Constructing Reputation Through Contemporaries in the Shakespeare Biopic University of Nottingh
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
220 Plot Point Breakdowns
thescriptlab® 220 Plot Point Breakdowns: The Plot of 220 Popular Hollywood Films Broken Down into their Five Structural Components 1 Father of the Bride (1991) Screenplay Genre: Family / Comedy Movie Time: 105 minutes 1. INCITING INCIDENT After she gets back from Rome, Annie is having dinner with her family. She tells them she fell in love in Rome and is getting married, much to her father's dismay. (00:12:13) 2. LOCK IN (End of Act One) Brian comes over to meet the parents. He tells the story of how he knew Annie was "the one". Nina (Annie's mom) breaks down and cries. Later, she tells George (Annie's father) that this wedding is happening whether he likes it or not. (00:28:00) 3. FIRST CULMINATION (Midpoint) George has a meltdown due to the stress (and the cost) of the wedding. He is arrested for causing havoc in a grocery store while arguing over hot dog buns. (00:56:13) 4. MAIN CULMINATION (End of Act Two) To celebrate, Brian gives Annie a blender as a gift before the wedding. Annie has a fit and calls off the wedding. Seeing his daughter so distraught, George does something he never thought he would do. He bonds with Brian and actually convinces the two to go through with the wedding. (1:24:00) 5. THIRD ACT TWIST George tries to get a moment alone with Annie throughout the wedding. He fails, and Annie leaves for her honeymoon without saying goodbye. (1:31:00) 220 Plot Point Breakdowns The Script Lab 2 That Thing You Do! (1996) Screenplay Genre: Comedy / Drama Movie Time: 108 minutes 1. -
Annual Report 2011–2012 Annual Theatre National Report
National Theatre Annual ReportAnnual 2011–2012 Annual Report 2011–2012 1 National Theatre Annual Report 2010–2011 National Theatre Annual Report 2010–2011 2 ‘ …the National Theatre must… bulk large in the social Annual Report and intellectual life of London... It must not even have For the 53 weeks ended 1 April 2012 the air of appealing to a specially literary and cultured class. It must be visibly and unmistakably a popular institution, making a large appeal to the whole community. 02 Board and Advisers It will be seen that the Theatre we propose would be 05 Purpose, Vision and Objectives a National Theatre in this sense, that it would be from 06 John Makinson, Chairman the first conditionally – and, in the event of success, 09 Nicholas Hytner, Director would become absolutely – the property of the nation.’ 10 The Year in Review 12 Artists and Audiences Preface (1904) to A National Theatre: Scheme and Estimates 19 National Theatre Productions by William Archer and Harley Granville Barker, London 1907 23 Awards 24 Digital, Learning and Public Engagement ‘What we’ve sought to do with our work is to be ambitious 34 National Theatre Future and very popular, not because we want to be commercial but 38 NT Studio because those were the goals of [Shakespeare’s] theatre that 41 Leadership sprung from the south bank of this river 400 years ago. 42 Sustainability I’ve always had an impresario’s interest in developing 49 Fundraising 50 Supporters productions – whether new or old – that would be as 60 Performers interesting as possible to as many people as possible.’ 62 NT Associates and Committee Membership Nicholas Hytner, New York Times, September 2011 63 NT Heads of Department; photograph captions In this document, The Royal National Theatre is referred to as If you would like to receive it in large print, “the NT”, “the National”, and “the National Theatre”. -
The Changeling Submitted by Nora
Between Performances, Texts, and Editions: The Changeling Submitted by Nora Jean Williams to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama In January 2016 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: ………………………………………………………….. 2 Abstract This thesis is about the ways in which Thomas Middleton and William Rowley’s play The Changeling has been edited, performed, and archived in the twentieth and twenty-first centuries. It proposes a more integrated way of looking at the histories of performances and texts than is usually employed by the institutions of Shakespeare and early modern studies. Crucially, it suggests that documented archival remains of performance should be admitted as textual witnesses of a play’s history, and given equal status with academic, scholarly editions. I argue that—despite at least a century of arguments to the contrary—performance is still considered secondary to text, and that this relationship needs to become more balanced, particularly since the canon has begun to expand and early modern plays beyond Shakespeare have begun to see more stage time in recent years. In addition, I begin to theorise social media as archives of performance, and begin to suggest ways forward for archiving the performance of early modern drama in the digital turn. -
Artist Development and Training in the Royal Shakespeare Company a Vision for Change in British Theatre Culture
Artist Development and Training in the Royal Shakespeare Company A Vision for Change in British Theatre Culture Volume I Lyn Darnley A thesis submitted to the Faculty of Arts of Royal Holloway College, University of London for the degree of PhD Department of Drama and Theatre Arts Royal Holloway College University of London Egham TW20 OEX March 2013 Declaration of Authorship I, Lyn Darnley, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________________ Date: ________________________________ Contents Volume I Page Abstract ......................................................................................................... 1 Introduction ................................................................................................... 2 Chapter One: The Royal Shakespeare Company and Training .............. 16 Chapter Two: Training and the Shakespeare Memorial Theatre ............. 38 Chapter Three: Cicely Berry....................................................................... 72 Chapter Four: Training and Ensemble under Adrian Noble .................. 104 Chapter Five: The Pilot Programme December 2003 ............................. 140 Chapter Six: Training for the Comedies Ensemble – 2005 ................... 192 Chapter Seven: The Complete Works Festival 2006-2007 ..................... 234 Chapter Eight: Achievements, Challenges and Moving Forwards ....... 277 Bibliography ............................................................................................. -
Illuminating Shakespeare Through Performance 1997-2008 J. M
1 Illuminating Shakespeare Through Performance 1997-2008 J. M. Boxall Royal Holloway College PhD 2 Declaration of Academic Integrity I, Jocelyn Mary Boxall, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others this is always clearly stated. Jocelyn Mary Boxall Date 3 Abstract. The twenty-first century has seen a marked change in approaches to understanding Shakespeare’s texts through literary and theatrical criticism and also performance. This thesis argues that performances of Shakespeare in Britain between 1997 and 2008 staged by Shakespeare’s Globe, the Royal National Theatre and the Royal Shakespeare Company enabled audiences to have increased physical and intellectual access to the plays and that as a result literary and theatrical critical readings of the texts became more productively complicated. It is argued that this increased access came as a response to political initiatives to democratise culture in Britain. It was also partly the result of transferring staging practices used in more intimate theatrical spaces to main house environments where they were developed further. By analysing particular scenes from Titus Andronicus, Love’s Labour’s Lost, King Henry V and King Lear in case studies of the plays observed in the theatrical spaces and conditions in which they were encountered in performance, it is possible to demonstrate that production practices during this time gave new dimensions to the plays and deepened our understanding of their processes and textual meanings. The identification of these processes and their uses extends our knowledge of Shakespeare’s work as a dramatist.