DOCSLIB.ORG

Notes and References

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notes and References Notes and References CHAPTER 1: INTRODUO'ION: RE-INTERPRETING SHAKESPEARE 1. Stanley Wells, Literature and Drama, with special Reference to Shakespeare and his Contemporaries (London, 1970) pp. 10~9. For a recent critique of play-text looked at 'as novel', 'as play' or 'as poem' see Terence Hawkes, That Shakespeherian Rag: essays on a critical process (London, 1986) pp. 7>-91. Another interesting discussion is that of Erving Coffman, 'The Theatrical Frame', Frame Analysis (Harmondsworth, 1975) pp. 124--55. 2. Adolphe Appia, Music and the Art of Theatre, trans. Robert W. Corrigan and Mary Douglas Dirks, ed. B. Hewitt (Coral Gables, Florida 1962) p. 10. 3. See David L. Hirst, Edward Bond (London and Basingstoke, 1985) p. 132. 4. William Shakespeare, The Tragicall Historie of Hamlet Prince of Denmarke 1603, in Elizabethan and jacobean Quartos edited by G. B. Harrison (Edinburgh, 1966) p. 28. (Reproduced from the Bodley Head Quartos published between 1922 and 1926, London). See The New Penguin Hamlet edited by T. J. B. Spencer, introduction Anne Barton (Har­ mondsworth, 1980). 5. Op. cit., pp. 37-8. Notice also the differences in this speech as printed in two modern editions: the Penguin here and Professor Alexander's text for Collins as quoted in Chapter 2. 6. A survey of Shakespearean production is found in George C. D. Odell, Shakespeare from Betterton to Irving, 2 vols, 1920 (Dover edition, New York, 1966). 7. From George Granville, Lord Lansdowne, The ]eu.> of Venice extracted in Shakespeare. The Critical Heritage, vol. 2, 169>-1733, ed. Brian Vickers (London, 1974) p. 152. 8. Nineteenth Century Shakespeare Burlesques, selected by Stanley Wells, (London, 1978) vol. IV, p. 57. 9 See Thomas R. Whittaker, Tom Stoppard (London and Basingstoke, 1983) pp. 48f; Tim Brassell, Tom Stoppard: an Assessment (London and Basingstoke, 1985) pp. 36f. 10. A. C. Sprague, Shakespearean Players and Performances (1953 Greenwood edn, New York, 1969) pp. 11>-14 drawing on contemporary theatre reviews in The Theatre, 1 December 1879, and Saturday Review, 8 November 1879. 11. See Chapter 4. 137 138 Notes and References 12. Keir Elam, The Semiotics of Theatre and Drama (London and New York, 1980) p. 93. 13. Antonin Artaud, The Theatre and Its Double, trans Victor Corti (London, 1970) p. 60. 14. Ronald Hayman, Artaud and After (Oxford, 1977) p. 160. 15. Artaud, pp. 55, 58. 16. From John Willett, The Theatre of Bertolt Brecht (rev. pbk edn, London, 1977) pp. 120...1. 17. For a discussion of Brecht's reading of Shakespeare see Margot Heinemann 'How Brecht read Shakespeare' in Political Shakespeare New Essays in Cultural Materialism, edited by Jonathan Dollimore and Alan Sinfield (Manchester, 1985) pp. 202-30. It has been suggested that John Osborne's adaptation of Coriolanus, A Place Calling Itself Rome (London, 1973) may have been written in reply to Brecht's adaptation. Osborne's secretary, however, has denied that this is so. See Ruby Cohn, Modern Shakespeare Offshoots (Princeton, 1976) p. 22. Ruby Cohn's book is the best available survey of Shakespearean 'offshoots' and 'adaptations'. In kindly reading through my typescript Arnold Hinchliffe notes in a letter to me 'I'm sorry there is no place for Osborne's version of Coriolanus which - I think - has never been produced anywhere. It does require a tank and a helicopter but what's a National Theatre for? It is an interesting adaptation and Coriolanus (or a view of him) suits Osborne well.' I agree but I am afraid space has not allowed its inclusion. 18. Bertolt Brecht, A Short Organum for the Theatre in John Willett, trans & ed., Brecht on Theatre (London 1965) pp. 182-3. 19. Adaptations and offshoots abound this century from Jarry's Ubu Roi to work by C. P. Taylor, Howard Brenton, Snoo Wilson and others. Friedrich Durrenmatt in particular has written two major adaptations, Konig Johann (1968), Titus Andronicus (1970). For a checklist of many of these plays see Cohn, 1976, pp. 411-16. 20. Tom Stoppard, 'Is It True What They Say About Shakespeare?' International Shakespeare Association Occasional Paper No 2 (Oxford, 1982) p. 13. 21. Guido Almansi, 'The Thumb-Screwers and the Tongue-Twisters: on Shakespearean Avatars', Poetics Today, voi. 3, no. 3 (Summer 1982) pp. 87-100 divides the adapters into two camps: 'the thumb-screwers ... tend to reestablish a Shakespeare who is more Elizabethan than the Elizabethan age could allow, a truculent and schizophrenic Shakespeare whose language is in chaotic upheaval and whose characters rant and rage' and the 'tongue-twisters' who 'are much less violent and severe, and insist on the element of "theatre within the theatre", already present in Shakespeare himself but emphasised and played upon by the new masters of dramatic acrobatics'. In the former category Almansi includes Bond, Ionesco, Durrenmatt, Testori, in the latter, Stoppard, Marowitz, Manganelli. His categorisations can perhaps be challenged. Bond would not relish being compared with Ionesco for example, or vice versa. I am grateful to Guido Almansi for sending me an off print of this article. Notes and References 139 22. John Marston, Preface to The Fawn (1604). CHAPTER 2: PARASITIC COMEDY 1. Tom Stoppard interviewed by Ronald Hayman in Ronald Hayman, Tom Stoppard (London, 1977) p. 7. 2. Tim Brassell, pp. 66-7. Brassell narrows the influence even further to Eliot's lines from Prufrock: No! I am not Prince Hamlet nor was meant to be: Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince, no doubt an easy tool. T. S. Eliot, Collected Poems, 1909-62, p. 17 Thomas R. Whitaker, pp. 37-67 sees the drama in the context of Beckett's plays, and makes reference also to James Saunders, Next Time I'll Sing to You (not regarded as a major influence by Brassell). He also suggests a parallel with Sartre's No Exit (sometimes called In Camera, sometimes Vicious Circle, originally titled Huis Clos). Both Brassell and Whitaker acknowledge W. S. Gilbert's burlesque Rosencrantz and Guildenstern: a Tragic Episode, in Three Tableux (1891) as a previous playlet placing the same two characters at its centre. This playlet can be found in Stanley Wells, Shakespeare Burlesques- Vol IV (London, 1978), also in Plays by W. S. Gilbert, ed. George Rowell (Cambridge, 1982). Jim Hunter, Tom Stoppard's Plays (London, 1982) p. 137, comments: 'The title of Stoppard's play is important. A single dismissive line from the end of Hamlet, it hangs over the modem play like a memento mori. One fundamental difference between Rosencrantz and Beckett's Waiting for Godot is indicated by their titles: in one play, the protagonists dead from the start, in the other, always waiting'. C. W. E. Bigsby Tom Stoppard (Harlow, Essex, 1976) p. 10 sees in the play an attempt 'to combine the brittle wit of Oscar Wilde with the mordant humour of Samuel Beckett'. He also finds echoes of Edward Albee's Tiny Alice and Zoo Story, Harold Pinter's The Birthday Party and John Osborne's The Entertainer. Bigsby's is a brief but telling study in which he states: 'Niebur's comment that laughter is a king of no man's land between faith and despair is clearly applicable to Rosencrantz and Guildenstern are Dead. For Rosencrantz and Guil­ denstern themselves, humour is a means of preserving sanity; for Stoppard it is a natural product of disjunction - of the gulf between cause and effect, aspiration and fulfilment, word and meaning, which is the root alike of all pain, absurdity and laughter, and a clue to the relativity of truth, itself a subject to which Stoppard has repeatedly returned' (pp. 15-16). 3. Arnold Hinchliffe, British Theatre 1950170 (Oxford, 1974) pp. 141-2. 4. In Giles Gordon, 'Tom Stoppard', Transatlantic Review, 29, 1968 quoted Brassell p. 38. 140 Notes and References 5. Tom Stoppard, Rosencrantz and Guildenstern are Dead (London, 1968) pp. 7-8. All quotations are from this edition which is based on Stoppard's revisions. The ending of the play was changed and a few other alterations were made from the fust to the second performance. These have been detailed by Tim Brassell, Tom Stoppard: an Assessment, who also reproduces the original ending of the play, pp. 270-1. 6. For a discussion of the war of the theatres, see the seminal work of Alfred Harbage, Shakespeare and the Rival Traditions (1952; repr. Ontario, 1970). Some of Harbage's ideas have been challenged in recent years by in particular Ann Jennalie Cook, The Privileged Playgoers of Shakespeare's London 1576-1642 (Princeton, 1981). See also Andrew Gurr, Playgoing in Shakespeare's London (Cambridge, 1987). 7. Meyerhold on Theatre, trans and ed. with a critical commentary by Edward Braun (London, 1969) p. 30. 8 See Chapter 8 below. Some would argue of course that the Marowitz Shakespeare is similarly out of date. It reacts against certain historical readings of the play. I would contend, however, that Marowitz rather than acquiescing to a particular liberal line shows a foresight in his opposition which allows some of his experiments to retain their force through the inherent positivism of his interpretation. Stoppard's interpretation though amusing is negative. 9. See Chapter 9 below. CHAPTER 3: A DIVERGENT VIEW OF HUMAN NATURE 1. Quotations from The Fool are from Edward Bond The Fool and We Come to the River (London, 1976). 2. Bond, Introduction, The Fool and We Come to the River, p. xiii writes, ' ... we must learn how to look, and teaching about art is as important as creating it. The S.S. Commandant didn't read Goethe, he admired himself reading Goethe'.
Load more

Recommended publications
  • The Top 101 Inspirational Movies –
    The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of
    [Show full text]
  • Absurdism 3, 26, 33, 46–47, 50, 61 Academy Award 9, 10, 20, 23
    Cambridge University Press 978-1-107-02195-2 - The Cambridge Introduction to Tom Stoppard William W. Demastes Index More information Index absurdism 3, 26, 33, 46–47, 50, 61 Ashcroft, Peggy 145 Academy Award 9, 10, 20, 23 Ayckbourn, Alan 42 Adam was a Gardener (Page) 84 Ayer, A. J. 66, 68, 137 After Magritte 7, 18, 31, 37, 60, 61–62, 140 Ballard, J. G. 20 Age of Reason 84 Banbury, Frith 140 Alberry Theatre, London 11 Barber, Victor 145 Albert’s Bridge 2, 6, 18, 32, 60, 139 Barer, Shlomo 116 Aldwych Theatre, London 7, 9, 10, 11, Barker, Clive 140 141, 145 Barnes, Clive 130 Almost-Free Theatre, London 8, 18, Barrett, Felix 13 19, 142 Barrett, Syd 130, 131, 135, 147 altruism 68 Bates, Alan 144 Alvin Theatre, New York 6, 139 Beckett, Samuel 2, 3, 15, 47, 49 Always 20 Bennett, Alan 139 Ambiance Lunch-Hour Theatre Club, Berkeley, George 52 London 8 Berlusconi, Silvio 78 American Conservatory Theater, San Berman, Ed 18, 19, 20, 142, 143 Francisco 11, 12, 145, 146 Bernard B. Jacobs Theatre, New York Amis, Kingsley 21, 54 13, 147 Amnesty International 19, 43 Betrayal (Pinter) 21 angry young men 15 Bigsby, C. W. E. 3 Anna Karenina (Tolstoy) 13, 24 Billington, Michael 130 Annis, Francesca 147 Billy Bathgate 2, 10, 20 Another Moon Called Earth 6, 17, Bohm, David 88 64, 139 Bolt, Robert 45 Arcadia 1, 10, 11, 13, 22, 24, 28, 33, 34, Bourne Ultimatum, The 20 79, 84–91, 92, 100, 108, 115, 116, Brantley, Ben 116, 117 127, 130, 135, 136–37, 145 Brater, Enoch 136, 137 Archimedes 51 Brazil 2, 9, 20 Arden, John 48 Bristol Evening World 15 Aristotle 51 British American Repertory Company, Artist Descending a Staircase 7, 10, 30, London 20, 143 34, 35, 37, 62, 71, 141 British Campaign for the Release of Arts Theatre, London 8, 19 Indonesian Political Prisoners 19 160 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02195-2 - The Cambridge Introduction to Tom Stoppard William W.
    [Show full text]
  • Derek Goldby
    Derek Goldby Derek Goldby directed the original production of ROSENCRANTZ AND GUILDENSTERN ARE DEAD for the National Theatre, as well as on Broadway; LOOT on Broadway - and UNIDENTIFIED HUMAN REMAINS off-Broadway. He has worked extensively in the United States, Canada and throughout Europe. Agents Nicki Stoddart [email protected] +44 (0) 20 3214 0869 Credits Other Production Company Notes 2011 AUTUMN AND WINTER Orange Tree Theatre, Richmond 2010 ENTERTAINING MR SLOANE Theatre de Poche, Brussels 1998 AFTER THE RAIN Atelier Theatral, Brussels 1998 BENT Theatre de Poche 1998 TRAINSPOTTING Theatre de Poche, Brussels & Cafe de la Danse, Paris 1999 DANCING AT LUGHNASA Rideau de Bruxelles 1999 LORD OF THE FLIES Theatre de Poche 2000 TRAINSPOTTING European Tour 2001 COLONEL BIRD Theatre de Poche, Brussels 2002 MISSING White Bear Theatre 2003 THE LIEUTENANT OF INISHMORE Theatre de Poche, Brussels 2003 THE MISANTHROPE Rose Bruford College 2003 UNE HISTOIRE VRAIE Theatre de Poche, Brussels 2004 AU RETOUR DE LA SORCIERE Theatre de Poche, Brussels 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 2004 REALITY SHOW & MUSIC LOVERS Rose Bruford College 2005 MYTH, PROPAGANDA AND DISASTER IN NAZI Theatre de Poche, Brussels GERMANY AND CONTEMPORARY AMERICA 2005 THE THREESOME Rose Bruford College 2006 THE COSMONAUT'S LAST MESSAGE TO THE RADA Final Year students WOMAN HE ONCE LOVED IN THE FORMER SOVIET UNION 2007 MOTORTOWN Theatre de Poche,
    [Show full text]
  • The Ideal of Ensemble Practice in Twentieth-Century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London P
    The Ideal of Ensemble Practice in Twentieth-century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London PhD January 2015 1 I hereby declare that the work presented in this thesis is my own and has not been and will not be submitted, in whole or in part, to any other university for the award of any other degree. Philippa Burt 2 Acknowledgements This thesis benefitted from the help, support and advice of a great number of people. First and foremost, I would like to thank Professor Maria Shevtsova for her tireless encouragement, support, faith, humour and wise counsel. Words cannot begin to express the depth of my gratitude to her. She has shaped my view of the theatre and my view of the world, and she has shown me the importance of maintaining one’s integrity at all costs. She has been an indispensable and inspirational guide throughout this process, and I am truly honoured to have her as a mentor, walking by my side on my journey into academia. The archival research at the centre of this thesis was made possible by the assistance, co-operation and generosity of staff at several libraries and institutions, including the V&A Archive at Blythe House, the Shakespeare Centre Library and Archive, the National Archives in Kew, the Fabian Archives at the London School of Economics, the National Theatre Archive and the Clive Barker Archive at Rose Bruford College. Dale Stinchcomb and Michael Gilmore were particularly helpful in providing me with remote access to invaluable material held at the Houghton Library, Harvard and the Harry Ransom Center at the University of Texas, Austin, respectively.
    [Show full text]
  • A Doll's House
    Otterbein University Digital Commons @ Otterbein 2010-2011 Season Productions 2001-2010 2-3-2011 A Doll's House Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/production_2010-2011 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "A Doll's House" (2011). 2010-2011 Season. 1. https://digitalcommons.otterbein.edu/production_2010-2011/1 This Book is brought to you for free and open access by the Productions 2001-2010 at Digital Commons @ Otterbein. It has been accepted for inclusion in 2010-2011 Season by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. Otterbein University Department of Theatre & Dance Program Born Yesterday The Wild Party A Doll’s House Dance 2011: Trip the Light Fantastic The Storytelling Ability of a Boy ( The Drowsy Chaperone Otterbein University Department of Theatre and Dance Presents A Doll’s House hj Henrik Ibsen A-dapted by Frank McGuinness Directed bj Dennis Romer Scenic Design Lighting Design Rob Johnson & Reece Arthur Wilm Pierson Costume Design Kristine Kearney Sound Design Stage Managed iy Abbey Bay Shanique Haughton February 3-6,10-12,2011 Fritsche Theatre at Cowan Hall, 30 S. Grove St. Box Office: 614-823-1109 Cast Nora Helmer..................... ................ Joyah Spangler Torvald Helmer................ ................ .Jake Robinson Kristine Linde................... .....................Stanzi Davis Nils Krogstad.................... ..........Michael Weingand Dr. Rank............................ Evan Cory Zimmerman Anne-Marie (The Nanny) ...................Emma Brock Helene (The Maid).......... .......... Lauren Friednash The Messenger................. ...................Sean Murphy Ivar Helmer........................ ...............Kyzer Kuempel Emmy Helmer.................. .......... Audrey Saltzgiver Setting The Helmet’s living room.
    [Show full text]
  • Dragonslayer Pdf, Epub, Ebook
    DRAGONSLAYER PDF, EPUB, EBOOK Jennifer L Holm,Matthew Holm | 91 pages | 25 Aug 2009 | Random House USA Inc | 9780375857126 | English | New York, United States Dragonslayer PDF Book Oziach says that to be able to buy a rune platebody from him, you have to kill the green dragon , Elvarg , located on the desolate island of Crandor. Ignoring them, Rowan told Leaf about what the Dragonslayer did, and Leaf immediately wished to become a dragonslayer himself, but his parents strongly disapprove of the idea. Graphic artist David Bunnett was assigned to design the look of the dragon, and was fed ideas on the mechanics on how the dragon would move, and then rendered the concepts on paper. He was looking outside his window hoping that Wren would come back to The Indestructible City. Guts uses the empowered sword to deal a blazing blast to the Kundalini aiding Daiba, causing the magical beast's large water form to dematerialize. He is essential and will only fight for a short time before returning to his post. The screenplay was eventually accepted by Paramount Pictures and Walt Disney Productions , becoming the two studios' second joint effort after the film Popeye. Archived from the original on August 20, Kevin Thomas of the Los Angeles Times called Vermithrax "the greatest dragon yet", and praised the film for its effective evocation of the Dark Ages. Screen Rant. Wren and Sky saw a few sea dragons, and Sky suddenly exclaimed that Wren could ride on him. Massive, thick, heavy, and far too rough. Dragon Slayer is a free-to-play quest often regarded as the most difficult to free players.
    [Show full text]
  • 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
    [Show full text]
  • Ninagawa Company Kafka on the Shore Based on the Book by Haruki Murakami Adapted for the Stage by Frank Galati
    Lincoln Center Festival lead support is provided by American Express July 23 –26 David H. Koch Theater Ninagawa Company Kafka on the Shore Based on the book by Haruki Murakami Adapted for the stage by Frank Galati Directed by Yukio Ninagawa Translated by Shunsuke Hiratsuka Set Designer Tsukasa Nakagoshi Costume Designer Ayako Maeda Lighting Designer Motoi Hattori Sound Designer Katsuji Takahashi Hair and Make-up Designers Yoko Kawamura , Yuko Chiba Original Music Umitaro Abe Chief Assistant Director Sonsho Inoue Assistant Director Naoko Okouchi Stage Manager Shinichi Akashi Technical Manager Kiyotaka Kobayashi Production Manager Yuichiro Kanai Approximate performance time: 3 hours, including one intermission Major support for Lincoln Center Festival 2015 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2015 is made possible in part with public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. The Lincoln Center Festival 2015 presentation of Kafka on the Shore is made possible in part by generous support from the LuEsther T. Mertz Charitable Trust. Additional support provided by Mitsui & Co. (U.S.A.), Inc., Marubeni America Corporation, Mitsubishi Corporation (Americas), Sumitomo Corporation of Americas, ITOCHU International Inc., Mitsubishi Heavy Industries America, Inc., and Nippon Steel & Sumitomo Metal U.S.A., Inc. Co-produced by Saitama Arts Foundation, Tokyo Broadcasting System Television, Inc., and HoriPro, Inc. LINCOLN CENTER FESTIVAL 2015 KAFKA ON THE SHORE Greeting from HoriPro Inc. HoriPro Inc., along with our partners Saitama Arts Foundation and Tokyo Broadcasting System Television Inc., is delighted that we have once again been invited to the Lincoln Center Festival , this time to celebrate the 80th birthday of director, Yukio Ninagawa, who we consider to be one of the most prolific directors in Japanese theater history.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • Equity Magazine Autumn 2020 in This Issue
    www.equity.org.uk AUTUMN 2020 Filming resumes HE’S in Albert Square Union leads the BEHIND fight for the circus ...THE Goodbye, MASK! Christine Payne Staying safe at the panto parade FIRST SET VISITS SINCE THE LIVE PERFORMANCE TASK FORCE FOR COVID PANDEMIC BEGAN IN THE ZOOM AGE FREELANCERS LAUNCHED INSURANCE? EQUITY MAGAZINE AUTUMN 2020 IN THIS ISSUE 4 UPFRONT Exclusive Professional Property Cover for New General Secretary Paul Fleming talks Panto Equity members Parade, equality and his vision for the union 6 CIRCUS RETURNS Equity’s campaign for clarity and parity for the UK/Europe or Worldwide circus cameras and ancillary equipment, PA, sound ,lighting, and mechanical effects equipment, portable computer 6 equipment, rigging equipment, tools, props, sets and costumes, musical instruments, make up and prosthetics. 9 FILMING RETURNS Tanya Franks on the socially distanced EastEnders set 24 GET AN INSURANCE QUOTE AT FIRSTACTINSURANCE.CO.UK 11 MEETING THE MEMBERS Tel 020 8686 5050 Equity’s Marlene Curran goes on the union’s first cast visits since March First Act Insurance* is the preferred insurance intermediary to *First Act Insurance is a trading name of Hencilla Canworth Ltd Authorised and Regulated by the Financial Conduct Authority under reference number 226263 12 SAFETY ON STAGE New musical Sleepless adapts to the demands of live performance during the pandemic First Act Insurance presents... 14 ONLINE PERFORMANCE Lessons learned from a theatre company’s experiments working over Zoom 17 CONTRACTS Equity reaches new temporary variation for directors, designers and choreographers 18 MOVEMENT DIRECTORS Association launches to secure movement directors recognition within the industry 20 FREELANCERS Participants in the Freelance Task Force share their experiences Key features include 24 CHRISTINE RETIRES • Competitive online quote and buy cover provided by HISCOX.
    [Show full text]
  • 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.
    [Show full text]
  • History As a Construct.Pdf
    Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature HISTORY AS A CONSTRUCT: CARYL CHURCHILL’S MAD FOREST, DAVID EDGAR’S PENTECOST, AND DAVID HARE’S STUFF HAPPENS Ömer Kemal GÜLTEKİN Ph.D. Dissertation Ankara, 2018 History as a Construct: Caryl Churchill’s Mad Forest, David Edgar’s Pentecost, and David Hare’s Stuff Happens Ömer Kemal GÜLTEKİN Hacettepe University School of Social Sciences Department of English Language and Literature English Language and Literature Ph.D. Dissertation Ankara, 2018 BİLDİRİM Hazırladığım tezin/raporun tamamen kendi çalışmam olduğunu ve her alıntıya kaynak gösterdiğimi taahhüt eder, tezimin/raporumun kağıt ve elektronik kopyalarının Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü arşivlerinde aşağıda belirttiğim koşullarda saklanmasına izin verdiğimi onaylarım: o Tezimin/Raporumun tamamı her yerden erişime açılabilir. o Tezim/Raporum sadece Hacettepe Üniversitesi yerleşkelerinden erişime açılabilir. o Tezimin/Raporumun …… yıl süreyle erişime açılmasını istemiyorum. Bu sürenin sonunda uzatma için başvuruda bulunmadığım takdirde, tezimin/raporumun tamamı her yerden erişime açılabilir. [25.01.2018] [Ömer Kemal Gültekin] YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI Enstitü tarafından onaylanan lisansüstü tezimin/raporumun tamamını veya herhangi bir kısmını, basılı (kâğıt) ve elektronik formatta arşivleme ve aşağıda verilen koşullarla kullanıma açma iznini Hacettepe Üniversitesine verdiğimi bildiririm. Bu izinle Üniversiteye verilen
    [Show full text]