Dads Army: the Lost Tapes: Classic Comedy from the Bbc Archives Pdf
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Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Gabriela Gogelová The Home Guard and the French Resistance in Situation Comedies by David Croft Bachelor‟s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph. D. 2015 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………… Author‟s signature I would like to thank my supervisor, Stephen Paul Hardy, Ph.D., for his professional advice, encouragement and patience. Table of Contents General Introduction 5 Chapter I: Situation Comedy and the BBC 8 Chapter II: Analysis of Dad’s Army 12 Description of the Characters 12 The British Home Guard vs. Croft and Perry‟s Dad’s Army 25 Chapter III: Analysis of ‘Allo ‘Allo! 30 Description of the Characters 30 The French Resistance vs. Croft and Lloyd‟s ‘Allo ‘Allo! 41 Conclusion 46 Works Cited 52 English Resume 55 Czech Resume 56 General Introduction The Second World War was undoubtedly the most terrible conflict of the twentieth century and one of the most destructive wars in history. It may therefore seem surprising that comedy writer David Croft chose exactly this period as a background for his most successful situation comedies. However, the huge success of the series Dad’s Army and ‘Allo ‘Allo! suggests that he managed to create sitcoms that are entertaining for wide audience and not offensive despite their connection to the Second World War. This thesis focuses on two of David Croft‟s sitcoms, Dad’s Army and ‘Allo ‘Allo!. The firstly mentioned sitcom was created in cooperation with Jimmy Perry and ran on BBC1 almost ten years from 1968 to 1977. -
Vf Dad's Army Programme.Pub
16 May 2016 1 £2 Welcome Welcome to our Spring 2016 Producon of Dad’s Army. I think we can guarantee you a laugh a minute as we present three of the original TV episodes ‐ “Deadly Aachment”, “Mum’s Army” and “The Godiva Affair”. We’re delighted to have a few new faces on stage and we’re sure you’ll give them a warm welcome. As you will know we are in the early stages of our “Big Project” which will see the theatre upgraded and improved. We will be addressing issues of accessibility, health and safety and extending use of the theatre within the community. As a first step we have been busy fundraising to help towards the costs associated with our Project. These costs include emergency repairs to the roof (which we have now completed) and detailed architect’s drawings. There is more informaon available in our “Big Project” leaflet and if you join our mailing/email list we’d be very happy to keep you informed about progress. We are also currently in the early stages of looking at Community Ownership which would see the building come into the ownership of The Barony Players (we current‐ ly lease the building from Falkirk Council). As you can imagine this ambious project will take some years to achieve and along the way we will need to raise considera‐ ble amounts of money. With the help of you our audience we’re confident we’ll get there. We have launched our new website and connue to use Social Media to extend our reach. -
Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation
TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message Wow – we made it to our 10th anniversary!! Who would have thought it? From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way. It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be. There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat. -
Radio 4 Extra Listings for 19 – 25 August 2017 Page 1 of 8
Radio 4 Extra Listings for 19 – 25 August 2017 Page 1 of 8 SATURDAY 19 AUGUST 2017 Read by Robert Glenister monarchy and giving a glimpse into the essential ingredients of a Written by Sarah Dunant successful sovereign. SAT 00:00 Bruce Bedford - The Gibson (b007js93) Abridged by Eileen Horne In this programme, Will uses five objects to investigate a pivotal Episode 5Saul and Elise make a grim discovery in the nursing Produced by Clive Brill aspect of the art of monarchy - the projection of magnificence. An home. Time-hopping thriller with Robert Glenister and Freddie A Pacificus production for BBC Radio 4. idea as old as monarchy itself, magnificence is the expression of Jones. SAT 02:15 Me, My Selfie and I: Aimee Fuller©s Generation power through the display of wealth and status. Will©s first object SAT 00:30 Soul Music (b04nrw25) Game (b06172qq) unites our current Queen with George III; the Gold State Coach, Series 19, A Shropshire Lad"Into my heart an air that kills Episode 5In the final part of her exploration of the selfie which has been used for coronations since 1821. Built for George From yon far country blows: phenomenon, snowboarder Aimee Fuller describes how she will III in 1762, it reflects Britain©s new found glory in its richly gilded What are those blue remembered hills, be using social media as she sets out to compete for a place at the carvings and painted panels...but the glory was to be short lived. What spires, what farms are those? next Winter Olympics. -
2 April 2021 Page 1 of 10 SATURDAY 27 MARCH 2021 Robin Was a Furniture Designer Best Known for His Injection Nali
Radio 4 Extra Listings for 27 March – 2 April 2021 Page 1 of 10 SATURDAY 27 MARCH 2021 Robin was a furniture designer best known for his injection Nali ...... Nina Conti moulded polypropylene stacking chair, of which over 20 million Libby ...... Sarah Kendall SAT 00:00 Dream Story by Arthur Schnitzler (m000tg86) have been manufactured. Joan ...... Sarah Thom Episode 5 The Days shared a vision of good, affordable design for all. Mrs Singh ...... Nina Wadia Having infiltrated a secret masked ball where the female Together they established themselves as Britain's most Cilla ...... Gbemisola Ikumelo revellers are naked, Fridolin is discovered and must face his celebrated post-war designer couple, often been compared to Zoanna ...... Gbemisola Ikumelo hosts. US contemporaries, Charles Eames and Ray Eames. Roland ...... Colin Hoult Read by Paul Rhys. But despite their growing fame in the 1950s and 60s they Producer: Alexandra Smith Published in 1926, Arthur Schnitzler’s ‘Dream Story’ was remained uncomfortable with the public attention they received. A BBC Studios production for BBC Radio 4 first broadcast in alternately titled ‘Rhapsody’ and, in the original German, They shared a passion for nature and spent more and more time November 2016. ‘Traumnovelle’. outdoors. Lucienne drew much of her inspiration from plants SAT 05:30 Stand-Up Specials (m000tcl3) Credited as the novella that inspired Stanley Kubrick's last film. and flowers and Robin was a talented and obsessive mountain Jacob Hawley: Class Act Translated by JMQ Davies. climber. Stevenage soft lad Jacob Hawley left his hometown behind a Producer: Eugene Murphy Wayne reflects on the many layers to Robin and Lucienne and, decade ago and has ascended Britain's social class system, Made for BBC7 and first broadcast in September 2003. -
Roy Williams Has Been Quoted in the Guardian Saying: "We Only Ever Get
Comedy, drama and black Britain – An interview with Paulette Randall Eva Ulrike Pirker British theatre director Paulette Randall once said about herself and her work, "I'm not a politician, and I never set out to be one. What I do believe is that if we are in the business of theatre, of art, of creating, then that has to be at the forefront. The product, the play, has to be paramount."1 A look at her creative output, however, shows her political engagement in place – not so much in the sense of taking a proffered side, but certainly in the sense of insisting on participation in the public debate. To name just a few of her recent projects: Her 2003 production of Urban Afro Saxons at the Theatre Royal Stratford East was a timely intervention in the public debate about Britishness. The staging of James Baldwin's Blues for Mr Charlie (2004) at the Tricycle Theatre provided a thought-provoking viewing experience for a British audience in the wake of the Stephen Lawrence Inquiry. For the Trycicle and Talawa Theatre Company, Randall has staged four of August Wilson's plays. Her most recent theatre project was a production of Mustapha Matura's adaptation of Chekhov's Three Sisters at the Birmingham Repertory Theatre in 2006.2 However, Paulette Randall also has a professional life outside the theatre, where she makes her impact on the landscape of British sitcoms as a television producer. The following interview focuses not so much on specific productions, but more generally on her views on television, Britain's theatre culture, and the representations of Britain's diverse society. -
Mention the War: British Sitcoms and Military Masculinity
93 ANETTE PANKRATZ Mention the War: British Sitcoms and Military Masculinity 1. Introduction "Military virtues such as aggression, strength, courage and endurance have repeatedly been defined as the natural and inherent qualities of manhood" and "the soldier has become the quintessential figure of masculinity" (Dawson 1994, 1; cf. Braun 1996, 180; Connell 2005, 73, 213). Despite the assertive tone of these statements, military masculinity is fraught with contradictions and paradoxes. Soldiering, especially the killing of people in combat, can be seen as morally ambiguous (Braun 1996, 180). More importantly, the ideal type of military masculinity can never be reached and is enmeshed in a "dense web of double binds" (Belkin 2012, 4), that is, in disciplinary rituals that address soldiers as "girls" or "poofs" or in exercises that infantilise and feminise them (Belkin 2012, 33). Since the abolishment of National Service in 1961, serving in the army has become a very specialised occupation for a minority of the population in Britain and the warrior hero has been superseded by figures such as the "entrepreneurial individual" (Connell 2005, 254). (British) situation comedies featuring soldiers, from The Army Game (ITV, 1957- 1966) to Bluestone 42 (BBC, 2013-2015), broach this field of tensions with comic intent. They operate with incongruity between the exemplary figure of the warrior hero and its real-life performance, either by turning the norm upside down or by exaggerating and stereotyping it. The implicit juxtaposition of the ideal and its comic Other also puts into play different versions of masculinity, from the anxiously overt or the supposedly 'normal' to the deficient or explicitly dissident. -
April 2013 V4
April 2013 Josh Hindle ———- Helen Atkinson ————— David Smith and Liz Rowell all set for action at the filming in Towneley Hall Pretty as a Picture The magnificent Regency Room at Towneley Hall became a film set for the movie scenes of the Theatre Company’s latest production ‘Singin in the Rain’. Visitors to the Hall, on a rather snowy Sunday afternoon, thought they had stepped back in time as they gazed on the fabulous scene of ladies and gentlemen in full court dress. Only the cameras of our intrepid film crew John and Margaret Morgan gave away the fact that this was a film set and they had not been transported in a time warp. With a full entourage of Director, Wardrobe, Wigs and Musical Director in attendance visitors to the Hall may have been forgiven for thinking that our Company members were a professional film crew. But unfortunately no one dared ask the stars for their autographs!!! Lights, Camera, ACTION! 2 Booking WARDROBE REPORT 2012 Arrangements for ALL Pendle Hippodrome Shows DISCOVER PENDLE Boundary Mill Stores The Monday Night Wardrobe Team Pam Irene Jen Barbara Margaret Vivary Way Colne Pat Marilyn Florence Just call in to book your seats Or ring 01282 856186 Once again our Wardrobe team have had Open daily 10 am to 8 pm a very busy and successful year. The Sundays 11 am to 5 pm ladies enjoy their weekly wardrobe £1 per Booking - Fee Applicable sessions, it is their fund raising effort for Theatre plan available the Theatre, and they are pleased to report that from January to December ONLINE 2012 they made £8000 for Theatre funds. -
Comedy Is a Serious Business
Comedy is a Serious Business ROBERT Wn..JTER' In Lecture form this paper was illustrated with video clips. These are noted beLow in boxes in the text. The actors' banter in Plautus' time has changed little over the centuries. Asides to the audience continue to be used in Shakespeare. In 1938 Rogers and Hart used the Comedy of Errors as a basis for the musical The Boys from Syracuse. The asides to the audience as a theme was repeated in the popular Frankie Howard series Up Pompeii, UK of the 1970s. In comedy, the continuity of tradition and content is possibly clearer than in any other theatrical form since it can be demonstrated not only in terms of plot and literary influence, but also in theatrical practice. The Oxford dictionary defines comedy as a Stage Play of light, amusing and often satirical character, chiefly representing everyday life, with a happy ending. A great deal of stress can be laid on 'timing' - the ability to know how long an audience can be kept waiting. Add to this the actors' gift to a 'live audience' which can direct the audience to anticipate the funny side of any given situation with gestures, emphasis on certain words and pacing, and is under the control of the actors. It is here that you have a very important ingredient for success in a stage production. Film and television have to have different base lines, since the judgement of how funny a scene is or could be is a very subjective matter, primarily because the director and editor essentially control * Robert Winter has worked as an editor with Eating Studios and Yorkshire TeLevision, and has enjoyed an extensive career in film and television. -
Private Charles Godfrey
DAlcop Dad’s Army copyright Jimmy Perry & David Croft. File compilations copyright Gordon Brodie & Christopher Leather Section 1 : Main Characters : Private Charles Godfrey CHARACTER Charles Godfrey PLAYED BY Arnold Ridley OBE FULL NAME Charles P. Godfrey NICKNAME None established ADDRESS Cherry Tree Cottage, Cherry Tree Lane, Walmington-on-Sea (For more information on Cottage, see separate file - Cherry Tree Cottage). TELEPHONE NUMBER Walmington 223. Phone was cut off once for not paying bill. DATE & PLACE OF BIRTH Place probably Walmington, date could vary from 1865 to 1875. BRIEF DESCRIPTION About 5’4” in height, of medium/stocky build, round face, bald head with silvery/grey slightly bushy hair at sides. Had a slight stoop, and was a bit slow on his feet. Very politely spoken. HOME GUARD RANK Private - Platoon Medical Orderly. Briefly promoted to Sergeant when Private Pike mis-typed the Platoon Orders CIVILIAN/DAYTIME JOB Retired, but apart from WW1 service, his working life was spent at the Civil Service Stores / Army & Navy Stores where he worked in both the Sports and Gent’s Outfitting, being at least 25 years with the latter. Did work as a Father Christmas at Palmer’s and was locked in one Christmas Eve during the war. WORK ADDRESS Formerly at the Civil Service Stores / Army & Navy Stores. EDUCATED AT Not confirmed, but being a long time resident would suggest local schools in Walmington. KNOWN FAMILY/RELATIVES. Had two sisters, Dolly and Cissy, with whom he lived at Cherry Tree Cottage. None of them ever married. Father died a few years before WW2 leaving them the Cottage. -
J C Trewin Papers MS 4739
University Museums and Special Collections Service J C Trewin Papers MS 4739 The collection contains both personal papers and material collected by Trewin relating to the English stage. The latter includes theatre programmes 1906-1989, theatre posters 1783-1936, photographs (original and reproduction) of productions 1905-1970, issues of theatrical periodicals 1906-1986, albums of press cuttings, and other miscellaneous material. There are also letters collected by Trewin to and from Constance and Frank Benson, and eighteen letters and postcards (three original and fifteen facsimile) from George Bernard Shaw. The personal material includes many letters written to Trewin over the course of his career on theatrical and literary subjects. Major correspondents (with more than ten letters) include Enid Bagnold, Guy Boas, Charles Causley, Christopher Fry, Val Gielgud, Paul Scofield, Robert Speaight and Ben Travers. Other correspondence includes letters of congratulation on the presentation of Trewin's OBE in 1981, and letters of condolence written to Wendy Trewin on the death of her husband. There is also material relating to Trewin's biography of Robert Donat and a legal dispute with the playwright Veronica Haigh which arose from it. The collection contains drafts and typescripts of some of Trewin's work, over fifty notebooks, and drafts of an account by Trewin's father of his early years at sea. The Collection covers the year’s 1896-1990. MS 4739/1/1 Letter from Constance Benson (wife of Shakespearian actor Frank) to Mr Neilson. 22 September, undated 1 file MS 4739/1/2 Letter from Constance Benson to Sir Archibald Flower, of the Stratford brewing family who were supportive of the early Stratford theatres. -
“Devoted & Disgruntled”: Improbable's Devising, Eldership, and Open
“Devoted & Disgruntled”: Improbable’s Devising, Eldership, and Open Space Technology DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ian Bradford Ngongotaha Pugh Graduate Program in Theatre The Ohio State University 2013 Dissertation Committee: Lesley Ferris, Adviser Beth Kattelman Joy Reilly Copyright by Ian Bradford Ngongotaha Pugh 2013 Abstract Improbable, a London based, international theatre company, after having achieved over a decade of critical acclaim found themselves in an excellent position in the industry to serve the theatre community. Through what the company terms ‘eldership,’ the company has stepped back and placed more and more of their energy helping others, particularly young and emerging artists. Beginning with creating mentoring programs, and evolving into studying, training, and developing alternative leadership methods, the theatre company created a theatre conference like no other. Borrowing heavily from the Open Space Technology principles of Harrison Owen and the influence of Process Work and World Work pioneered by Arnold Mindell, Improbable created the Devoted & Disgruntled conferences. The Devoted & Disgruntled conferences have worked so well for Improbable because they mirror the ways that the company works when creating their devised performances. Like the company’s work, the Devoted & Disgruntled conferences are a collaborative endeavor. There are no invited speakers, the conference agenda is not preplanned, but is developed by those attending during the initial hour of the event in a collaborative process where all of the participants are empowered to take charge of issues and concerns they feel passionate about, opening dialogues, pooling resources and knowledge, and seeking actionable plans and solutions.