Diplomarbeit
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Blasted” and “Shopping and Fucking”
MASARYK UNIVERSITY BRNO FACULTY OF EDUCATION Department of English Language and Literature Masculinity Crisis in “Blasted” and “Shopping and Fucking” Bachelor Thesis Brno 2012 Supervisor: Author: Mgr. Jaroslav Izavčuk David Ďulík Declaration I proclaim that this bachelor thesis is a piece of individual writing and that I used only the sources cited in the bibliography list. I agree with this bachelor thesis being deposited in the Masaryk University Brno in the library of the Department of English Language and Literature and with the access for studying purposes. ……………………….. David Ďulík 2 Acknowledgment First of all I would like to express my gratitude to my supervisor, Mgr. Jaroslav Izavčuk for his support and time. I am grateful for his helpful suggestions and valuable comments. 3 List of Contents: 1 Introduction .......................................................................................................................... 5 2 In-yer-face Theatre ............................................................................................................... 6 2.1 The Definition of In-yer-face Theatre and Its Origin ................................................... 6 2.2 Where In-yer-face Theatre Has Been Staged ................................................................. 7 2.3 The Crucial Names ....................................................................................................... 7 2.4 Profile of Society in 1990s, Profile of a Young Writer ................................................ 8 2.5 Masculine -
THE EFFECT by Lucy Prebble Directed by Anthony Neilson
PRESS RELEASE – 13 February 2020 Twitter / Facebook / Instagram / Website IMAGES CAN BE DOWNLOADED HERE THE BOULEVARD THEATRE PRESENTS THE EFFECT By Lucy Prebble Directed by Anthony Neilson • CASTING IS TODAY ANNOUNCED FOR THE FIRST LONDON REVIVAL OF LUCY PREBBLE’S THE EFFECT, DIRECTED BY ANTHONY NEILSON • THE CAST WILL BE ERIC KOFI ABREFA, CHRISTINE ENTWISLE, TIM MCMULLAN AND KATE O’FLYNN • THE PLAY RUNS AT THE BOULEVARD THEATRE FROM 19 MARCH UNTIL 30 MAY, WITH PRESS NIGHT ON 25 MARCH • NEW IMAGES CAN BE DOWNLOADED HERE The Boulevard Theatre today announces casting for the first London revival of The Effect, written by award-winning writer Lucy Prebble (A Very Expensive Poison, ENRON, The Sugar Syndrome, Succession and Secret Diary of a Call Girl) and directed by Anthony Neilson (The Tell-Tale Heart, The Prudes and Unreachable). Eric Kofi Abrefa plays Tristan Frey, Christine Entwisle will play Lorna James, Tim McMullan will play Toby and Kate O’Flynn will play Connie Hall. Winner of the Critics’ Circle Award for Best New Play when it opened at the National Theatre in 2012, The Effect places modern medicine under the microscope, examining the fallout from a collision between love and science. Connie and Tristan meet; symptoms develop. Racing hearts. Lost appetites. Erratic emotions. Is this the frenzy of falling in love, or simply side effects from the new anti- depressant drug they're testing? Addiction comes hard and fast. But have the clinicians running the trial lost control? Eric Kofi Abrefa most recently starred in the film Blue Story, directed by Rapman. Other films include Jurassic World and Fury alongside Brad Pitt. -
Sarah Kane's Post-Christian Spirituality in Cleansed
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Winter 2020 Sarah Kane's Post-Christian Spirituality in Cleansed Elba Sanchez Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Performance Studies Commons, Playwriting Commons, and the Theatre History Commons Recommended Citation Sanchez, Elba, "Sarah Kane's Post-Christian Spirituality in Cleansed" (2020). All Master's Theses. 1347. https://digitalcommons.cwu.edu/etd/1347 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. SARAH KANE’S POST-CHRISTIAN SPIRITUALITY IN CLEANSED __________________________________________ A Thesis Presented to The Graduate Faculty Central Washington University __________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts Theatre Studies __________________________________________ by Elba Marie Sanchez Baez March 2020 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the thesis of Elba Marie Sanchez Baez Candidate for the degree of Master of Arts APPROVED FOR THE GRADUATE FACULTY _____________ __________________________________________ Dr. Emily Rollie, Committee Chair _____________ _________________________________________ Christina Barrigan M.F.A _____________ _________________________________________ Dr. Lily Vuong _____________ _________________________________________ Dean of Graduate Studies ii ABSTRACT SARAH KANE’S POST-CHRISTIAN SPIRITUALITY IN CLEANSED by Elba Marie Sanchez Baez March 2020 The existing scholarship on the work of British playwright Sarah Kane mostly focuses on exploring the use of extreme acts of violence in her plays. -
Ewan Mcgregor Tilda Swinton
Presents Ewan McGregor Tilda Swinton YOUNG ADAM “…the best performance of Ewan McGregor's career” Peter Bradshaw, The Guardian WINNER of 4 SCOTTISH BAFTA AWARDS Best Actor (Ewan McGregor) | Best Actress (Tilda Swinton) Best Director (David Mackenzie) | Best Film Nationally in Select Cinemas April 7, 2005 Rating: MA High Level Sex Scenes, Nudity Running Time: 94 minutes www.madman.com.au/incinemas ALL IMAGES AVAILABLE AT: www.image.net Exhibitor contact (and VIC publicity): Publicity (all states excluding VIC) Anna McLeish Edweana Wenkart Theatrical Distribution Manager Director Madman Cinema Tsuki Publicity [email protected] | +61 3 9417 0977 [email protected] | +61 3 8354 1830 RECORDED PICTURE COMPANY, HANWAY, FILM COUNCIL, SCOTTISH SCREEN and SVENO MEDIA present a JEREMY THOMAS production a film by DAVID MACKENZIE EWAN MCGREGOR, TILDA SWINTON, PETER MULLAN, EMILY MORTIMER YOUNG ADAM Casting by DES HAMILTON Costume designer JACQUELINE DURRAN Production designer LAURENCE DORMAN Film editor COLIN MONIE Director of photography GILES NUTTGENS Music by DAVID BYRNE Associate producers PETER WATSON, STEPHAN MALLMANN, GILLIAN BERRIE Based on the novel by ALEXANDER TROCCHI Co-producers ALEXANDRA STONE, NICK O’HAGAN, JIM REEVE Produced by JEREMY THOMAS Written and directed by DAVID MACKENZIE YOUNG ADAM Written and directed by the award-winning short filmmaker David Mackenzie, Young Adam is a hauntingly faithful adaptation of the novel by the Scottish Beat writer Alexander Trocchi. Featuring a strong cast headed by Ewan McGregor, Tilda Swinton, Peter Mullan and Emily Mortimer, Young Adam is a moody, sensual thriller that takes place on the canals between Glasgow and Edinburgh during the 1950s. -
The Singapore Grip Production Notes Low Res FINAL
THE SINGAPORE GRIP PRODUCTION NOTES Contents *** The content of this press pack is strictly embargoed until 0001hrs on Thursday 3 September *** Press Release 3-4 Interview with Jane Horrocks 29-31 Foreword by Sir Christopher Hampton 5 Interview with Charles Dance 33-35 Character Biographies 6-9 Interview with Colm Meaney 36-39 Interview with adaptor and executive producer Sir Christopher Hampton 10-12 Interview with Georgia Blizzard 40-43 Interview with producer Farah Abushwesha 13-16 Episodes One and Two Synopses 45-46 Interview with Luke Treadaway 17-20 Cast and Production Credits 50-52 Interview with David Morrissey 21-24 Publicity Contacts 53 Interview with Elizabeth Tan 25-28 2 Luke Treadaway, David Morrissey, Jane Horrocks, Colm Meaney and Charles Dance star in epic and ambitious adaptation of The Singapore Grip produced by Mammoth Screen Adapted from Booker Prize winner J.G. Farrell’s novel by Oscar winning screenwriter and playwright Sir Christopher Hampton (Atonement, Dangerous Liaisons), The Singapore grip stars Luke Treadaway, David Morrissey, Jane Horrocks, Colm Meaney and Charles Dance. Former Coronation Street actor Elizabeth Tan and rising star Georgia Blizzard will also star as leads in the highly anticipated series. An epic story set during World War Two, The Singapore Grip focuses on a British family living in Singapore at the time of the Japanese invasion. Olivier Award winning actor Luke Treadaway (The Curious Incident of the Dog in the Night-Time, Ordeal By Innocence, Traitors) plays the reluctant hero and innocent abroad Matthew Webb. Award winning actor, David Morrissey (The Missing, Britannia, The Walking Dead) takes the role of ruthless rubber merchant Walter Blackett, who is head of British Singapore’s oldest and most powerful firm alongside his business partner Webb played by Charles Dance OBE (Game of Thrones, And Then There Were None). -
Satiric Representations of Violence in Martin Mcdonagh's the Beauty
Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANNE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş PhD Dissertation Ankara, 2014 SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies PhD Dissertation Ankara, 2014 iii ACKNOWLEDGEMENTS First and foremost, I would like to express my gratitude to my supervisor, Prof. Dr. A. Deniz Bozer for her motivation and patient guidance throughout the writing process of this dissertation. She has always been a “light” to me. This dissertation would not have been possible without her great guidance and support. I am extremely grateful to Prof. Dr. Burçin Erol, Prof. Dr. Belgin Elbir, Assoc. Prof. Dr. Huriye Reis and Asst. Prof. Dr. Şebnem Kaya for all their support and suggestions. I would like to thank Prof. Nicholas Grene, for accepting me to Trinity College, which gave me the opportunity to discuss my dissertation with him, to do research at Trinity College Library and to addend the Synge Summer School. I also would like to thank Patrick Lonergan, the academic director of the School, whose discussions on contemporary Irish drama contributed to my academic development. Moreover, I would like to express my thanks to Assoc. Prof. Dr. Gülşen Sayın, Res. Asst. Nazan Yıldız, Res. Asst. Hakan Yılmaz, Res. Asst. -
In-Yer-Face Theatre İngiliz Sahnesinde Gençlik Şiddeti
604 / RumeliDE Journal of Language and Literature Studies 2019.16 (September) Youth violence on the British stage: In-yer-face theatre / B. Bağırlar (p. 604-615) Youth violence on the British stage: In-yer-face theatre Belgin BAĞIRLAR1 APA: Bağırlar, B. (2019). Youth violence on the British stage: In-yer-face theatre. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (16), 604-615. DOI: 10.29000/rumelide.619333 Abstract Throughout the 1990s, British theatre shifted its focus on themes that were ever more extraordinary, and thus ever more violent. Aleks Sierz, a theatre critic, dubbed this shift ‘in-yer-face theatre’. The aim of this paper is to examine how those who had pioneered this movement, including Martin Crimp, Philip Ridley, Anthony Neilson, Judy Upton, and Moira Buffini reflect the theme of violence in youth in their plays. The overarching goal of ‘In-yer-face theatre’ is to shock viewers as well to have them come face-to-face with own inner beasts through the use of obscene language, and by means of evoking one’s inner violent instincts. In ‘In-yer-face theatre’ not only adults but also youth kill, rape, torture. Both youth and adults alike are victimized by the darkness swirling around within the pits of souls. Each playwright has her/his own way of portraying this violence on stage, Vincent River, Ghost from a Perfect Place, Ashes and Sand, Normal, Welcome to Thebes, In the Republic of Happiness. Crimp blames the emergence of violence upon capitalism. Neilson and Ridley equate violence with the struggle to stay alive. Buffini shows how ruthless youth at war can be, whilst Upton deals with the crimes committed by female gangs—a problem which had plagued much of the United Kingdom during that period. -
Simon Richards Director of Photography
Simon Richards Director of Photography Simon holds a U.S 0-1 Work Visa “We Are Monster” “….while the miasmically unwholesome atmosphere is emphasized by Simon Richards' cinematography: the sickly glow of institutional lighting renders skin tones sallow and even the air itself seems redolent of stale tea bags…..” Hollywood Reporter "This is a confidently hypnotic film with strong cinematography by Simon Richards who delivers excellently framed shot composition and masterful control of light.” People Movies Agents Andrew Naylor Assistant [email protected] Lizzie Quinn +44 (0) 203 214 0899 [email protected] +44 (0)20 3214 0911 Credits Film Production Company Notes MY BUTTERFLY Terra Rossa Films Dir/Writer: Matt Diss 2018 Producers: Leeshon Alexander, Anthony Petrou, Noel Clarke With Leeshon Alexander, Emma Rigby & Noel Clarke United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes WE ARE MONSTER Unstoppable Dir: Antony Petrou 2014 Entertainment Producers: Dean O'Toole, Jean Pierre & Terra Rossa Films Magro, Noel Clarke, Phil Dore, Jason Maza Writer/Prod: Leeshon Alexander *Nominee Michael Powell Award for Best British Feature, Edinburgh Film Festival 2014 X-MEN: FIRST CLASS Fox London Productions Dir: Matthew Vaughn 2011 Ltd D.O.P: Ben Seresin ASC BSC As Director Of Photography, Tests DUPLICITY Universal Tony Gilroy 2008 2nd Unit DOP London and Prods: Kerry Orent Zurich Laura Bickford Jennifer Fox DOP: Robert Elswit ASC -
October 2019 – March 2020
13 September 2019 National Theatre On-Sale: October 2019 – March 2020 Just announced: • Emma Rice adapts and directs Emily Brontë’s iconic masterpiece WUTHERING HEIGHTS, in a new co-production with Wise Children in association with York Theatre Royal. Opening in the Lyttelton Theatre in autumn 2020 before touring across the UK • Lucy Briers, Crystal Condie and Kevin Hely join the cast of Francesca Martinez’s debut play ALL OF US, directed by Ian Rickson • Ben Daniels joins Nancy Carroll in Moira Buffini's timely new play MANOR, directed by Fiona Buffini On sale: • Sarah Niles joins Natalie Simpson and Racheal Ofori in THREE SISTERS, Inua Ellams’ adaptation of Chekhov’s classic play, relocated to 1960s Nigeria and directed by Nadia Fall • Hugo Weaving joins Lesley Manville in Tony Kushner’s new adaptation of Friedrich Dürrenmatt’s masterpiece THE VISIT or THE OLD LADY COMES TO CALL • Further casting announced for Lucy Kirkwood’s new play THE WELKIN, directed by James Macdonald, with a cast including Maxine Peake, Cecilia Noble and Ria Zmitrowicz • Ex Machina’s epic THE SEVEN STREAMS OF THE RIVER OTA, directed by Robert Lepage, returns to the NT as part of a world tour • Clint Dyer becomes the first Black British artist to have acted, written and directed at the NT with DEATH OF ENGLAND, written by Roy Williams and Dyer, and performed by Rafe Spall • Ciarán Hinds and Judith Roddy reprise their roles with Fra Fee joining the cast of Brian Friel’s TRANSLATIONS, directed by Ian Rickson • Further performances on sale for MY BRILLIANT FRIEND, adapted by April De Angelis from Elena Ferrante’s bestselling Neapolitan Novels To download high-resolution images for on-sale productions, please see here. -
Sarah Daniels's Masterpieces and Anthony Neilson's the Censor Luc
Fall 2010 75 Drama and Pornography: Sarah Daniels’s Masterpieces and Anthony Neilson’s The Censor Luc Gilleman There is something awesome about the way that pornography can move our bodies, even when we don’t want it to and even if we don’t approve of the images that make it happen. —Carol J. Clover1 Two Plays about Pornography and Censorship According to British playwright David Hare, drama invites the audience to compare what is said with what is shown, therefore allowing the audience to arrive at an independent judgment: Judgment is at the heart of the theatre. A man steps forward and informs the audience of his intention to lifelong fidelity to his wife, while his hand, even as he speaks, drifts at random to the body of another woman. The most basic dramatic situation you can imagine; the gap between what he says he is and what we see him to be opens up, and in the gap we see something that makes theatre unique; that it exposes the difference between what a man says and what he does.2 As a textual and visual medium, drama is indeed particularly good at exposing lies and illusions. In Hare’s example, the visual trumps the textual, perhaps in accordance with a socialist playwright’s notions of objectivity. After all, seeing is believing. Why is it, then, that playwrights and directors find it hard to determine what the audience sees? Far from offering a neutral space for scientific inquiry where the audience is offered the means of empirical verification, theatre draws attention to the complexity of representation. -
Philip Ridley and Memory
Philip Ridley and Memory Andrew Wyllie Keywords Philip Ridley; Memory; Physicality/Aurality; Nostalgia; Sexuality; British Theatre Abstract Philip Ridley’s nine plays written for an adult audience all share a concern with the role of memory and of remembering. Attempts to recuperate an authentic past by challenging an accepted, acceptable but inaccurate mythology of the past recur in the plays from The Pitchfork Disney through to Shivered. Failure to preserve the past is critiqued in some of the plays, while struggles to come to terms with the past are celebrated in others. In all the plays, the necessity of struggling to tell a story that serves to reconcile the present person with his or her past is celebrated; and the profound experience of tragic catharsis is often the object of that struggle, whether the outcome is achieved or not. In Vincent River, Mercury Fur and Leaves of Glass, the function of memory is presented in strongly contrasting ways that generate both an account of the necessity for personal and cultural memory to be retained and a critique of comforting untruths. The contrasting approaches to memory are underpinned by differing dramaturgical approaches in which either the vocal or the physical is privileged. Philip Ridley’s plays are united by a concern with memory to an extent that places the function of remembering at the centre of his output. From The Pitchfork Disney (1991) to Shivered (2012), all of his nine plays written for an adult audience deal in various ways with the role of memory in achieving or losing an adult identity. -
By Sam Shepard
Study guide for THE GOD OF HELL By Sam Shepard Study Guide Written by Sophie Watkiss Contributing Editors: Aimee Barnett, Hannah Clifford and Freddy Syborn Production Photographer: Stephen Cummiskey This programme has been made possible by the generous support of Universal Consolidated Group 1 Contents Section 1 Cast and Creative Team Section 2 An introduction to the work of Sam Shepard Section 3 Background to THE GOD OF HELL The play in context Shepard and politics A chronology of political events The play’s metaphors, symbols and imagery Section 4 THE GOD OF HELL in performance Practical and written exercises based on the opening of Scene One Designing THE GOD OF HELL: Jonathan Fensom’s creative response to the task Section 5 Ideas for further study Footnotes and bibliography 2 section 1 Cast and Creative Team Cast Stuart McQuarrie Frank, a Wisconsin dairy farmer whose sole objective in life is to care for his wife and heifers. Lesley Sharp Emma, Frank’s wife, born in the Wisconsin farmhouse in which the drama unfolds. She deals with winter’s fierce cold and isolation by lavishing attention on the plants that dominate her home. Both her and Frank are the last bastion of the American heartland. Ewen Bremner Haynes, a government scientist and an old friend of Frank’s, who is hiding in the house and who emits bolts of electric current whenever he is touched. Ben Daniels Welch, who first appears to be a somewhat cartoonish character masquerading as an American Salesman, but whose true identity has sinister undertones. Creative Team Kathy Burke, Director Recent work includes – Theatre: Blue/Orange (Sheffield Crucible), Love Me Tonight and Born Bad (Hampstead Theatre), The Quare Fellow (Oxford Stage Company), Betty (Vaudeville) and Kosher Harry (Royal Court).