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What Ever Happened to In-Yer-Face Theatre?
What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk. -
Célia Maria Silva Oliveira 995 – 20
Universidade do Minho Instituto de Letras e Ciências Humanas 0) 1 Célia Maria Silva Oliveira 995 – 20 From the Margins into the Mainstream: y Williams and Black British Theatre (1 Roy Williams and Black British Theatre (1995 – 2010) tream: Ro he Mains he Margins into t rom t F Célia Maria Silva Oliveira 2 1 UMinho|20 outubro de 2012 Universidade do Minho Instituto de Letras e Ciências Humanas Célia Maria Silva Oliveira From the Margins into the Mainstream: Roy Williams and Black British Theatre (1995 – 2010) Dissertação de Mestrado Mestrado em Estudos Ingleses Trabalho realizado sob a orientação da Professora Doutora Francesca Clare Rayner outubro de 2012 Acknowledgments I would like to thank Professor Francesca Rayner for introducing me to the world of New Writing in Britain and leading me in a quest of discovery. Thank you for the support and for believing in me and in the work that I could do. Thank you for the always open office door and the kind words. Filipe Couto, thank you for seeing qualities in me that I was not aware they existed. Thank you for the image that I have in your eyes. Sérgio Oliveira, more than my brother, my best friend, thank you for the support and the technical help. Sometimes, writing a thesis might have moments of desperation and Daniela and Neuza were always at the distance of a phone call. Thank you for the readings and for listening to my monologues. I would also want to thank all the people that direct and indirectly helped me and were part of this journey. -
A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible. -
Writing Figures of Political Resistance for the British Stage Vol1.Pdf
Writing Figures of Political Resistance for the British Stage Volume One (of Two) Matthew John Midgley PhD University of York Theatre, Film and Television September 2015 Writing Figures of Resistance for the British Stage Abstract This thesis explores the process of writing figures of political resistance for the British stage prior to and during the neoliberal era (1980 to the present). The work of established political playwrights is examined in relation to the socio-political context in which it was produced, providing insights into the challenges playwrights have faced in creating characters who effectively resist the status quo. These challenges are contextualised by Britain’s imperial history and the UK’s ongoing participation in newer forms of imperialism, the pressures of neoliberalism on the arts, and widespread political disengagement. These insights inform reflexive analysis of my own playwriting. Chapter One provides an account of the changing strategies and dramaturgy of oppositional playwriting from 1956 to the present, considering the strengths of different approaches to creating figures of political resistance and my response to them. Three models of resistance are considered in Chapter Two: that of the individual, the collective, and documentary resistance. Each model provides a framework through which to analyse figures of resistance in plays and evaluate the strategies of established playwrights in negotiating creative challenges. These models are developed through subsequent chapters focussed upon the subjects tackled in my plays. Chapter Three looks at climate change and plays responding to it in reflecting upon my creative process in The Ends. Chapter Four explores resistance to the Iraq War, my own military experience and the challenge of writing autobiographically. -
History in the Hands of the Contemporary Playwright 2000-2015: a Feminist Critique of Normative Historiography in British Theatre
History in the hands of the Contemporary Playwright 2000-2015: a feminist critique of normative historiography in British theatre. Submitted by Rebecca Amy Fraser to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama in June 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract Abstract Between 2000 and 2015 twelve of the UK’s leading producing theatres premiered twenty three plays by British playwrights where the action was set between 1882-1928. This historical period is significant; in 1882 the Married Women’s Property Act was passed and in 1928 equal enfranchisement for men and women was granted in the United Kingdom, hence, the historical period traces a shift in women’s rights from property ownership to the vote. This thesis investigates narratives within these plays and explores the development of a normative historiography that is drawn on, but predominantly left unquestioned, by playwrights as Britain’s past is reimagined. It is this normative historiography, operating in a theatrical context, which the thesis problematises and interrogates through the lens of contemporary British playwriting. This lens facilitates an exploration of the manner in which the representation of the past mirrors and/or challenges current feminist discourse and considers the cultural implications of the structures and techniques employed to retell women their history through this medium. -
See a Full List of the National Youth
Past Productions National Youth Theatre '50s 1956: Henry V - William Shakespeare, Dir: Michael Croft @ Toynbee Hall 1957: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Toynbee Hall 1957: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Worthington Hall, Manchester 1958: Troilus & Cressida - William Shakespeare, Dir: Michael Croft @ Moray House Theatre, Edinburgh 1958: Troilus & Cressida - William Shakespeare, Dir: Michael Croft @ Lyric Theatre, Hammersmith '60s 1960: Hamlet - William Shakespeare, Dir: Michael Croft @ Tour of Holland. Theatre des Nations. Paris 1961: Richard II - William Shakespeare, Dir: Michael Croft @ Apollo Theatre, Shaftesbury Avenue 1961: Richard II - William Shakespeare, Dir: Michael Croft @ Ellen Terry Theatre. Tenterden. Devon 1961: Richard II - William Shakespeare, Dir: Michael Croft @Apollo Theatre, Shaftesbury Avenue 1961: Henry IV Pt II - William Shakespeare, Dir: Michael Croft @ Apollo Theatre, Shaftesbury Avenue 1961: Julius Caesar - William Shakespeare, Dir: Michael Croft @ British entry at Berlin festival 1962: Richard II - William Shakespeare, Dir: Michael Croft @ Italian Tour: Rome, Florence, Genoa, Turin, Perugia 1962: Richard II - William Shakespeare, Dir: Michael Croft @ Tour of Holland and Belgium 1962: Henry V - William Shakespeare, Dir: Michael Croft @ Sadlers Wells 1962: Julius Caesar - William Shakespeare, Dir: Michael Croft @ Sadlers Wells1962: 1962: Hamlet - William Shakespeare, Dir: Michael Croft @ Tour for Centre 42. Nottingham, Leicester, Birmingham, Bristol, Hayes -
Introduction
Notes Introduction 1. I witnessed the demonstrations against Terrence McNally’s play, Corpus Christi, in 1999 at Edinburgh’s Bedlam Theatre, the home of the University’s student theatre company. But these protests were not taken seriously by any- one I knew: acknowledged as a nuisance, certainly, but also judged to be very good for publicity in the competitive Festival fringe. 2. At ‘How Was it for You? British Theatre Under Blair’, a conference held in London on 9 December 2007, the presentations of directors Nicholas Hytner, Emma Rice and Katie Mitchell, writers Mark Lawson, Kwame Kwei-Armah, Tanika Gupta and Mark Ravenhill, and actor and Equity Rep Malcolm Sinclair all included reflection upon issues of censorship, the policing of per- formance or indirect forms of constraint upon content. Ex-Culture Minister Tessa Jowell’s opening presentation also discussed censorship and the closure of Behzti. 3. Andrew Anthony, ‘Amsterdammed’, The Observer, 5 December 2004; Alastair Smart, ‘Where Angels Fear to Tread’, The Sunday Telegraph, 10 December 2006. 4. Christian Voice went on to organise protests at the theatre pro- duction’s West End venue and then throughout the country on a national tour. ‘Springer protests pour in to BBC’, BBC News, 6 January 2005, http://news.bbc.co.uk/1/hi/entertainment/tv_and_radio/4152433.stm [accessed 1 August 2007]. 5. Angelique Chrisafis, ‘Loyalist Paramilitaries Drive Playwright from His Home’, The Guardian, 21 December 2005. 6. ‘Tate “Misunderstood” Banned Work’, BBC News, 26 September 2005, http://news.bbc.co.uk/1/entertainment/arts/4281958.stm [accessed 1 August 2007]; for discussion of the Bristol Old Vic’s decision, see Ian Shuttleworth, ‘Prompt Corner’, Theatre Record, 25.23, 6 December 2005, pp. -
Diversityinlit Conference 2019
#DiversityInLit Conference 2019 Conference Programme Wednesday 20th November 2019 Agenda for the day 09:30 – 10:00am Welcome/arrivals 10:00 – 10:10 Solomon O.B Keynote from Ndidi Okezie, VP of Secondary Portfolio, UK 10:10 - 10:40am Schools Speaker 1: Raymond Antrobus, poet and winner of the Rathbone Folio Prize 2019, Ted Hughes award 2019, PBS 10:40 – 11:20am Winter Choice, Sunday Times & The Guardian Poetry Book of The Year 2018 and a Griffin Prize shortlist. Speaker 2: Jamila Gavin, author of many short story collections, teenage novels and books for children aged six to 16 years, 11:20 – 12:00pm including Coram Boy (2000), The Blood Stone (2003) and Tales from India – Stories of Creation and the Cosmos (2011). 12:00 – 12:45pm Lunch Matt Sowerby – Spoken word poet, activist and National Youth 12:45-12:55pm Slam Champion. Speaker 3: Tanika Gupta has written over 20 stage plays that have been produced in major theatres across the UK. She 12:55– 1:30pm has written 30 radio plays for the BBC and several original television dramas, and has taught drama and led playwriting workshops in the UK and across the globe. Panel discussion and Live Q&A chaired by Dr Deirdre 1:40 – 2:30pm Osbourne, Reader in English Literature and Drama at Goldsmiths University, London. 2:40- 2:50pm Solomon O.B 2:50 – 3:00pm Conference close 2 #DiversityInLitConf19 Welcome! We are delighted to welcome you to our first #DiversityInLitConf19 at Friends House Euston, London. “Children need and deserve to see themselves in books, and to have access to a rich and diverse range of voices. -
New Work at the Rsc – Key Productions Over the Last 50 Years
NEW WORK AT THE RSC – KEY PRODUCTIONS OVER THE LAST 50 YEARS More details are available on the RSC performance database 1961 ALDWYCH The Devils - John Whiting (Later tour) 1962 ALDWYCH Playing with Fire (Double Bill with The Collection) - Strindberg (translated by Michael Meyer) / The Collection (Double Bill with Playing with Fire) - Harold Pinter A Penny for a Song - John Whiting NEW ARTS THEATRE CLUB Everything in the Garden - Giles Cooper Nil Carborandum - Henry Livings The Lower Depths - Maxim Gorky (new version Derek Marlowe) Afore Night Come - David Rudkin The Empire Builders - Boris Vian (translated by Simon Watson Taylor) Infanticide in the House of Fred Ginger - Fred Watson TOUR Curtmantle - Christopher Fry 1963 ALDWYCH The Physicists Durrenmatt (translated by James Kirkup) The Representative Rolf Hochhuth (translated by Robert David McDonald) 1964 LAMDA THEATRE CLUB Theatre of Cruelty Season ALDWYCH The Rebel devised - Patrick Garland The Birthday Party - Harold Pinter (also directed by Harold Pinter) Afore Night Come - David Rudkin Expeditions One – An experimental season of short plays Victor - Roger Vitrac (translated by Lucienne Hill) Marat/Sade - Peter Weiss (adapted by Adrian Mitchell and translated by Geoffrey Skelton) Eh? - Henry Livings 1965 ALDWYCH Expeditions Two – A selection of plays on nation and Colonialism The Homecoming - Harold Pinter The Thwarting of Baron Bolligrew - Robert Bolt 1966 ALDWYCH Tango - Slawomir Mrozek (translated by Nicholas Bethell and adapted by Tom Stoppard) Days in the Trees - Marguerite -
London Cultural Capital Realising the Potential of a World– Class City Main Doc Cover 1 21/4/04 3:02 Pm Page 2
Main Doc Cover 2 21/4/04 3:05 pm Page 2 London Cultural Capital Realising the potential of a world– class city Main Doc Cover 1 21/4/04 3:02 pm Page 2 City Hall The Queen’s Walk London SE1 2AA www.london.gov.uk Enquiries: 020 7983 4100 Minicom: 020 7983 4458 GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 1 London The Mayor’s Cultural Capital Culture Strategy April 2004 London — Title Page 3 Cultural Capital GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 2 © Greater London Authority, April 2004 Published by Greater London Authority City Hall The Queen’s Walk London SE1 2AA Enquiries 020 7983 4100 Minicom 020 7983 4458 www.london.gov.uk ISBN 1 85261 611 3 Copies of the Highlights document and further copies of this Strategy are available from www.london.gov.uk or by calling 20 7983 4100 (a limited number of printed copies of the full document are available at a cost of £25). This document is printed on 75 per cent recycled paper, 25 per cent from sustainable forest management © Crown copyright material is reproduced with the permission of the Controller of HMSO and the Queen's Printer for Scotland. The Photographers’ Gallery GLA1.004 Main Document Intro 26/4/04 4:12 pm Page 3 Other formats and languages For a large print, Braille, disc, sign You will need to supply language video or audio-tape your name, your postal version of this document, please address and state the contact us at the address below: format and title of the publication you require. -
RSC Shakespeare Toolkit for Teachers Thanks to a Grant from the Department for Education
IMAGE CREDITS IN ORDER OF APPEARANCE: David Tennant in Richard II by Kwame Lestrade. Shakespeare’s 450th Birthday Fireworks by Lucy Barriball. The cast of As You Like It by Keith Pattison. The cast of Richard II by Kwame Lestrade. Technical rehearsal for Live From Stratford-upon-Avon by Lucy Barriball. Lydia Leonard in Bring Up the Bodies by Keith Pattison. Camille O’Sullivan in The Rape of Lucrece by Keith Pattison. Anjana Vasan talking to students at First Encounter: The Taming of the Shrew tour by Simon Annand. Matilda Write Here Write Now by Manuel Harlan. Sam Swann and Charlotte Mills in Wendy & Peter Pan by Manuel Harlan. Audience member streaming A Midsummer Night’s Dreaming by Kwame Lestrade. The cast of The Empress by Steve Tanner. ROYAL SHAKESPEARE COMPANY Greg Hicks and Joanna Horton in All’s Well That Ends Well WATERSIDE by Ellie Kurttz. Ellie Beaven in STRATFORD-UPON-AVON A Mad World My Masters WARWICKSHIRE by Manuel Harlan. Jo Stone-Fewings in The Winter’s Tale CV37 6BB by Sheila Burnett. egistered Charity No. 212481 Audience members R applauding Candide by Sasha Gusov. Income and Expenditure: Matilda The Musical +44 (0)1789 296655 by Manuel Harlan. The cast of Candide www.rsc.org.uk by Manuel Harlan. EDITORIAL Find us on Facebook Review compiled and www.facebook.com/theRSC edited by Jane Ellis. DESIGN Follow us on Twitter Designed by Graham Rolfe, www.twitter.com/theRSC RSC Visual Communications. We have had a great year, bringing the very best in live theatre to audiences across the world. -
Plays Bibliography
Black Playwrights in Britain in Print Ugly Rumours (Tricycle) NHB, 1998 Collateral Damage (with Brenton, de la Tour, produced Tricycle by Susan Croft, Curator of Contemporary Theatre) Oberon, 1999 Performance [email protected] Snogging Ken (with Brenton) Oberon, 2000 Karim Alrawi (Egypt, 1953) This bibliography is a revised version of the one A Colder Climate (Joint Stock) Methuen,1986 published in Black and Asian Plays Anthology ed. Migrations, Playwrights Press, 1986 Cheryl Robson, Aurora Metro, 2000, Mulk Raj Anand email: [email protected] Untouchable (novel 1940 adapted by Tamasha, 1989 – see under Bhuchar) The following bibliography lists the work of those black Nkemba Asika (aka Frank John) i.e. African-Caribbean and Asian playwrights whose orange lady (self-published, no date) work has been published - and in most cases B Harwant Bains (1963) produced - in Britain. Where the publisher’s name Blood (Royal Court) Methuen 1988 given below (e.g. Faber or Aurora Metro) is followed by Indian Summer (National Theatre, 1995) in Making Scenes a second date this indicates that the publication date Short Plays for Young Actors 3, Methuen, 1995 differs substantially from the first production date, Shango Baku (Trinidad) One Bad Casa which usually appears in brackets with the producing Revo company. Where a writer is based primarily in Britain Ruby, My Dear though African (Biyi Bandele) or American by birth in Three Plays of Our Time Trinidad: Baku Publications, 1984 (Bonnie Greer), or has been substantially produced or Parv Bancil Made in England (BAC, 1998) in Black and Asian Plays formerly based in Britain though they may now be Anthology ed.