Felix Issue 1016, 1995
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Paul Bettany, Mark Strong, Brian Cox
BBC Films - IM Global - Neal via Productions - Quickfire - Red Film presentano un film di Nick Murphy con Paul Bettany, Mark Strong, Brian Cox Durata: 100 minuti DATA DI USCITA 27 GIUGNO 2013 Distribuzione Ufficio stampa film _________________________________ Vera Usai Lucrezia Viti Stefano Orsini Lucrezia (+39) 348 2565827; [email protected] Vera (+39) 347 0927133; [email protected] Stefano (+39) 377 6869907; [email protected] materiali stampa: www.vic-communication.com - www.notoriouspictures.it 1 Crediti non contrattuali cast artistico Paul Bettany ... Joe Fairburn Mark Strong ... Robert Seymour Brian Cox ... Lenny Fairburn Stephen Graham ... Chrissie Fairburn Ben Crompton ... Jason Buleigh Zoë Tapper ... Jemma Venn Adrian Edmondson ... Tom Tiernan Natasha Little ... Lily Fairburn Patrick Hurd-Wood ... Dominic Nick Murphy ... Sports Master Stuart McQuarrie ... David Saddler Daniel Pemberton ... Drunken Guitarist Sandra Voe ... Sandra Buleigh Nick Pearse ... S.O.C.O. Jasper Britton ... Daniel Telphen cast tecnico regia Nick Murphy sceneggiatura Bill Gallegher direttore della fotografia George Richmond musiche originali di Daniel Pemberton montaggio Victoria Boydell castig Nina Gold costumista Michele Clapton 2 Crediti non contrattuali La verità non resta mai sepolta a lungo Sinossi breve Una giovane ragazza viene brutalmente assassinata e le accuse ricadono su Jason Buliegh, già condannato per molestie. Quando Jason viene rilasciato temporaneamente per mancanza diprove, i due fratelli poliziotti che avevano seguito le indagini decidono di farsi giustizia da soli, occultando poi il cadavere. In un attimo varcano il labile confine che c’è tra bene e male e, dopo una vita trascorsa dalla parte dei giusti, si ritrovano senza via di scampo, tormentati dal senso di colpa e schiacciati dalle loro stesse azioni. -
Shared Experience Theatre: Exploring the Boundaries of Performance
SHARED EXPERIENCE THEATRE: EXPLORING THE BOUNDARIES OF PERFORMANCE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Kristin A. Crouch, M.Phil. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Lesley K. Ferris, Adviser Dr. Joy Harriman Reilly _____________________________ Adviser Dr. Edward Ziter Theatre Graduate Program Copyright by Kristin Ann Crouch 2003 ABSTRACT This dissertation provides a history of Shared Experience Theatre, a fringe theatre company based in London, England. The members of Shared Experience have earned international acclaim for their commitment to physically innovative approaches to novel adaptations for the stage. Although they are one of the few living fringe companies remaining since the 1970s, this is the first official investigation of the company that revitalized storytelling techniques for the contemporary British stage. The focus of this study is on the creative processes and survival techniques of the artistic leadership over the past twenty-seven years, beginning with Mike Alfreds in 1975, and continuing with Nancy Meckler and Polly Teale since 1987. It was Shared Experience’s work in the 1970s that sparked the contemporary British interest in stage adaptations of literature, with their landmark productions of Arabian Nights and Dicken’s Bleak House. Under the artistic leadership of Mike Alfreds, the actors employed the narrative of the novel as a wellspring of theatrical possibility, physically transforming themselves through the slightest gesture. From the late 1980s, under Meckler and Teale, the approach to novel adaptation continues to be physical and innovative, yet takes a significantly different path. -
NEWSLETTER June 2014
NEWSLETTER June 2014 their involvement in our European Highlights in this issue Editorial Alzheimer’s Alliance. We were very Welcome! grateful to Marina Yannakoudakis 30 June: DIE magazine issue 17 2 who contacted us to discuss a published This month has continuing collaboration with AE, 30 June: AE Conference 3 seen the AE team despite not having been re- programme available travelling all over elected. We look forward to 9 June: Scottish government 7 Europe for a continuing working with her. hosts dementia conference variety of 15 June: World Elder Abuse meetings In the UK, the “Dementia Friends” 8 programme has now been Awareness day observed including a series of workshops 19 June: Global Dementia and meetings for EU projects we extended to Scotland thanks to 8 Legacy event held in London are involved in, such as EMIF, AFE funding from Alzheimer Scotland. As a new and very welcome 23 June: Cocoa extract may Innovnet, NILVAD and IMPACT. We 12 development in this area, the UK help with AD were also represented in Geneva at the “Alzheimer University” of Parliament pledged to become the Alzheimer’s Disease International. first dementia-friendly parliament in the world! We also participated in two high level policy events in June with In the scientific field, a form of Annette attending the Global cocoa extract has been in the news this month as a possible dietary Dementia Legacy Event in London and Alex participating in the first supplement to help ward off international dementia conference dementia, further studies pending. organised by the Scottish A new therapeutic target may also Government. -
Stage Business: Britain's Neoliberal Theatre
STAGE BUSINESS: BRITAIN’S NEOLIBERAL THEATRE, 1976–2016 ALESSANDRO FERRONE A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENGLISH YORK UNIVERSITY TORONTO, ONTARIO October 2018 © Alessandro Ferrone, 2018 ii ABSTRACT Stage Business examines contemporary British drama vis-à-vis the neoliberal economic reforms that have dominated British policy for the last forty years, attending to the material conditions of theatre production amid a thoroughgoing transformation of the arts’ relationship to government, business, and consumer culture. The concretization of neoliberal policy in Britain’s recent political history produced a logical parallel in the country’s theatre history, which has effectively accepted a mixed economy of arts funding and the necessity of cooperation with the worlds of finance and corporate sponsorship. The British stage has, throughout this fraught history, indexed its own complex entanglement with neoliberal consensus politics: on the one hand, playwrights have denounced the rapacious, acquisitive values encouraged by global capitalism and monetarism’s uncontested dominance across the political spectrum; on the other hand, plays have more readily revealed themselves as products of the very market economy they critique, their production histories and formal innovations uncomfortably reproducing the strategies and practices of neoliberal labour markets. In their form and content, the plays discussed in Stage Business account for two trends in contemporary British drama. The first involves an explicit engagement not only with corporate finance and business culture but also with the ways in which neoliberal economics have revised cultural life. Connected to this thematic preoccupation is a structural trend some have called “postdramatic,” involving a rejection of traditional narrative and characterization.