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Sharpe, Tony, 1952– Editor of Compilation
more information - www.cambridge.org/9780521196574 W. H. AUDen IN COnteXT W. H. Auden is a giant of twentieth-century English poetry whose writings demonstrate a sustained engagement with the times in which he lived. But how did the century’s shifting cultural terrain affect him and his work? Written by distinguished poets and schol- ars, these brief but authoritative essays offer a varied set of coor- dinates by which to chart Auden’s continuously evolving career, examining key aspects of his environmental, cultural, political, and creative contexts. Reaching beyond mere biography, these essays present Auden as the product of ongoing negotiations between him- self, his time, and posterity, exploring the enduring power of his poetry to unsettle and provoke. The collection will prove valuable for scholars, researchers, and students of English literature, cultural studies, and creative writing. Tony Sharpe is Senior Lecturer in English and Creative Writing at Lancaster University. He is the author of critically acclaimed books on W. H. Auden, T. S. Eliot, Vladimir Nabokov, and Wallace Stevens. His essays on modernist writing and poetry have appeared in journals such as Critical Survey and Literature and Theology, as well as in various edited collections. W. H. AUDen IN COnteXT edited by TONY SharPE Lancaster University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press 32 Avenue of the Americas, New York, NY 10013-2473, USA www.cambridge.org Information on this title: www.cambridge.org/9780521196574 © Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. -
The Lady in the Van
BBC Films THE LADY IN THE VAN Directed by Nicholas Hytner Written by Alan Bennett from his memoir 103 min East Coast Publicity West Coast Publicity Distributor Springer Associates PR Block-Korenbrot Sony Pictures Classics Gary Springer Eric Osuna Carmelo Pirrone 1501 Broadway, Suite 506 6100 Wilshire Blvd., Ste 170 Maya Anand New York, NY 10036 Los Angeles, CA 90048 550 Madison Ave. 212-354-4660 tel 323-634-7001 tel New York, NY 10022 [email protected] 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax CREDITS CAST Maggie Smith MISS SHEPHERD Alex Jennings ALAN BENNETT Jim Broadbent UNDERWOOD Frances De La Tour MRS VAUGHAN WILLIAMS Roger Allam RUFUS DIRECTED BY Nicholas Hytner WRITTEN BY Alan Bennett from his memoir EXECUTIVE PRODUCERS Christine Langan, Ed Wethered, Charles Moore, Miles Ketley PRODUCERS Kevin Loader, Nicholas Hytner, Damian Jones DIRECTOR OF PHOTOGRAPHY Andrew Dunn PRODUCTION DESIGNER John Beard EDITOR Tariq Anwar COMPOSER George Fenton COSTUME DESIGNER Natalie Ward HAIR AND MAKE UP DESIGNER Naomi Donne CASTING DIRECTOR Toby Whale SYNOPSIS Alan Bennett’s story is based on the true story of Miss Shepherd (played by a magnificent Maggie Smith), a woman of uncertain origins who “temporarily” parked her van in Bennett’s London driveway and proceeded to live there for 15 years. What begins as a begrudged favor becomes a relationship that will change both their lives. Filmed on the street and in the house where Bennett and Miss Shepherd lived all those years, acclaimed director Nicholas Hytner reunites with iconic writer Alan Bennett (The Madness of King George, The History Boys) to bring this rare and touching portrait to the screen. -
Benjamin Britten
Benjamin Britten “Britten” redirects here. For other uses, see Britten the operas are the struggle of an outsider against a hostile (disambiguation). society, and the corruption of innocence. Britten’s other works range from orchestral to choral, solo vocal, chamber and instrumental as well as film mu- sic. He took a great interest in writing music for chil- dren and amateur performers, including the opera Noye’s Fludde, a Missa Brevis, and the song collection Friday Af- ternoons. He often composed with particular performers in mind. His most frequent and important muse was his personal and professional partner, the tenor Peter Pears; others included Kathleen Ferrier, Jennifer Vyvyan, Janet Baker, Dennis Brain, Julian Bream, Dietrich Fischer- Dieskau and Mstislav Rostropovich. Britten was a cel- ebrated pianist and conductor, performing many of his own works in concert and on record. He also per- formed and recorded works by others, such as Bach's Brandenburg concertos, Mozart symphonies, and song cy- cles by Schubert and Schumann. Together with Pears and the librettist and producer Eric Crozier, Britten founded the annual Aldeburgh Festival in 1948, and he was responsible for the creation of Snape Maltings concert hall in 1967. In his last year, he was the first composer to be given a life peerage. Britten in the mid-1960s (photograph by Hans Wild) 1 Life and career Edward Benjamin Britten, Baron Britten, OM CH 1.1 Early years (22 November 1913 – 4 December 1976) was an English composer, conductor and pianist. He was a central fig- ure of 20th-century British classical music, with a range of works including opera, other vocal music, orchestral and chamber pieces. -
Newsletter 34
The W. H. Auden Society Newsletter Number 34 ● November 2011 Contents Our London Correspondent: “The Habit of Art” 5 Hamish Robinson: The Poetry of W. H. Auden 15 David Collard: A Note on Geoffrey Tandy 22 E. M.: A Revised Census of Auden’s Poems (1928) 27 Notes and Queries 34 Recent and Forthcoming Books and Events 35 Memberships and Subscriptions 36 A Note to Members The Society apologizes to its members for the long wait they have endured for this number of the Newsletter. The search for a new Editor took more time than we had hoped. We hope the contents of this number may be some small compensation for the delay. All cur- rent and recent memberships will be extended an additional two years without any further cost as a small recompense. We hope now to return to the more regular biennial schedule that we followed in the past. “The Habit of Art” Alan Bennett’s New Play about Auden and Britten Our London correspondent writes: Peter O’Toole once described the actor’s craft as “farting around in disguises,” and there’s no shortage of flatulence and dissembling in Alan Bennett’s latest play, based upon an imagined encounter be- tween Benjamin Britten and W. H. Auden in Oxford in 1972. The Habit of Art opened to general acclaim at the Lyttelton Theatre on 5 No- vember 2009 and played to packed houses throughout its run. I was lucky enough to book the last available place in the four-part lecture series Discover Auden, which accompanied the production in Decem- ber. -
Sylvia Townsend Warner: a Musical Life
SYLVIA TOWNSEND WARNER: A MUSICAL LIFE LYNN MUTTI UCL PhD 1 I, Lynn Mutti, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 SYLVIA TOWNSEND WARNER: A MUSICAL LIFE Abstract Music was central to Warner's life: she was first a young, aspiring composer, then a musicologist, later a librettist and friend to musicians and composers, and for fifty years a writer whose works regularly engaged with music in richly diverse ways. Unpublished diary entries show her knowledgeable and personal response to music heard in the concert hall, on the radio, via gramophone records or as a participant in a choir. Her ear was tuned to sound, especially sound in nature: water, birds, animals, the sea, the wind, as well as the cacophony of human voices, singing, shouting, joyous or sad. Warner's acute ear tuned into the life around her and articulated it in her written work. A late diary entry just a few months before her death shows her frailty and the continuing importance of music in her daily life. Sound and music are contained in one eloquently descriptive sentence: 'I fell against the tool-shed with a loud clang. Little the worse. Revived by a fine performance of the Pastoral Symphony'.1 My aims in this thesis are to present the fullest narrative yet of Warner's engagement with music, to examine her academic writing on the subject and to recount her musical collaborations and friendships which have not previously been a subject for academic discussion. -
FOR IMMEDIATE RELEASE NT Live Presents the HABIT of ART and Broadcasts Via Satellite to Cineplex Entertainment Theatres from Th
FOR IMMEDIATE RELEASE NT Live Presents THE HABIT OF ART and Broadcasts via Satellite to Cineplex Entertainment Theatres from the UK’s National Theatre on Thursday, April 22nd at 7pm ET/PT and 8 pm MT/CT Toronto, ON, April 13, 2010 (CGX.UN) – Alan Bennett’s highly acclaimed new play The Habit of Art, directed by Nicholas Hytner, will be filmed live at the National Theatre in London on Thursday, April 22nd (7 pm ET/PT and 8 pm MT/CT) and broadcast by satellite to Cineplex Entertainment theatres across the country. The Habit of Art is the final play in the pilot season of NT Live, following the hugely successful broadcasts of Phèdre, All’s Well That Ends Well and Nation. Advance tickets are available online at www.cineplex.com/events as well as at participating theatre box offices. Admission for children ages 3 - 13 is $12.95 + tax, seniors is $17.95 + tax and general admission is $19.95 + tax. A special group rate is also available for groups of 20 or more at $16.95 per person. For more information on group rates, call 1-800-313-4461. The Habit of Art is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men - Benjamin Britten and W H Auden - and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion’s spent: ultimately, on the habit of art. Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. -
Stage by Stage South Bank: 2002 – 2014
Stage by Stage South Bank: 2002 – 2014 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Nicholas Hytner. Photograph by Hugo Glendinning. 2003 Trevor Nunn’s last production as Director of the NT is Shakespeare’s Love’s Labour’s Lost, using largely the same company as for Anything Goes. 1 April, Nicholas Hytner takes over as Director of the NT, announcing a six-month season in the Olivier for which more than two-thirds of the tickets are £10. The opening production in The Travelex £10 Season is Henry V, with Adrian Lester in the title role. The National presents its first-ever new opera: Jerry Springer – The Opera helps attract new audiences to the Lyttelton before transferring to the West End. Other West End transfers this year are Anything Goes to Theatre Royal, Drury Lane; Jumpers to the Piccadilly; Vincent in Brixton to the Playhouse; Jerry Springer – The Opera to the Cambridge; and Dinner to Michael Brandon as Jerry Springer. Photograph by Catherine Ashmore. Wyndham’s. presentation of the National’s work in the New work in the Cottesloe includes Kwame United States. The first of these, Jumpers, Kwei-Armah’s Elmina’s Kitchen, Martin opens at the Brooks Atkinson Theatre on McDonagh’s The Pillowman, and Michael Broadway on 25 April 2004. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Adaptation and Twentieth-Century Opera Carolyn Claire Isabelle Burns A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences University of Sydney 2014 i Abstract Combining critical theory and dramaturgical analysis, this thesis considers twentieth-century English- language opera adaptations from a structural and cultural perspective, with particular focus on the increasing complexity of relationships between different types of literary text and the position of contemporary opera within national literary cultures. -
FINZI Lo, the Full, Final Sacrifice BRITTEN Rejoice in the Lamb Are
WHITEHALL CHOIR Conductor PAUL SPICER Organ JAMES LONGFORD Holy Trinity Sloane Squ PARRY I was glad, Songs of Farewell, Blest Pair of Sirens FINZI Lo, the full, final Sacrifice BRITTEN Rejoice in the Lamb are Slo View from Exmoor Window by Anthony Krikhaar Programme £2 Friday 15 April 2011 at 7.30pm Holy Trinity Sloane Square Sloane Street, London SW1X 9BZ at 7.30pm PROGRAMME Hubert Parry I was glad Gerald Finzi Lo, the full, final Sacrifice Benjamin Britten Rejoice in the Lamb I N T E R V A L Hubert Parry Songs of Farewell Blest Pair of Sirens The concert is expected to end at approximately 9 pm. Hubert Parry (18481918) Sir Charles Hubert Hastings Parry, 1st Baronet, was born in Bournemouth, the youngest of six children of Thomas Gambier Parry (18161888) of Highnam Court, Gloucestershire, and his first wife, Isabella née Clinton (18161848). Three of their children died in infancy, and Isabella Parry died twelve days after the birth of her sixth child. Parry grew up at Highnam Court with his surviving siblings, (Charles) Clinton and Lucy. Thomas Parry remarried in 1851, and had a further six children. After Twyford Preparatory School in Hampshire Parry went on to Eton, where his interest in music was encouraged and developed. While there he distinguished himself at sports as well as music, despite early signs of the heart trouble that was to dog him for the rest of his life. He took music lessons with Sir George Job Elvey, the organist of St George’s Chapel, Windsor, and composed many prentice works. -
The Royal National Theatre Annual Report and Financial Statements 2009-10 the Royal National Theatre Upper Ground, London SE1 9PX
The Royal National Theatre Annual Report and Financial Statements 2009-10 The Royal National Theatre Upper Ground, London SE1 9PX +44 (0)20 7452 3333 www.nationaltheatre.org.uk The Royal National Theatre is a company limited by guarantee and a registered charity. It was established in 1963 for the advancement of education and, in particular, to procure and increase the appreciation and understanding of the dramatic art in all its forms as a memorial to William Shakespeare. These objects are set out in the governing document, which is its Memorandum and Articles of Association, and have been developed into a set of aims and objectives as described on page 5. Public Benefit Statement In developing the objectives for the year, and in planning activities, the Trustees have considered the Charity Commission’s general guidance on public benefit including the guidance on public benefit and fee charging. The repertoire is planned so that across a full year it will cover a wide range of theatre, appealing to a broad audience. Particular regard is given to ticket-pricing, affordability, access and audience development, both through the Travelex £10 season and more generally in the provision of £10 tickets for all performances. Careful consideration is given to the accessibility of the National to those on low incomes, through concessions, free exhibitions, foyer music and performances of Watch This Space. Geographical reach is achieved through touring and NT Live broadcasts to cinemas in the UK and overseas. The NT also seeks to develop new audiences and deepen engagement through its Discover programme and other activities, both on-site and via the website. -
Britten and Auden: Inventive Days, Inebriated Nights at 7 Middagh Street, Brooklyn Transcript
Britten and Auden: Inventive Days, inebriated nights at 7 Middagh Street, Brooklyn Transcript Date: Wednesday, 27 January 2010 - 12:00AM Location: Barnard's Inn Hall Britten and Auden: Inventive days and inebriated nights at 7 Middaugh Street Brooklyn Chamber Domaine 27/01/2010 Ladies and Gentlemen, today's lecture recital explores the friendship, collaboration and influence of two iconic figures of the twentieth century, Benjamin Britten and Wystan Auden: great artists whose work captured the sounds and sensibilities of their age, immortalized by Auden as "The Age of Anxiety." The Wall Street crash of 1929 cast a black shadow over the 1930's and precipitated inflation, mass unemployment and the rise of totalitarianism. As war approached, Auden summarised the mood in his famous poem, 1st September 1939: I sat in one of the dives On Fifty-Second Street Uncertain and afraid As the clever hope expire Of a low dishonest decade. Auden and Britten began their friendship and artistic collaboration in 1935 and were to collaborate on the song cycles, On This Island, Op.11; Our Hunting Fathers, Op.8; Ballad of Heroes, Op.14; Hymn to St.Cecilia, Op.27; the films Night Mail and Coal Face; a series of plays for the Theatre Group and the folk opera, Paul Bunyan, Op.17. By coincidence, Auden and Britten attended the same school, Greshams in Holt, Norfolk: a progressive public school that encouraged the arts. Auden was seven years more senior than Britten so they did not meet at school but shared the same educational experiences. Both men were highly creative, precocious, homosexual, pacifist and like any self-respecting artist in the 1930's, left wing. -
The Habit of Art Free Download
THE HABIT OF ART FREE DOWNLOAD Alan Bennett | 112 pages | 19 Nov 2009 | FABER & FABER | 9780571255610 | English | London, United Kingdom The Habit of Art Added to Watchlist. Benjamin Britten and WH Auden. Photo Gallery. United in creativity Britten has been auditioning boys for Death in Venice nearby, and arrives unexpectedly their first meeting in 25 years after they fell out over the failure of their opera Paul Bunyan. Add the first question. Plot Keywords. Critical reaction to the original production of the play was generally positive. Use the HTML below. In a cluttered church hall, four actors gather for rehearsal. And, while it may not possess the universal resonance of The History Boys, the play has the characteristic Bennett mix of wit and wistfulness. Alan Bennett sidesteps clever-clogsy-ness by presenting the action of his drama as a play within a play. It never happened; but it acquires an imaginative plausibility and shows two great artists, towards the end of their lives, united in their belief in the power of the creative impulse. Help Learn to edit Community portal Recent changes Upload file. Richard Griffiths bears no physical resemblance to Auden but he becomes a vivid metaphor for the The Habit of Art. Michael Billington. Back to School Picks. Crazy Credits. Writer: Alan Bennett play. But Bennett's play is at its strongest when it deals with the theme implicit in its title: the idea that, for the artist, creativity is a constant, if troubling imperative. Two others are absent, so the stage manager and her assistant stand in.