On THURSDAYS ENGLISH SURTITLES on THURSDAYS
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Digital Playbill
IRISH REPERTORY THEATRE Little Gem BY ELAINE MURPHY DIRECTED BY MARC ATKINSON BORRULL A PERFORMANCE ON SCREEN IRISH REPERTORY THEATRE CHARLOTTE MOORE, ARTISTIC DIRECTOR | CIARÁN O’REILLY, PRODUCING DIRECTOR A PERFORMANCE ON SCREEN LITTLE GEM BY ELAINE MURPHY DIRECTED BY MARC ATKINSON BORRULL STARRING BRENDA MEANEY, LAUREN O'LEARY AND MARSHA MASON scenic design costume design lighting design sound design & original music sound mix MEREDITH CHRISTOPHER MICHAEL RYAN M.FLORIAN RIES METZGER O'CONNOR RUMERY STAAB edited by production coordinator production coordinator SARAH ARTHUR REBECCA NICHOLS ATKINSON MONROE casting press representatives general manager DEBORAH BROWN MATT ROSS LISA CASTING PUBLIC RELATIONS FANE TIME & PLACE North Dublin, 2008 Running Time: 90 minutes, no intermission. SPECIAL THANKS Irish Repertory Theatre wishes to thank Henry Clarke, Olivia Marcus, Melanie Spath, and the Howard Gilman Foundation. Little Gem is produced under the SAG-AFTRA New Media Contract. THE ORIGINAL 2019 PRODUCTION OF LITTLE GEM ALSO FEATURED PROPS BY SVEN HENRY NELSON AND SHANNA ALISON AS ASSISTANT STAGE MANAGER. THIS PRODUCTION IS MADE POSSIBLE WITH PUBLIC FUNDS FROM THE NEW YORK STATE COUNCIL ON THE ARTS, THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS, AND OTHER PRIVATE FOUNDATIONS AND CORPORATIONS, AND WITH THE ASSISTANCE OF THE MANY GENEROUS MEMBERS OF IRISH REPERTORY THEATRE’S PATRON’S CIRCLE. WHO’S WHO IN THE CAST MARSHA MASON (Kay) has summer 2019, Marsha starred in Irish received an Outer Critics Rep’s acclaimed production of Little Gem Circle Award and 4 Academy and directed a reading of The Man Who Awards nominations for her Came to Dinner with Brooke Shields and roles in the films “The Goodbye Walter Bobbie at the Bucks County Girl,” “Cinderella Liberty,” Playhouse and WP Theater in NYC. -
Biographies (396.2
ANTONELLO MANACORDA conducteur italien • Formation o études de violon entres autres avec Herman Krebbers à Amsterdam o puis, à partir de 2002, deux ans de direction d’orchestre chez Jorma Panula. • Orchestres o 1997 : il crée, avec Claudio Abbado, le Mahler Chamber Orchestra o 2006 : nommé chef permanent de l’ensemble I Pomeriggi Musicali à Milaan o 2010 : nommé chef permanent du Kammerakademie Potsdam o 2011 : chef permanent du Gelders Orkest o Frankfurt Radio Symphony, BBC Philharmonic, Mozarteumorchester Salzburg, Sydney Symphony, Orchestra della Svizzera Italia, Scottish Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra, Hamburger Symphoniker, Staatskapelle Weimar, Helsinki Philharmonic, Orchestre National du Capitole de Toulouse & Gothenburg Symphony • Fil rouge de sa carrière o collaboration artistique de longue durée avec La Fenice à Venise • Pour la Monnaie o dirigeerde in april 2016 het Symfonieorkest van de Munt in werk van Mozart en Schubert • Projets récents et futurs o Il Barbiere di Siviglia, Don Giovanni & L’Africaine à Frankfort, Lucio Silla & Foxie! La Petite Renarde rusée à la Monnaie, Le Nozze di Figaro à Munich, Midsummer Night’s Dream à Vienne et Die Zauberflöte à Amsterdam • Discographie sélective o symphonies de Schubert avec le Kammerakademie Potsdam (Sony Classical - courroné par Die Welt) o symphonies de Mendelssohn également avec le Kammerakademie Potsdam (Sony Classical) • Pour en savoir plus o http://www.inartmanagement.com o http://www.antonello-manacorda.com CHRISTOPHE COPPENS Artiste et metteur -
Die Premieren Von August Bis Februar*
fotografiert von Ute Mahler und Werner Mahler Die Premieren von August bis Februar* 2014/15 * with English summaries Die Zeit There ist aus den is no Fugen Carolin Emcke und Thomas Ostermeier im Gespräch Wie lässt sich von Krieg und Gewalt erzählen? Gibt es dabei Grenzen des Verstehens? Ist es nicht nur möglich, sondern auch nötig, vom Leid anderer zu erzählen? Diesen Fragen geht Carolin Emcke in ihrem neuesten Buch »Weil es sagbar ist. Über Zeugenschaft und Gerechtigkeit« nach. Ihre Essays sind der Ausgangspunkt für ein Gespräch mit dem Künstlerischen Leiter der Schaubühne, Thomas need Ostermeier, über den Einbruch der Wirklichkeit in die Fiktion, blinde Flecken in Theater und Journa- lismus, tabuisierte gesellschaftliche Konflikte und die Möglichkeit, die Welt erzählend zu verändern. Carolin Emcke ist freie Publizistin und als Reporterin häufig in Krisengebieten unterwegs. Ihre jour- nalistische Arbeit wurde mit zahlreichen Preisen ausgezeichnet. Seit 2004 kuratiert und moderiert sie die monatliche Diskussionsreihe »Streitraum« an der Schaubühne. TO: Bei der Lektüre deines letzten Buches »Weil es am Ende des Stücks mit dem Gift umbringen, an dem bereits sagbar ist«, kamen mir drei Assoziationen in den Sinn. Die Hamlet und seine Mutter und alle anderen gestorben sind. Da erste war das Stück »Zerbombt«. Darin zeigt Sarah Kane eine sagt Hamlet voller Verzweiflung: Du darfst dich nicht umbringen. Paarbeziehung zwischen einem Journalisten und einer jungen Du musst doch meine Geschichte erzählen. Das ist gewisserma- Frau, die offenbar minderjährig ist, noch dazu etwas sprachbe- ßen die einzige Hoffnung, die hier bei Shakespeare bleibt. to be hindert, und von diesem Journalisten missbraucht wird. Damals Das Dritte, was mir einfiel, war »Die Perser« von Aischylos. -
Sep 16 – Feb 17 020 7452 3000 Nationaltheatre.Org.Uk Find Us Online How to Book the Plays
This cover was created with the Lighting Department. Lighting is used to create moments of stage magic. The choices a Lighting Designer makes about how a set and actors are lit have a major impact on the mood and atmosphere of a scene. The National’s Lighting department deploys everything from flood or spotlight to complex automated lights, controlled via a lighting data network. Sep 16 – Feb 17 020 7452 3000 nationaltheatre.org.uk Find us online How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm See p29 for Sunday and holiday opening times Hedda Gabler LOVE Amadeus Playing from 5 December 6 December – 10 January Playing from 19 October Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm for the following week’s performances Day Tickets £15 / £18 tickets available in person on the day of the performance No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Peter Pan The Red Barn A Pacifist’s Guide to Playing from 16 November 6 October – 17 January the War on Cancer 14 October – 29 November Access symbols used in this brochure Captioned Touch Tour British Sign Language Relaxed Performance Audio-Described TRAVELEX £15 TICKETS The National Theatre NT Future is Partner for Sponsored by in partnership -
Ben Whishaw Photographed by Matt Doyle at the Walter Kerr Theatre in NYC on Feb
03.17.16 • BACKSTAGE.COM YOUR VO NEED-TO-KNOWS: BEN BUILD YOUR OWN WHISHAW IN-HOUSE STUDIO! DOWNLOAD YOUR THE BRIT GOES WAY TO SUCCESS! PURITANICAL IN “THE CRUCIBLE” TAKE TIPS FROM THE PROS! 17+ Pages of Casting Notices! NEW YORK STELLAADLER.COM 212-689-0087 31 W 27TH ST, FL 3 NEW YORK, NY 10001 [email protected] THE PLACE WHERE RIGOROUS ACTOR TRAINING AND SOCIAL JUSTICE MEET. SUMMER APPLICATION DEADLINE EXTENDED: APRIL 1, 2016 TEEN SUMMER CONSERVATORY 5 Weeks, July 11th - August 12th, 2016 Professional actor training intensive for the serious young actor ages 14-17 taught by our world-class faculty! SUMMER CONSERVATORY 10 Weeks, June 6 - August 12, 2016 The Nation’s Most Popular Summer Training Program for the Dedicated Actor. SUMMER INTENSIVES 5-Week Advanced Level Training Courses Shakespeare Intensive Chekhov Intensive Physical Theatre Intensive Musical Theatre Intensive Actor Warrior Intensive Film & Television Acting Intensive The Stella Adler Studio of Acting/Art of Acting Studio is a 501(c)3 not-for-prot organization and is accredited with the National Association of Schools of Theatre LOS ANGELES ARTOFACTINGSTUDIO.COM 323-601-5310 1017 N ORANGE DR LOS ANGELES, CA 90038 [email protected] by: AK47 Division CONTENTS vol.57,no.11|03.17.16 NEWS 6 Ourrecapofthe37thannualYoung Artist Awardswinners 7 Thisweek’sroundupofwho’scasting whatstarringwhom 8 7 brilliantactorstowatchonNetflix ADVICE 11 NOTEFROMTHECD Themonsterwithin 11 #IGOTCAST EbonyObsidian 12 SECRET AGENTMAN Redlight/greenlight 13 #IGOTCAST KahliaDavis -
Dialect Coaching for Screen 2014/2015/2016 Dialect and Voice
Dialect Coaching for Screen 2014/2015/2016 Nov 16 – Feb 2017 Roseline Productions Dialect Coach for Will Ferrell, John C Reilly: Holmes and Watson Nov 2016 Sky Dialect Coach Bliss Nov 2016 BBC Dialect Coach for Zombie Boy: Silent Witness Aug 2016 Sky Dialect Coach for Iwan Rheon and Dimitri Leonidas: Riviera Jan/Feb 2016 Channel 4 Dialect Coach: ADR: Raised By Wolves directed by Ian Fitzgibbon Oct 2015 Jellylegs/Sky 1 Dialect Coach: Rovers directed by Craig Cash Oct 2015 Channel 4 Dialect Coach: Raised By Wolves directed by Ian Fitzgibbon Sept 2015 LittleRock Pictures/Sky Dialect /voice coach: Elizabeth, Michael and Marlon (Joseph Fiennes, Stockard Channing, Brian Cox) January – May 2015 BBC2/ITV, London Dialect Coach (East London): Cradle to Grave – directed by Sandy Johnson January – April 2015 Working Title/Sky Dialect Coach (Gen Am, Italian): You, Me and the Apocalypse – TV directed by Michael Engler/Saul Metzstein September 2014 Free Range Films Ltd, London Dialect/voice coach (Leeds): The Lady in the Van – Feature directed by Nicholas Hytner May 2014 Wilma TV, Inc. for Discovery Channel, New York Dialect Coach (Australian): Amerikan Kanibal - Docudrama February/March 2014 Mad As Birds Dialect Coach (Various Period US accents): Set Fire to the Stars - Feature directed by Andy Goddard February and June 2014 BBC 3 Dialect Coach (Liverpool and Australian): Crims - TV directed by James Farrell Dialect and Voice Coaching for theatre 2016 Oct 2016 Park Theatre, Dialect support (New York: Luv directed by Gary Condes Oct 2016 Kings Cross -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
Visual Media Use and Intermediality in Shakespeare Productions
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository STRANGE BEDFELLOWS? VISUAL MEDIA USE AND INTERMEDIALITY IN SHAKESPEARE PRODUCTIONS By SHARI LYNN FOSTER A thesis submitted to the University of Birmingham for the degree of Masters of Literature College of Arts and Law School of Humanities Shakespeare Institute University of Birmingham October 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Drawing on archive material, reviews and personal observation, this thesis examines the use of visual media in stage productions of Shakespeare’s plays. Utilizing examples from the period between 1905 and 2007, the thesis focuses on intermedial productions, explores the media use in Shakespeare productions, and asks why certain Shakespeare plays seem to be more adaptable to the inclusion of visual media. Chapter one considers the technology and societal shifts affecting the theatre art and the audience and Klaus Bruhn Jensen’s three level definition of intermediality which provides a framework for the categorizing the media usage within Shakespeare productions. -
The Visionary Aesthetic How the Chapel Was Reimagined for Modern Times Welcome Beautiful Places to Call Your Home
magazine Issue 6 magazine The magazine for designer lifestyles & contemporary living Designer for contemporary living lifestyles The visionary aesthetic How The Chapel was reimagined for modern times Welcome Beautiful places to call your home t what point does a new house or down Savile Row, pick up theatreland’s hottest apartment become a home? Does it start tickets, or lose yourself in London’s greatest parks. Afrom the inside with the décor, furniture Our spotlight on Kidbrooke Village brings you and accessories you choose? Or is it when up to date with the latest in eco-friendly living as neighbours become friends, local shopkeepers we look inside the town house of the future. And know your name, and you feel that comfort of you’ll be amazed at the beautiful urban oasis belonging that community brings? that is Woodberry Wetlands. Further afield, in In this issue you’ll find both: inspiration from Somerset we find out what’s so great about Bruton some of the most exciting names from the world of — the tiny picturesque town with creativity at interiors and design, together with fantastic places its heart. Then get a taste for English fizz as we and beautiful spaces for your dream lifestyle. celebrate the rise of the UK’s finest winemakers. We think you’ll look at London with fresh eyes Wherever we take you in our latest issue, it is after reading our homage to life in the capital. It’s with the promise that Berkeley will always bring still the most vibrant, buzzing city in the world. -
Richard III an Incarnation of Absolute Evil, As Ugly of Body As He Is Dark of Soul: So Is King Richard Often Perceived
RICHARD III An incarnation of absolute evil, as ugly of body as he is dark of soul: so is King Richard often perceived. Able to seduce with his words, this student of I EN Machiavelli is a genius manipulator who positions himself at the heart of all the bloodiest political machinations that take place at the court of England. A poisonous and perverted hero, he is as fascinating as Iago or Lady Macbeth, and the centuries haven’t made him any less mysterious. Thomas Ostermeyer is the latest to tackle Shakespeare’s play, in a new translation by Marius von Mayenburg that changes English verses into German prose to keep as close to the text’s meaning as possible and paint the portrait of a Richard III who, more than just a serial killer, also reveals the instincts hidden inside every man. This king-actor, played by Lars Eidinger, uses his gifts to do on the stage what we might want to do, sometimes, in our lives. He creates with the audience a troubling complicity that gives another meaning to this bloody, disturbing, and overwhelming epic. Once again, Thomas Ostermeier manages to turn the theatre stage into the place where the past can become the present. Show premiered on 7 February, 2015 at Schaubühne, Berlin (Germany). THOMAS OSTERMEIER After studying direction in Berlin in the 1980s, Thomas Ostermeier’s name first appeared on the map when he was appointed artistic director of the Baracke at the Deutsches Theater, where he worked from 1996 to 1999. There, he directed plays by modern German and English-speaking playwrights, to great acclaim. -
GLENDA FRANK in New York Revivals, One Path to Make Broadway
GLENDA FRANK in New York Revivals, one path to make Broadway great again, are an acid test for directors, who have the choice of honouring the time period, updating the issues or stamping their signature on a revered work. With minimalist like Ivo Van Hove, you can anticipate what the evening will bring. With other directors, it’s more of a mystery. Like fine wine, Falsettos (1992 Tony Award), at the Walter Kerr Theatre, has improved with age. The first act, titled March of the Falsettos, is as accomplished as Sweeney Todd. The story by director James Lapine and William Finn (score and lyrics) begins when Marvin (Christian Borle) leaves Trina, his wife (Stephanie J. Block), and 12-year-old son (Anthony Rosenthal) for Whizzer (Andrew Rannells). Everyone’s perspective is given a voice -- and a poignant, creative freshness. The familiar songs (Trina’s “I’m Breaking Down,” the choral “Everyone Tells Jason to See a Psychiatrist”) are unconditionally appealing. The full-cast, neon-costumed “March of the Falsettos” is spectacular, funny, and healing. These are people you care about, struggling toward happiness. Focus shifts in Act II. The power of Falsettoland is more extra-literary, dependent upon your experience with the mysterious AIDS crisis of 1981, but Whizzer’s solo (“You Gotta Die Sometime”) as sung by Rannells is haunting. The moveable cubes and skyscraper cut-outs by set designer David Rockwell and lighting by Jeff Croiter add other creative dimensions. This is a don’t-miss revival. The Front Page, a 1926 comedy by Ben Hecht and Charles MacArthur about tabloid journalists and an escaped murdered, creaks along pleasantly enough at the Broadhurst Theatre. -
6-Cercle Giorgio Strehler-1.Pdf
DEVENEZ MEMBRE «Le Théâtre de l'Europe est un carrefour vivant de la création théâtrale européenne ; il a pour mission de favoriser le travail en commun des metteurs en scène, des comédiens, des écrivains et autres praticiens européens de l'art dramatique en vue de créer des œuvres nouvelles et de vivifier le patrimoine artistique de l'Europe» Article 1 de l'arrêté du 16 juin 1983 portant sur la création du Théâtre de l'Europe Ont notamment été applaudies à l’Odéon les mises en scène de : Giorgio Strehler, Ingmar Bergman, Luca Ronconi, Peter Stein, Peter Zadek, Klaus Michael Grüber, Luc Bondy, Lev Dodine, Howard Barker, Deborah Warner, Krystian Lupa, Romeo Castellucci, Christoph Marthaler, Krzysztof Warlikowski, Thomas Ostermeier, Frank Castorf, Guy Cassiers, Ivo Van Hove, Angélica Liddell, Katie Mitchell, Martin Kušej... Bibiana Beglau dans Die bitteren Tränen der Petra von Kant de Rainer Werner Fassbinder / mise en scène Martin Kušej Ateliers Berthier, octobre 2013 © Hans Jörg Michel © Jacob Khrist En 1983, Giorgio Strehler, fondateur du Piccolo Teatro de Milan, pose avec Jack Lang la pierre fondatrice sur laquelle le Théâtre de l’Odéon, désormais Théâtre de l’Europe, inscrira son projet artistique. Trente ans plus tard, nous souhaitons poursuivre cette mission européenne en réunissant autour d’une même passion, les spectateurs désireux de soutenir et partager les audaces artistiques venues d’ailleurs. Pour honorer la mémoire et l’oeuvre d’une personnalité fondatrice du Théâtre de l’Europe, nous choisissons de nommer ce Cercle, le Cercle Giorgio Strehler. Hervé Digne, Président du Cercle Chaque saison, les donateurs soutiennent la venue d’un spectacle européen parmi les propositions artistiques de la programmation à venir.