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Colm Feore Essais Et Bonheurs Marie-Claude Fortin
Document generated on 09/28/2021 4:56 a.m. Entre les lignes Le magazine sur le plaisir de lire au Québec Colm Feore Essais et bonheurs Marie-Claude Fortin Traduire Volume 5, Number 2, Winter 2009 URI: https://id.erudit.org/iderudit/682ac See table of contents Publisher(s) Les éditions Entre les lignes ISSN 1710-8004 (print) 1923-211X (digital) Explore this journal Cite this article Fortin, M.-C. (2009). Colm Feore : essais et bonheurs. Entre les lignes, 5(2), 14–17. Tous droits réservés © Les éditions Entre les lignes, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ENTRE LES LIGNES Colm Feore Essais et bonheurs Il a incarné tour à tour, et toujours avec autant de talent, Glenn Gould, Pierre Elliott Trudeau, Macbeth et le stoïque Martin Ward, le «bon» de Bon Cop, Bad Cop. L'été prochain, à Stratford, Ontario, où il habite, il jouera Cyrano de Bergerac dans une production dirigée par son épouse, Donna Feore. Entre deux épisodes du tournage de la série « 24 », à L.A., et le tour nage à Montréal du film The Trotsky, de Jacos Tierney, Colm Feore nous parle des livres de sa vie. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Playing Shakespeare with Deutsche Bank Production of Twelfth Night
2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh. -
Uvisno "Acting Is Handed on from Actor to Actor
Inaide the Stratford Festival uviSNO "Acting is handed on from actor to actor. It's the only way to do it... from observing the people who came before you. That is really the way theatre goes" In OFFSTAGE ONSTAGE: Inside the Stratford Festival, Stratford cameras go backstage during an entire season to capture the creative spirit at the heart of a treasured Canadian theatre company. For five decades, the Festival's stage has been home to the world's great plays and performers. Award-winning director John N. Smith (The Boys of St. Vincent), given unprecedented access backstage, offers a fascinating look at the personalities and the production process behind live theatre performance. Peek into William Hutt's dressing room as he does his vocal warm-ups before Twelfth Night. Watch Martha Henry command the stage in Who's Afraid of Virginia Woolf? Observe an up-and-coming generation of young performers who learn from the masters. Meet dozens of artists, craftspeople and technicians who reveal their secrets, from shoemaking, sword fighting and sound effects to makeup and mechanical monkeys. Join us behind the scenes of Canada's premier classical theatre institution ... and discover the love for the stage that drives this artistic company. Resource guide on reverse side, DIRECTOR: John N. Smith PRODUCER: Gerry Flahive 83 minutes Order number: C9102 042 Closed captioned. A decoder is required. TO ORDER NFB VIDEOS, CALL TODAY! -800-267-7710 (Canada) 1-800-542-2164 (USA) © 2002 National Film Board of Canada. A licence is required for any reproduction, television broadcast, sale, rental or public screening. -
Their Mutuall Embracements": Discourses on Male-Female Connection in Early Modern England
"Their Mutuall Embracements": Discourses on Male-Female Connection in Early Modern England Author: Lindsay Williams Persistent link: http://hdl.handle.net/2345/543 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2008 Copyright is held by the author, with all rights reserved, unless otherwise noted. “Their Mutuall Embracements”: Discourses on Male-Female Connection in Early Modern England Lindsay Williams Advisor: Professor Caroline Bicks English Department Honors Thesis Submitted: April 14, 2008 Acknowledgments I offer my heartfelt thanks to the following people, without whom this thesis would not be in its present, polished form: To my advisor, Professor Caroline Bicks, for the countless hours she dedicated to this project. Her guidance, patience, encouragement, and thoughtful revisions and suggestions were invaluable to the finished product and immensely appreciated by its author. To Christine Stearns, my mentor and friend, for adding the final spark to my passion for English literature and Shakespeare in my senior year of high school. Her love for the subject motivated my choice of an English major at Boston College and was an ongoing inspiration as I undertook the greatest challenge of that major in this thesis. To my parents, Laura and Michael Williams; close friends Anna Talbot, Elise Springer, and Siena Koncsol; and college roommates Lara Kinne, Kristy Bykowski, and Kristen Couture for always seeming to know the exact moments in which I needed an extra -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
The Upstart Crow, Volume XXIX
Clemson University TigerPrints Upstart Crow (Table of Contents) Clemson University Press Fall 2010 The Upstart Crow, Volume XXIX Elizabeth Rivlin, Editor Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/upstart_crow Recommended Citation Rivlin, Editor, Elizabeth, "The Upstart Crow, Volume XXIX" (2010). Upstart Crow (Table of Contents). 30. https://tigerprints.clemson.edu/upstart_crow/30 This Article is brought to you for free and open access by the Clemson University Press at TigerPrints. It has been accepted for inclusion in Upstart Crow (Table of Contents) by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Vol_XXIX Clemson University Digital Press Digital Facsimile Vol_XXIX Shakesp ear ean Hearing guest edited by Leslie Dunn and Wes Folkerth Contents Essays Leslie Dunn and Wes Folkerth Editors’ Introduction to “Shakespearean Hearing” ....5 Erin Minear “A Verse to this Note”: Shakespeare’s Haunted Songs .................... 11 Kurt Schreyer “Here’s a knocking indeed!” Macbeth and the Harrowing of Hell ... 26 Paula Berggren Shakespeare and the Numbering Clock ..........................................44 Allison Kay Deutermann “Dining on Two Dishes”: Shakespeare, Adaptation, and Auditory Reception of Purcell’s Th e Fairy-Queen ..................................... 57 Michael Witmore Shakespeare’s Inner Music ................................................. 72 Performance Reviews Michael W. Shurgot and Peter J. Smith Th e 2010 Season at London’s Globe Th eatre .........................................................................................................83 Sara Th ompson Th e Royal Shakespeare Company 2009:As You Like It ............. 99 Owen E. Brady Th e 2009 Stratford Festival:Macbeth and Bartholomew Fair ..103 Michael W. Shurgot Th e 2009 Oregon Shakespeare Festival ..............................111 Bryan Adams Hampton Th e 2010 Alabama Shakespeare Festival:Hamlet ..... -
Mongrel Media Presents
Mongrel Media Presents Language: English Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/preggoland LOGLINE A 35 year-old woman pretends to be pregnant to fit in with her friends. SHORT SYNOPSIS When 35-year-old Ruth ruins a baby shower with her juvenile antics, her old high school cronies- who are all mothers now-promptly de-friend her. But when she is later mistakenly thought to be ‘with child’ she is inexplicably welcomed back into the group. Although she initially tries to come clean, the many perks of pregnancy are far too seductive to ignore. Preggoland is a comedy about our societal obsession with babies and the lengths we’ll go to be part of a club. SYNOPSIS At 35, Ruth (Sonja Bennett) hasn’t changed much since high school. She’s still partying in parking lots, working as a cashier in a supermarket, and living in her father’s basement. When Ruth gets drunk at a friend’s baby shower and ruins it with her juvenile antics, her old high school cronies – who are now all married with children – suggest she might want to find some friends her own mental age. Ruth is devastated. Just when Ruth hits rock bottom, she runs into her friends who mistakenly think she’s pregnant. -
Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr. -
June 2018 Welcome Mike Hausberg
JUNE 2018 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of The Tempest. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. -
Conversations with Two Canadian Film Artists
Conversations with Two Canadian Film Artists By Gerald Pratley Spring 1994 Issue of KINEMA MICHELINE LANCTÔT AND COLM FEORE TALK TO GERALD PRATLEY (1) MICHELINE LANCTÔT wrote and directed wrote and directed wrote and directed Deux Actrices (Two Can Play), with Pascale Bussières, Pascale Paroissien, Louise Latraverse, François Delisle, Suzanne Garceau; a drama of re-conciliation between two estranged sisters, the charm and intrigue of which soon becomes a nightmare, with the actual narrative being interspersed with real-life scenes of the two actresses at work.(1) Pratley: Ms. Lanctôt, what inspired you to film this subject in a somewhat unusual way? Lanctôt: It came about from an idea I had a long time ago. I teach ”Directing Actors” at Concordia University in Montréal -- I always had trouble explaining what ”character” is on a screen to my students, and how actors approach a character. And I had long been tempted by the notion of doing something involving an actor and his character to try -- not to illustrate or demonstrate -- but just get the feeling of what the relationship is between an actor and a character. That was 10 years ago. And then in one of my classes I had this woman, who was a student of mine, whose face was very interesting, and the idea came to me that I should put her in the same film with Pascale Bussières and that I should involve them as actresses. It evolved pretty much from that woman and the idea of a character that she gave me and the situation that came out of it.