The Performance of Time in the Winter's Tale in Britain, 2001–2017
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 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 Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Keats' Move to Verse Brought to Life in Theatre
H&H Series Thursday, September 14, 2017 35 ETCETERA Keats’ move to verse brought to life in theatre The moment Hampstead poet consumption. He nursed her and John Keats’ turned from later his brother Tom. In medicine to verse is dramatised hindsight it looks odd that he in an immersive play in a wanted to be a doctor but he 200-year-old operating theatre. was a caring person who spent a great deal of his life looking Audiences of 45 a time will watch after other people and I think Rebel Angel from the “incredibly would have made a brilliant claustrophobic and atmospheric” doctor.” stands where medical students Graham-Campbell says the would often faint while watching play is relevant to younger operations. audiences in dramatising “the The Old Operating Theatre choice between a traditional Museum is near Guy’s Hospital money-making job and the arts.” where Keats began studying “Keats is a writer whose early medicine in October 1815. death, sense of melancholy, and Angus Graham-Campbell’s charisma have given him rock play follows the year when he star status.” met contemporary Percy Shelley It also reflects the pivotal role in Hampstead and had his first of mentors – Keats was assistant work published. to notorious surgeon Bill “It’s exciting to bring theatre ‘butcher’ Lucas while his into such a vibrant active space,” inspirational teacher Charles says Graham-Campbell, a trustee Cowden Clarke introduced him of the Keats-Shelley House in to progressive ideas and the left Rome where the poet died of wing Hampstead radical Leigh Old operating theatre. -
Radio 4 Extra Listings for 6 – 12 June 2020 Page 1 of 9 SATURDAY 06 JUNE 2020 Lady Lettice Melland
Radio 4 Extra Listings for 6 – 12 June 2020 Page 1 of 9 SATURDAY 06 JUNE 2020 Lady Lettice Melland ...... Helen Ryan The Garage ...... James Bryce Anne Artingstall ...... June Barry Pansy the Dog ...... Percy Edwards SAT 00:00 Schalken the Painter by Sheridan Le Fanu Lizzie Lightowler ...... Rosalie Crutchley Alfred ...... Henry Stamper (b007sw35) Arnold Ryerson ...... Andrew Jackson Dramatised and directed by Peter King 2. The Deal Pen Muff ...... Vida Paterson First broadcast on BBC Radio 4 in December 1983. The ghoulish Vanderhausen seals his deal with Rose's uncle who Harry Liskeard ...... Peter Guinness SAT 07:30 Great Lives (b04vdzyh) is unaware that his pupil Godfrey Schalken is in love with her... Jimmy Newboult ...... John Baldwin Series 35 Ian McDiarmid concludes the unabridged reading of Sheridan Ellen Stansfield ...... Rosalie Williams Brian Eno on Lord Young of Dartington Le Fanu's supernatural tale. Edith Ryerson ...... Ann Rye Brian Eno has worked with David Bowie, David Byrne and U2 Producer: Lawrence Jackson Nell Richards ...... Nina Holloway but his choice of Great Life is not a rock star but the sociologist Made for BBC 7 by BBC Northern Ireland. Marsden ...... Herbert Smith Lord Young of Dartington. First broadcast in June 2005. Carrickfergus ...... James Tomlinson Michael Young wrote the Labour Party's 1945 election SAT 00:30 Off the Page (b0076x93) Evan Vaughan ...... Richard Clay-Jones manifesto, researched slum clearance in the East End of Are We Alone? Gallery Assistant ...... Rory Scase London, set up the Consumers' Association, coined the word Victoria Coren on paranormal beliefs with Charlie Skelton, Director: Trevor Hill "meritocracy", co-founded the Open University and planned the Nick Pope and Christopher French. -
ANNUAL REVIEW 2015 -16 the RSC Acting Companies Are Generously Supported by the GATSBY CHARITABLE FOUNDATION and the KOVNER FOUNDATION
ANNUAL REVIEW 2015 -16 The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION. Hugh Quarshie and Lucian Msamati in Othello. 2015/16 has been a blockbuster year for Shakespeare and for the RSC. 400th anniversaries do not happen often and we wanted to mark 2016 with an unforgettable programme to celebrate Shakespeare’s extraordinary legacy and bring his work to a whole new generation. Starting its life in Stratford-upon-Avon, Tom Morton-Smith about Oppenheimer, we staged A Midsummer Night’s a revival of Miller’s masterpiece Dream in every nation and region Death of a Salesman, marking his of the UK, with 84 amateurs playing centenary, and the reopening of Bottom and the Mechanicals and The Other Place, our new creative over 580 schoolchildren as Titania’s hub. Our wonderful production of fairy train. This magical production Matilda The Musical continued on has touched the lives of everyone its life-enhancing journey, playing involved and we are hugely grateful on three continents to an audience to our partner theatres, schools and of almost 2 million. the amateur companies for making this incredible journey possible. Our work showcased the fabulous range of diverse talent from across We worked in partnership with the the country, and we are proud of the BBC to bring ‘Shakespeare Live! From increasing diversity of our audiences. the RSC’ to a television audience of 1.6m and to cinema audiences in People sometimes ask if Shakespeare 15 countries. The glittering cast is still relevant. The response from performed in the Royal Shakespeare audiences everywhere has been a Theatre to an audience drawn from resounding ‘yes’. -
Cambridge Companion Shakespeare on Film
This page intentionally left blank Film adaptations of Shakespeare’s plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare’s plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare’s women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong cov- erage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. Russell Jackson is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute, University of Birmingham. He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh’s Henry V, Much Ado About Nothing, Hamlet and Love’s Labour’s Lost. He is co-editor of Shakespeare: An Illustrated Stage History (1996) and two volumes in the Players of Shakespeare series. He has also edited Oscar Wilde’s plays. THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Old English The Cambridge Companion to William Literature Faulkner edited by Malcolm Godden and Michael edited by Philip M. -
Dominic Cooke Director
Dominic Cooke Director Film 2021 THE COURIER Feature film starring Benedict Cumberbatch 42/SunnyMarch World Premiere – Sundance Film Festival 2020 2017 ON CHESIL BEACH Feature film based on the novel by Ian McEwan BBC Films & Number 9 Films North American Premiere – Toronto International Film Festival 2017 Television 2016 THE HOLLOW CROWN 3 Episodes: Henry VI Part I, Henry VI Part II, Richard III BBC/ NBC Universal Television / Neal Street Productions / WNET Thirteen Theatre 2017 FOLLIES Written by Stephen Sondheim Royal National Theatre 10 Olivier Nominations including Best Director 2016 PIGS AND DOGS Written by Caryl Churchill Royal Court Theatre 2016 MA RAINEY’S BLACK BOTTOM Written by August Wilson Royal National Theatre 1 Olivier Win 2015 HERE WE GO Written by Caryl Churchill Royal National Theatre 2015 TEDDY FERRERA Written by Christopher Shinn Donmar Warehouse 2013 THE LOW ROAD Written by Bruce Norris Royal Court Theatre 2013 IN THE REPUBLIC OF HAPPINESS Written by Martin Crimp Royal Court Theatre 2012 DING DONG THE WICKED Written by Caryl Churchill Royal Court Theatre 2012 CHOIR BOY Written by Tarell Alvin McCraney Royal Court Theatre 2012 IN BASILDON Written by David Eldridge Royal Court Theatre 2011 CHICKEN SOUP WITH BARLEY Written by Arnold Wesker Royal Court Theatre 2011 THE COMEDY OF ERRORS Written by William Shakespeare Royal National Theatre 2010 CLYBOURNE PARK Written by Bruce Norris Royal Court Theatre 1 Olivier Win 2009 AUNT DAN AND LEMON Written by Wallace Shawn Royal Court Theatre 2009 THE FEVER Written by Wallace Shawn Royal Court Theatre 2009 SEVEN JEWISH CHILDREN Written by Caryl Churchill Royal Court Theatre 2008 WIG OUT! Written by Tarell Alvin McCraney Royal Court Theatre 2008 NOUGHTS AND CROSSES Director & Writer. -
Toward an Aesthetics and Politics of Guilt in American
UNIVERSITY OF CALIFORNIA Los Angeles Responsibility, Freedom, and the State: Toward an Aesthetics and Politics of Guilt in American Literature, 1929-1960 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Timothy Jeffrey Haehn 2014 © Copyright by Timothy Jeffrey Haehn 2014 ABSTRACT OF THE DISSERTATION Responsibility, Freedom, and the State: Toward an Aesthetics and Politics of Guilt in American Literature, 1929-1960 By Timothy Jeffrey Haehn Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2014 Professor Eleanor K. Kaufman, Chair This dissertation proposes a fundamental reassessment of guilt in twentieth-century American literature. I claim that guilt ought to be understood not so much in relation to the Holocaust or the history of U.S. race relations as in relation to the state. In readings of Mary McCarthy, Richard Wright, J. D. Salinger, Arthur Miller, and Saul Bellow, as well as the early Superman comics and fiction and criticism that invoke Fyoder Dostoevsky’s work, this project demonstrates how authors of fiction and popular culture mobilize feelings of responsibility and guilt to symbolize anxieties over the diminished role of the state as a vehicle for public relief. As the federal government jettisoned burdens that it had borne since the Depression, the writers in question depict various mechanisms employed by individuals to absorb state burdens and to compensate for the reduced availability of state-backed relief. With renewed emphasis on existential categories such as guilt, freedom, and anxiety, I trace tensions at the core of mid- twentieth-century narratives that situate them squarely within the problematics of antistatism. -
Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business. -
C. Doran Complete CV
Cailin Doran 303.956.6542 [email protected] cailindoran.com Productions Directed: Twelfth Night Watertown Children’s Theatre 2020 Who is Eartha Mae? Bridge Repertory Theater 2019 Oklahoma! Voices Boston 2018 Shakespeare in Love (AD) Speakeasy Stage 2018 Pirates of Penzance Voices Boston 2017 Yeomen of the Guard MIT Gilbert and Sullivan Players 2017 Hamlet (AD) Boston Theatre Company 2017 Midsummer Night’s Dream (AD) Boston Theatre Company 2017 Major Roles Performed: Complete Performance Resume available upon request. Music Theatre: Laurey Williams, Oklahoma! | Cinderella, Into the Woods | Kate, The Wild Party (LaChiusa) | The Old Woman, Candide Shakespeare: Beatrice, Much Ado About Nothing | Desdemona Othello Teaching Experience: Voices Boston - Guest Artist - resident Theatre Teacher and Director - Developed workshops and lectures for Laban based movement classes and Acting Fundamentals rooted in Stanislavski and Meisner traditions - Collaborated with Artistic Director, Executive Director, Music Director, Technical Director and Board to produce yearly main stage productions - Generated pre-production dramaturgical lecture series to elucidate the historical context and influences on and of "Oklahoma!" - Participated in best practices convocations for the growth of students and the organizations outreach The Boston Conservatory - Teacher’s Assistant - As Doug Lockwood’s TA, attended and observed undergraduate Acting 1, leading Declan Donnellan based exercises and scene study of contemporary texts -
Study Guide for DE Madameby Yukio Mishima SADE Translated from the Japanese by Donald Keene
Study Guide for DE MADAMEBy Yukio Mishima SADE Translated from the Japanese by Donald Keene Written by Sophie Watkiss Edited by Rosie Dalling Rehearsal photography by Marc Brenner Production photography by Johan Persson Supported by The Bay Foundation, Noel Coward Foundation, 1 John Lyon’s Charity and Universal Consolidated Group Contents Section 1: Cast and Creative Team Section 2: An introduction to Yukio Mishima and Japanese theatre The work and life of Yukio Mishima Mishima and Shingeki theatre A chronology of Yukio Mishima’s key stage plays Section 3: MADAME DE SADE – history inspiring art The influence for Mishima’s play The historical figures of Madame de Sade and Madame de Montreuil. Renée’s marriage to the Marquis de Sade Renee’s life as Madame de Sade Easter day, 1768 The path to the destruction of the aristocracy and the French Revolution La Coste Women, power and sexuality in 18th Century France Section 4: MADAME DE SADE in production De Sade through women’s eyes The historical context of the play in performance Renée’s ‘volte-face’ The presence of the Marquis de Sade The duality of human nature Elements of design An interview with Fiona Button (Anne) Section 5: Primary sources, bibliography and endnotes 2 section 1 Cast and Creative Team Cast Frances Barber: Comtesse de Saint-Fond For the Donmar: Insignificance. Theatre includes: King Lear & The Seagull (RSC), Anthony and Cleopatra (Shakespeare’s Globe), Aladdin (Old Vic), One Flew Over the Cuckoo’s Nest (Edinburgh Festival & Gielgud). Film includes: Goal, Photographing Fairies, Prick Up Your Ears. Television includes: Hotel Babylon, Beautiful People, Hustle, The I.T. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Theatricality and Historiography in Shakespeare's Richard
H ISTRIONIC H ISTORY: Theatricality and Historiography in Shakespeare’s Richard III By David Hasberg Zirak-Schmidt This article focuses on Shakespeare’s history drama Richard III, and investigates the ambiguous intersections between early modern historiography and aesthetics expressed in the play’s use of theatrical and metatheatrical language. I examine how Shakespeare sought to address and question contemporary, ideologically charged representations of history with an analysis of the characters of Richard and Richmond, and the overarching theme of theatrical performance. By employing this strategy, it was possible for Shakespeare to represent the controversial character of Richard undogmatically while intervening in and questioning contemporary discussions of historical verisimilitude. Historians have long acknowledged the importance of the early modern history play in the development of popular historical consciousness.1 This is particularly true of England, where the history play achieved great commercial and artistic success throughout the 1590s. The Shakespearean history play has attracted by far the most attention from cultural and literary historians, and is often seen as the archetype of the genre. The tragedie of kinge RICHARD the THIRD with the death of the Duke of CLARENCE, or simply Richard III, is probably one of the most frequently performed of Shakespeare’s history plays. The play dramatizes the usurpation and short- lived reign of the infamous, hunchbacked Richard III – the last of the Plantagenet kings, who had ruled England since 1154 – his ultimate downfall, and the rise of Richmond, the future king Henry VII and founder of the Tudor dynasty. To the Elizabethan public, there was no monarch in recent history with such a dark reputation as Richard III: usurpation, tyranny, fratricide, and even incest were among his many alleged crimes, and a legacy of cunning dissimulation and cynical Machiavellianism had clung to him since his early biographers’ descriptions of him.