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“I Will Never Play the Dane”: Shakespeare and the Performer's Failure
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library DOI: 10.1111/lic3.12470 ARTICLE “I will never play the Dane”: Shakespeare and the performer's failure Richard O'Brien University of Birmingham Abstract Correspondence Richard O'Brien, Department of Film and The cultural prestige accorded to Shakespeare's great roles Creative Writing, University of Birmingham, has made them high watermarks for ‘great acting’ in general. Birmingham, UK. Email: [email protected] They are therefore also uniquely capable of channelling a performer's sense of his own failure. The 1987 film Withnail &Ifamously ends with its title character, an out‐of‐work actor and self‐destructive alcoholic, delivering Hamlet's “What a piece of work is a man” to an audience of unre- sponsive wolves. And in 2014's The Trip to Italy, Steve Coogan plays a fictionalised version of himself: a comedian who fears he will never be remembered as a serious artist. On a visit to Pompeii, Coogan's delivery of Hamlet's speech to Yorick's skull similarly becomes a way of channelling the series's wider reflections on fame, mortality, and the value of the actor's art. Drawing on Marvin Carlson's argument that the role of Hamlet is unusually densely ghosted by its previous occupants, this article will explore how these two contemporary depictions of struggling performers evoke the received idea of the great Shakespearean role as the pinnacle of the actor's art to respond to the dilemma of how to cope with creative failure. -
Lamda.Ac.Uk Review of the Year 1 WELCOME
REVIEW OF THE YEAR 17-18 lamda.ac.uk Review of the Year 1 WELCOME Introduction from our Chairman and Principal. This year we have been focussing on: 2017-18 has been a year of rapid development and growth for LAMDA Our students and alumni continue to be prolific across film, theatre and television • Utilising our new fully-accessible building to its maximum potential and capacity. production, both nationally and internationally; our new building enables us to deliver • Progressing our journey to become an independent Higher Education Provider with degree gold standard facilities in a fully accessible environment; and our progress towards awarding powers. registration as a world-leading Higher Education Provider continues apace. • Creating additional learning opportunities for students through new collaborations with other arts LAMDA Examinations continues to flourish with 2017/18 yielding its highest number of entrants to organisations and corporate partners. date, enabling young people across the globe to become confident and creative communicators. • Widening access to ensure that any potential student has the opportunity to enrol with LAMDA. We hope you enjoy reading about our year. • Extending our global reach through the expansion of LAMDA Examinations. Rt. Hon. Shaun Woodward Joanna Read Chairman Principal lamda.ac.uk Review of the Year 2 OUR PURPOSE Our mission is to seek out, train and empower exceptional dramatic artists and technicians of every generation, so they can make the most extraordinary impact across the world through their work. Our examinations in drama and communications inspire people to become confident, authentic communicators and discover their own voice. Our vision is to be a diverse and engaged institution in every sense, shaping the future of the dramatic arts and creative industries, and fulfilling a vital role in the continuing artistic, cultural and economic success of the UK. -
Yale University B0082
U.S. Department of Education Washington, D.C. 20202-5335 APPLICATION FOR GRANTS UNDER THE National Resource Centers and Foreign Language and Area Studies Fellowships CFDA # 84.015A PR/Award # P015A180082 Gramts.gov Tracking#: GRANT12659441 OMB No. , Expiration Date: Closing Date: Jun 25, 2018 PR/Award # P015A180082 **Table of Contents** Form Page 1. Application for Federal Assistance SF-424 e3 2. Standard Budget Sheet (ED 524) e6 3. Assurances Non-Construction Programs (SF 424B) e8 4. Disclosure Of Lobbying Activities (SF-LLL) e10 5. ED GEPA427 Form e11 Attachment - 1 (1244-GEPA Statement2018) e12 6. Grants.gov Lobbying Form e13 7. Dept of Education Supplemental Information for SF-424 e14 8. ED Abstract Narrative Form e15 Attachment - 1 (1246-CES FLAS Abstract) e16 9. Project Narrative Form e18 Attachment - 1 (1245-CES FLAS Budget Narrative) e19 10. Other Narrative Form e67 Attachment - 1 (1234-InformationToMeetStatutoryRequirements (9)) e68 Attachment - 2 (1235-FLAS Applicant Profile) e71 Attachment - 3 (1236-Acronyms ESC) e72 Attachment - 4 (1237-Bojanowska CV 2018) e74 Attachment - 5 (1238-BIOS ForAPPwithTOC_YaleESC) e85 Attachment - 6 (1239-LetterOfReferenceMinjinHashbat) e244 Attachment - 7 (1240-LetterOfReferenceNellekeVanDeusen-Scholl) e246 Attachment - 8 (1241-LetterOfReferenceConstantineMuravnik) e248 Attachment - 9 (1242-CouncilMemberList) e250 Attachment - 10 (1243-CourseListForAPP_ALLYaleESC) e253 11. Budget Narrative Form e317 Attachment - 1 (1247-Section C Budget Narrative) e318 This application was generated using the PDF functionality. The PDF functionality automatically numbers the pages in this application. Some pages/sections of this application may contain 2 sets of page numbers, one set created by the applicant and the other set created by e-Application's PDF functionality. -
Group Sales Tickets
SHAKESPEARE THEATRE COMPANY 21st Annual Table of Contents D.C.’s favorite Feature Letter from Michael Kahn 5 The Two Faces of Capital summer by Drew Lichtenberg 6 Program Synopsis 11 theatre event About the Playwright 13 Title Page 15 Cast 17 is back! Cast Biographies 18 PRESENTED BY Direction and Design Biographies 22 Shakespeare Theatre Company Tickets will be available Board of Trustees 8 online and in line! Shakespeare Theatre Company 26 Individual Support 28 Visit ShakespeareTheatre.org/FFA for more details on how to get your tickets via lottery Corporate Support 40 or at Sidney Harman Hall on the day of the Foundation and performance. Tickets for 2011–2012 Season Government Support 41 subscribers available through the Box Office Academy for Classical Acting 41 beginning July 5, 2011, at 10 a.m. For the Shakespeare Theatre Company 42 Join the Friends of Free Staff 44 JULIUS For All for tickets! Audience Services 50 Free For All would not be possible without Creative Conversations 50 CAESAR the hundreds of individuals who generously donate to support the program each year. “ Only with the help of the Friends of Free For All is STC able to offer free performances, All hail Julius Caesar! making Shakespeare accessible to … One of the best productions of this or any season.” Washington, D.C., area residents every summer. The Washingtonian In appreciation for this support, Friends of Free For All receive exclusive benefits during This Year's Production: the festival such as reserved Free For All tickets, the option to have tickets mailed in August 18–September 4 advance, special event invitations, program recognition and more. -
Acting Methods Classical Acting / Stanislavsky System
ACTING METHODS CLASSICAL ACTING / STANISLAVSKY SYSTEM Considered by many to be the father of what’s known today as “method acting,” the Stanislavski system was founded by Konstantin Stanislavski and is based on the idea of the “art of experiencing.” The intent is to ignite an actor’s conscious thought to affect their less conscious expression in their performance, as far as emotion and subconscious behaviors. One of the world’s most frequently taught acting techniques, Stanislavski inspired scores of future teachers including Stella Adler, Sanford Meisner, and Lee Strasberg. Think emotional memory recall, spiritual realism, and self-analysis. METHOD ACTING: STRASBERG Lee Strasberg extrapolated upon Stanislavski’s technique to create “The Method” but focused on the psychological aspects. The approach is for actors to evoke their own applicable experiences in order to bring them closer to those of their character, which Strasberg called “emotion memory.” Lee Strasberg’s actors intensify their connections to the work by mimicking characters’ experiences within the context of their own (real) lives, and reaching deeper connections and understandings of their characters’ emotional worlds. METHOD ACTING: STELLA ADLER Stella Adler also worked with and expanded upon Stanislavski’s method, though she stringently opposed the idea of drudging up past experiences for the sake of acting, deeming it unhealthy. Rather, she created a system that revolves around the development of independent actors, the power of the imagination, the importance of action, script interpretation, and the cultivation of a rich humanity. Stella Adler’s approach is also built on that of Stanislavski, but imagination is emphasized over emotional recall; in her words, “You have to get beyond your own precious inner experiences.” METHOD ACTING: MEISNER Developed by Sanford Meisner, the Meisner technique, too, builds on Stanislavski. -
Improving Broadcast Accessibility for Hard of Hearing Individuals Using Object-Based Audio Personalisation and Narrative Importance
Improving broadcast accessibility for hard of hearing individuals using object-based audio personalisation and narrative importance Lauren Alison Ward Supervisor: Dr. Ben Shirley Prof. Bill Davies Acoustics Research Centre School of Computing, Science and Engineering Doctorate of Philosophy in Acoustics and Audio Engineering University of Salford May 2020 "We’re all born mad. Some remain so." – Samuel Beckett, Waiting for Godot This work is dedicated to the memory of Gordon ‘Tere’ Manns, who never let an idea pass him without interrogating it. Abstract Technological advances in broadcasting can be the impetus for advances in accessibility services. For the 11 million individuals in the United Kingdom with some degree of hearing loss, the advent of object-based broadcasting and it’s personalisation features has the po- tential to facilitate a transition towards more accessible broadcast audio. Part I of this work conducts a systematic review of previous object-based accessibility research, identifying the personalisation of redundant non-speech objects as a potentially high impact yet unexplored area of research. Guided by these findings, and the results of a survey of end-user needs, the specific research questions of this work are then developed as: 1. What is the relationship between redundant non-speech audio objects and broadcast speech intelligibility, for normal and hard of hearing listeners? 2. Can a system be designed which allows end-users to control the balance between audio objects for dramatic content which is simple to use and preserves comprehension? Part II of this work shows that the presence of redundant non-speech sounds improve speech recognition in noise in normal hearing listeners, even when the sound partially masks the speech. -
Classic Template
4 Mise-en-Scène and Actors TM and Copyright © 20th Century Fox Film Corp. All rights reserved./Courtesy Everett Collection Acting is all about honesty. If you can fake that, you’ve got it made. —George Burns (n.d., para. 20) Learning Objectives After reading this chapter, you should be able to ▪ Identify how the details of what we see in a scene tell us about the characters and the story. ▪ Interpret the dramatic and narrative impact of elements of the mise-en-scène, such as costumes, makeup, props, lighting, and set design, on film. ▪ Explain how filmmakers use actors within the setting to reinforce the story, whether realistically or artifi- cially stylized, and have a working knowledge of the actor’s job. ▪ Distinguish between an actor and a character. ▪ Evaluate different types of acting methods and their application in specific roles. ▪ Examine some of the processes involved in casting a film and how casting shapes the outcome of a film as well as audience expectations for it. ▪ Describe the collaboration between actors and directors. What Is Mise-en-Scène? Section 4.1 4.1 What Is Mise-en-Scène? The first few minutes or so of Inglourious Basterds, writer and director Quentin Tarantino’s 2009 reimagining of World War II, establish a situation in 1940 Nazi-occupied France by showing scenery, props, actors playing characters in specific costumes using specific body language, and those actors moving through the setting, all with very little dialogue. We get our initial feeling about the characters and what might happen by seeing where they are, what their belongings are, how they are dressed, how they are lit, and how they react. -
Actor with Two Lives by ARTHUR and BARBARA GELB
64 Actor With Two Lives By ARTHUR AND BARBARA GELB In the unstable realm of show business, Stewart Granger, one of the first to Richard Burton, urbane star where the road from rags to riches is recognize Burton's talent, told him he taken for granted, the rise of Richard looked "atrocious" when he turned up for Burton is a legend. Born into an impover- lunch one day in a baggy, twenty-two- of Camelot and Cleopatra, ished family of uneducated, Welsh- dollar suit. Burton smiled and_said, "I'm speaking miners, Burton has become one not a glamour boy." of the most polished and sophisticated Burton's taste in food is no more re- darling of the critics, is still a actors in the world. fined than his taste in clothes. His favor- As a boy, he struggled to learn English, ite snack is an order of French-fried po- hoping to escape the coal pits of his native tatoes between two slices of white bread. brawlingWelshman offstage. Welsh village. He did escape; at the age Burton's wild, Welsh rages became of twenty-four he was playing leads in legendary in Hollywood during the film- Shakespeare. In demand ever since for ing of The Robe, with Victor Mature and roles that require classical acting and Jean Simmons. On the set one day he de- regal bearing, he recently left the part of liberately ran his head into a wall after King Arthur in the Broadway musical failing several times in attempts to per- Camelot to portray Antony, opposite form a stunt called for by the script. -
London Academy of Music & Dramatic
LONDON ACADEMY OF MUSIC & DRAMATIC ART Welcome 3 Why Choose LAMDA? 5 Acting at LAMDA 7 BA (Hons) Professional Acting 9 Foundation Degree Professional Acting 12 MA Classical Acting for the Professional Theatre 13 Production & Technical Arts at LAMDA 15 Production & Technical Arts: Stage & Screen 17 Recent Technical Graduate Destinations 19 Other Full-Time Courses 21 MA Directing 23 LAMDA Foundation Diploma 26 LAMDA Semester Diploma Classical Acting 27 LAMDA Shakespeare Summer School 28 LAMDA Short Courses 29 Shakespeare Short Course 31 Audition Technique 32 Introduction to Drama School 32 Introduction to Screen Acting 32 English Communication Skills Through Drama (EFL) 32 How to Apply 35 Equality & Diversity 36 Fees & Funding 37 Living in London 39 Our New Home 41 Our Graduates 43 Faculty & Visiting Artists 45 The Conservatoire for Dance and Drama 47 Our Supporters 49 Our Examinations 51 Contact Us 53 This publication is also available to view at www.lamda.org.uk. If you require this prospectus in large print, please contact LAMDA on +44 (0)20 8834 0500 or [email protected]. Every effort has been made to locate the source of photographs, illustrations and text appearing in this publication. All information correct at time of going to press. Brian Cox CBE © LAMDA Limited 2016. All Rights Reserved. Class of 1965 BAFTA, Emmy and Olivier Award winner Designed by Hudson Fuggle www.hudsonfuggle.com Credits include: War and Peace (BBC), Penny Dreadful (Sky), Rise of the Planet of the Apes Front Cover: Macbeth by William Shakespeare. LAMDA at Large at the Pleasance, Islington. Photograph by John Haynes. -
21 22-PROSPECTUS.Pdf
Welcome to The Oxford School of Drama The Oxford School of Drama is a world-leading conservatoire offering professional actor training on a Three Year and One Year Acting Course, plus a Six Month Foundation Course. We are proud to be one of the youngest conservatoires in the UK and despite our short history, we boast an illustrious award- winning alumni who work as actors, writers and directors, across all areas of the industry in film, radio, television and theatre. Only an hour outside London, nestled in the beautiful Oxfordshire countryside, the environment is unparalleled for actor training, enjoying stunning Cotswold stone studios and a theatre, with superb views across the Blenheim estate. Our location reflects the supportive and nurturing ethos of the school, and being a small drama school, we are able to offer bespoke, rigorous and progressive training. A training that learns from the past but embraces the future. As the students work through their course and grow in confidence, the training becomes more outward-focused with productions moving to offsite venues, including schools and local theatres before ending with a London season introducing our students to the wider industry. The well-being of all our students is paramount and we enjoy helping each actor to reach their full potential. Enabling them to graduate with confidence in their own abilities to not just work in the industry, but offer new ideas and new voices to an ever-changing future industry. We believe that talent comes in all packages and we are committed to offering our conservatoire training to talent across the country, no matter what their background. -
SPECTRUM Continuing Care
Page December 2020 Page 2 Think you know Disabled People... Think Again Page 3 Contents: Contents Page No. From the Editor ............................................................................................ 5 From the Chief Executive Chief Executive’s update & planning for 2021 ............................................. 6-8 Featured Articles 2025 City of Culture…………………………………………………………………9 Repaying the Unity 12 Mortgage ............................................................. 10-11 Accessibility in Southampton .................................................................. 12-15 Membership Secretary…………………………………………………………16-17 Reducing the Digital Divide……………………………………………………..18 SPECTRUM Access Group……………………………………………………..19 Skills for Care Contract………………………………………………………… 20-21 Spotlight on SPECTRUM Projects Support Planning & Brokerage .......................................................... …...22-25 SPECTRUM’s Payroll & Managed Budget Service.....................................26-27 SO:Linked………………………………………………………………………..28-29 Student Unit……………………………………………………………………….30 Hate Crime....................................................................................................31-33 SPECTRUM’s Subsidiaries Unity 12 ........................................................................................................ 34 SPECTRUM Continuing Care ...................................................................... 35 Other Featured Articles Ms Marxist………………………………………………………………………….36-37 Pumpageddon……………………………………………………………………...38 -
BBC DIVERSITY COMMISSIONING CODE of PRACTICE – PROGRESS REPORT – 2018/19 1 Introduction
BBC DIVERSITY COMMISSIONING CODE OF PRACTICE PROGRESS REPORT – 2018/19 The Code sets out what the BBC will do when commissioning content across all genres to ensure our content accurately represents and authentically portrays the diverse communities of the whole of the UK. BBC DIVERSITY COMMISSIONING CODE OF PRACTICE – PROGRESS REPORT – 2018/19 1 Introduction The BBC is fully committed to diversity and inclusion. We need the very best people with a rich variety of views, thoughts and experience, regardless of age, disability, gender, neurodiversity, physical ability, religion, race or ethnicity, sexual orientation, socio-economic background or geographic location to continue to make world class content and reflect the diverse voices of our audiences. Last year we launched our Code of Practice putting diversity at the heart of the BBC’s commissioning processes; it applies to the commissioning of content across BBC TV, radio and online services in the UK. The Code sets out what the BBC will do when commissioning content across all genres to ensure we accurately represent and authentically portray the diverse communities of the whole of the UK. And because this is something that the BBC cannot do on its own, the Code also sets out what we expect from the producers, writers, directors and other suppliers we work with. This report outlines our achievements, learnings and next steps. 2 BBC DIVERSITY COMMISSIONING CODE OF PRACTICE – PROGRESS REPORT – 2018/19 The work undertaken through the Code of Practice has given us a real opportunity to identify areas of excellence within the BBC and the producers we work with.