) by Euripides, Medea Material FLIMM), Kleist’s Penthesilea (1981, di- Landschaft mit Argonauten (Medea Material rected by Hans NEUENFELS), Frau Landscape with Argonauts) and Quartet by John in Hauptmann’s Die Ratten (The Rats, Heiner Müller, and Persai (The Persians) and Maxim Gorky Theater, Berlin, 1997), Prometheus Desmotes (Prometheus Bound) by Johanna Dark in Brecht’s Die Heilige Aeschylus. Earlier productions include Johanna der Schlachthöfe (Zürich, 1998) and Lorca’s Yerma and Brecht’s Mutter Courage the title role in Brecht’s Der Gute Mensch und ihre Kinder (Mother Courage and her Chil- von Sezuan (The Good Person of Sezuan, 1998, dren). Since August 1993, Terzopoulos has Maxim Gorky Theater, Berlin). She has

301 Thambiran, Purissai Kannappa Thompson, Judith also directed, including Macbeth (1987), zilian State TV (in collaboration with the Brasch’s Liebe Macht Tod (Love, Power, Death, BBC), and his plays have been televised 1990), As You Like It and Molière’s Dom in Austria and Germany. German televi- Juan (Maxim Gorky Theatre, Berlin, sion also recorded a fifteen-minute profile 1996). on Thomas’s work in New York. Several publications in Brazil and the USA are in Thambiran, Purissai Kannappa (1915–) preparation. ‘His work depends heavily on Actor, India. The grand old man of the living images. In creating them he is Therukoothu tradition in Tamilnadu, greatly assisted both by his skill as a light- Thambiran is a fourth-generation per- ing designer and by the scenographer former who learnt Koothu from his father Daniela Thomas. Most of his productions Duraiswamy Thambiran and his uncle also have sound scores not directly tied to Raghava Thambiran. He taught Koothu the texts but with their own significance. at the National School of Drama, where Thomas works with professionally trained his students included Mu RAMASWAMY actors, a choice that contributes to the pre- and Na MUTHUSAMY. His celebrated cision and quality of his productions.’ production of Subramanya Bharathi’s Panchali Sabatham is an instance of how Thomas, Willy (1959–) Actor and the relevance of Koothu could be dramatist, Belgium. Thomas studied at the demonstrated by applying it to modern lit- Royal Conservatory in Brussels. In 1985, erature. he co-founded the Dito’Dito company. Dito’Dito chose, by degrees, to work with Thiyam, Ratan (1948–) Director and their own textual material, which was in- dramatist, India. Active in the theatre from tended to examine acting as well as every his youth, Thiyam trained at the National other aspect of a theatrical performance. School of Drama, New Delhi and later A first step in this direction was Duiven en was the director of the School. He estab- Schoenen (Pigeons and Shoes, 1988), which lished the Chorus Repertory Theatre in was written by the Dito’Dito company col- Imphal, a tribal area. Drawing upon the lectively. Since then Willy Thomas has traditional forms of Manipuri music, emerged as a dramatist. By resolutely re- dance, recitation and martial arts, Ratan jecting classical dramaturgy, Thomas, to- Thiyam has developed a distinctive con- gether with a number of his contemporar- temporary style of his own. Among his ies such as Arne SIERENS and Paul major productions are Bhasa’s Urubhagam POURVEUR, set in motion the ‘new and Sophocles’s Antigone. His own play Flemish dramaturgy’, which was born in Chakravyuha, drawn from The Mahabharata, Flanders in the early 1980s in the wake of achieves a powerful blend of theme and a generation of theatre artists who broke form. Thiyam is widely known for his away from the politically committed thea- contribution to actor-training methodol- tre of the 1970s and the traditional reper- ogy and his workshops are popular in In- toire of the established theatres. His main dia and Europe. plays are B is A in Bubbels (1990) and Kleine Bezetting (Small Cast, 1995). Thomas, Gerald (1954–) Director and dramatist, Brazil. Productions include Thompson, Judith (1954–) Dramatist Heiner Müller’s Quartett, Chekhov’s Cajka and director, Canada. Thompson trained (The Seagull), Don Juan by Otavio Frias and at the National Theatre School. Her plays, his own Unglauber, as well as operas such such as The Crackwalker (1980), White Bit- as Tristan und Isolde. Thomas has been the ing Dog (1984), I am Yours (1987) and Lion subject of a two-hour documentary by Bra- in the Streets (1990), ‘blend naturalism and

302 Thomson, Brian Tiezzi, Federico surrealism in a portrayal of thecomplex School and the London Academy of Mu- struggle between the conscious and the sic and Dramatic Arts. While in Britain, unconscious mind’. The rich, psychologi- he made a decision: ‘I am a Canadian. cally complex texture of Thompson’s Why shouldn’t I be telling Canadian sto- work is augmented by her ‘superb control ries?’ Since 1973, he has thus pursued his of regional speech rhythms and voice, as career in Canada, developing ‘from being well as by her manipulation of theatrical a rising young star to one of Canada’s space’. She is particularly adept at explor- most praised and respected actors’, working the (often animalistic) behaviour of ing in many of the country’s major thea- marginalised characters: the disabled, the tres, including the Canadian Stage, poverty-stricken, the mentally challenged. Théâtre Passe Muraille, the Stratford Fes- In recent years Thompson has freelanced tival, the Tarragon Theatre and Theatre as a director, including Ibsen’s Hedda New Brunswick. His performances are Gabler at the Shaw Festival (1991). She has marked by an unerring sense of truth and also written several radio dramas, includ- an intense inner life. He was named di- ing Tornado (1988) and Yellow Canaries. In rector of the Harbourfront World Thea- 1990, she won the Governor General’s tre Festival in 1991 Award for The Other Side of the Dark. Tiezzi, Federico (1951–) Director and Thomson, Brian (1946–) Designer, Aus- dramatist, Italy. While studying art history tralia. After training as an architect, at the University of Florence, Federico Thomson moved into theatre via happen- Tiezzi founded the theatre company il ings and pop art, working initially with Jim Carrozzone, later called Magazzini SHARMAN. Thomson went on to design Criminali and then, simply, Magazzini, Hair, Jesus Christ Superstar and The Rocky where he worked with the performers Horror Picture Show for Sharman, produc- Marion d’Amburgo and Sandro tions which brought international success Lombardi. Tiezzi produces highly formal and recognition. Thomson also designed conceptual theatre events which use frag- for Sharman’s Patrick White productions. mented narratives and play with meta-tex- Thomson’s designs are always audacious, tual points of reference which span from sensational and radical; they are never lit- Antonin Artaud, Joseph Beuys, Marcel eral or naturalistic. For example, Duchamp, Gina Pane, Marina Abramovic Thomson’s 1971 As You Like It consisted and Ulay, to Jean Genet, Samuel Beckett of a gift box set, which the cast then un- and Pier Paolo Pasolini. Using elements wrapped, revealing a white steel and from both minimalist theatre and rock perspex set, lit from below. The forest of music, as well as dance theatre and per- Arden was created by dragging green silk formance art, Tiezzi creates stunning and over the heads of the audience while a pop provocative pictorial performances which up book forest appeared. Thomson has lucidly and radically challenge the designed for most major theatres in Aus- boundaries of performance practice. tralia as well as for opera, film, television, Among Tiezzi’s most interesting produc- rock videos and for Barry Humphries’s tions are Vedute di Porto Said (Sights from Port Edna Everage production Housewife Super- Said, 1978), Ebdòmero (1979, devised by the star! He won a Tony for his design for The company, and later filmed by Rainer King and I, which transferred to Broadway Werner Fassbinder), as well as his own in 1996. plays Crollo nervoso (Nervous Breakdown, 1980), Genet a Tangeri (Genet in Tangier, Thomson, R.H. (1947–) Actor, Canada. 1984) and Ritratto d’un attore da giovane (Por- Thomson trained at the National Theatre trait of the Actor as a Young Man, 1985),

303 Tillinger, John Tisnu, Tjokorda Raka

Brecht’s Im Dickicht der Städte (In the Jungle plays, as Colin in Roger HALL’S Middle of the Cities, 1997) and Mario Luzi’s Scene Age Spread (1977), Tupper in Greg di Amleto (Scenes from Hamlet, 1998). Tiezzi, McGee’s Foreskin’s Lament (1981), Dad in who, throughout the last twenty years has Robert Lord’s Joyful and Triumphant (1992) been working in theatres and opera and Dickie Hart in Roger Hall’s solo piece houses all over the world, is one of Italy’s C’mon Black (1996). most interesting and innovative theatre directors. Tindberg, Svein (1953–) Actor, Norway. Trained at the Norwegian State Theatre Tillinger, John (1939–) Director, actor High School, Tindberg has worked for and dramatist, USA. Born and raised in Television Theatre and Trøndelag Teater Great Britain, Tillinger trained at the Bris- in Trondheim. For a number of years he tol Old Vic School. Following his stage was in the company of Det Norske debut at the Nottingham Playhouse Thea- Teatret, where roles include Figaro in tre in 1960, he first appeared on Broad- Beaumarchais’s Le manage de Figaro (The way in 1966. Apart from some work as Marriage of Figaro), Osvald in Ibsen’s an actor, Tillinger’s main emphasis be- Gengangere (Ghosts) and the lead in came directing. Among his productions Molière’s Tartuffe (directed by Jacques are Orton’s Entertaining Mr Sloane (1981) Lasalle). Tindberg is now a member of the and Loot (1986), Arthur MILLER’S After Nationaltheatret, where he has played the Fall (1984) and HAMPTON’S Total Gregers Werle in Ibsen’s Vildanden (The Eclipse (1984). More recently, he directed Wild Duck) and Lord Goring in Wilde’s An Miller’s Last Yankee (1993), Broken Glass Ideal Husband. In 1995 he appeared for 217 (1994), Guerney’s Sylvia (1997), Neil performances of his one-man show The SIMON’S The Sunshine Boys (1997), Noel Gospel According to St Mark, directed by Coward’s Blithe Spirit (1999) and Emlyn Kjetil BANG-HANSEN. Williams’s Night Must Fall (1999). Al- though he has worked in a wide variety Tipton, Jennifer (1937–) Designer, USA. of genres, his productions have a consist- Tipton created the lighting design for nu- ent intelligence and focus on clear story merous productions in mainstream thea- telling. tre, ballet and opera, both in the USA and abroad. In addition, she has been a pro- Tilly, Grant (1937–) Actor, designer and fessor at Yale University School of Drama director, New Zealand. Tilly trained as an since 1981. Tipton has a preference for arts and crafts teacher before making the abstract forms of theatre, and has thus theatre the centre of his career, exploiting worked with Robert WILSON, JoAnne his teaching skills as a tutor at the New AKALAITIS, Peter SELLARS and the Zealand Drama School for fourteen years. Wooster Group. In 1961 he attended the Central School of Speech and Drama, London, but be- Tisnu, Tjokorda Raka (1947–) Per- came a freelance actor in Wellington only former and director, Indonesia. Tisnu in the late 1960s. From 1970–3 he was as- trained at ASTI (Akademi Seni Tingii In- sociate artistic director at Downstage donesia), Denpasar. He began dancing at Theatre, but left to become a co-founder the age of ten, and has performed in a of Circa Theatre, with which he has since number of traditional Balinese dance/ been associated. Not a personality actor, drama genres including Kecak and he is renowned for the distinctive individu- Topeng. As a performer and teacher, his ality he brings to every role. He has been skilled command of traditional choreog- especially successful in New Zealand raphy puts him very much in demand. As

304 To, Raymond Tóibín, Niall a director, he has found innovation within Theatre at Györ, and in 1980 joined the the context of traditional forms and has company of the Hungarian Film Studios. created startling new work which is trans- Between 1990–2 she was a member of the forming Indonesian dance-drama. He has Szigligeti Theatre in Szolnok, then direc- toured with the STSI Denpasar Kecak en- tor of the Budapest Arizona Theatre, semble to Australia and Japan and has which later changed its name to Mûvész trained Kecak performers in Tokyo and Theatre and stayed under her direction in Bali. He also teaches at STSI (Academy until 1993. Since 1989 she has been a of Performing Arts) in Denpasar. teacher at the Academy of Theatre and Film, and from the same year to 1992 To, Raymond (1946–) Dramatist, China president of the Hungarian Actors’ Cham- (Hong Kong SAR). To’s first play was Ball ber. In 1995 she worked for a year in (1979), which was nominated the most Moscow, with VASSILYEV. Major roles outstanding stage play in the Hong Kong include Shakespeare (Viola, Twelfth Night, Repertory Theatre’s (HK Rep) original and Cordelia, King Lear), Brecht (Sen Te, script project. In the same year, he was in- Sui Ta in Der Gute Mensch von Sezuan (The vited by the HK Rep to adapt Lao She’s Good Person of Sezuan), the title role in Mut- The Rickshaw-Puller Camel Cheung (1979), ter Couraage und ihre Kinder (Mother Courage and this marked the beginning of his and her Children) and Mrs Peachum in Die playwriting career. Since 1993, To has be- Dreigroschenoper (The Threepenny Opera)), and come the playwright-in-residence of the Beatrice Bryan in Arnold Wesker’s The HK Rep. In the years between 1979–99 Kitchen. Törõcsik is one of the most impor- he has written more than thirty stage tant personalities of the Hungarian thea- plays, which include Tin Hau (Goddess of tre, excellent as tragic heroine, comedi- the Sea, 1990, staged at the Istropolitana enne or operetta prima donna. Festival in Czechoslovakia), The Legend of the Mad Phoenix (directed by KO Tin-lung, Tóibín, Niall (1929–) Actor, Ireland. 1993 and 1995), Love a la Zen (1996 and Tóibín gained his first acting experience 1998, directed by Daniel Yang) and Senti- in amateur drama while working in the mental Journey (1999, directed by CHUNG civil service. He began working as a pro- King-fai). To’s I Have a Date with Spring fessional actor in the early 1950s, spend- (1992), a sentimental drama about the ing fourteen years as a member of the friendships of four female singers work- Radio Eireann Players, and has played a ing at a nightclub during the 1960s, was wide variety of roles in the course of his regarded as one of the most popular stage career. Tóibín appeared in the first pro- plays of the 1990s and won the Hong ductions of Brian FRIEL’S Lovers at the Kong Drama Awards for best script. In Gate Theatre, Dublin (1967), Brendan recent years, many of his enormous stage Behan’s Borstal Boy at the Abbey Theatre, hits have been made into films, among Dublin (1967), a work with which Tóibín which were I Have a Date with Spring (1994) has become particularly associated, and and The Mad Phoenix (1997). Tom MURPHY’S Famine at the Peacock Theatre, Dublin (1968). He played The Törõcsik, Mari (1935–) Actor and direc- Bull McCabe in the revised version of The tor, Hungary. Törõcsik started filming Field by John B.KEANE, directed by Ben during her training at the Academy of BARNES at the Abbey Theatre (1987), Theatre and Film Art. After graduating in and Archbishop Lombard in Brian Friel’s 1958 she immediately joined the company Making History, produced by Field Day of the National Theatre. In 1979 she be- Theatre Company (1988). In 1998 Tóibín came artistic director of the Kisfaludy played ageing band leader Sylvie Tansey

305 Tolnay, Klári Tompa, Gábor in The Salvage Shop by Jim Nolan, directed played Kate in the first production of by Ben Barnes and produced by Red Ket- FRIEL’S Dancing at Lughnasa produced by tle Theatre Company, Waterford. Televi- the Abbey Theatre (1990) and directed by sion work includes BBC’s Ballykissangel Patrick MASON, and has recently ap- (1995–), and his many film credits include peared at the Abbey Theatre as Gráinne The Ballroom of Romance directed by Pat Fitzmaurice in Brian Friel’s Give Me Your O’Connor (1979) and The Nephew directed Answer, Do! (1997, directed by the play- by Eugene Brady (1996). wright). Roles at the Royal Shakespeare Company include Portia in The Merchant Tolnay, Klári (1914–) Actor, Hungary. of Venice, directed by John CAIRD, and After her graduation, Tolnay was first Queen Elizabeth in Richard III, directed by spotted by the Vígszínház, where she Bill ALEXANDER. Other roles include played until 1946. Then she joined the La Paiva in Les Grandes Horizontales at the Mûvész Theatre. In 1948–9 she was one Royal National Theatre (1993) and of the three directors of the Vígszínház, Harriet in The Maiden Stone at Hampstead and from 1950 she was a member of the Theatre (1995). Tomelty has played many Madách Theatre. From 1934 she played roles on film and television, including the several film roles and was one of the most Widow in the film version of The Field di- important Hungarian film stars of the rected by Jim Sheridan, Mrs Carter in 1930s and 1940s. In 1994 Hungarian Tel- Monk Dawson directed by Tom Waller, and evision presented a series of her films, and Monagh in Catchpenny Twist for BBC Play an exhibition documenting her career was For Today, directed by Rob Knights. also organized. Recently she has taken up translating (for example, the stage adap- Tompa, Gábor (1957–) Director, Roma- tation of Graham Greene’s Travels With My nia. While studying at the Bucharest In- Aunt). In 1993 she directed one of her old stitute of Theatre and Film, Tompa di- successes (Devals’ Soubrette). Major roles rected Beckett’s Happy Days, Woyzeck by include Eurydike (Anouilh’s Eurydike), Büchner and Tango by MROZEK. After Sonya (Dostoyevsky’s Prestuplenie I graduating in 1981 he joined the State nakazanie (Crime and Punishment)), Juliet Magyar Theatre in Cluj-Napoca, of (Romeo and Juliet), Nora (Ibsen’s Et whom he became the leader after a few Dukkehjem (A Doll’s House)), The Queen years. He directed many productions (Hugo’s Ruy Blas), Blanche (Williams’s A there and at the National Theatre in Streetcar Named Desire), Julika (Molnár’s Târgu-Mures (Magyar Section), at the Liliom), Irina (Chekhov’s Tri sestry (Three Bulandra Theatre in Bucharest, at the Sisters)), Arkadina (Chekhov’s Cajka (The Craiova National Theatre and also in Yu- Seagull)), Maude (Higgins’s Harold and goslavia, Hungary, the USA, France and Maude) and Mrs Gibbs (Wilder’s Our elsewhere. Among his major productions Town). Her acting is spontaneous, colour- are Hamlet, Caragiale’s O Noapte furtunoasa ful and playful. She has become the (A Stormy Night), ALBEE’S The Sandbox grande dame of Hungarian theatre. and The Zoo Story, As You Like It, A Mid- summer Night’s Dream, a highly praised Tomelty, Frances Actor, Ireland. As the production both in Romania and abroad daughter of actor/playwright Joseph of Ionesco’s La cantatrice chauve (The Bald Tomelty, Frances Tomelty has had a life- Soprano), Waiting for Godot by Beckett, long involvement in drama. She has Molière by Bulgakov and The Innocent by worked extensively in film, television and Dehel Gábon Winner of many prizes, radio, but remains a strong force in con- Tompa is also a poet and an essayist. His temporary Irish and British theatre. She productions provide a deep insight into

306 Toms, Carl Towb, Harry the world of the plays and a capacity for vate stories (love, death, search for the self, various scenic styles. uncertainty and so on).

Toms, Carl (1927–) Designer, Great Brit- Toren, Roni (1955–) Designer, Israel. ain. Toms was educated at Mansfield Col- Toren trained at Tel Aviv University lege of Art, attended the Royal College of where he also teaches design. His sets for Art and the Old Vic School, and began productions like Hanoch LEVIN’S Neshot designing in London in 1957. He has de- Troja (Women of Troy) and Hayeled Cholem signed extensively in the London West (Dreaming Child), LERNER’S Castner di- End, the Edinburgh and Chichester Festi- rected by Ilan RONEN, Lorca’s Bodas de vals, and the National Theatre. Produc- sangre (Blood Wedding), directed by SNIR tions include Tom STOPPARD’S On The and Ibsen’s Fruen fra Havet (The Lady from Razzle (1981), The Real Thing (1982), Rough the Sea) directed by YZRAELI, have Crossing (1984) and Jumpers (1985 revival), earned him a reputation as a versatile and and ALBEE’S Three Tall Women (1994, imaginative designer for the stage. Toren with Maggie SMITH and Frances DE LA has made the design for many operas in TOUR). Israel as well as abroad which have earned him an international reputation. Topol, Josef (1935–) Dramatist, Czech Republic. Topol drew attention to himself Torriente, Alberto Pedro (1954–) Actor with his first play, Pùlnocní vítr (Midnight and dramatist, Cuba. Torriente trained at Wind, 1955), a poetic drama from the be- the Escuela Nacional de Arte de la ginnings of Czech history. His next plays, Habana. As an actor, he has worked both Jejich den (Their Day, 1959) and Konec in the theatre and in film. He has written masopustu (The End of the Carnival, 1963 in several plays: Temas para Verónica (Themes Olomouc) were written for director for Veronica, 1979), Lo que Sube (What it Goes Otomar KREJCA, with whom he Up, 1980), Fin de semana en Bahia (Weekend founded the Theatre Beyond the Gate (Za in Bahía, 1985), Pasión Malinche (Malinche branou) in Prague in 1965. Topol was its Passion, 1991), Desamparados (No Shelter, author in residence. Apart from the one- 1992), Mestiza (Half-Caste, 1993), Delirio act chamber plays Kocka na kolejích (Cat on Habanero (Delirium in Habana, 1995) and the Rails, 1965) and Hodina lásky (An Hour Caballo Negro (Black Horse, 1996). His plays of Love, 1968), he also wrote the absurdist have been staged at various European and Slavík k veceri (Nightingale for Dinner, 1967) American festivals. He has been in charge and a symbolic depiction of the Russian of theatre workshops at the university de- invasion, Dvì noci s dívkou (Two Nights with partment of radio, film and television stud- the Girl, 1972). After the official dissolution ies in La Habana (1992), the Real Escuela of the theatre, all his plays were banned Superior de Artes Dramaticas in Madrid until 1988. His subsequent work includes (1985–6) and the University of Toronto Sbohem, Sokrate! (Farewell, Socrates!, written (1984). 1976, premiered 1991 at the National Theatre Prague, directed by Jan KACER), Towb, Harry (1929–) Actor and writer, and Hlasy ptákù (The Voices of the Birds, Ireland. Harry Towb began his profes- 1989). His heterogeneous work is marked sional acting career in Derry in 1947. The by poetically figurative language, multi- following year he moved to England to layered nature of the dramatically central begin a very successful fifty-year career, dialogue and thematic interconnections: first in repertory theatres and then in the basic existential questions pervade the pri- West End and on television. He has made regular appearances on the stages of the

307 Tremblay, Michel Tripp, Tony

Royal National Theatre, London, in such in their premieres by Tremblay’s roles as Lieutenant Branigan in Guys and longstanding collaborator Andre Brassard. Dolls (1981), and Jack in Neil SIMON’S Brighton Beach Memoirs (1985). Recent roles Triffit, Nigel (1949–) Designer, director at the Abbey Theatre, Dublin, include the and writer, Australia. Triffit was thrown Rabbi (inter alia) in Kushner’s Angels in out of the National Institute of Dramatic America Part 1 (1995) and S.B. O’Donnell Art, Sydney and the Drama Centre, Lon- in FRIEL’S Philadelphia Here I Come! don. He does not separate the activities (1995), all directed by Patrick MASON. of designing, directing and writing, and al- At the Old Vic in London he played though he has designed and directed texts Stephen Pearse in Sebastian BARRY’S The written by others (for example his full Prayers of Sherkin (1997) directed by John frontal nudity Samson and Delilah for the Dove, and in 1998 he appeared in Barry’s Victorian State Opera in 1983), he has Our Lady of Sligo directed by Max STAF- more often devised his own texts and ex- FORD-CLARK at the Royal National erts enormous control over all aspects of Theatre London. His diverse television his productions. Triffitt has had interna- acting roles stretch from The Professionals to tional successes with Momma’s Little Horror The Camomile Lawn, and are matched by a Show (1978, restaged 1981), and Secrets writing career which includes many short (1983–7). Outer Sink (1985) was a co-pro- stories and radio plays such as The Debt duction with Los Trios Ringbarkus; Wild Collector and The Righteous Gentile (BBC). Stars (1979) was a dance spectacular. Triffitt devised and directed The Fall of Sin- Tremblay, Michel (1942–) Dramatist, gapore in 1987, and in 1990 he staged Moby Canada. Tremblay is considered the ma- Dick. He has also designed sets for tours jor Québec playwright. His first plays, by Ice House and Men at Work, and has such as Les Belles Soeurs (translated as The designed several festival openings. More Good Sisters, 1968), A toi, pour toujours, ta recently Triffitt designed and directed the Marie-Lou (Forever Yours, Marie-Lou, 1971), international smash hit Tap Dogs. Triffitt’s Hosanna (1973) and Damnée Manon, Sacrée distinctive style includes the use of pup- Sandra (Damned Manon, Holy Sandra, 1977), pets, grotesque masks, multimedia and depict the misery of the Montréal prole- music which overwhelms the audience. He tariat, focusing on marginalized characters believes that ‘theatre is about making the in a marginalized Québecois society. With impossible possible’. the election of the separatist Parti Québecois in 1976 came a shift of empha- Tripp, Tony (1940–) Designer, Australia. sis. Like other Québec dramatists, Tripp has been associated with the Mel- Tremblay turned to middle-class concerns bourne Theatre Company for much of his (L’impromptu D’Outremont (The Impromptu of career although he also worked in Perth Outrement), 1980), or universal topics such for much of the 1970s, where he designed as aging (in Albertine, en cinq temps (Albertine for the world premiere of Dorothy in Five Times), 1984). In addition, Tremblay HEWETT’S The Man from Mukinupin in turned to adaptations of foreign works 1979. At the MTC Tripp has designed clas- and to opera in the 1990s, and has become sics (The Tempest, Chekhov’s Visnevyi sad an important Québec novelist. His recent (The Cherry Orchard), The Taming of the plays Marcel poursui par les chiens (Marcel Pur- Shrew), modern hits (Christopher HAMP- sued by the Hounds, National Arts Centre, TON’S Les Liaisons Dangereuses), and Aus- 1992) and Encore une fois, si vous le permettez tralian plays (Ray LAWLOR’S The Sum- (For the Pleasure of Seeing You Again, Théâtre mer of the Seventeenth Doll). One of his most du Rideau Vert, 1998) were both directed noteworthy designs was for Arthur

308 Trissenaar, Elisabeth Tsujimura Jusaburô

MILLER’S The Crucible in 1991, a set Tse did not achieve prominent success, which created a powerful sense of the iso- however, until he played the leading role lation and claustrophobia of the Salem in Raymond TO’S The Legend of the Mad community by the use of tall, brooding Phoenix (1993, directed by KO Tin-lung). pine trees encroaching on the actors’ A film adaptation was produced in 1994 space. Tripp does not like overbearing in which he played the same role, winning visual statements, and claims his strong the 34th Taiwan Golden Horse Film point is a flexible naturalism. He avoids Awards for best actor. In 1997, Tse joined abstract designs and is happy to be seen the Spring-time Stage Productions, where as a craftsman. He often works with light- he played the title role in Raymond To’s ing designer Jamieson Lewis. The Magic is the Moonlight (HKAPA Lyric Theatre, 1997). He starred in To’s Senti- Trissenaar, Elisabeth (1944–) Actor, Aus- mental Journey (directed by Chung King-fai, tria. Trissenaar career is closely linked 1999), in which he played the role of Tang with that of her husband, Hans Dick-san, the famous Cantonese opera NEUENFELS, whom she met while playwright of the 1960s. training at the Max Reinhardt Seminar, Vienna. She worked for several seasons Tsujimura Jusaburô (1933–) Puppet each in Bern, Krefeld/Mönchengladbach, maker, art and costume designer, script Heidelberg, Bochum, Stuttgart, Frankfurt writer, actor and director, Japan. and Berlin (Staatliche Schauspielbühnen Tsujimura first trained as a puppeteer and Freie Volksbühne). She is considered when he was with the Ningyô-za theatre as one of the most expressive and inten- company in 1956, then worked for the sive actors of her generation, excelling par- stage properties maker Kodôgu Fujinami ticularly in classical tragedy. Apart from until 1958. He began making costumes for Neuenfels, she has worked with Peter puppets at that time. His breakthrough PALITZSCH and Jürgen FLIMM. Ma- came when his puppet, Yaoya O-shichi, jor roles include Alkmene in Kleist’s inspired by a kabuki play, won an award Amphitryon, Lady Macbeth, the title role in in the Contemporary Doll Exhibition in Strindberg’s Fröken Julie (Miss Julie), Warja 1961. Jusaburô created puppets for the in Chekhov’s Visnevyi sad (The Cherry Or- NHK (Japan Broadcasting Association) chard), Nora in Ibsen’s Et Dukkehjem (A TV’s serial puppet drama, Shin-Hakkenden Doll’s House), the title roles in Kleist’s (The New Story of Eight Dogs) which was on Penthesilea, Irma in Genet’s Le balcon (The air from 1973–5. He worked as an art di- Balcony), Euripides’s Electra, Martha in rector on the costumes, make-up and the ALBEE’S Who’s Afraid of Virginia Woolf? properties for NINAGAWA’S production and Valerie in Horvath’s Geschichten aus dem of Euripides’s Medeia in 1978, and for Wiener Wald (Tales from the Vienna Wood). Ninagawa’s Chikamatsu Shinjû Monogatari (Chikamatsu’s Love Suicide Story, 1979), an Tse Kwan-ho (1963–) Actor, China adaptation of Chikamatsu’s plays by (Hong Kong SAR). After graduating from AKIMOTO Matsuyo. He created a pup- the Hong Kong Academy for Performing pet for the role of Umekawa and manipu- Arts in 1989, Tse began his acting career lated it on stage with human actors. with the Hong Kong Repertory Theatre. Chikamatsu Shinjû Monogatari was per- From 1994–7, Tse was the principle actor formed in London and Brussels in 1989. and performed in more than fifty produc- In 1982 he performed puppet productions, tions. He played Father Ubu in Alfred Katsushika Sunago, Bird Woman, and Villa of Jarry’s Ubu roi (King Ubu, 1990) and Miller the Sea God at the theatre festivals in Asti, in Peter SHAFFER’S Black Comedy (1991). Florence and Avignon. Tsujimura’s

309 Tsypin, George Turrini, Peter puppets have enchanting expressions re- sor of acting at the Theatre and Film Acad- sulting from his characterization of the emy in Bucharest, and sometimes her stu- puppets’ roles, and they immediately suc- dents become her partners on the stage. ceed in communicating with audiences. He combines old and new kimono fabric Tukur, Ulrich (1957–) Actor, Germany. to establish the sense of the time in which After training at the Hochschule für the play was written. Darstellende Kunst und Musik in Stutt- gart, he has worked in Heidelberg, Berlin Tsypin, George (1954–) Designer, USA. and Zürich, and joined Deutsches Born in the former USSR, Tsypin ob- Schauspielhaus in Hamburg in 1985. tained a BFA at the Institute of Architec- Roles include Orlando in As You Like It, ture, Moscow (1977). After his emigration Mark Anthony in Julius Caesar, and title to the USA in 1979, he studied with John roles in Hamlet, Macbeth and Ibsen’s Peer CONKLIN at New York University Gynt. Among the contemporary reper- (MFA 1984). His set designs include The tory, he appeared in Reza’s Art (1996). Power and the Glory (1984), Measure for Meas- Critics have commented that Tukur’s ure (1986) and Henry IV Parts I and II particular strength is his voice: ‘never ob- (1991), as well as opera, mainly working trusive but used with precision even with director Peter SELLARS. Aronson when expressing extreme emotions, it be- comments: ‘The sets show a strong comes an instrument for the actor, like a constructivist influence and often use piano’. metal, moving parts and an overlay of projected images; images from contemporary Turkka, Jouko Veli (1942–) Director and culture mingle with references to classical dramatist, Finland. Turkka trained at the architecture and theatre’. Finnish Theatre School and was theatre director at the City Theatres of Seinäjoki Tudorache, Olga (1929–) Actor, Roma- (1967–8), Joensuu (1968–72), Kotka nia. Tudorache made her debut in the part (1973–5) and Helsinki (1975–82). From of Veta in Caragiale’s O Noapte furtunoasa 1981–8 he taught at the Theatre Academy (A Stormy Night) while studying at the of Finland, serving as its principal between Theatre and Film Institute in Bucharest. 1982–5. Since 1989 he has held a state Here she displayed a strong scenic tem- grant for artists (fifteen years). Major pro- perament, but later she also displayed a ductions include Jussi KYLÄTASKU’S vein for tragic and dramatic characters. Runar ja Kyllikki (Runar and Kyllikki), Hannu She has become mainly associated with Salama’s Siinä Näkijä Missä Tekijä (Where Teatrul Mic (Little Theatre), where she There is a Deed, there is a Witness) and Maiju remained for thirty years, appearing as a Lassila’s Viisas neitsyt (Wise Virgin). His own guest star at the Craiova National Thea- plays include Hypnoosi (Hypnosis) and tre, the Bucharest National Theatre and Valheita (Lies). ‘Thought is the most vio- the Nottara Theatre. Major roles include lent element in Turkka’s theatre. Its en- the title role in Shaw’s Mrs Warren’s Profes- ergy made flesh, concrete and forceful. It sion, Cleopatra in Antony and Cleopatra, Kate feels as if blood is flying and bones are Keller in William Gibson’s The Miracle crushing when Turkka rethinks the world Worker, and the role of Sarah Bernardt in and the theatre.’ Memoirs by John MURRELL. In her distinguished career, Tudorache has worked Turrini, Peter (1944–) Dramatist, Aus- with notable directors such as Silviu tria. After working at odd jobs, Turrini PURCARETE and Catalina has been a freelance dramatist, resident BUZOIANU. She has served as profes- in Vienna, since 1971. Although violent

310 Turrini, Peter Turrini, Peter images dominate his plays, Turrini claims write about the negative, then that is the that he is looking for beauty, harmony positive’. Recent plays include Tod und and belonging: ‘I never reach these Teufel (Death and Devil, 1991), Alpenglühen paradises if I invent something beautiful. (Glowing Alps, 1993) and Die Schlacht um The beautiful, the harmonious, is always Vienna (The Battle for Vienna, 1995), all di- betrayal, fake. One has to invent the rected by Claus PEYMANN at the dreadful to overcome it… If you talk and Burgtheater in Vienna.

311 U

Udvaros, Dorottya (1954–) Actor, Hun- adaptation of Chinua Achebe’s Arrow of gary. After training at the Academy of God). Uka is also a successful poet and Theatre and Film Art, Udvaros joined the playwright; his published play is Ikhanma Szigligeti Theatre of Szolnok in 1978, the which ran successfully at Nsukka and National Theatre in 1981, the József Thea- Enugu in 1981. But it is as a director-pro- tre in 1982, and the Új Theatre in 1994. ducer that Uka has contributed to and will Also a popular film and television actor, be remembered in Nigerian theatre. she recorded an album of songs in 1985. Major roles include Ala (MROZEK’S Ukala, Sam C. (1948–) Dramatist, direc- Tango), Cressida (Troilus and Cressida), Polly tor and actor, Nigeria. Ukala is interested (Brecht/Weill’s Die Dreigroschenoper (The in using traditional Nigerian theatrical Threepenny Opera)), Natasha (Chekhov’s Tr i forms to create a viable contemporary sestry (Three Sisters)), Sofya Egorovna Nigerian theatre capable of appealing to a (Chekhov’s Platonov), Celimène (Molière’s wider audience. His first play, written Le misanthrope (The Misanthropist)), Alkmene while he was still an undergraduate stu- (Kleist’s Amphitryon), Lulu (Wedekind’s dent at Nsukka, is Whiteness is Barrenness. Lulu), Isabelle Glass (HARE’S The Secret His other plays include The Slave Wife, The Rapture) and Hyppolita-Titania (A Midsum- Log in Your Eye (1986), Akpakaland (1989) mer Night’s Dream). Udvaros is an impor- Break a Boil (1992), The Trials of Obiamaka tant personality of the Hungarian theatre, Elema (1992), The Placenta of Death and The the ideal modern woman. Her character- Last Heroes (1997). Ukala’s major strength istics are passionate, sometimes grotesque, as a dramatist is his sensitivity to the nu- detailed stage acting. ances of language and its ability to be an index to character; his plays thus attempt Uka, Kalu Director and dramatist, Ni- to capture the different registers of Eng- geria. Uka is a very inspiring director, one lish in use within his Nigerian setting. He who can tease fine performances from his directs all his plays and has acted in his actors while retaining a firm grip on the own and other plays including the roles entire production process. He has directed of Gidi in Break a Boil, Ofume in The Tri- numerous plays some of which are Sonny als of Obiamaka Elema, Narrator in There‘s OTI’S The Old Masters (1977 with a cast Darkness There, Nwankwo in Whiteness is which included Toni DURUAKU as Barrenness, Prophet Moses in Gateway to Okereke) and A Harvest for Ants (1976, his Heaven and Narrator in The Placenta Soup.

312 Ularu, Nicolae Ursan, Ali Oqla

Other roles include Igwezu in partment of the Fine Arts Union of Ro- SOYINKA’S The Swamp Dwellers, Diribi in mania CLARK-BEKEDEREMO’S The Mas- querade, John in J.C.de Graft’s Through a Ursan, Ali Oqla (1941–) Dramatist and Film Darkly, Kojo Tabi in Martin director, Syria. Trained at Egypt’s Acad- OWUSU’S The Sudden Return and emy of Dramatic Art and in France, he Egonwanne in Kalu UKA’S A Harvest for was active as a director in the 1960s and Ants. 1970s, with major productions of Sophocles’s Oidipus tyrannos (King Oedipus), Ularu, Nicolae (1953–) Designer, Roma- King Lear, Dürrenmatt’s Der Besuch der nia. Ularu graduated in scenography from Alten Dame (The Visit) and Anouilh’s the Arts Academy of Bucharest in 1980 Antigone. His ten plays include Al-Shaykh and worked as scenographer in Romanian Wa’l-Tareeq (The Old Man and the Road, Television and then at the National Thea- 1971), Al-Falastinyat (The Palestinian Woman, tre in Bucharest, the Little Theatre, 1971), Al-Ghuraba’a (The Strangers, 1974), Nottara Theatre, Odeon and other thea- Rida Qaysar (Caesar’s Satisfaction, 1975) and tres in the country. Productions include Al-Aqni’a (The Masks, 1982). Ursan’s ma- Hamlet, Rosenkrantz and Guildenstern are Dead jor themes are the Arab-Israeli conflict, by Tom STOPPARD, The Prince of the seeking freedom and defending moral is- Darkness by Iris Murdoch, Turandot by sues that are in decline. In 1982 he be- Gozzi, Uriel Acosta by Karl Gutzkov (at the came chairman of the Writers’ Union, State Jewish Theatre in Bucharest) and and gave up directing and concentrated Romanian plays by Horia Lovinescu, on scholarship instead. He had already Teodor Mazifu, Romulus Guga, Ecaterina published his controversial The Theatrical Oproiu and others. He also worked in Phenomena of the Arabs (1981), in which he Belfast, Gothenborg and Minnesota. As a was critical of his own influence by Euro- visiting professor he taught courses in pean theatre, arguing that forms of thea- stage and costume design in Germany, tre different from the Western traditions Sweden, London, Italy, the USA, Den- flourished in ancient Arabia. In 1987 he mark and Hong Kong. Since 1994 he has published the equally controversial Politics been chairman of the Scenography De- in Drama.

313 V

Väänänen, Kari Kyösti (1953–) Actor, and even made-up languages, Vacis’s visu- Finland. Väänänen trained at the Theatre ally striking and politically aware theatre Academy of Finland and worked as an practice constitutes a refreshing and chal- actor with the Vaasa City Theatre (1977– lenging voice in contemporary Italian 79), Helsinki City Theatre (1979–81) and theatre. Among his most notable produc- Ryhmäteatteri (Group Theatre, 1981–9). tions with Teatro Settimo are the com- Since 1992 he has been professor of act- pany-devised Signorine (1982), Esercizi sulla ing at the Theatre Academy of Finland. tavola di Mendeleev (Exercises on the Mendeleyev Major roles inlude Oberon in A Midsum- Table, 1984), Elementi di struttura del mer Night’s Dream and the title role in sentimento (Structural Elements of Feeling, Othello. He has also starred in several films 1985), Stabat Mater (1989) and La storia di by Aki and Mika Kaurismäki. Kari Romeo e Giulietta (The Story of Romeo and Väänänen is considered the leading actor Juliet, 1991), and Alessandro Bariccoís of his generation in Finland. His charac- Novecento (The 1900s, 1994). ters have a strong personal impact, they are deep in emotions but at the same time Vágó, Nelly (1937–) Designer, Hungary. skillfully controlled by the actor’s tech- After training at the Budapest Applied nique. Arts College as a student of Judit SCHÄFFER, Vágó began her career in Vacis, Gabriele (1955–) Director and 1962–3 in the Szigligeti Theatre of dramatist, Italy. After graduating in archi- Szolnok. At the same time she was a mem- tecture Gabriele Vacis founded, with ber of the Budapest National Theatre. She Laura CURING, Mariella Fabbris, has worked as a guest in almost every Roberto Tarasco and others, the Hungarian theatre, the Opera House and Cooperativa Teatro Settimo (1979). Work- open air venues. A designer of numerous ing mostly on devised pieces, often set in films and television movies, she also unconventional theatrical spaces, Vacis is worked for the Graz and West Berlin Op- known for the creation of highly formal- eras and for the Tbilisi National Theatre. ized and stylized environmental theatre Major productions include Shakespeare— performances. Centred around the lyrical King Lear, Timon of Athens, Richard II, Henry and choral aspects of storytelling, often IV, Othello and As You Like It—Madách’s Az intensified by the use of strong physical ember tragédiá (The Tragedy of Man), theatre and the employment of alternative Bulgakov’s Molière, Peter Weiss’s Marat/

314 Valdez, Luis Van Warmerdam, Alex

Sade, Chekhov’s Tri sestry (Three Sisters), he shows the plays in their bare essence. Büchner’s Dantons Tod (Danton’s Death), Important productions include Macbeth Brecht and Weill’s Die Dreigroschenoper (The (1988), Wedekind’s Lulu (1990), Threepenny Opera), Molières’ Tartuffe and Sophocles’s Ajax/Antigone, O’Neill’s Desire Schiller’s Maria Stuart. Vágó is an out- Under the Elms (1992), and Camus’s standing member of the Hungarian school Caligula (1996). As a visiting director, van of designers. Expressive, colourful and Hove staged Bakchai (Euripides) at the various costume creations are her charac- Schauspielhaus Hamburg (1993), and teristics. Her works are often connected O’Neill’s Desire under the Elms at the to the most modern, and significant theat- Staatstheater in Stuttgart. In 1997 he di- rical workshops and directors. rected his first film.

Valdez, Luis (1940–) Director and Van Veldhuizen, Matin (1948–) Drama- dramatist, USA. Valdez travelled to tist and director, The Netherlands. Self- Cuba, and joined San Francisco Mime made woman Matin van Veldhuizen got Troupe. In 1965 he founded Teatro involved with the theatre through cater- Campesino, initially a troupe of striking ing for the Onafhankelijk Toneel (see Jan farm workers who worked under his di- Joris LAMERS) in the 1970s. She partici- rection to create brief sketches (actos) pated in several productions (for example, about the need for a farm workers’ un- Andy Warhol, 1979) and in 1983 decided to ion. Many similar troupes emerged, write, direct and act. With two other ac- adopting the acto-style and dealing with tors she made Jane, about author Jane Chicano and Mexican experience in the Bowles. The way in which she divided the USA. Valdez later shifted his emphasis character over different actors gained ac- from acto to mito (myth), exploring the claim and remains a feature of her work. ‘theatre of the sphere, which integrated She is considered a feminist, ‘though one the physical dynamism of the human with a sense of humour’. She herself sees body with the emotional power of the hu- no incompatibility between the two. Van man spirit to engender a balanced univer- Veldhuizen continued to write and direct sal vision of humanity’. with various companies (Een kwestie van twee (Matter for Two, 1985), Dorothy Parker, Van Hove, Ivo (1958–) Director, Belgium. You Might as Well Live, (1987), until she be- Van Hove trained as a director in Brus- came director of Carrousel together with sels. Van Hove’s artistic career coincides Marlies HEUER (1992). There she has to a large extent with that of scenographer continued her investigation into the differ- Jan VERSWEYVELD. In 1981 they co- ence between the male and the female per- founded the company Akt, which in 1988 ception of the world in productions like fused with Het Gezelschap van de Witte The Interview (by Nathalia Ginzburg, Kraai and became a new company, De 1992), The Picture of Dorian Grey, (1994, Tijd. Van Hove became director, together with Cas ENKLAAR), and Williams’s A with Lucas VANDERVOST. Only two Streetcar named Desire (1997). Her play Eten years later he left for Het Zuidelijk Toneel (1991) has been translated as Eat. in Eindhoven, of which he is still the director. From 1981–8, van Hove staged Van Warmerdam, Alex (1952–) mainly texts of his own; since 1988 he has Dramatist, director, designer and actor, chosen to stage only plays from the world The Netherlands. Coming from a theatre repertoire. By means of a radical use of clan (his father a technician, his brothers theatrical signs and by demanding from composer and actor/producer), Alex van his actors a very physical style of acting, Warmerdam was destined for the theatre.

315 Vancura, Jan Vanek, Joe

At first, however, he trained as an artist at Dvì noci s dívkou (Two Nights with the Girl, the Rietveld Academy in Amsterdam Šalda Theatre, 1995). (1969–74). This background still shows in the sets and posters he designs for his Vandervost, Lucas (1957–) Director and productions. During his academy years actor, Belgium. Vandervost trained as an van Warmerdam started a company for actor at the Royal Conservatory of Ant- music and theatre, Hauser Orkater. werp, then founded Het Gezelschap van Shows like Het vermoeden (The Suspicion, de Witte Kraai (White Crow Company) 1977) and Zie de mannen vallen (Watch the with his colleague Sam Bogaerts. In 1987, Men Fall, 1979) were immensely popular a new company was born out of a fusion with a young audience. Van Warmerdam with Ivo VAN HOVE’S Akt-Vertikaal, the continued this line of work in De Antwerp-based De Tijd (The Time). Af- Mexicaanse Hond, which he started in ter van Hove left in 1990, Vandervost re- 1980. Main successes were Broers (Broth- mained as sole artistic leader. Amongst his ers, 1981), Graniet (Granite, 1982) and De most remarkable productions are his stage wet van Luisman (Luisman’s Law, 1984). version of Robert Musil’s Die Fantasten The company also toured these shows in (1993) and the monologue Der Untergang the USA, the UK, France and other der Titanic (The Sinking of the Titanic, 1994) countries; French and English texts are by Hans Magnus Enzensberger, which he available. Recently van Warmerdam has performed himself. As a director, been making films (Abel (1985) and The Vandervost has a preference for highly lit- Dress (1995)). His wry, black humour was erary texts, and specializes in a sober, epic described by Le Monde as ‘Buster Keaton theatre. meeting Samuel Beckett’. Van Warmerdam has managed to translate Vanek, Joe (1948–) Designer, Ireland. the boredom of life in the Holland of the Born in Great Britian, Vanek is best 1950s into drama. His most recent thea- known in Ireland for his work with direc- tre show was Kleine Teun (1996), which he tor Patrick MASON, being director of turned into a film (1998). design at the Abbey Theatre, Dublin, and undoubtedly the most innovative of de- Vancura, Jan (1940–) Designer, Czech signers working in Ireland. He trained at Republic. Originally a glass designer, the Universities of Sussex and Manches- Vancura started working for theatre in ter in art education and theatre design, 1976. He first drew attention to himself respectively. His early career included with the costumes for Capek’s Ze zivota work with several regional English reper- hmyzu (Insect Play, 1978, Šalda Theatre in tory companies, and he was head of de- Liberec), created out of authentic plastic sign with Michael Attenborough at the objects. In his work, principles of paint- Palace Theatre, Watford (1980–4). Al- ing precedes the architectural design of the though he has worked extensively for the space. He returned the system of Baroque Gate Theatre, Dublin, and with many wings to the stages (Händel’s Rodelinda, Irish and UK opera companies, his design Brno State Theatre, 1985), but keeps an is most closely associated with the recent ironic distance. He designs mainly for op- plays of Brian FRIEL, including Dancing era, where his preference for historical ar- at Lughnasa (1990), Wonderful Tenessee (1993) tistic styles is well applied. His ‘archaic’ and Molly Sweeney (1994). Recent design designs have embellished productions of work at the Abbey includes Kushner’s contemporary plays as well, such as Angels in America (1995), Macbeth (1996), HAVEL’S Asanace (Slum Clearance, Šalda KILROY’S The Secret Fall of Constance Wilde Theatre, Liberec, 1990), and TOPOL’S (1997), Shaw’s Saint Joan (1998) and a

316 Vassilyev, Anatoly Villoresi Pogany, Pamela haunting expressionistic set for (Danton’s Death), Troilus and Cressida, MCGUINNESS’S Observe the Sons of Ul- Gogol’s Revizor (The Government Inspector), ster Marching Towards the Somme (1994), all A Midsummer Night’s Dream and various directed by Patrick Mason. productions from the Indian repertoire such as Heer Ranjha and The Broken Thigh Vassilyev, Anatoly (1942–) Director, Rus- (by Bhasa, a classical Sanskrit dramatist). sia. After training at the State Institute of In all his productions, Verma has used Theatre Art, Vassilyev made his debut in both Asian and Western performers and 1973 at the Moscow Art Theatre with has been able to successfully blend story, Zagradnik’s Solo dlya chasov s boem (Solo for dance and song. a Clock with Chime). From 1977–80 he worked at the Moscow Stanislavski Drama Versweyveld, Jan (1958–) Designer, Bel- Theatre, where he directed the first ver- gium. Versweyveld studied design at the sion of Gorky’s Vassa Zheleznova and Royal Academy in Antwerp. His artistic Slavkin’s Vzroslaya doch molodogo cheloveka career coincides to a large extent with that (Adult Daughter of a Young Man). Both pro- of director Ivo VAN HOVE. In 1981 they ductions were informed by nostalgic mood co-founded the company Akt, which seven and humanism. He followed the path of years later fused with Het Gezelschap van psychological theatre, having renovated the de Witte Kraai and became a new com- very notion of naturality of acting. For pany, De Tijd. Ivo van Hove became di- Vassilyev, acting is a process which has no rector, together with Lucas start and no ending: in his theatre (The VANDERVOST. Versweyveld worked as School of Dramatic Art, founded in 1986) a stage designer for both directors. In 1990 actors stay at the theatre living in a com- Versweyveld left De Tijd together with Ivo munity for the whole rehearsal period. The van Hove for Het Zuidelijk Toneel in production of Slavkin’s Cepco—Serso Eindhoven, where they are still working (Cerceau, Moscow Taganka Theatre, 1986) now. Versweyveld’s interest in stage de- reinforced his image as non-conformist and sign originated in a fundamental interest thoroughly analytic. His production of in light and lighting. He creates the atmos- Pirandello’s Sei personaggi in cerca d’autore (Six phere and draws theatrical space by means Characters in Search of an Author, 1987) was a of light. Since 1981 he has designed the great success in Italy. More recent produc- set, lighting and costumes for every pro- tions include Lermontov’s Maskarad duction Ivo van Hove directed. He also (Maskerade, 1991,-at Comédie Française) works with other directors. In 1995 he cre- and Plach Ieremei (Jeremiah’s Cry, 1996, based ated the lighting design for Amor Constante on the Bible). mas alla de la muerte, a choreography by Anne Teresa De Keersmaeker. Verma, Jatinder (1954–) Director, Great Britain. In 1977 Verma founded Tara Arts, Villoresi Pogany, Pamela (1957–) Actor which has established itself as the leading and director, Italy. After training at the Asian company in Great Britain. It rose Teatrostudio del Metastasio, Pamela to national renown when Verma directed Villoresi made her theatrical debut in a multinational cast in Moliere’s Tartuffe 1972. She became known to the wider (1990), and in The Little Clay Cart (1991), public after working with Giorgio Strehler a classical Sanskrit play, at the National in Gotthold Lessing’s Minna von Barnhelm Theatre. In 1995, an adaptation of Cyrano (1983–4), Goldoni’s Il Campiello (The de Bergerac followed, also at the National Campiello, 1976–7) and Arlecchino, servitore di Theatre. Other productions by Verma/ due padroni (Harlequin, The Servant of Two Tara Arts include Büchner’s Danton’s Tod Masters, 1978). Villoresi also worked with

317 Vinaver, Michel Viswanathan, Poornam

Antonio CALENDA in Christopher 1971, &TD Theatre). In 1974 he directed HAMPTON’S Les Liaison Dangereuses the stage adaptation of Novak’s novel (1988). She is known as an adventurous Mirisi, zlato, tamjan (The Fragrance, Gold and interpreter of classical female roles. Apart Incense). This was followed by Jonson’s from working in film and television, Volpone (1977), Richard III (1979) and Villoresi also directs her own work, such Molière’s Dom Juan (1983). He also di- as in the acclaimed Diotima o la vendetta di rected opera, radio dramas and television Eros (Diotima or Eros’s Revenge, 1990) writ- adaptations of his own theatre produc- ten by Bebetta Campetti. tions. He adapts and dramatizes prose texts for the stage and writes original film Vinaver, Michel (1927–) Dramatist, and television scripts for both short and France. Vinaver studied English and feature films. In 1989 he published his American literature at Wesleyan Univer- book on theatre, Lica i sjene (Faces and Shad- sity, USA. His dramatic work is mainly ows). associated with the concept of théâtre du quotidien, everyday theatre, a new realism Visniec, Matei (1956–) Dramatist and influenced by Brecht, and similar to that poet, Romania and France. Visniec stud- of KROETZ, Fassbinder or ied philosophy in Bucharest and worked ACHTERNBUSCH in Germany. Les as a teacher for some years. During this coréen (The Koreans, 1955) is an anti-war time he also began publishing poetry. play, Les huissiers deals with the Algeria cri- Since 1987 he has lived in France, where sis, and Iphigénie Hotel uses a Greek subtext he works as a journalist at the Radio for political events of the day. Much of his France Internationale in Paris. Angajare de later work was influenced by his work as clown (Clown to Hire) was his first play to a business executive (Les Travaux et les be produced in Romania in 1990. Other Jours), and more recently he has moved plays include Caii fa fereastra (Horses at the to psychological drama (Portrait of a Window), and Buzunarul cu pâine (The Pocket Woman). Full of Bread). He became the most produced contemporary author in Romania, Violic, Bo•idar (1931–) Director, Croatia. and in 1996 the Timisoara National Thea- After graduation from the Academy of tre organized an international festival dedi- Dramatic Art in Zagreb Violic worked as cated to his works. His plays have been an assistant director and dramaturg with produced in France, Germany, Finland, Radio Zagreb. From 1959–72 he served the USA, Poland and The Netherlands. as a resident director at the Zagreb Thea- The Avignon International Festival has re- tre Gavella. He was a part-time professor served a major place to his plays, show- of acting (1958–72) and professor of di- ing productions of Horses at the Window, recting (1972–9) at the Academy of Dra- Clown to Hire and Ultimul Godot (The Last matic Art in Zagreb. In 1979 he became a Godot) and presenting fourteen other plays resident director and dramaturg in the in public readings. Visniec’s plays remind ZKM (Zagreb Youth Theatre). He di- one of Beckett, Ionesco and Jarry with rected over seventy plays and operas by their absurd appearance, but they have a Croatian and foreign writers and compos- truly personal sound. ers. Early credits include Marinkovic’s Zagrljaji (Embraces), and Šenoa’s Ljubica Viswanathan, Poornam (1920–) Actor, (1963). Violic established Ivo BREŠAN as India. Viswanathan joined the All India a playwright with the production of his Radio as a news reader. He began his ca- Predstava Hamleta u selu Mrduša Donja (The reer in traditional fashion as a singing art- Performance of Hamlet in Central Dalmatia, ist in female attire, and has acted in more

318 Vitti, Monica Voss, Gert than 200 stage plays. His strength now, in casual acting style, which she often ex- contrast to most Tamil acting, is ploits for the tragicomic exploration of underplaying: ‘To him acting is an experi- modern restless female characters. ence of reliving’. Some of his notable performances include the title roles in Sujata’s Voss, Gert (1941–) Actor, Germany. Voss Singaram Iyengar Peran (Singaram Iyengar’s trained with Ellen Mahlke in Munich. Af- Grandson) and Dr Narendranin Vinotha ter working in Konstanz and Munich, he Vazhaku (The Strange Trial of Dr Narendran joined Claus PEYMANN in Stuttgart Savi’s Washintonil Thirumanam (Marriage in (1972–9), playing, among others, the title Washington) and Policekaran Makal (Police- role in Büchner’s Woyzeck (1975), Karl man’s Daughter). Viswanathan also pursues Moor in Schiller’s Die Räuber (The Robbers, an active career in television. 1975) and Puck in A Midsummer Night’s Dream (1977). He followed Peymann to Vitti, Monica (1931–) Actor, Italy. After Bochum and Vienna. In 1993–4 he joined training at the National Academy of Dra- the Berliner Ensemble in Berlin. In 1992, matic Art in Rome, Monica Vitti began when Voss received the Kortner Prize, her career as a stage actor. In 1960 she George TABORI praised his ‘obsession to came to international fame with the film give himself, to give as only great lovers L’avventura directed by Michelangelo can, without shame, without the bourgeois Antonioni, who also directed her in La virtues of decency, and without mixing up notte (The Night, 1961), L’eclissi (The Eclipse, mendacity with the demands of art. He is 1962) and Il Deserto rosso (The Red Desert, a dangerous, naked actor, an eerie clown, 1965). Vitti also worked with Joseph a wild bull’. More recent work includes Losey in Modesty Blaise (1966), Luis Buñuel Beckett’s Endgame (Vienna, 1998) and in The Phantom of Liberty (1974) and Alberto Horvath’s Figaro Läßt sich Scheiden (Figaro Sordi in Io so che tu sai che io so (I Know That gets Divorced, 1999, Vienna, directed by Luc You Know That I Know, 1982). Both on stage BONDY). and on the screen Vitti has a compelling

319 W

wa Mirii, Ngugi (1951–) Dramatist and Ngugi wa Thiong’o has also had consid- theatre activist, Kenya. It was while work- erable impact in contemporary theatre in ing for the University of Nairobi’s Insti- Kenya and Africa. His plays include The tute of Development Studies that Ngugi Black Hermit, This Time Tomorrow and The wa Mirii became involved with the peas- Trial of Dedan Kimathi, which he co-wrote ants and workers of Kamiriithu, a contact with Micere Githae MUGO. The that was to influence his subsequent work Kamiriithu theatre projects with Ngugi in the theatre, both in Kenya and now in WA MIRII and the Kamiriithu commu- exile in Zimbabwe. He was the coordinat- nity resulted in the very successful plays ing director of the Kamiriithu Community Ngaahika Ndeenda (I’ll Marry When I Want, Education and Culture Centre, in which 1982) and Maitu Gitayi (Mother, Sing for Me, others like Ngugi WA THIONG’O and 1986). Ngugi’s theatre style is character- Kimami Gecau participated and which ized by an active engagement with the produced politically explosive plays such political and social realities of neo-colonial as Ngaahika Ndeenda (I’ll Marry When I Kenya. This is carried out progressively Want) and Maitu Gitayi (Mother, Sing to Me). at a collective level and in the Gikuyu lan- These plays were so successful in articu- guage. Without being firmly within the lating the feelings, aspirations and anger mould of theatre-for-development, of the peasants and workers that they were Ngugi’s Kamiriithu work is solidly part of banned by the government and the intel- the new aesthetics of the theatre in Africa lectuals such as the two Ngugis were ei- in which theatre is transformed into a tool ther detained or forced into exile. In Zim- and context for communal exploration babwe, wa Mirii, together with Kimami and expression. Gecau and with official help and support from Steve CHIFUNYISE, has been in- Wajda, Andrzej (1926–) Director, Po- defatigable in his commitment to the cause land. Wajda studied at the Academy of of the peasants and workers and he has Fine Arts in Cracow and graduated from been helping to set up rural cultural cen- the State Film, Theatre and Television tres in Zimbabwe. Academy in Lódz. He has directed dozens of plays for the stage and television, wa Thiong’o, Ngugi (1938–) Dramatist in addition to a distinguished career in and director, Kenya. Although better film. From 1972–83 he was artistic direc- known for his very successful novels, tor of the film company X, from

320 Walcott, Derek Walton, Tony

1978–83, chairman of the Polish Film-mak- his plays Criminals in Love (1986) and Noth- ers Association, and from 1989–91 a sena- ing Sacred (1989). In 1998, he co-directed tor for Solidarity. In his works in all gen- his own six-play cycle Suburban Motel at the res, Wajda shows his attachment to na- Factory Theatre in Toronto. tional traditions: he often touches upon current socio-political issues. At the same Walker, Kerry (1948–) Actor, Australia. time, being a painter, he takes great care Trained at the National Institute of Dra- of the visual concept of his productions, matic Art, Sydney, Walker is an actor of and for some he designs the sets himself. enormous versatility and who transformed herself almost unrecognizably in Walcott, Derek (1930–) Dramatist, St a huge range of roles: an androgynous Lucia. Walcott has written some Feste in Neil ARMFIELD’S Twelfth Night thirtyeight plays and published more than (filmed), a mesmerizing and scintillating fifteen volumes of poetry. He attended the Edith Sitwell in her own Knuckledusters—the University College of the West Indies in Jewels of Edith Sitwell and a comic cameo Jamaica and studied theatre in the USA in Jane Campion’s The Piano. Walker has with a Rockefeller Foundation fellowship been particularly associated with roles in (1958–9). In Trinidad he founded the plays by her friend Patrick White, creat- Trinidad Theatre Workshop, which he ran ing roles in Netherwood, Signal Driver and for seventeen years. Since 1981 he has Shepherd on the Rocks as well as enacting a held a professorship at the University of powerful and predatory Mrs Lusty in Boston, and in 1992 he was awarded the Armfield’s acclaimed 1989 revival of Nobel Prize for Literature. In his plays he White’s The Ham Funeral and a threaten- has integrated postcolonial views of local ing, leather-clad, bizarre young woman in issues and a typically European theatrical the extraordinary film The Night the Prowler, form, developing from verse drama via scripted by White and directed by Jim exuberance and colour of folk material to SHARMAN. Walker was a foundation a more introverted mode. His plays in- member of the Hunter Valley Theatre clude Dreams and Colours (1958), Dream on Company in Newcastle, NSW, worked Monkey Mountain (1967), Pantomime (1978), with the Adelaide Lighthouse Company Haitian Earth (1984) and the musical Steel (1982–3) and then was very much in- (1991). In 1992 the Royal Shakespeare volved in the establishment of the Belvoir Company produced his adaptation of the St Theatre in Sydney. Walker is a chame- Odyssey. leon performer but always compellingly charismatic onstage. Walker, George F. (1947–) Dramatist and director, Canada. Walker is considered the Walton, Tony (1934–) Designer, USA. foremost Canadian author of black com- Born in Britain, Walton trained at the edy. His plays have been linked to surre- Slade School of Fine Arts. In 1955 he be- alism because they defy linear structures. gan his career in Wimbledon, and moved They often take popular culture as a point to New York in 1957. He has created set of departure, such as romantic comedy, and/or costume designs for musicals (Guys detective novels or movies, and through and Dolls, 1992), and straight theatre such ‘confrontational scenes between two char- as STOPPARD’S The Real Thing (1984), acters’ allow the discussion of ‘Walker’s Herb Gardner’s I’m Not Rappaport (1985), obsessions: power politics, the nature of Conversations with My Father, starring Judd evil, impending chaos, the restorative HIRSCH (1992), Dorfman’s Death and the power of laughter, obsession itself’. Walker Maiden, Neil SIMON’S Laughter on the 23rd has won Governor General’s Awards for Floor (1997) and the musicals 1776 (1997),

321 Wang Gui Warner, Deborah and Annie Get Your Gun (1999). He has de- aims at a more externalized and stylized signed in London, and films includeEquus expression of emotions. (based on SHAFFER’S play, 1977). His highly detailed and fanciful designs for Warchus, Matthew (1967?–) Director, contemporary musicals and comedies Great Britain. Warchus has been one of have been particularly successful, earning the most promising young directors to him numerous awards. emerge during the 1990s. Following first experiences as a director in London Fringe Wang Gui (1932–) Director, China. With- venues, he was assistant director for out either a university education or train- Adrian NOBLE’S The Thebans for the ing for the theatre, Wang is the leading Royal Shakespeare Company in 1992. His director in the Spoke Drama Troupe af- production of Much Ado About Nothing with filiated with the political department of the Mark RYLANCE was very successful in air force, where he used to be the direc- the West End (1993), as was the revival tor. His main productions include Ding Yi of Sam SHEPARD’S True West at the San’s Jiu Yi San Shi Jian (September 13 Inci- Donmar Warehouse (1994). For the RSC, dent), Wang Pei Gong’s Zhou Lang Bai Warchus directed Henry V, The Devil is an Shuai (Young Marshal Zhou), Han Jing Ping’s Ass (1994), a controversial, drastically cut Kai Xuan Zai Zi Ye (The Midnight Triumph), Hamlet (1997) for the Royal National Ye Zi’s Tian Di Ren (Heaven, Earth and Man), Theatre, and Ben Jonson’s Volpone (1995), Zhang Li Li’s Xue Ran De Feng Cai (Gory with Michael GAMBON and Simon Glory), LI Long Yun’s Sa Man Yue Guang Russell BEALE. In 1996, Warchus scored De Huang Yuan (Moon-lit Wasteland), another success with his production of Art Beckett’s Waiting for Godot, Wang Jian’s Da by Yasmina Reza (starring Albert Mo Zhi Hun (Soul of the Desert), Mo Ji FINNEY in the original cast), whose ear- Dong’s Hai Xia Qing Ji (Cross-Strait Emo- lier play The Unexpected Man (starring tions) and Liu Jin Yuan’s Quan Shi Beijing Michael GAMBON) he directed for the Ren (We Are all Beijingers) His later works, RSC in 1998. in his own description, are ‘playful plays’. He aims for what he describes as Chinese, Warner, Deborah (1959–) Director, modern, non-realistic theatre. Great Britain. Warner studied stage management at the Central School of Speech Wang Xiao Ying (1957–) Director, and Drama. She founded Kick Theatre China. Wang studied directing at the Cen- Company in 1980 and was its artistic di- tral Academy of Drama in two periods, rector until 1986. From 1987–9 she was a from 1980–4 and from 1992–5, obtaining resident director with the Royal Shake- a doctoral degree. In 1984 he became a speare Company. Her production of King director at the China Youth Theatre. His John sculpted a form out of the formless productions include Gua Zai Qiang Shang chronicle, making it into a series of alli- De Lao B (Old B on the Wall) by Sun Hui ances formed and betrayed. Strong narra- Zhu and Zhang Ma Li, Tao Jun’s Mo tive drive was characteristic of her produc- Fang, Xu Yan’s Ah, Nu Ren Men (Oh, tion of Titus Andronicus. Following a suc- Women…) ZHAO Yao Min’s Ben Shi Ji Zui cessful production of Brecht’s Der Gute Hou De Meng (Last Dream of the Century), Mensch von Sezuan (The Good Person of Sezuan, Cao Yu’s Lei Yu (Thunderstorm), Wu Yu with Fiona SHAW in the title role) at the Zhong’s Qing Gan Cao Liang (A Sentimental Royal National Theatre in 1989, she has Exercise), Wu Shuang’s Chun Qiu Hun (The been an associate director there in 1990, Spirit of the Warring States Period) and Du directing amongst others King Lear (1990, Cun’s Ai Qing Pao Pao (Amorous Bubbles). He with Brian COX as Lear and Ian

322 Warning, Marc Weaving, Hugo

MCKELLEN as Kent). Shehas directed rected by Mohamed TAYEB, in several opera (Don Giovanni, Glyndebourne) and plays written and directed by Ali Oqla at the Salzburg Festival (Coriolanus, 1993, URSAN, Al-Tayeb Al-Ulj’s Al-Sa’ed (The with Bruno Ganz), and resumed her col- Good Luck) and Sudqi Ismail’s Ayam Salomon laboration with Fiona Shaw in Electra, (The Days of Salomon) both directed by Ibsen’s Hedda Gabler, Beckett’s Footfalls and Asaad FUDDA. She starred in the Ameri- T.S.Eliot’s The Waste Land (for television). can film The Message, directed by Moustapha Akkad. Her many roles on tel- Warning, Marc (1955–) Designer, The evision made her one of the most popular Netherlands. Although he studied briefly stars in the Arab world as well as a public at the Gerrit Rietveld Academy in Amster- figure with a social role and responsibil- dam, Marc Warning was formed mainly ity. through his apprenticeship with Jan Joris LAMERS’S company Onafhankelijk Watanabe Kazuko Designer and direc- Toneel in the early 1980s. He also ap- tor, Germany. Born in Japan, Watanabe peared in several productions, such as came to Vienna with her husband, and Style. Warning’s work is stylish, anti-real- studied costume design at the Hochschule istic and completely original, both in his für angewandte Kunst. In the early 1970s, use of everyday material and his scenic she assisted Moidele BICKEL at the Salz- solutions. He has designed many sets for burg Festival, and was invited to work at director Matin VAN VELDHUIZEN, the Schaubühne am Halleschen Ufer. She especially with her company Carrousel, designed costumes for productions by including an adaptation of Wilde’s The Pic- Wilfried MINKS and Peter ture of Dorian Gray (with Cas ENKLAAR) PALITZSCH. Since 1978, she has also and Shaw’s Mrs Warren’s Profession (with designed sets for TABORI, B.K.Tragelehn Marlies HEUER, both 1995). The main and David MOUCHTAR-SAMORAI. part of Warning’s work however, has been She recalls that because ‘she had to be with the reborn Onafhankelijk Toneel present at rehearsals anyway, she might as (OT) as a collective in which dance, act- well direct’. Her chance for this came in ing and art take equal place. With Gerrit 1988 when she joined the theatre in Bonn. Timmers, Warning created On Wings of Art Since then she has often directed and de- (1988), about two artists stuck in a villa signed her own productions, such as in Egypt. He also designed Chekhov’s Wedekind’s Frühlings Erwachen (Spring Platonov and several dance productions, Awakening, 1988, Bonn), Edward BOND’S both inside and outside OT. Warning is Summer (1992, Karlsruhe), Lorca’s La casa also a graphic designer, well-known for his de Bernarda Alba (The House of Bernarda Alba, eye-catching posters. 1993, Düsseldorf), Elfriede JELINEK’S Stecken Stab und Stangl (Leipzig, 1997) and Wassef, Muna (1942–) Actress, Syria. Susanne Amatosero’s Asylanten (Hamburg, Wassef began her career with a minor 1998). ‘She resists pressure to create large, company, where she worked in commer- elaborate, costly designs in favour of sim- cial comedies. She joined the National ple but highly imaginative impressive crea- Theatre in the early 1960s and became tions.’ one of the ensemble’s top stars. Her breakthrough was in Molière’s Tartuffe, directed Weaving, Hugo (1960–) Actor, Australia. by Rafik SABBAN. Under his direction Weaving graduated from the National In- she played several further major roles institute of Dramatic Art, Sydney in 1981. cluding Calderón’s La vida es sueño (Life is Although probably best known interna- a Dream). She appeared in Rashomon di- tionally for his appearance in the film The

323 Wellman, Mac Wherrett, Richard

Adventures of Priscilla, Queen of the Desert, her home country as Ngonga and in France Weaving has been able to sustain a high as Les Batards), A New Land (1980), Of the profile theatre career alongside his many Unjust Sleep (1980), Hands Have Meaning successful film appearances. His ability to (1987) and The Rainbow Measles (1987). exude sexual intensity on stage is compelling and this has stood him in good stead Wertenbaker, Timberlake Dramatist, as Valmont in Christopher HAMPTON’S Great Britain. In 1983 Wertenbaker was Les Liaisons Dangereuses for Nimrod, Sydney an Arts Council Resident Writer with the and as a sexy James Dean lookalike theatre company Shared Experience. Her Petruchio in The Taming of the Shrew for the plays tend to focus on human relation- Melbourne Theatre Company. By con- ships, with a wide range of issues from trast, as Face in Ben Jonson’s The Alchemist domestic to mythic. Major successful plays (1996) to Geoffrey RUSH’S Subtle, Weav- include The Grace of Mary Traverse (1985), ing delivered a performance which was by Our Country’s Good (1988), The Love of the turns sleazy, swashbuckling, energetic, Nightingale (1989), Three Birds Alighting on a suave and ingratiating, and full of the en- Field (1992), The Break of Day (1995) and joyment of self-confessed theatricality. After Darwin (1998). She also gained reputation as a translator and adapter, notably Wellman, Mac (1945–) Dramatist, USA. The Theban Plays for the Royal Shakespeare Wellman has been a playwright in resi- Company (1991, directed by Adrian NO- dence with several universities (New York, BLE), for which she adapted the two Oedi- Yale, Princeton). Focusing on the Ameri- pus plays and Antigone. can language, his plays, including Harm’s Wa y (1985), Sincerity Forever (1990), A Mur- Wherrett, Richard (1940–) Director, der of Crows (1991), The Land of Fog and Australia. After working as co-artistic di- Whistles (1993) and tigertigertiger (1997) rector of Nimrod, Sydney 1974–9 and as- have rebelled in form and content against sociate director of the Old Tote, Sydney mainstream playwrighting. 1970–2, Wherrett became director and chief executive at the Sydney Theatre Werewere-Liking, Nicole (1950–) Company 1979–90, creating a stylish and Dramatist, director and musician, financially successful profile for the com- Cameroon. Nicole Werewere-Liking is pany and overseeing the opening of the one of the few women dramatists in new Wharf theatre. Wherrett’s range is francophone West Africa. In her plays she enormous and encompasses Brecht is mainly concerned with exploring for the (Mahoganny, Galileo) classics (a dance party stage most of the myths, rituals, songs and version of A Midsummer Night’s Dream), dances that were very much part of her musicals (an arena Jesus Christ Superstar), childhood and early experience of theat- opera, modern Australian plays, kitsch rical performance, because in a family of (Pageant, Sydney 1997) and film. One ca- musicians, she was exposed to traditional reer highlight was his production of The styles and practices of performance. What Elocution of Benjamin Franklin (1976), a is remarkable about Werewere-Liking’s monologue by a transvestite homosexual, dramaturgy is her radical departure from performed originally by Gordon Chater. the prevalent styles and practices of much This production won an off-Broadway francophone theatre of West Africa. She Obie for direction, toured the world and structures theatre as a ritual experience has been revived several times. Wherrett’s capable of completely transforming the production of Arthur MILLER’S The Cru- spectator-participant. Her best-known cible was also much acclaimed and revived. works are The Devil’s Tail (also known in Wherrett was artistic director for the

324 Wiest, Diane Williamson, David

Melbourne International Festival of Arts and film, his realistic abilities come out. for 1992 and 1993. His productions are Willems is typical of a generation of intel- renowned for their stylishness. ligent young actors who are more interested in work than fame. Wiest, Diane (1948–) Actor, USA. Origi- nally trained as a ballet dancer, Wiest ap- Williams, Eugene F. (1952–) Director, peared in Thornton Wilder’s Our Town Jamaica. Williams studied at the City Uni- and Inherit the Wind. She played the title versity of New York, Brooklyn College, role in Ibsen’s Hedda Gabler (1981), Nora and Jamaica School of Drama, where he in Ibsen’s Et Dukkehjem (A Doll’s House, now serves as director of studies. Major 1982), Masha in Chekhov’s Tri sestry (Three productions he directed include Sisters, 1982), Desdemona (1982), Chekhov’s Visnevyi sad (The Cherry Orchard), Deborah in PINTER’S Other Places (1984), Williams’s A Streetcar Named Desire and and appeared in Arthur MILLER’S After Beckett’s Waiting for Godot. One of his aims the Fall (1984) and Square One by Steve in directing is to help actors to find crea- Tesich (1990). In 1985 she directed tive approaches to the characters. He acti- Stephen MacDonald’s Not About Heroes off- vates directorial imagery theatrically in a Broadway. Her film career began in 1982, variety of production styles. In arriving at culminating in an Academy Award for his dynamic concepts for productions, he Best Supporting Actor for Woody Allen’s his guided by using Brecht’s method. As Hannah and her Sisters (1986). Although a teacher of drama, he strives to identify much of her stage work has been in clas- a clear methodology of the acting process sic dramatic roles, her films have shown a and instrumental training, particularly for great comic skill. This was particularly arriving at internal reality and active pro- evident in her award-winning perform- jection of the role. ance in Woody Allen’s recent Bullets Over Broadway (1996). Williamson, David (1942–) Dramatist, Australia. Williamson graduated in me- Willems, Jeroen (1962–) Actor, The chanical engineering from Monash Uni- Netherlands. After graduating from the versity, Melbourne. He has an interna- Drama Academy in Maastricht in 1987, tional profile; many of his plays have been Jeroen Willems appeared with different filmed and he is the most consistent box companies, but his quiet rise to fame has office draw in Australian theatre. come about mainly with Hollandia (see Williamson dissects the pretensions and Johan SIMONS). There he used his great dilemmas of the Australian middle classes formal techniques, musicality and sense of with great wit, writing predominantly re- language in creating moving yokels and alistically. Williamson’s early work was simpletons in plays by Franz Xaver associated with the alternative Melbourne KROETZ, such as Bauern sterben (Farmers theatre scene; his powerful early play The Dying, 1989) and Stallerhof (1991). Willems Removalists (1971) premiered at La MaMa, was equally impressive in his stylized han- Carlton, and Don’s Party (1971) premiered dling of Greek tragedies, as Jason in at the Australian Performing Group’s Euripides’s Medeia (1991), in Aeschylus’s Pram Factory. Later Williamson plays fea- Persai (The Persians, 1995) and as Cassio in ture characters who are wealthier and Othello and ‘the man’ in Duras’ La Musica more successful careerists. Williamson is II. Willems has an unostentatious but very a master at generating controversy and concentrated way of acting. He has fine, regularly engages in high-profile disputes almost aquiline features, and a charming with his critics in the newspapers. His but never fawning presence. On television attackon academia, Dead White Males

325 Wilson, August Winge, Stein

(1995), purports to contribute to the de- his production of Ibsen’s Når vi Dode bate on political correctness. Williamson’s Vågner (When We Dead Awaken, American life history is recounted in exhaustive de- Repertory Theatre, 1990), for instance, he tail by Brian Kiernan. divided the part of Irene between a white and an African-American actor. Through Wilson, August (1945–) Dramatist, USA. autistic movements without any apparent One of the best known African American relation to the text; by dividing the lines dramatists, Wilson’s aim is to provide a between the actors (at times in mid-sen- cycle of plays of African American life in tence); and by having them occasionally each decade of the twentieth century, speak together—sometimes in unison, showing the African American characters sometimes out of sync—Wilson frag- often as victims of racism and economic mented Ibsen’s heroine into schizophrenic oppression. Joe Turner’s Come and Gone multiple selves waging war against them- (1986) is set in 1911, Ma Rainey’s Black Bot- selves.’ tom (1984) in 1927. The 1930s are covered in The Piano Lesson (1987). Fences (1985) is Wilson, Susan (1945–) Director and ac- set in 1957, and Two Trains Running, writ- tor, New Zealand. Wilson studied at Vic- ten in 1990, brings the cycle to the 1960s. toria University of Wellington and trained The latest play, Seven Guitars (1996) is set as a teacher, but soon took up freelance in Pittsburgh in the 1940s. His language acting on stage and radio and later on tel- has been described as ‘rich and casually evision. Her early ‘light and twinkling tal- revealing’. ent’ suited soubrette roles, but she has also had heavier parts like Paula Tanqueray in Wilson, Lanford (1937–) Dramatist and Pinero’s The Second Mrs Tanqueray (1979) director, USA. In Wilson’s plays, includ- and Mrs Alving in Ibsen’s Gengangere ing the trilogy 5th of July (1978), Talley’s Folly (Ghosts, 1985). She is especially connected (1979) and Talley and Son (1981) and also with Circa Theare, Wellington, of which Angels Fall (1982), Burn This (1987), The she was a co-founder, and more recently Moonshot Tape (1990), Redwood Curtain has developed into an important director. (1992) and Sympathetic Magic (1999), pri- An early success at the Circa was Terry mary values are ‘honesty, love of friends, JOHNSON’S Insignificance (1984), and she family and home, set within a conflict be- has championed Robert Lord’s plays, di- tween traditional values of the past and recting, for example, Bert and Maisy (1986) the pressures of modern life’. and Joyful and Triumphant (1992). She also directed notable productionsof Kushner’s Wilson, Robert (1941–) Director, drama- Angels in America (1994) and STOPPARD’S tist, performer, choreographer, designer, Arcadia (1995). Circa is an actors’ co-op- sculptor and painter, USA. Wilson trained erative theatre, and Wilson has always as an architect, studied visual arts and avoided ostentatious directing, aiming in- worked as a movement therapist for men- stead to find the rhythm of each scene and tally disturbed people. Some of his pa- to provide room for characters to grow. tients participated in his early productions, in which Wilson dramatized ‘an unstable, Winge, Stein (1940–) Director and actor, decentered self, and explored the role of Norway. Winge trained as an actor at the language in structuring the self. In later Norwegian State Theatre High School, stages of his career, when he turned his but soon shifted to directing. He now has eye to classic texts, Wilson used many over 100 productions to his credit, cover- strategies to decentre the self and drama- ing a wide range of the repertory: Shake- tise the inner world of schizophrenia. In speare (Hamlet, Richard II, Richard III, King

326 Wisniak, Kazimierz Wonder, Erich

Lear and Othello), Goethe’s Faust, master of Balinese dance and has given Chekhov’s Tri sestry (Three Sisters) and lectures, demonstrations and perform- Djadja Vanja (Uncle Vanya), Greek tragedy ances in Italy, Holland, France, Denmark and most of Ibsen’s plays, as well as and Australia. In 1991 she appeared in DORST’S Merlin oder Das Wüste Land (Mer- SARDONO’S Dongeng dari Dirah in Ja- lin or The Waste Land, with Björn karta. In 1993 she began the Gambuh SUNDQUIST), Botho STRAUSS’S Die Preservation Project with the help of the Zeit und das Zimmer (The Time and the Room) Ford Foundation. The project seeks to and Dorfman’s Death and the Maiden). In document and preserve this ancient clas- addition to all of the Norwegian theatres, sical dance theatre and presents perform- Winge has also worked abroad and has ances twice monthly in Batuan. In 1995 established himself as a leading director and 1996 she and Djimat worked with of opera over the last few years. Eugenic BARBA and the International School of Theatre Anthropology (ISTA). Wisniak, Kazimierz (1931–) Designer, While continuing to teach and perform Poland. A graduate of the Academy of both in Bali and internationally, Wistari Fine Arts, Cracow, Wisniak has created is preparing a monograph on the Gambuh the designs for more than 200 produc- under the auspices of the Ford Foundation. tions. He has worked closely with the Pan- tomime Theatre of Wroclaw since its be- Wolfe, George C. (1954–) Dramatist and ginning in 1956. From 1981–6 he was di- director, USA. Wolfe obtained an MFA rector of the Teatr Bagatela in Cracow, from New York University. Since 1993 he and since 1971 he has worked with Stary has been artistic director of the New York Teatr in Cracow and Teatr Dramatyczny Shakespeare Festival. The Colored Museum in Warsaw. He gained his best artistic (1986) is a collection of eleven satirical achievements while working with three sketches, museum exhibits, on contempo- directors, Henryk Tomaszewski, Jerzy rary African American life. Other plays Jarocki and Konrad Swinarski. Wisniak are Spunk (1989) and Jelly’s Last (1992). In usually divides the stage area into two. 1993 Wolfe directed an acclaimed produc- The downstage area, close to the audience, tion of Kushner’s Angels in America. His pro- is dominated by the actors and is realistic, ductions reflect a vivid theatrical imagina- limited in colour. The upstage area is vis- tion and great sense of musicality in their ible only at moments. It is symbolic, meta- finely detailed stagecraft. physical and sometimes gives an ironic commentary on the action. Wonder, Erich (1944–) Designer, Austria. After studying at the Kunstgewerbeschule Wistari, Christina (1945–) Performer, Graz and the Akademie der Bildenden Indonesia. Wistari was born in Italy. Hav- Künste, Vienna, Wonder began his career ing first trained in mime at Quelli di Grok as assistant to Wilfried MINKS in Bremen in Milan, she studied mask carving in Sri (1968–71). He has worked with most im- Lanka and Bali and Kathakali in India portant directors, including Jürgen with the renowned Guru Gopinath. She FLIMM, Peter PALITZSCH, Hans returned to Bali in 1983 and began to NEUENFELS and Luc BONDY, and study Balinese Topeng with I Made has also designed for opera (including DJIMAT, Joged Pingitan (a rarely seen Tristan und Isolde in Bayreuth, 1993, di- woman’s solo narrative dance) with his rected by Heiner Müller). He considers mother Ni Ketut Cenik, and Balinese sing- himself as a cameraman who builds ing with Ni Nyoman Candri. She has since spaces. ‘His spaces are magical; spaces become perhaps the only non-Indonesian from light which keep their secrets and

327 Wong, Eleanor Siew Yin Wuttke, Martin create meaningful associations in the spec- a steady flow of plays, including Een hond tator.’ Since 1978 he has held a professor- begraven (To Bury a Dog, 1989), De linkerhand ship at the Akademie für Bildende Künste van Meyerhold (Meyerhold’s Left Hand, 1990) in Vienna. and the much acclaimed Een zwarte Pool (A Black Pole, 1992, also in German). The play Wong, Eleanor Siew Yin (1962–) tackles the uncertainties of two couples, Dramatist, Singapore. A trained lawyer, successful at first glance but tied up in their Wong is an acclaimed playwright in Sin- past. As a director, Woudstra has had gapore whose plays are philosophical and more success abroad, especially in Bel- intelligent. Her most acclaimed play, Merg- gium, than in Holland. However, he man- ers and Accusations (1992), and its sequel, aged the repertory theatre in Amsterdam Wills And Successions (1995), dealt sensi- briefly in the mid-1980s, directing a won- tively with the issue of alternative sexual- derful Night, Mother of the Day by Lars ity in Singapore. The main character, a les- Norén (1985). bian, deals with the pressures of marriage, religion and family in the two plays. Natu- Wuttke, Martin Actor, Germany. After ralistic in approach, Wong’s craft is in her training at the Schauspielschule Bochum, wit and her irony. Her plays are comical Wuttke’s first employment was in Frank- but also provide commentary on the so- furt, as a member of critic turned artistic cial situation in Singapore. Among her director Günther Rühle’s company, where more politically oriented plays are Peter’s he became one of the chief protagonists Passionate Pursuit (1985), Jackson on a Jaunt of controversial director Einar SCHLEEF. (1987), which was an AIDS play, Exit In 1991 he joined Jürgen FLIMM’S (1990) and Joust (1991). Thalia Theater in Hamburg. Early in 1996 he became artistic director of the Woudstra, Karst (1947–) Dramatist, di- Berliner Ensemble, resigning towards the rector, The Netherlands. Woudstra’s fa- end of the year in a controversy involving ther wrote and directed plays, and his Schleef. ‘What fascinates him about thea- mother did not like this. Family conflicts tre is the transformation of literature into have haunted Woudstra from his early language: from the voice of a single youth, and have been at the centre of eve- dramatist to the voices of many perform- rything he wrote. He studied Swedish and ers on the stage.’ Important credits include has introduced the plays of Lars Norén, a the title role in Brecht’s Der Aufhaltsame friend with a similar taste for the psycho- Aufstueg des Arturo Ui (The Resistable Rise of analytical, to The Netherlands. Arturo Ui, 1995, directed by Heiner Woudstra’s debut was Hofscènes (Scenes at Müller), Danton in Büchner’s Danton’s Tod Court, 1981), about the relation between (Danton’s Death, 1998, directed by Robert King Philip II of Spain and his son Carlos. WILSON in a co-production of the Salz- Directed by Gerardjan RIJNDERS it was burg festival and the Berliner Ensemble) an enormous success. Feeling rejected by and Titus Andronicus in Heiner Müller’s his colleagues, Woudstra did not continue Anatomie Titus Fall of Rome (Anatomy Titus Fall writing until 1989, after which he released of Rome, 1999).

328 X

Xi Mei Juan (1956–) Actor, China. Xi She has appeared in many quality films graduated in 1976 from the diploma and soap operas. Xu has created a number course on acting at the Shanghai Academy of young melancholic women on stage. of Drama. She has played leading roles in She is known for her understated style as Zhao Guo Qing’s Jiu Jiu Ta (Please Save well as refined diction. Her, 1977), Zong Fu Xian’s Yu Wu Sheng Chu (Out of Silence, 1978), Romeo and Juliet Xu Xiao Zhong (1928–) Director, (1981), The Taming of the Shrew (1983), China. From 1948–60 Xu studied at the SHA Ye Xin’s Xun Zhao Nan Zi Han (In Nanking National Academy of Drama, Search of Real Man, 1986), Sun Hui Zhu’s North China University and Moscow Zhong Guo Meng (China Dream, 1987), Pe- Lunarcharski School of Drama. He has ter SHAFFER’S Equus (1988), Yue Mei taught for forty years at the Central Qin’s Liu Shou Nu Shi (The Waiting Wife, Academy of Drama. As the reigning di- 1991) and Amy Tan’s Joy Luck Club rector, he adheres to the policy of teach- (1993). ing, creating and researching. The principle he set for the Academy is ‘to maintain Xu Fan (1967–) Actor, China. Xu trained and develop the realistic aesthetics, draw at the Central Academy of Drama from on Chinese indigenous traditions, 1987–91 and became a member of Beijing and critically absorb the accomplish- People’s Art Theatre upon graduation. ments of theatres abroad’. He stresses the Her major roles include Su Fang in Cao importance of a self-centred attitude to- Yu’s Beijing Ren (Peking Characters), Nina in wards borrowing Chinese and foreign Chekhov’s Cajka (The Seagull), Liu Chun heritage. His main productions include Yan in Bei Po’s Wu Tai Shang de Zhen Gu Vsevelod Vishnevski’s Optemisticheskaya Shi (True Story on Stage), Xiao Zhen in Wei Tragedia (The Optimistic Tragedy), Macbeth, Min’s Hong Bai Xi Shi (Weddings and Funer- LI Long Yun’s Sa Man Yue Guang De als), Xiao Xia in GUO Shi Xing’s Niao Ren Huang Yuan (Moon-lit Wilderness), (The Bird Master), Gertrude in Hamlet and Chekhov’s Visnevyi sad (The Cherry Or- Liu Xiao Yan in Guo She Xing’s Yu Ren chard) and Wu Shuang’s Chun Qiu Hun (The Angling Master). Her most well-known (Spirit of the Warring States). part is probably the eponymous heroine in Liu Jing Yun’s Ruan Ling Yue, about the Xue Dian Jie (1937–) Designer, China. famous Shanghai film star in the thirties. Xue graduated from the Hochschule fur

329 Xue Dian Jie Xue Dian Jie

Bildende Kunst in Dresden. His main adaptation of Goethe’s Faust (1994) di- works include designs for Brecht’s Leben rected by LIN Zhao Hua, Tan Zhi Xiang’s des Galilei (Life of Galileo, 1979), Chen Bai Ying Xiong Zhuang Zhi Shao Nian Lang (He- Chen’s A Qu Zheng Zhuan (Anecdotal His- roic Youth, 1994), directed by CHEN tory of A Q, 1980), LIU Shu Gang’s Shi Wu Rong,Sartre’s Mort sans Sepulcure (Dead Zhuang Li Huen An De Diao Cha Fen Xi (Fif- without Burial, 1997) and Brecht’s Die teen Divorce Cases Analyzed, 1984), ZHANG Dreigroschenoper (The Threepenny Opera, Xiao Feng’s Heshi Bi (He’s Jade, 1986), Cao 1998). He tries to combine old traditions Yu’s Beijing Ren (Peking Characters, 1989), an with new trends.

330 Y

Yadin, Jossi (1920–) Actor, Israel. Yadin terial) in Shiga in 1993. From 1993–4 he trained at the Habima studio and was one took the reproductions to the exhibitions of the co-founders of the Cameri Tel Aviv to Germany, Italy and the USA. Some of municipal theatre. Among his most his no costumes are kept in museums of memorable roles are Lenni (Steinbeck’s Of Japan and abroad. Mice and Men), Falstaff, the father in Hanoch LEVIN’S Shitz and Willi Loman Yamazaki Masakazu (1934–) Dramatist in Arthur MILLER’S Death of a Salesman. and translator, Japan. Yamazaki wrote More recently he has appeared in The Com- Zeami and received the Kishida Play edy of Errors and Levin’s Peore Pe (Mouth Award in 1963. Zeami was translated into Open) and Retsach (Murder). His one-man English and was performed in Italy in performance of HOROWITZ’S Hadod 1971. Fune wa Hosen yo (The Boat is a Artur (Uncle Arthur) was a virtual tour-de- Sailboat) was written for Te no Kai (the force. Yadin has also played in many films Hand Theatre Group) when it was and received the Israel prize in 1991. formed by Yamazaki with playwright BETSUYAKU Minoru and director Yamaguchi Akira (1948–) Costume re- SUEKI Toshifumi in 1972. Mokuzô searcher, restorer and designer, Japan. Haritsuke (Rikyû Crucified, 1978) was also Yamaguchi specializes in reproducing the staged by Sueki. Yamazaki studied (1965) textile for the original no costumes. He and taught (1967) at the Yale University began his research on the no costumes of in the USA. In 1987 Zeami was staged by the Edo era (1603–1867) in 1978 and Shingeki-dan Kyôkai (the Association of started reproducing the textile by using the the Theatre Companies of Shingeki) un- sorahikibata or sorahiki method of weaving der Sueki’s direction, with in 1983. The reproductions of the nô cos- MATSUMOTO Kôshirô as Zeami. tumes were shown in the national muse- Yamazaki often uses famous artists in Japa- ums of Northern European countries such nese history as heroes of his plays focus- as Sweden and Denmark. In 1985, he ing on on the conflict between the art and founded the Yamaguchi Nô Costume Re- politics, personified in the artists and the search Centre in Shiga, Japan. He repro- rulers of the time. duced the nô costumes of Chûson-ji (the Temple Chûson) and opened the Asai Yang, Daniel (1936–) Director, USA and Shiryô-kan (The Asai Institute of Nô Ma- China. Formerly the producing artistic

331 Yefremov, Oleg Yeo, Robert Cheng Guan director of the Colorado Shakespeare Fes- Theatre, where he established a success- tival from 1976–82 and 1985–90, Yang ful combination of Russian classics and joined the Hong Kong Repertory Thea- modern plays, thus restoring its position tre (HK Rep) in 1990 and has been the as a leading theatre. A cycle of Chekhov’s artistic director ever since. He directed plays was begun in 1980. Yefremov’s keen over sixty modern and classical produc- eye on Russian history and politics led to tions, in both English and Chinese. Some quite unusual version of Pushkin’s Boris of his most acclaimed directions are Love’s Godunov (1994), in which he also played Labour’s Lost (1980) and The Merchant of Ven- the title part, as a tragic figure. Since 1950, ice (starring RSC actor Tony Church as Yefremov has been a professor of Moscow Shylock, 1987). With the HK Rep, Yang’s Art Theatre Studio. During the last years major directing credits include King Lear Yefremov has been taking part in the study (1993), with two casts of Cantonese and and editing of Stanislavski’s works. Mandarin, Raymond TO’S musical Tales of the Walled City (third run in 1997), and Yenersu, Isik (1942–) Actor, Turkey. Af- He Ji-ping’s De Ling and Empress Dowager ter graduating from the Ankara State Con- Ci Xi for the opening performance of the servatory, Yenersu joined the Ankara State Second Chinese Drama Festival (1998, Theatre in 1963. When the French direc- Hong Kong). Under his leadership, the tor, Roger PLANCHON visited Turkey, HK Rep has seen marked development in she became his asistant (1968–9). Between promoting original productions and in 1969–70 she worked as an assistant for the launching numerous overseas tours. Jerry Drama Programmes Office de Sterner’s Other People’s Money (1995) at the Radiodiffusion-Television Française Shanghai People’s Art Theatre, Peter (ORTF). She has acted in famous plays SHAFFER’S Equus (1994) and Ray like Shaw’s Caesar and Cleopatra (1963), Cooney’s Whose Wife is It Anyway? (1999) Arthur MILLER’S All My Sons (1967), The at the National Theatre of Taiwan are Taming of the Shrew (1985), Alan Yang’s recently successful overseas pro- AYCKBOURN’S Woman in Mind (1987) ductions. and Dorfman’s Death and the Maiden (1991). She has received various awards Yefremov, Oleg (1927–2001) Director in her acting career, and she also took part and actor, Russia. After completing his in many radio and television programmes training at the Moscow Art Theatre Stu- as well as in films. At present she is work- dio in 1949, Yefremov was an actor at the ing at the Istanbul State Theatre. As her Theatre for Children in Moscow. He name (Isik, light) suggests, as soon as she founded the Sovremennik Theatre Studio enters the stages she brings along with her (1956) to generate aesthetics. For the open- a sphere of light which illuminates the ing he chose Rozov’s Vechno zhivyie (Always hearts and minds of the spectators. Alive). His main productions at the Sovremennik were documentary plays, Yeo, Robert Cheng Guan (1940–) dealing with crucial periods of Russian Dramatist, Singapore. Yeo is a seminal fig- history (Shatrov’s Bolsheviki (The Bolshe- ure in Singapore English-language theatre. viks), 1967), or classics (Chekhov’s Cajka His trilogy—Are You There, Singapore (1974), (The Seagull), 1970). His direct position, One Year Back Home (1980) and Changi interest in sharp moral and social conflict, (1996)—provided a strong and pertinent and disapproval of political political voice in Singapore theatre. These collaborationism soon brought him sym- plays explicitly attacked the hegemonic pathy of the public, but not of the authori- impulses of government policies and were ties. He was moved to the Moscow Art highly critical of the one-party political

332 Yerushalmi, Rina Yirenkyi, Mary E. system in Singapore. Having served on An (File Zero, 1994), Yu Ai Zi You Guan both the Drama Advisory Committee and (Aids, Aids, 1994) and Gu Xiang Tian Xia the Drama Review Committee, Yeo is a Huang Hua (Chrysanthemums in My Home staunch advocate for indigenous Singa- Town, 1995). His most recent work is for pore dramatic writing. His other plays in- Lin Zhao Hua’s 1998 production of Three clude Eye of History (1992), a fantasia where Sisters Waiting for Godot, a collage piece ex- Sir Stamford Raffles meets Mr Lee Kuan ecuted by Lin that combines Beckett and Yew, and Second Chance (1988), a play about Chekhov. Characterized by primal colors beauty and morality. Educated at the Uni- and exact positioning, his lighting works versity of Singapore and the University of stress intensity and taste, although it also London, Yeo is currently an associate pro- has considerable warmth and sensitivity fessor at the National Institute of Educa- underlying the overwhelming impact. His tion. He also won the Public Service stage designs have caught critical attention Medal in 1991. for their experimental daring and sophistication. Yerushalmi, Rina (1939–) Director, Is- rael. Yerushalmi began her training as a Ying Ruo Cheng (1929–) Actor, China. dancer and later as an actor at the Royal Ying graduated from the department of Academy of Dramatic Art in London. She European languages of the prestigious has directed at La MaMa in New York and Qing Hua University in 1946 and later is affiliated to New York University. After became a member of Beijing People’s Art directing several conventional productions Theatre. He created a series of memora- at different Israeli theatres, Yerushalmi ble parts in Lo She’s plays Long Xu Gou founded the more experimental ITIM (Dragon Whiskers Gutter), Luo Tuo Xiang Zi theatre where she has directed Büchner’s (Camel Son) and Cha Guan (Tea House), Woyzeck, Hamlet and Romeo and Juliet, and which helped the company establish its later a performance project based on Bi- house style. A fluent speaker of both Eng- ble texts. The originality of the Bible pro- lish and French, he is well-versed in Euro- duction has been recognized both in Israel pean literature and drama. He played and abroad and has earned her and the Willy Loman in Arthur MILLER’S Death group an international reputation. of Salesman. He has also played leading roles in a number of internationally Yi Li Ming (1963–) Designer, China. Yi known films including Dr Norman Bethune, graduated in 1985 from the Central Acad- The Last Emperor, Marco Polo and Little Bud- emy of Drama. His lighting works include dha. He has translated Stanislavski’s Othello Cao Yu’s Beijing Ren (Peking Characters, Plan, Measure for Measure and Arthur Mill- 1989, in collaboration with the stage deer’s Death of Salesman. signer XUE Dian Jie), GUO Shi Xing’s Niao Ren (Bird Master, directed by LIN Yirenkyi, Mary E. (1938–) Actor and Zhao Hua) and Wang Zi Fu’s Hong He Gu choreographer, Ghana. A very good (Red River Valley, 1996). He designed Lin singer and dancer, Yirenkyi provided Zhao Hua’s 1990 production of Hamlet, his some of the music and dance sequences 1994 production of Goethe’s Faust and for the 1990 Leeds Workshop Theatre Guo Shi Xing’s Qi Ren (The Go Master). premiere of Olu OBAFEMI’S Naira Has Generally considered a major designer in No Gender, in which she also performed the that flagship of the mainstream theatre, role of mother of the bride alongside other Beijing People’s Art Theatre, he also de- UK-based African theatre artists such as signed the works of the experimentalist Kemi Ilori as groom, Sam Kasule as Papa, MO Sen, including the latter’s Ling Dang Osi Okagbue as Chief Awandu, and the

333 Yoon Ju-Sang Youn Dai-Sung

African American Anita Franklin in the God (1983, with PARK Jung-Ja in the cast) role of Abeke. She also put in a distin- which she translated and in which she guished performance as one of the danc- played the title role. This became the longing and gyrating bacchantes in Wole est running production in Korean theatre SOYINKA’S The Bacchae of Euripides, di- history. After producing and playing the rected by Amanda Price at the Workshop main roles in Annie (1986) and Song and Theatre, Leeds in 1989. She currently lec- Dance (1986), her reputation as the most tures in theatre and performance at the popular actor in Korea was confirmed. She University of Ghana at Legon. has since played star roles in the musicals Guys and Dolls (1987), Myeong-Seong Yoon Ju-Sang (1952–) Actor, Korea. Yoon Hwanghoo (Empress Myeongseong, 1995), trained at Seorabeol College of Art and Jeong Bok-Gun’s Na Kim Soo-Im (Me, Soo- soon afterwards joined the Gagyo, Sanha Im Kim, 1997, with HAN Myung-Gu in the Theatre Company where he had a series cast) and Terence MCNALLY’S Master of major parts including the title roles in Class (1998). Yoon has also performed in Goethe’s Faust and Othello, and Shylock in the so-called theatre for women such as in The Merchant of Venice, Emperor Chin in Kempinski’s Duet for One (1989) and Max Frisch’s Die Chinesche Mauer (The Chi- Cocteau’s La Voix Humaine (1990), in nese Wall, 1996), Creon in Sophocles’s which she fully revealed her talent in ex- Antigone, Willy Loman in Arthur MILL- pressing delicate female psychology. ER’S Death of a Salesman Teach in David MAMET’S American Buffalo, Professor Yoshida Tamao (1919–) Bunraku puppet- Frank in Willy Russell’s Educating Rita and eer, Japan. Trained under Yoshida Eiza, Lee in Sam SHEPARD’S True West. In Yoshida Tamajiro and Yoshida Tamasuke, Korean originals, he played the Chief of Yoshida Tamao is a member of the the village in LEE Gang-Baek’s Chilsanri Chinami-kai Group of the Bunraku asso- (The Town of Chilsanli, 1989), the Thief in ciation. The way Yoshda manipulates pup- Jeong Bok-Gun’s Sanneomeo Gogaeneomeo pets is elegant and upright. The move- (Over the Hill Over the Mountain, a Railway ments of his puppets are strictly based on Officer in Youn Dae-Sung Choolbal (Depar- his characterization of the roles, and he ture) and the main role in LEE Gun-Sam’s succeeds in engaging his audience in the Acasia Gotipun Barame Naligo (Wind Spread puppet characters. He has been in charge Acacia Flowers, 1998). Yoon is known as an of Ningyô Kowari (casting of puppeteers) actor who can naturally portray both the since 1964. His representative roles in- comic and serious sides of one character. cludes Tomomori, Mitsuhide, Genta and Since the 1980s, he has worked for the Motome, which are tachiyaku (the leading Minjoong Theatre Company, now joined male part). He is especially good in with the In-Chon Yu Repertory Theatre sewamono (domestic plays) by Chikamatsu Company. Monzaemon and has manipulated the puppet of Tokubei in Chikamatsu’s Yoon Suk-Hwa (1956–) Actor, Korea. Sonezaki Shinju (Love Suicide at Sonazaki) Yoon trained at The City College of New more than one thousand times. York and Harvard Drama Institute. Dur- ing the 1970s, she played the title role in Youn Dai-Sung (1939–) Dramatist, Ko- Cinderella (1976) and main roles in West Side rea. Youn trained at the Seoul Institute of Story (1977) and You Can’t Take It With You Arts. Since writing his first play Choolbal (1979). Returning to Korea from her three- (Departure, 1972), Youn has focused in his year stay in the USA, her first stage per- later works on the systematic violence of formance was in John Pielmeier’s Agnes of modern society, particularly the mass

334 Youn So-Jung Yu In-Chon media. They include Nobimoonseo (Document and Al-Deen’s Keramat Mangal (The Epic of of a Slave, 1974), Choolsegi (The Success Story, Keramat, with Shimul Yousuff as Shamala 1974), Sinhwa 1900 (The Myth 1900, 1982), and Faridi as Keramat, designed by Jamil Saeui Chanmi (Praise of Death, 1988), Doo Ahmed, 1985). These productions have Namja Doo Yeoja (Two Men and Two Women, earned him the distinction of being recog- 1992), Namsadangeui Hanul (The Sky of nized as a director capable of deftly han- Namsadang, The Wandering Troupe, 1993) dling ensemble acting and producing po- and Choolsegi 2 (The Success Story 2, 1998). etically rich visual metaphors. Yousuff is He is also known for his trilogy for teen- the founder artistic director of Dhaka agers, highly acclaimed by teenagers and Theatre (a leading theatre group in Bang- adults alike, Banghwanghanun Byeoldul (The ladesh), executive member of the Cultural Wandering Stars, 1985), Goomgoonun Byeoldul Identity and Development Committee of (The Dreaming Stars, 1987) and Booltanun the International Theatre Institute and Byeoldul (The Burning Stars, 1989), which chairman of Bangladesh Group Theatre deal with up to the minute issues in a semi- Federation. Yousuff has also conducted musical form. workshops abroad and presented papers in international conferences. Youn So-Jung (1944–) Actor, Korea. Youn had no official theatre training, but as the Yousuff, Shimul (1957–) Actor and com- daughter of famous film director Youn poser, Bangladesh. Yousuff trained as a Bong-Choon, she was accustomed to the vocalist, and has seventeen stage produc- artistic life and trained with her family. tions to her credit. These include Dalimon Her major parts have been as Gui-Deok in Salim AL-DEEN’S Kittan Khola (The Fair in Cha Beom-Seok’s Sanbool (Mountain Fire, of Kittan Khola, 1981), Shamala in Al- 1974), OH Tae-Seok’s Choboon (Grass Tomb, Deen’s Keramat Mangal (The Epic of Keramat, 1974), as Na-Young in Oh Tae-Seok’s with Humayun FARIDI as Keramat, di- Hwanjeolgi (The Turning Point of the Season, rected by Nasiruddin YOUSUFF and de- 1975), Dr Livingston in John Pielmeier’s signed by Jamil AHMED, 1985), Agnes of God (1983, with YOON Suk-Hwa Chhukkuni in Al-Deen’s Hat Hadai (The and PARK Jung-Ja in the cast) and Cello Seven Voyages, with Raisul ASAD as (1994). Youn is an actor of emotional ten- Anarbhandari, directed by Nasiruddin sion, who can naturally create an uncom- Yousuff, 1989) and the Narrator in Al- fortable mood and express internal dis- Deen’s Chaka (The Wheel, with Asad as the cord. Oxcart Driver, directed and designed by Jamil Ahmed, 1991). She also composed Yousuff, Nasiruddin (1950–) Director, the original music score for all these pro- Bangladesh. Beginning his directorial ca- ductions. Combining her musical talent reer in 1972, Yousuff has seventeen pro- with acting, Shimul Yousuff is at her best ductions to his credit, of which the follow- with indigenous theatrical elements where ing have been specially acclaimed for their she captivates her spectators with delicate artistic merit: Selim AL-DEEN’S charm and vibrant energy. She is a re- Shakuntala (with Shubarna MUSTAFA in nowned vocalist on radio and television the title role and Raisul ASAD as and is an active member of Dhaka Thea- Vishwamitra, 1978), Al-Deen’s Kittan Khola tre (a leading theatre group of Bangla- (The Fair of Kittan Khola, with Shubarna desh). Mustafa as Banasribala, Shimul YOUSUFF as Dalimon, Humayan Yu In-Chon (1951–) Actor, Korea. Yu was FARIDI as Chhayaranjan and Asad as educated at Joongang University (BA and Bayati, designed by Jamil AHMED, 1981) MA in Theatre Arts). After having first

335 Yu, Ovidia Yuliarsa, Ketut staged Othello, 1971), Yu has mainly (A Twist of Fate, 1997) and stand-up rou- worked in television drama and won na- tines (Kumar: A Life ALIVE, 1998). Yu re- tionwide fame. He has been involved in ceived both the Japanese Chamber of only a limited number of performances, Commerce and Industry’s Culture Award including Hamlet (1981), The Merchant of and the National Young Artist Award in Venice (1983), and in musicals such as Je- 1996. sus Christ Superstar (1984 and 1990), Oh Young-Jin’s Hanneui Sungcheon (Ascension of Yu Shi Zhi (1927–) Actor, China. Yu stud- Hanne, 1994) and von Trapp in The Sound ied French at Peking University in the of Music, 1994). In 1995, he founded the 1940s, and established his position at In-Chon Yu Repertory Theatre Company Beijing People’s Art Theatre in 1951 when in order to produce forgotten master- he created the role of Crazy Cheng in Lao pieces. He produced and performed the She’s Long Xu Gou (Dragon Whiskers Gut- title role in Moonjejeok Ingan Yeonsan (King ter). He played major parts in Tian Han’s Yeonsan-A Controversial Figure, 1995, written Guan Han Qing, Cao Yu’s Lei Yu (Thunder- and directed by LEE Youn-Taek, designed storm), Tian Han’s Ming You Zhi Si (Death by SHIN Sun-Hee). Additional appear- of a Famous Opera-singer) and Lao She’s Luo ances include the part of Mephistopheles Tuo Xiang Zi (Camel Son). He created the in Goethe’s Faust, 1996, with YOON Ju- definitive Mr Wang, the proprietor of Lao Sang in the cast), and Iboda Deo Naboolsoon She’s Cha Guan (Tea House). He also played Eopda (It Can’t be Worse Than This, 1998, the Duke in the Chinese premiere of Meas- designed by Sun-Hi Shin). Yu is an objec- ure for Measure. He collaborated with Cao tive actor with perfectly controlled and Yu and Mei Qian in composing the his- emotional intensity. tory play Dan Jian Pian. He is now the deputy director of Beijing People’s Art Yu, Ovidia (1961–) Dramatist, Singapore. Theatre. Yu holds a BA (Hons) in English from the National University of Singapore and is Yudane, Wayan Gde (1964–) Designer, undoubtedly one of the strongest feminist Indonesia. Having trained as a performer voices in Singapore. Her plays deal prima- at STSI Denpasar (Academy of Perform- rily with social stereotypes of women and ing Arts), Yudane has become a sound and the effective dismantling of these cultural scenic designer as well as composer. He constructs. Her plays are biting and satiri- designed sets for the Puspita Jaya Kecak at cal. One of her more celebrated works, Singapore Arts Festival 1997; Three Fat Virgins Unassembled (1992), is a glib IKARANAGARA’S Ritus Topeng, the 1994 pastiche of the Singapore woman’s di- international tour of the Paris-based com- lemma in a materialist context. Yu rede- pany La Temp Fort, and the Asian Col- fines the oppressed woman as a ‘Fat Vir- lective Performing Art Festival in gin’ and discusses the making and the Kumamoto, Japan, 1989. He is also the breaking of a fat virgin in her play. An- official composer and designer for the City other play, The Woman in a Tree on the Hill, of Denpasar. His innovative and original cleverly juxtaposes the western patriarchal designs transform traditional motifs to cre- myths of Noah with the Chinese myth of ate something wholly new, yet subtly fa- origins in the story of Nu-Wa to offer a miliar. new perspective on the relationship between men and women. Yu continues to Yuliarsa, Ketut (1960–) Dramatist, per- explore other aspects of the woman in her former and designer, Indonesia. Yuliarsa later plays, but has also moved on to ex- studied music at Saraswati School, periment with other genres like musicals Denpasar, journalism in Yogyakarta, Java,

336 Yzraeli, Yossi Yzraeli, Yossi and English at Sydney College, Australia. Yzraeli trained at the Royal Academy of He received his training in drama work- Dramatic Art in London and at Bristol ing with Abu BAKAR’S Teater Poliklinik, University, and obtand a Ph.D. from the Denpasar. Actor, musician, designer and Carnegie Mellon Institute in Pittsburgh. now principally a dramatist, he has per- Yizraeli has directed classics like Beckett’s formed in Melbourne (Melbourne Thea- Waiting for Godot, Ibsen’s Peer Gynt and Fruen tre Company), Sydney (Belvoir Street fra Havet (The Lady from the Sea), and The Theatre) and Tokyo. He has also designed Merchant of Venice, but is best known for his contemporary theatre productions for the stage adaptatations of Jewish sources and Bali Arts Festival including Putu Wijaya’s narrative materials such as several of Aum in 1995. His latest play, The Coffin, S.J.Agnon’s novels and short stories and premiered at the 1997 Festival. He writes An-Ski’s The Dybbuk. Yizraeli teaches at Tel skillfully in both English and Indonesian Aviv University and has been the direc- with a sensibility which encompasses val- tor of the Habima national theatre (1975– ues and viewpoints of both East and West. 7) and the Khan Jerusalem municipal theatre (1984–7). He has also directed in the Yzraeli, Yossi (1939–) Director, Israel. USA and England.

337 Z

Zachwatowicz-Wajda, Krystyna (1930– Germany, carrying with him his love for ) Designer, Poland. After graduating in Art Shakespeare, his love for boulevard and History from the Jagiellonski University his preference for topical provocation. In in Cracow and in scenography at the Fine 1960 he joined Kurt Hübner in Ulm, and Arts Academy in Cracow, Zachwatowicz- stayed with him in Bremen (1962–7). He Wajda began her career at the end of the was artistic director in Bochum (1972–7), 1950s in the theatre of Cracow and the and later in Hamburg (Deutsches Silesian region of Poland. In her long and Schauspielhaus, 1985–9) and Berliner En- distinguished career, she has worked with semble (1993–6), where he frequently many of the most important Polish and worked with Ulrich Wildgruber, Rosl foreign directors, including Jorge ZECH, Eva MATTES and Use LAVELLI, Andrzej WAJDA, Jerzy Jarocki RITTER. In the 1960s and 1970s, many and Konrad Swinarski. Productions in- of his productions caused scandals. How- clude works after Dostoyevsky (The Broth- ever, today his interpretations of Shake- ers Karamasov, Besy (The Possessed), Idiot speare are regarded as seminal for the re- (The Idiot) and Prestuplenie I nakazanie (Crime ception of the classics on the German and Punishment)), Wyspianski (Noc stage. ‘There may be much shocking Listopadowa (November Night) and Wesele (The chaos, but there are also quiet, unpreten- Wedding)), Genet’s Les bonnes (The Maids), tious productions which show Zadek as a Hamlet and Strindberg’s Spöksonaten (The master of psychological characterization.’ Ghost Sonata). Zaker, Aly (1944–) Director and actor, Zadek, Peter (1926–) Director, Germany. Bangladesh. Aly Zaker holds a BA in so- Zadek’s family emigrated to Britain in ciology from the University of Dhaka 1933, where he trained at the Old Vic (1966). Important in his directorial career School in London with Tyrone Guthrie. are Badal Sircar’s Baki Itihas (The Other Side At the Old Vic he directed a double bill of History, with Abdul HAYAT as Sitanath, of Wilde’s Salome and Eliot’s Sweeney Sarah ZAKER as Kona and Ataur Agonistes. In the 1950s he worked for the RAHMAN as Saradindu, 1973), Tagore’s BBC and throughout Britain, culminating Achalayatan (set and lighting design by in a major success with Genet’s Le balcon Jamil AHMED, 1980), Syed HUQ’S (The Balcony, 1957) at the Arts Theatre Nooraldeener Sarajeeban (Nooraldeen: A Life, Club in London. In 1958 he returned to 1981) and an adaptation of Zuckmayer’s

338 Zaker, Sarah Zaks, Jerry

Der Hauptmann von Köpenick (The Captain of is professionally engaged in market re- Köpenick, 1981). His acting career includes search management. male lead roles in a translation of Brecht’s Leben des Galilei (The Life of Galileo, 1988) Zakharov, Mark (1933–) Director, Rus- and an adaptation of Brecht’s Herr Puntila sia. Zakharov started his career as a satiri- und sein Knecht Matti (Mr Puntila and his Serv- cal poet and actor and has no professional ant Matti, with Hayat as Matti, directed by background as a stage director. Since 1973 Asaduzzaman NOOR, 1977). Aly Zaker’s he has been artistic director of the acting is distinct for the vibrant energy he Lenkom theatre, Moscow. Five years be- infuses into his characters. As a director fore that his production of Ostrovsky’s Na he is committed to the performers and the vsyakogo moudretza dovol’no prostoty (Diary of text: he deftly handles them to uncover a Scoundrel) at the Satire Theatre, Moscow, unexpected layers of meaning in the text. was forbidden because of the censor’s He has toured abroad with his produc- dissapproval. Zakharov is among the first tions and has also adapted a number of Russian directors to perform musicals on plays. Zaker is the president of Nagorik the dramatic stage. His productions are Natya Sampradaya (a leading theatre usually well-shaped, full of humor and group in Bangladesh), vice president of the acute allusions, and contain musical inter- International Theatre Institute, Bangla- ventions, dance scenes and so on. He com- desh Centre and a communication con- bines different genres and usually modern- sultant by profession. izes a well-known story. Principal productions include Chekhov’s Ivanov (1975), Zaker, Sarah (1954–) Actor and director, PETRUSHEVSKAYA’S Tri devushki v Bangladesh. Zaker trained at the British golubom (Three Girls in Blue, 1982), Theatre Institute (1981). With over a thou- Ostrovsky’s Moudretz (The Wiseman, 1989) sand appearances on stage, Sarah Zaker’s and Le mariage de Figaro (The Marriage of important performances include Kona in Figaro) by Beaumarchais (1993). Zakharov Badal Sircar’s Baki Itihas (The Other Side of is also professor of Russian Academy of History, 1973), Shen Te/ Shui Ta in an ad- Theatre Art (where he has taught many aptation of Brecht’s Der Gute Mensch von excellent actors of the contemporary Rus- Sezuan (The Good Person of Sezuan with sian stage, including some who are work- Asaduzzaman NOOR as Yang Sun and ing at his theatre and have won interna- Abdul HAYAT as Wang, directed by Aly tional publicity, such as Inna Churikova ZAKER, 1976) and Jubati in Syed Huq’s and Oleg Yankovsky). Zakharov serves as Irsha (Jealousy, directed by Ataur the Russian President’s Adviser in the field RAHMAN, set design by Mansuruddin of culture. AHMED, 1991). Her portrayal of characters is distinct because of their razor’s Zaks, Jerry (1946–) Director and actor, edge which sends resonances of subterra- USA. Born in Germany, Zaks grew up in nean torment and violence. She has also the USA. He began his professional ca- directed the much-acclaimed production reer as an actor, adding directing to his of Mukhosh (an adaptation of Ariel credits when he had a chance to direct Dorfman’s Death and the Maiden, with Christopher Durang’s Sister Mary Ignatius Hayat as the Lawyer and Noor as the Explains it All for You (1979). Since then, Doctor, 1993). A well-known television Zaks has specialized in contemporary actor, Sarah Zaker is an active member of comedy, often the work of Durang and Nagorik Natya Sampradaya (a leading John GUARE, and musicals. More recent theatre group in Bangladesh). She has work includes Guys and Dolls (1997), and toured abroad with her performances and Martin McDonagh’s The Cripple of

339 Zaourou, Bernard Zadi Zech, Rosel

Inishmaan (1999). ‘Zaks’s directorial style BA in theatre from the University of shows a close rapport with actors, a com- Puerto Rico, where he is currently pursu- mitment to the playwright’s vision as ex- ing a doctorate in Hispanic Studies as a pressed through dialogue and action, and member of the drama faculty. Zayas the importance of building an ensemble’. achieved notoriety in the 1960s as co- founder of Teatro de Sesenta (Sixties Zaourou, Bernard Zadi (1938–) Drama- Theatre) and Teatro Sylvia Rexach, al- tist, Ivory Coast. Zaourou is a leading left- though he continued to work with other wing thinker on and experimenter with groups such as El Otro Grupo (The Other dramatic form, theatre styles and staging Group) and Candilejas (Candlelight). techniques, informed by a desire to de- Zayas prefers to stage classics of the world velop a radical theatre aesthetic that is theatre, particularly modern American rooted in his country’s traditional per- drama. Notable productions include forming art forms. His L’ Oeil (The Eye, Williams’s The Glass Menagerie (1973), 1974), an agit-prop style play, was cen- Ibsen’s En folkefiende (An Enemy of the People, sored for its perceived intentional incite- 1978) and Lorca’s La casa de Bernarda Alba ment to class hatred and violence. But as (The House of Bernarda Alba, 1978). More a piece of theatre it was remarkable and recent productions include HWANG’S well-appreciated for its successful experi- M.Butterfly (Centro de Bellas Artes, 1990) ments with both dialogue in words, drum and HAMPTON’S Les Liaisons Dangereuses language, silence and mime. Les Sofas (The (Teatro Tapia, 1993). As director of the Sofas, 1975) was a more traditional history University’s Traveling Theatre, Zayas has play. In La Termitière (The Termites’ Nest, also directed works by Shakespeare, Tirso 1981), the experiments are pushed even de Molina, Goldoni, and Calderón. From further in an initiation-cum-ritual play 1980–6, Zayas served as both chair of the steeped in deep mysticism, symbolism and University of Puerto Rico’s Department surrealist poetry. His other plays are Sory of Drama and as director of the Institute Lambre (1968), Les Tignasses (The Mane, of Puerto Rican Culture’s Theatre Divi- 1984), L’Oeuf de pierre (The Stone Egg) and sion. Le Secret des dieux (The Secret of the Gods, 1984). Most of these plays were the result Zech, Rosel (1942–) Actor, Germany. of Zaourou’s experiments into and with Zech left her training at Max Reinhardt the traditional didiga, an artistic traditional School in Berlin to take up her first em- form which is centred around the concept ployment in Landshut (1962–5). After of the unthinkable and in which the famil- working in Wuppertal (1965–70) and iar is set in juxtaposition to the strange and Stuttgart (1970–2), she joined Peter the irrational in order to shock the audi- ZADEK’S company in Bochum, where ence into a new awareness. He is the her many parts included Polonius/Osrick founder-director of Digida, a multiplex in Hamlet (1977) and the title role in Ibsen’s performing company formed in 1980 and Hedda Gabler (1977). After that, she has dedicated to researching into and employ- worked mainly freelance with major thea- ing traditional forms and styles in its dra- tres in Germany. More recently, she matic presentations. played Elisabeth in Schiller’s Maria Stuart (Munich, 1991) Ranevskaya in Chekhov’s Zayas, Dean (1939–) Director, Puerto Visnevyi sad (The Cherry Orchard, Vienna, Rico. One of Puerto Rico’s most prolific 1992), Anne in Bernhard’s Über allen directors, Dean Zayas earned an MA in Gipfeln ist Ruh (Silence beyond all Mountain theatre education/directing from New Peaks, Münchner Kammerspiele, 1993, di- York University (1963) after earning his rected by Alexander LANG), Genet’s Les

340 Zhao Yao Min Zobda, France bonnes (The Maids, 1996) and Marthe Rull training for the theatre. She is a member in Kleist’s Der Zerbrochene Krug (The Broken of Beijing People’s Art Theatre, where she Jug 1997, both at the Bayerisches played leading female roles from the 1950s Staatsschauspiel in Munich). She has been to the 1980s in such plays as Gogol’s described as very precise, lacking vanity. Revizor (The Government Inspector), Cao Yu’s Her clear diction and her unvarying dis- Lei Yu (Thunderstorm), Guo Mo Ruo’s Hu cipline in acting have been praised. Fu (Tiger Tally), Guo Mo Ruo’s Wu Ze Tian (Empress Wu Ze Tian), Dan Xin Pu (Devoted Zhao Yao Min (1956–) Dramatist, China. Heart), Dürrenmatt’s Der Besuch der Alten Zhao studied dramatic literature at the Dame (The Visit) and Arthur MILLER’S Shanghai Drama Academy and Chinese Death of Salesman. Many Chinese theorists at Nanking University. He has written seeking the ‘sinasation’ of Western spoken Tian Cai He Feng Zi (Genius and Maniac, drama see her as an example of their aes- 1985, original name A Grim Romance), Qin thetic ideal, as she has sought to introduce Sheng You Qi (That Music Again, 1987) Qin elements of Chinese operatic tradition in Ai De Ni Shi Ge Mi (My Dear, You are an her acting and speech. Enigma, 1989), Ben Shi Ji Zui Hou De Meng Xiang (Last Dream of the Century, 1990), Nao Zinsou, Senouvo (1946–) Dramatist, Zhong (Alarm Clock, 1992), Wu Ye Xin Qing Togo. Zinsou has always been a pioneer (Midnight Feelings, 1994) and Ge Xing Yu of theatre and performance in Togo, hav- Xing Xing (The Gorilla and the Pop Star) de- ing helped to establish while still at col- signed by HAN Sheng. He writes about lege an inter-secondary school dramatic the absurd conditions of marginalized peo- society, L’Entente Scolaire pour le Théâtre ple with a touch of black humor. et le Folklore. On his return from Paris and subsequent appointment to the Cul- Zheng Rong (1924–) Actor, China. ture Ministry, he founded the Togoese Na- Zheng studied Western style painting at tional Company for the Performing Arts the Peking National School of Fine Arts. and was its director until 1992. Zinsou’s From the 1950s to 1980s he played major theatre is remarkable for the way he ex- ‘old man’ roles in many important plays ploits the traditional and contemporary with Beijing People’s Art Theatre, includ- popular theatre and folk forms of Togo in ing including Lao She’s Long Xu Gou his plays and staging technique. He wrote (Dragon Whiskers Gutter, 1950), Cao Yu’s Lei his first play, L’amour d’un sauvage (The Love Yu (Thunderstorm, 1954), Guo Mo Ruo’s of a Savage), in 1968. His published plays Hu Fu (Tiger Tally, 1957), Lao She’s Cha include On joue la comédie (Let’s Play the Play, Guan (Tea House, 1958), Zhao Qi Yang’s 1975) which won the first prize in the In- Zhi Qu Wei Hu Shan (Take the Tiger Moun- ter-African Radio competition and was his tain by Stratagem), a dramatization of an ex- country’s entry for FESTAC 77 (Black cerpt from Qu Bo’s novel Lin Hai Xue and African Festival of Arts and Culture Yuan, Guo Mo Ruo’s Cai Wen Ji, Guo Mo held in Lagos, Nigeria), Le Club (The Club, Ruo’s Wu Ze Tian (Empress Wu Ze Tian), Su 1983); La Tortue qui chante (The Singing Tor- Shu Yang’s Dan Xin Pu (Devoted Heart, toise, 1987), La Femme du blanchisseur (The 1978) and Liang Bing Kun’s Bing Tang Hu Laundryman’s Wife, 1987) and Yevi au pays Lu (Toffee Haw, 1996). He is known for his des monstres (Yevi in the Land of the Monsters, forceful portrayals and a touch of charac- 1987). ter acting. Zobda, France (1958–) Actor, France and Zhu Lin (1923–) Actor, China. Zhu nei- Martinique. After university studies in ther attended university nor received any English and Business, Zobda studied

341 Zohar, Miriam Zsámbéki, Gábor drama at the Cours Florent (with Francis by Shmuel HASPARI. She received the Huster). Some stage roles include Mariette Israel Prize in 1986. in Laou’s Ne m’appelez jamais nègre (Don’t Ever Call Me Nigger, 1983) and Lady Tea- Zsámbéki, Gábor (1943–) Director, zle in an adaptation of Sheridan’s School Hungary. After graduating from the Acad- for Scandal (1984). These led to a busy emy of Theatre and Film Art in 1968 screen career, attracting critical praise for Zsámbéki immediately joined the com- her role in Michel Drach’s Sauve-toi, Lola pany of the Csiky Gergely Theatre in (Save Yourself, Lola, 1986), and starring Kaposvár. In 1978 he became artistic di- among others in Diop’s Mamy Wata (River rector of the Budapest National Theatre, Mother) and Deslauriers’s L’Exil de Bèhanzin and in 1982 of the Katona József Theatre, (King Behanzin’s Exile), where her energy serving as it general director since 1989. and charm as a mulatto laundress Since 1978 he has also taught acting and reinvigorate the exiled king. Although in directing at the Academy of Theatre and much demand for French television Film Art, and since 1989 he has been a drama, she has continued to be loyal to member of the Founding Committee of the less commercial Caribbean work of the European Theatre Union. He has Juiius Amédée LAOU, appearing in his worked in Helsinki, several times in Stutt- hommage to Joseph Zobel (1996). gart, in Frankfurt and at the Düsseldorfer Schauspielhaus. Major productions in- Zohar, Miriam (1928–) Actor, Israel. clude PINTER’S The Caretaker, Chekhov’s Zohar was born in Romania and began Cajka (The Seagull and Ivanov; As You Like her career on the Yiddish stage, later join- It, Hamlet, Twelfth Night, Wesker’s The ing the Habima national theatre in 1951 Kitchen, Mihály Kornis’s Halleluja, Jarry’s where she has played many major roles Ubu Roi (King Ubu), György SPIRÓS’ like Solveig in Ibsen’s Peer Gynt, Cordelia Csirkefej (Chicken Head) and Molière’s (King Lear), Martha (Edward ALBEE’S L’avare (The Miser). He works in different Who’s Afraid of Virginia Wolf?) and styles, depending on the material and his Euripides’s Medeia. She has played the own vision, often stripping off every con- mother in all the three parts in the trilogy vention associated with the plays.

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