Showbuzz 201606

Total Page：16

File Type：pdf, Size：1020Kb

Encore Theatre Company SSHHOOWWBBUUZZZZ June 2016 encoretheatre.org.au BREAKFAST BUDDIES WIN BREAKFAST with your BEST BUDDY! THREE WINNERS, each with their "best buddy", will join Buddy Holly & the Crickets in THE ANNEXE RESTAURANT at Launceston's HOTEL GRAND CHANCELLOR and enjoy a full buffet breakfast with all the yummy trimmings on Sunday 26 June from 9am. Competition closes at 9am on June 19 and winners announced that same day. Visit Encore’s Facebook page for the full competition details and your chance to win: https://www.facebook.com/encoretasmania/ 22-30 July at the Princess Theatre TICKETS 6323 3666 and ONLINE theatrenorth.com.au L to R Steve Thomas, Matthew Garwood, Matthew Tomlin and Lauchy Hansen IMAGE Ross Marsden Presentation Partners H finalen t Encore Theatre Company SSHHOOWWBBUUZZZZ June 2016 encoretheatre.org.au BLACKADDER AUDITIONS The stage version of the BBC TV comedy classic (which starred Rowan Atkinson, Tony Robinson, Stephen Fry and Miranda Richardson) is coming to Launceston. Lord Edmund Blackadder is a leading courtier to the ditsy Queen Elizabeth I. Assisted by the clueless but fashionable Lord Percy Percy (the stupidest git that ever drew breath), and a dung-eating cunning servant named Baldrick (the filthy), he is on the lookout for funds to support his Renaissance lifestyle. Encore’s production will feature the scripts from three episodes taken from Series II (Head, Money & Beer). Directed by Troy Ridgway, auditions for ALL ROLES will take place on June 18. Email for details and book a time NOW to [email protected] EARL ARTS CENTRE 28 Oct-12 Nov TICKETS 6323 3666 and ONLINE theatrenorth.com.au Major Partners Encore Theatre Company SSHHOOWWBBUUZZZZ June 2016 encoretheatre.org.au LEGENDS OF REVUE We'll all need a good laugh after the Federal Election, and three of Uni Revue’s best known L veteran performers have got just the ticket! With over 60 Revues under their collective belts, Andrew Colrain, Graeme Paine and John X (pictured L to R) have teamed together, popped a comedy Viagra and will present a collection of the very best ‘oldies but goodies’, minus the politics! Legends of Revue features the best of the classic, legendary sketches from the vaults of Uni Revues and the touring comedy shows including sketches such as the Wheelie Bins, Tasmaniana and the Bogan Medley. Delivered by seasoned pros, plus the usual Revue touch of glamour in the form of Karen McMullen, Imogen Paine, Erin Martin and Danielle Lipscombe. 13 -16 JULY at 8pm. 4 Shows only - BOOK EARLY! TICKETS 6323 3666 & ONLINE theatrenorth.com.au PHONE 6323 3666 ONLINE theatrenorth.com.au Media Partners & Funding Partners Encore Theatre Company SSHHOOWWBBUUZZZZ June 2016 encoretheatre.org.au WHAT’S ON in TASSIE? Dusty: The Original Pop Diva Presented by Launceston Musical Society 24 June-2 July (Country Club Resort) tixtas.com.au Legends 0f Revue Presented by John X & Graeme Paine 13-16 July (Earl Arts Centre) BUDDY The Buddy Holly Story presented by Encore Theatre Company 22-30 July (Princess Theatre) Rock of Ages presented by Launceston College 31 Aug – 3 Sept (Princess Theatre) Peter Pan The Musical presented by Stage Right Youth Theatre 19-21 Sept (Princess Theatre) BlackAdder presented by Encore Theatre Company 28 October–12 November (Earl Arts Centre) WICKED presented by Encore Theatre Company WICKED INFORMATION NIGHT 3-18 March 2017 (Princess Theatre) DETAILS COMING SOON Rosa McCarty as Elphaba, CLOC Musical Theatre TICKET BOOKINGS National Theatre, May 2016 IMAGE BY: Ben Fon IN PERSON Princess Theatre Box Office 57 Brisbane Street Launceston ONLINE: theatrenorth.com.au MORE INFO about ENCORE? PHONE: 6323 3666 ONLINE: encoretheatre.org.au LIKE US: facebook.com/encoretasmania FOLLOW US: @EncoreTasmania Partners .

Copy Link

Recommended publications

Blackadder Goes Forth Audition Pack
Blackadder Goes Forth Audition Pack Key Dates Audition Dates: • Tuesday 8 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 12 th May – 10.30am – 5.00pm • Sunday 13 th May – 10:00am – 3.00pm Recalls (if required): • Friday 18 th May – 6:00 – 10:00pm (Everyman Clubroom) • Saturday 19 th May – 10:00am – 1:00pm (Everyman Clubroom) Actors who are successfully cast need to understand that they MUST be available for all the following key dates • Technical Rehearsal: Sunday 11 th November (cast need to be available all day) • Dress Rehearsal: Monday 12 th November (evening) • Performance Dates: Tuesday 13 th – Saturday 17 th November; Evening Performances at 7.30pm, Saturday matinee at 2.30pm Rehearsal Nights Rehearsals will begin w/c Monday 3 rd September. Exact rehearsal nights will be confirmed nearer the time but are quite likely to be Tuesdays, Thursdays and Sundays. Not all cast will be required for every rehearsal. Plot Blackadder Goes Forth is set in 1917 on the Western Front in the trenches of World War I. Captain Edmund Blackadder is a professional soldier in the British Army who, until the outbreak of the Great War, has enjoyed a relatively danger-free existence fighting natives who were usually "two feet tall and armed with dried grass". Finding himself trapped in the trenches with another "big push" planned, his concern is to avoid being sent over the top to certain death. The show thus chronicles Blackadder's attempts to escape the trenches through various schemes, most of which fail due to bad fortune, misunderstandings and the general incompetence of his comrades.
[Show full text]
Disabling Comedy: “Only When We Laugh!”
Disabling Comedy: “Only When We Laugh!” Dr. Laurence Clark, North West Disability Arts Forum (Paper presented at the ‘Finding the Spotlight’ Conference, Liverpool Institute for the Performing Arts, 30th May 2003) Abstract Traditionally comedy involving disabled people has extracted humour from people’s impairments – i.e. a “functional limitation”. Examples range from Shakespeare’s ‘fool’ character and Elizabethan joke books to characters in modern TV sitcoms. Common arguments for the use of such disempowering portrayals are that “nothing is meant by them” and that “people should be able to laugh at themselves”. This paper looks at the effects of such ‘disabling comedy’. These include the damage done to the general public’s perceptions of disabled people, the contribution to the erosion of a disabled people’s ‘identity’ and how accepting disablist comedy as the ‘norm’ has served to exclude disabled writers / comedians / performers from the profession. 1. Introduction Society has been deriving humour from disabled people for centuries. Elizabethan joke books were full of jokes about disabled people with a variety of impairments. During the 17th and 18th centuries, keeping 'idiots' as objects of humour was common among those who had the money to do so, and visits to Bedlam and other 'mental' institutions were a typical form of entertainment (Barnes, 1992, page 14). Bilken and Bogdana (1977) identified “the disabled person as an object of ridicule” as one of the ten media stereotypes of disabled people. Apart from ridicule, disabled people have been largely excluded from the world of comedy in the past. For example, in the eighties American stand-up comedian George Carlin was arrested whilst doing his act for swearing in front of young disabled people.
[Show full text]
In the Night Garden
Highlights | August 2011 For further information and images, please contact: UK: Nick Myles Editorial Coordinator BBC Worldwide Channels E-mail: [email protected] Tel.: +44 20 8433 2000 Produced by EBS New Media www.ebs.tv + 44 1462 895 999 Editorial Manager: Paul Talbot [email protected] August 2011 Highlights Britain’s Funniest Comedian BBC Entertainment presents a month of top comedy with four of Britain’s funniest comedians. John Cleese, Rowan Atkinson, Ricky Gervais and Stephen Fry are featured in their finest shows, and viewers are invited to vote for their favourite on the BBC Entertainment website. John Cleese From Sunday 7 August from 18:00 Kicking off the proceedings, the legendary John Cleese stars in classic 70s sitcom Fawlty Towers. Cleese gives an iconically hysterical performance as Basil Fawlty, the much put-upon hotel manager whose life is plagued by dead guests, hotel inspectors and riff-raff, not to mention hapless waiter Manuel’s peculiar attachment to a certain rodent. Rowan Atkinson From Sunday 14 August at 18:00 The Blackadder series sees the inimitable Rowan Atkinson starring as four different incarnations of Edmund Blackadder. In The Black Adder he is Edmund, Duke of Edinburgh, haunted by his uncle Richard III who he accidentally killed. In Blackadder II, Lord Edmund swaggers back with a big head and a small beard in search of grace and favour from stark raving mad Queen Elizabeth I. In Blackadder the Third, Edmund has been reduced in status and is serving as butler to the Prince Regent (Hugh Laurie), and in Blackadder Goes Forth we find him doing everything he can to avoid a futile death in the trenches of the First World War.
[Show full text]
UNIVERSITY of VAASA Faculty of Philosophy English Studies Erika Bertell Translation of Wordplay and Allusions the Finnish Subti
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Osuva UNIVERSITY OF VAASA Faculty of Philosophy English Studies Erika Bertell Translation of Wordplay and Allusions The Finnish Subtitling of Blackadder Master‘s Thesis Vaasa 2014 1 TABLE OF CONTENTS ABSTRACT 4 1 INTRODUCTION 6 1.1 Material 12 1.2 Method 18 1.3 Blackadder – The Whole Damn Dynasty 22 1.3.1 Situation Comedies 24 1.3.2 British Humour in Blackadder 25 1.4 Subtitling in Finland 31 1.4.1 (In)visibility of Translators 32 1.4.2 BTI International and Audiovisual Translators 33 1.4.3 Audiovisual Translators United 34 2 VERBAL HUMOUR 36 2.1 Humour Theories 37 2.2 Wordplay 41 2.3 Allusions 46 3 SUBTITLING 51 3.1 General Information 52 3.1.1 DVD Translation 54 3.2 Limitations and Constraints 55 3.2.1 Benefits of Subtitling 58 3.3 Subtitling and Pictorial Links 60 4 TRANSLATION STRATEGIES FOR VERBAL HUMOUR 66 4.1 Views on the (Un)translatability of Verbal Humour 67 4.2 Holmes's Retentive and Re-creative Strategies 69 4.3 Translation Techniques for Wordplay 71 2 5 TRANSLATION OF VERBAL HUMOUR IN BLACKADDER 73 5.1 Findings 74 5.2 Retention of Verbal Humour 78 5.2.1 Examples in Wordplay 80 5.2.2 Examples in Allusions 81 5.3 Re-creation of Verbal Humour 83 5.3.1 Examples in Wordplay 84 5.3.2 Examples in Allusions 87 5.4 Omission and Addition of Verbal Humour 88 5.4.1 Examples in Wordplay 89 5.4.2 Examples in Allusions 91 6 CONCLUSIONS 94 WORKS CITED 98 4 UNIVERSITY OF VAASA Faculty of Philosophy Discipline: English Studies Author: Erika Bertell Master’s Thesis: Translation of Wordplay and Allusions The Finnish Subtitling of Blackadder Degree: Master of Arts Date: 2014 Supervisor: Kristiina Abdallah ABSTRACT Ulkomaisten, tekstitettyjen komediasarjojen osuus Suomen televisiotarjonnassa kasvaa alati, ja markkinoilla on myös enemmän kuin koskaan DVD-käännöksiä.
[Show full text]
1403 NLS Annual Report
Life NATIONAL stories Annual Report and Accounts 2005/2006 IN PARTNERSHIP WITH National Life Stories When many people think about history, they think about of innovative interviewing programmes funded almost entirely books and documents, castles or stately homes. In fact history from sponsorship, charitable and individual donations and is all around us, in our own families and communities, in the voluntary effort. living memories and experiences of older people. Everyone has a story to tell about their life which is unique to them. Each collection comprises recorded in-depth interviews of a Whilst some people have been involved in momentous high standard, plus content summaries and transcripts to assist historical events, regardless of age or importance we all users. Access is provided via the Sound Archive’s catalogue at have interesting life stories to share. Unfortunately, because www.cadensa.bl.uk and a growing number of interviews are memories die when people do, if we don’t record what being digitised for remote web use. Each individual life story people tell us, that history can be lost forever. interview is several hours long, covering family background, childhood, education, work, leisure and later life. National Life Stories was established in 1987 to ‘record first-hand experiences of as wide a cross-section of present- Alongside the BL Sound Archive’s other oral history holdings, day society as possible’. As an independent charitable trust which stretch back to the beginning of the twentieth century, within the Oral History Section of the British Library Sound NLS’s recordings form a unique and invaluable record of Archive, NLS’s key focus and expertise has been oral history people’s lives in Britain today.
[Show full text]
Exchange’
Dysfunctional Family Makes for Dark Comedy in The Lyons ” This is a show that deals with life, death and everything in between–” The Lyons at 2nd Story The lives of a dysfunctional family take center stage in the black comedy The Lyons, which opened in previews January 10 and is running through February 9 at Warren’s 2nd Story Theatre. The Lyons was written by Nicky Silver and debuted on Broadway at the Cort Theatre in April 2012. This is a show that deals with life, death and everything in between. Paula Faber, a veteran member of the theater’s acting company, gives a tour de force performance as Rita, the overbearing wife of Ben Lyons (Vince Petronio), who is dying from cancer. Rita, stuck in a 40- year loveless marriage, now thinks of the future without Ben and plans to re-decorate their home. Ben lays in his hospital bed and speaks in a flurry of profanities. He is constantly annoyed by Rita and despises her. Their grown children Curtis (Kevin Broccoli) and Lisa (Lara Hakeem) also come to his hospital room to pay a visit. Lisa has left an abusive marriage and is a recovering alcoholic. Curtis, who is gay, has had little to do with his father, who is homophobic. Throughout the play, all the resentments between the Lyons bubble up to the surface. Rita is a fundamentally selfish woman who will not spare anyone’s feelings. However, she is not a one dimensional caricature either. Late in Act One, while her husband sleeps under dimmed lights, Rita realizes how empty her life will be once Ben is gone.
[Show full text]
Interpretations of the Causes of World War 1
LEARNING ACTIVITY Student worksheet Interpretations of the causes of World War 1 Diverse types of interpretation about the causes of World War 1 Historical interpretations can be divided up into: academic, educational, fictional, popular, and personal. Here you will find one example of each. FICTIONAL INTERPRETATION OF THE CAUSES An extract from the episode ‘Goodbyeee’ from the British historical sitcom ‘Blackadder Goes Forth’. BBC1 on 2 November 1989. The characters are in the trenches awaiting the order to go ‘over the top’. Baldrick: The thing is: The way I see it, these days there's a war on, right? and, ages ago, there wasn't a war on, right? So, there must have been a moment when there not being a war on went away, right? and there being a war on came along. So, what I want to know is: How did we get from the one case of affairs to the other case of affairs? Edmund : Do you mean "Why did the war start?" Baldrick : Yeah. George : The war started because of the vile Hun and his villainous empire-building. Edmund : George, the British Empire at present covers a quarter of the globe, while the German Empire consists of a small sausage factory in Tanganyika. I hardly think that we can be entirely absolved of blame on the imperialistic front. George : Oh, no, sir, absolutely not. [aside, to Baldrick] Mad as a bicycle! Baldrick : I heard that it started when a bloke called Archie Duke shot an ostrich 'cause he was hungry. Edmund : I think you mean it started when the Archduke of Austro-Hungary got shot.
[Show full text]
Goodbye, Sweet Girl: a Story of Domestic Violence and Survival A
Goodbye, Sweet Girl: A Story of Domestic Violence and Survival A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Kelly O. Sundberg May 2018 © 2018 Kelly O. Sundberg. All Rights Reserved. 2 This dissertation titled Goodbye, Sweet Girl: A Story of Domestic Violence and Survival by KELLY O. SUNDBERG has been approved for the Department of English and the College of Arts and Sciences by Dinty W. Moore Professor of English Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT SUNDBERG, KELLY O., Ph.D., May 2018, English Goodbye, Sweet Girl: A Story of Domestic Violence and Survival Director of Dissertation: Dinty W. Moore The dissertation is comprised of two sections—a critical essay titled “Wounds and Wilderness: Women Writing Trauma and Environment” and a memoir titled Goodbye, Sweet Girl: A Story of Domestic Violence and Survival. The critical essay examines the ways in which twenty-first century feminist nonfiction texts, such as Cheryl Strayed’s Wild and Roxane Gay’s Hunger push against traditional environmental narratives that are posited as transcendental or redemptive. The essay analyzes contemporary notions of woundedness, women’s anger as resistance, and the ways in which feminist writing must engage with the uneasy relationship between people and place, along with the ways in which people and place can affect and, subsequently, reflect each other. Goodbye, Sweet Girl: A Story of Domestic Violence and Survival chronicles my upbringing in the rural cattle country of Idaho, and how that environment, along with the gender roles in which I was raised, later helped shape my decision to stay in an abusive marriage.
[Show full text]
Download 2014–2015 Catalogue of New Plays
CCoverover SSpreadpread 11415.ai415.ai 1 77/28/2014/28/2014 112:15:052:15:05 PPMM IInsidenside CCoverover SSpreadpread 11415.ai415.ai 1 88/12/2014/12/2014 55:13:13:13:13 PPMM Catalogue of New Plays 2014–2015 © 2014 Dramatists Play Service, Inc. NNEWEW CCATALOGUEATALOGUE 114-15.indd4-15.indd 1 88/12/2014/12/2014 110:23:060:23:06 AAMM Dramatists Play Service, Inc. A Letter from the President Fall 2014 Dear Subscriber: After 22 years, you’ll see that this traditional letter is being sent to you by someone new. Stephen Sultan is now enjoying a well-deserved retirement, although he remains onboard here at the Play Service as a trusted and valued consultant. I became the president — only the sixth to head the company since its founding in 1936 — in January, after years of serving as an agent representative on our Board of Directors. I couldn’t be happier in my new position, as DPS has always meant a great deal to me. And I am extremely fortunate to work with a wonderful staff, whose dedication, intelligence, and good humor are an inspiration. The original charter for Dramatists Play Service empha- sizes the importance of the word “service” in our name. I think you’ll find that the service to both our customers and our playwrights continues at a higher level than ever before. As always, there are some great new additions to our catalogue this year. I’m very happy that we have acquired all five nominees for Best Play in this season’s Tony Awards, with ALL THE WAY, Robert Schenkkan’s riveting portrait of LBJ and the politics of power and compromise, leading the pack.
[Show full text]
Gendering Elizabeth I Through the Tilbury Speech
2019 VI King’s Stomachs and Concrete Elephants: Gendering Elizabeth I through the Tilbury Speech Aidan Norrie Article: King’s Stomachs and Concrete Elephants: Gendering Elizabeth I through the Tilbury Speech King’s Stomachs and Concrete Elephants: Gendering Elizabeth I through the Tilbury Speech Aidan Norrie UNIVERSITY OF WARWICK Abstract: Elizabeth I’s speech to the troops at Tilbury is arguably her most famous. The well- known line—“I know I have the body but of a weak and feeble woman, but I have the heart and stomach of a king”—is routinely included in cinematic and televisual depictions of Elizabeth’s reign. The speech, however, is seldom depicted in adaptations as it survives. This article argues that the depiction of the Tilbury speech reflects the way that Elizabeth’s gender is conceived of in the relevant adaptation, contending that the speech shows how writers have grappled with Elizabeth’s incongruous position as a female king. In analysing the depiction of the Tilbury speech in the films Fire Over England (1937) and Elizabeth: The Golden Age (2007), and in the television series Blackadder II (1986) and Mapp and Lucia (2014), this article concludes that while writers seem to have little issue with Elizabeth declaring that she has “the body of a weak and feeble woman,” they seem to stumble on her follow up declaration that she has “the heart and stomach of a king.” Keywords: Elizabeth I; gender; adaptation; history; Tilbury speech; Spanish Armada “Some English Historians believe, That Queen Elizabeth’s presence at Tilbury Camp, encouraged both Horse and Infantry more, then all the known Valour of her experienced Leaders.”1 Robert Heath (1659) he speech Elizabeth I of England delivered to her troops assembled at Tilbury to defend against the invasion of the Spanish Armada on 9 August 1588 is probably the Queen’s most famous piece of oratory.
[Show full text]
Verbal Humour in the TV-Sitcom Blackadder a Pragmatic and Rhetorical Analysis
UNIVERSITY OF JYVÄSKYLÄ “INK AND INCAPABILITY” Verbal humour in the TV-sitcom Blackadder a pragmatic and rhetorical analysis A Pro Gradu Thesis in English by Laura Kalliomäki Department of Languages 2005 2 HUMANISTINEN TIEDEKUNTA KIELTEN LAITOS Laura Kalliomäki ”INK AND INCAPABILITY” Verbal humour in the TV-series Blackadder a pragmatic and rhetorical analysis Pro Gradu –tutkielma Englannin kieli Lokakuu 2005 89 sivua + liite Tutkielmassa analysoidaan kielellistä huumoria TV-sarjassa Blackadder sekä pragmaattisesta että retorisesta näkökulmasta. Materiaalina on käytetty sarjan 24:n jakson käsikirjoituksia. Tutkielmassa tarkastellaan minkälaisia pragmaattisia ja retorisia strategioita sarjassa on käytetty kielellisen huumorin luomisessa. Ensinnäkin; onko Gricen maksimeja rikottu huumorin luomisessa, ja jos on, miten, kenen taholta, sekä missä yhteyksissä ja minkälaista huumoria maksimien rikkominen synnyttää. Toiseksi tarkastellaan huumorin luomisessa käytettyjä retorisia tekniikoita, kuinka niitä käytetään, kuka niitä käyttää, missä yhteyksissä niitä käytetään ja minkälaista huumoria retoriset tekniikat synnyttävät. Tutkimusote on laadullinen. Aineistosta on etsitty humoristiset kohdat, joissa rikotaan Gricen maksimeja. Tapauksia kuvaillaan esimerkkien valossa suhteessa toisiinsa, suhteessa esittäjään ja tilanteeseen. Aineistosta etsitään myös tapaukset, joissa huumorin luomisessa on käytetty jotain tiettyä tai joitain tiettyjä huumorin retorisia tekniikoita. Tapauksia kuvaillaan jälleen suhteessa toisiinsa, sekä suhteessa esittäjään
[Show full text]
SPEECH DAY HEAD MASTER's ADDRESS VOL. CXXXI NO.27 June 8, 2019
THE HARROVIAN VOL. CXXXI NO.27 June 8, 2019 we begin to think of the academic year turning, this one SPEECH DAY finding its conclusion and looking ahead to the one to come. “Great Partnerships”, 25 May Thinking of the future I have been delighted to hear from boys who have been coming into my study in the mornings to be Twelfth Night: Viola and Sebastian, William Shakespeare awarded their Head Master’s Send Ups about their plans for Benjamin Davies, The Grove, Freddie Heffer, Elmfield their Harrow lives, the subjects they want to study, the projects and challenges they want to tackle and how they are seeking to ‘Two are Better than One’, Ecclesiastes 4, Theodore Seely, make use of the Harrow opportunities. Such forward thinking is The Head Master’s invigorating and uplifting. In a time of looking to the horizon it is important to pay recognition to those colleagues who will Churchill and Europe Winston Churchill, Kit Akinluyi, The be leaving us at the end of this term and year. Head Master’s, Harry Lemprière-Johnston, Druries Love is like the wild rose-briar, Emily Bronte, Tom Santini, The Park Don Quixote ‘Windmills’, Miguel de Cervantes, Hamish Dicketts, Elmfield, Henry Empson, The Grove, Columbus Mason, The Head Master’s Blackadder Goes Forth Richard Curtis & Ben Elton, Max Evans-Tovey, Druries, Ben Elton Archie Ross, The Knoll Sonnet 116 William Shakespeare Jonny Kajoba, Lyon’s HEAD MASTER’S ADDRESS Mr Simon Page, 1987 Art, his own painting and drawing, Speech Room, 25 May the intensity of observation in his sketching have been intrinsic parts of our cultural life as his work has been exhibited in Art The Worshipful, The Mayor, Councillor Nitin Parekh; My Schools and the Old Speech Room Gallery.
[Show full text]